When you first think of this word, it is with a slippery slope in mind.
I’ve been on a few of those in my time.
And while we’re on the subject, those inclines measured in degrees are very important if you want a train to get up and down the side of a mountain.
For the train, that’s an incline plane, the point where traction alone won’t get the iron horse up the hill.
Did I say ‘Iron Horse’? Sorry, regressed there, back to the mid-1800s in the American West for a moment.
It’s not that important when it comes to trucks and cars, and less so if you like four-wheel driving; getting up near-vertical mountainsides often present a welcome challenge to the true enthusiast
But for the rest of us, not so much if you find yourself sliding in reverse uncontrollably into the bay. I’m sure it’s happened more than once.
Then…
Are you inclined to go?
A very different sort of incline, ie to be disposed towards an attitude or desire.
An inclination, maybe, not to go four-wheel driving?
There is another, probably more obscure use of the word incline, and that relates to an elevated geological formation. Not the sort of reference that crops up in everyday conversation at the coffee shop.
But, you never know. Try it next time you have coffee and see what happens.
Hang about. Didn’t I read somewhere you need to plan your novel, create an outline setting the plot points, and flesh out the characters?
I’m sure it didn’t say, sit down and start writing!
Time to find a writing pad, and put my thinking cap on.
I make a list, what’s the story going to be about? Who’s going to be in it, at least at the start?
Like a newspaper story, I need a who, what, when, where, and how.
Right now.
I pick up the pen.
Character number one:
Computer nerd, ok, that’s a little close to the bone, a computer manager who is trying to be everything at once, and failing. Still me, but with a twist. Now, add a little mystery to him, and give him a secret, one that will only be revealed after a specific set of circumstance. Yes, I like that.
We’ll call him Bill, ex-regular army, a badly injured and repatriated soldier who was sent to fight a war in Vietnam, the result of which had made him, at times, unfit to live with.
He had a wife, which brings us to,
Character number two:
Ellen, Bill’s ex-wife, an army brat and a General’s daughter, and the result of one of those romances that met disapproval for so many reasons. It worked until Bill came back from the war, and from there it slowly disintegrated. There are two daughters, both by the time the novel begins, old enough to understand the ramifications of a divorce.
Character number three:
The man who is Bill’s immediate superior, the Services Department manager, a rather officious man who blindly follows orders, a man who takes pleasure in making others feel small and insignificant, and worst of all, takes the credit where none is due.
Oops, too much, that is my old boss. He’ll know immediately I’m parodying him. Tone it down, just a little, but more or less that’s him. Last name Benton. He will play a small role in the story.
Character number four:
Jennifer, the IT Department’s assistant manager, a woman who arrives in a shroud of mystery, and then, in time, to provide Bill with a shoulder to cry on when he and Ellen finally split, and perhaps something else later on.
More on her later as the story unfolds.
So far so good.
What’s the plot?
Huge corporation plotting to take over the world using computers? No, that’s been done to death.
Huge corporation, OK, let’s stop blaming the corporate world for everything wrong in the world. Corporations are not bad people, people are the bad people. That’s a rip off cliché, from guns don’t kill people, people kill people! There will be guns, and there will be dead people.
There will be people hiding behind a huge corporation, using a part of their computer network to move billions of illegally gained money around. That’s better.
Now, having got that, our ‘hero’ has to ‘discover’ this network, and the people behind it.
All we need now is to set the ball rolling, a single event that ‘throws a cat among the pigeons’.
Yes, Bill is on holidays, a welcome relief from the problems of work. He dreams of what he’s going to do for the next two weeks. The phone rings. Benton calling, the world is coming to an end, the network is down. He’s needed. A few terse words, but he relents.
It seems that we can be completely focused on a single task to the detriment of all else, and, when that task is complete, suddenly we feel totally drained.
That’s how I feel right now.
The current year is almost half over… Where did the time go?
All I have to do is get past the publication of my next two books, take some time away from writing, and then I should be invigorated. Perhaps COVID had something to do with it because I found it very easy to get lost in and stay in my new imaginary world, rather than the horrible new world that had been thrust upon us, with more heads down and tail up, with nowhere to go, no travel to plan, and not able to go anywhere.
This is despite our fearless leaders telling us that COVID is no longer a problem, which it probably isn’t, but what do I care? And for computer programmers who never leave their semi-darkened lair, ordering pizza and Coke, it must have been a Godsend.
Given that I prefer to be at home, working on any number of stories, it usually is for me too.
But have I been working too hard, and it’s finally got to me? I mean, you can only write so much before the brain starts to fry? Or you disappear down that proverbial rabbit hole and gradually turn into the character.
I have been working on the two novels that needed to be completed, and they are finally there. And other than NaNoWriMo, which saw another go through the mill, I’m still writing a few pages a night, and another two that I have been working on here and there are now ready for the first edit.
This has all happened to the detriment of my episodic stories, which have lain idle for almost a year, but in recent weeks I picked up one or two and wrote two or three more episodes, just to keep it ticking over. Another has five episodes, and I hope to publish them soon. The last I’ve finally finished, and I am feeling pleased with myself. My editor has it now.
Something else that pleases me, and is entirely unexpected, is that I have sold several copies of my books in the last few months or so. I know I’m not about to be vying for the top of the bestseller list, but it’s still satisfying.
The Inverted Pyramid of Story Structure: Why Authors and Journalists Need It
Imagine reading a newspaper article where the author spends the first five paragraphs describing the weather, the protagonist’s childhood trauma, and the history of the town, before finally mentioning that a bank was just robbed.
You’d probably stop reading.
In journalism, that’s a cardinal sin. Readers want the facts—and they want them now. To solve this, journalists rely on a time-tested framework known as the inverted pyramid of story structure.
At first glance, this structure looks antithetical to creative writing. After all, fiction thrives on slow burns, rising tension, and delayed gratification. However, understanding and mastering the inverted pyramid isn’t just for reporters fetching morning coffee. It is a secret weapon that fiction authors can use to hook readers, sharpen their prose, and conquer the dreaded “middle-of-the-book slump.”
Here is a deep dive into what the inverted pyramid is, how it works, and why it matters to both journalists and authors.
What is the Inverted Pyramid?
Picture a standard triangle. The base is at the bottom, and the point is at the top. Now, flip it upside down.
The inverted pyramid is a metaphor for how information is prioritised in a piece of writing. The widest part of the triangle sits at the very top, representing the most crucial, must-know information. As the triangle tapers down to a sharp point at the bottom, the information becomes less critical, serving as background context, minor details, or “nice-to-haves.”
Traditionally, a news story structured with the inverted pyramid looks like this:
The Lead (The Broad Base): The opening sentence or paragraph. It answers the classic journalistic questions: Who, what, when, where, why, and how? The most vital news goes here.
The Body (The Tapering Middle): Supporting details, crucial context, quotes, and lesser evidence that explain the lead.
The Tail (The Sharp Point): Background information, tangential details, and wrap-up facts that can be easily chopped off by an editor if the page runs out of space.
Why the Inverted Pyramid is Crucial for Journalists
For journalists, this structure is driven by human psychology and the realities of media consumption. Here is why it reigns supreme in newsrooms:
It respects the reader’s time: Modern readers scan. If a headline promises a major political scandal, the reader wants to know what happened immediately, not three paragraphs down.
It accommodates editorial cutting: Historically, if an article was too long for the physical newspaper column, editors would simply chop it off from the bottom up. Because the least important information lived at the tail, cutting text didn’t ruin the core story.
It combats information fatigue: By putting the heavy lifting at the beginning, the reader can drop out of the article at any point and still walk away with the main takeaway.
The Plot Twist: Why Authors Need the Inverted Pyramid, Too
At this point, you might be asking: If fiction is about building suspense, why would an author want to give away the best parts at the beginning?
While novelists shouldn’t write their entire books like a news report, the underlying philosophy of the inverted pyramid solves several common creative writing hurdles. Here is how authors can apply it to their craft:
1. Hooking the Reader on Page One
In the attention economy, modern fiction authors face the same problem journalists do: readers have endless options, and their patience is thin. If your opening chapter is a slow, meandering description of a magic system or a family tree, you will lose them.
Applying the inverted pyramid to your opening scene means starting with your highest-impact material: high stakes, immediate action, a compelling voice, or a gripping emotional dilemma. Give the reader the “news” of your story right away, and save the deep lore for later when they are already hooked.
2. Structuring Scenes and Chapters
Every scene in a novel should function as a micro-story. If you apply the inverted pyramid to scene design:
The Top: Start the scene with the immediate conflict, goal, or revelation.
The Middle: Explore the reactions, dialogue, and rising tension.
The Bottom: End with the fallout, internal reflection, and setup for the next scene.
This prevents “sagging middles” in chapters where characters just walk and talk without moving the plot forward.
Authors love world-building. Unfortunately, readers usually don’t love reading unprompted history lessons.
The inverted pyramid teaches you how to prioritise information. The present danger or current character motivation sits at the top of the pyramid. The history of how the character got there sits at the bottom. By structuring your exposition this way, you ensure that backstory is only introduced when the reader has enough context to actually care about it.
4. Crafting Mysteries and Thrillers
In mystery and thriller writing, the inverted pyramid is practically mandatory. You start with the most shocking piece of information possible—a dead body, a stolen artifact, a ticking bomb (the top of the pyramid). The rest of the novel works its way down the pyramid, peeling back layers, offering clues, and providing context, until the ultimate truth is revealed at the narrow point.
Best Practices: Combining Narrative Art with Journalistic Efficiency
If you want to incorporate the inverted pyramid into your writing without turning your novel into a textbook, keep these best practices in mind:
Prioritize emotional impact over chronological order: You don’t have to start your story at the protagonist’s birth. Start with the moment their life changes, then flash back later.
Treat exposition like the “Tail”: Always ask yourself: Does the reader need to know this right now to understand the scene? If the answer is no, push it further down the pyramid.
Respect the reader’s intelligence: Give them the vital hooks upfront, but leave enough unanswered questions to pull them down the rest of the structure.
The Bottom Line
The inverted pyramid is far more than an outdated journalistic relic; it is a masterclass in prioritisation.
For journalists, it ensures clarity and efficiency in a fast-paced world. For authors, it serves as a powerful antidote to slow beginnings, info-dumps, and meandering plots. By learning to put your most vital, engaging material right at the top, you respect your reader’s time—and ensure they stay on the page until the very last word.
Beyond the Postcards: 5 Unique Madrid Experiences on the Road Less Travelled
Madrid. The very name conjures images of grand boulevards, world-class art museums, and bustling tapas bars. And while the Prado, the Royal Palace, and Retiro Park are undeniably magnificent, there’s a whole other layer to Spain’s vibrant capital, waiting to be discovered by those willing to stray from the well-trodden path.
If you’re like me – a traveller who loves to peel back the layers and uncover the authentic pulse of a city – then pack your sense of adventure. Here are my top five “road less travelled” experiences that will show you Madrid most tourists never see.
1. Dive into the Multicultural Heart of Lavapiés & the Mercado de San Fernando
Forget the polished tourist markets; head straight to Lavapiés, one of Madrid’s most historic and multicultural neighbourhoods. This isn’t just about street art (though there’s plenty of incredible murals to discover); it’s about the aroma of spices, the sound of different languages, and the genuine buzz of local life.
Your main mission here? The Mercado de San Fernando. Unlike the famous Mercado de San Miguel, San Fernando is a working neighbourhood market that has embraced a new life while retaining its authentic charm. Here, you can buy “libros al peso” (books by weight), sample craft beers, indulge in delicious Ethiopian food, browse artisanal goods, or grab a traditional Spanish tapa alongside locals doing their daily shopping. It’s a sensory feast and a true microcosm of modern Madrid.
Why it’s special: Authentic, multicultural, affordable, and a peek into Madrid’s real daily life.
Don’t miss: The book stall, the craft beer vendors, and simply soaking in the atmosphere.
2. Catch Sunset (and a Panorama) at Parque de las Siete Tetas
Looking for the best panoramic view of Madrid, away from the tourist crowds? Ditch the rooftop bars and head to Parque del Cerro del Tío Pío, affectionately known by locals as “Parque de las Siete Tetas” (Park of the Seven Tits) due to its seven rolling hills.
Located in the Vallecas district (easily accessible by metro), this park offers an unparalleled, uninterrupted vista of the entire city skyline, with the majestic Sierra de Guadarrama mountains as a backdrop. Grab a picnic, a bottle of wine, and join Madrileños as they gather here to watch the sun dip below the horizon, painting the city in hues of orange and gold. It’s a truly magical and unpretentious experience.
Why it’s special: The best, most local sunset spot with breathtaking views.
Don’t miss: The golden hour – arrive 45 minutes before sunset for the full spectacle.
3. Step into a Tranquil Oasis at the Sorolla Museum
While the Prado and Reina Sofía are essential, escape the crowds at the beautiful Sorolla Museum, dedicated to the luminous works of Spanish impressionist Joaquín Sorolla. Housed in the artist’s former home and studio, this museum is a serene retreat.
Wander through light-filled rooms filled with his vibrant paintings, many depicting sun-drenched beaches and family life. But the real hidden gem here are the exquisite Andalusian-style gardens, designed by Sorolla himself. They offer a tranquil escape from the city bustle, making you feel as though you’ve stumbled into a private, sun-drenched oasis. It’s a personal and intimate experience with art and history.
Why it’s special: A stunning house-museum with beautiful art and serene gardens, far less crowded than the major museums.
Don’t miss: The gardens are as much a work of art as the paintings themselves.
4. Immerse Yourself in a Traditional Vermutería Experience
Forget the generic sangria; dive into a truly Madrileño tradition: the vermutería. While tapas bars are everywhere, a dedicated vermutería offers a unique glimpse into a cherished cultural ritual. Vermouth, often served on tap (vermut de grifo), is a fortified wine infused with botanicals, and it’s experiencing a massive revival.
Seek out a classic spot like Casa Camacho in Malasaña or Bodega de la Ardosa (also in Malasaña, though it’s more broadly a classic tavern). Order a “vermút de grifo” (vermouth on tap), often served with an olive and a slice of orange. Pair it with their specific, often pickle-laden, tapas. It’s a delicious, slightly bitter, and utterly authentic way to start your evening, surrounded by locals engaging in lively conversation.
Why it’s special: A distinct Madrid tradition, away from tourist traps, with a unique drink and specific food pairings.
Don’t miss: Trying a “yayo” at Casa Camacho – a local concoction of vermouth, soda, and gin.
5. Explore the Opulent World of the Museo Cerralbo
For a glimpse into the extravagant life of a 19th-century Spanish aristocrat, the Museo Cerralbo is an absolute treasure, yet surprisingly overlooked by many guidebooks. The Marqués de Cerralbo, a passionate collector, bequeathed his entire palace and its vast contents to the state.
Walking through its ornately decorated rooms, you’ll find an astonishing collection of art, weaponry, ancient artifacts, and opulent furnishings, all preserved as if the family just stepped out for the afternoon. It’s a time capsule that offers a fascinating contrast to the often more institutional feel of other museums, providing an intimate look at the aesthetics and lifestyle of Madrid’s elite.
Why it’s special: A beautifully preserved opulent palace and private collection, offering a unique historical perspective.
Don’t miss: The stunning grand staircase and the ballroom – imagine the parties that took place here!
Madrid is a city of endless discoveries, and sometimes the most memorable experiences are found when you venture just a little bit off the well-worn path. So, ditch the guidebook for an afternoon, follow your curiosity, and let Madrid truly reveal itself to you.
What are your favourite hidden gems in Madrid? Share them in the comments below!
To write a private detective serial has always been one of the items at the top of my to-do list, though trying to write novels and a serial, as well as a blog, and maintain a social media presence, well, you get the idea.
But I made it happen, from a bunch of episodes I wrote a long, long time ago, used these to start it, and then continued on, then as now, never having much of an idea where it was going to end up, or how long it would take to tell the story.
That, I think, is the joy of ad hoc writing, even you, as the author, have as much of an idea of where it’s going as the reader does.
It’s basically been in the mill since 1990, and although I finished it last year, it looks like the beginning to end will have taken exactly 30 years. Had you asked me 30 years ago if I’d ever get it finished, the answer would be maybe?
My private detective, Harry Walthenson
I’d like to say he’s from that great literary mould of Sam Spade, or Mickey Spillane, or Philip Marlowe, but he’s not.
But I’ve watched Humphrey Bogart play Sam Spade with much interest, and modelled Harry and his office on it. Similarly, I’ve watched Robert Micham play Phillip Marlow with great panache, if not detachment, and added a bit of him to the mix.
Other characters come into play, and all of them, no matter what period they’re from, always seem larger than life. I’m not above stealing a little of Mary Astor, Peter Lorre or Sidney Greenstreet, to breathe life into beguiling women and dangerous men alike.
Then there’s the title, like
The Case of the Unintentional Mummy – this has so many meanings in so many contexts, though I imagine that back in Hollywood in the ’30s and ’40s, this would be excellent fodder for Abbott and Costello
The Case of the Three-Legged Dog – Yes, I suspect there may be a few real-life dogs with three legs, but this plot would involve something more sinister. And if made out of plaster, yes, they’re always something else inside.
But for mine, to begin with, it was “The Case of the …”, because I had no idea what the case was going to be about, well, I did, but not specifically.
Then I liked the idea of calling it “The Case of the Brothers’ Revenge” because I began to have a notion there was a brother no one knew about, but that’s stuff for other stories, not mine, so then it went the way of the others.
Now it’s called ‘A Case of Working With the Jones Brothers’, finished the first three drafts, and I am at the editor for the last reading.
I have high hopes of publishing it in mid-2026. It even has a cover.
The Unbeaten Path: 5 Hidden Treasures in Venice (That Aren’t St. Mark’s)
Venice. The name alone conjures images of shimmering canals, graceful gondolas, and the architectural masterpiece that is the Doge’s Palace. It is, undeniably, one of the most beautiful cities on earth.
But let’s be honest: the magic can quickly evaporate when you’re battling a thousand other tourists just to get a photo of the Rialto Bridge.
The true, deep magic of Venice—the one that smells of salt-laced air and centuries of history—isn’t found on the main tourist arteries. It’s found in the quiet, echoing calle (streets) and the forgotten, sun-drenched squares of the districts that rarely make the postcard racks.
If you’re ready to trade the packed piazza for unique local discoveries, ditch the map of the standard tourist loop. Here are five essential, off-the-beaten-path things to do in Venice that will give you a taste of the city’s authentic heart.
1. Swap Grand Palaces for the Cemetery Island: Isola di San Michele
While most visitors focus on Murano or Burano, the island of San Michele offers a profound and beautiful experience few tourists seek out. This is the official cemetery island of Venice, and it offers a silence and solitude that is impossible to find on the main islands.
A short vaporetto ride (Line 4.1 or 4.2) across the lagoon transports you to a walled sanctuary where cypress trees stand sentinel over generations of Venetians, including famous residents like Igor Stravinsky and Ezra Pound.
Why it’s worth the detour: The stunning, stark beauty of the Renaissance Chiesa di San Michele in Isola, combined with the meticulously maintained gardens and marble tombs, offers a reflective pause in your itinerary. It truly feels like stepping into a different world—one without shops, crowds, or noise. It’s a poignant reminder of the ebb and flow of Venetian life.
2. Embrace the Bacaro Trail in Dorsoduro
If you want to eat and drink like a Venetian, you must embrace the bacaro culture. A bacaro is a traditional, often hole-in-the-wall Venetian bar specializing in cicchetti (small, tapas-style snacks) and ombra (a small glass of local wine).
While you can find bacari near the main spots, the Dorsoduro district, particularly near Ca’ Foscari University, is where the scene is truly vibrant and local. This area is filled with students and residents, not tour groups.
How to do it right: Forget sitting down for a lengthy, expensive dinner. Between 5 PM and 7 PM, join the locals and hop between a few chosen spots, ordering a couple of cicchetti (perhaps salted cod, polpetta, or marinated artichokes) and an ombra at each.
Try: Cantinone Già Schiavi (famous for its wine selection) or Al Squero (offering fantastic views across the canal to the boatyard where gondolas are repaired).
3. Seek Out the Hidden Staircase: Scala Contarini del Bovolo
In a city known for its bridges and canals, architecture often takes a supporting role. However, if you are drawn to hidden architectural gems, the Scala Contarini del Bovolo is a must-see.
Tucked away in a tiny, almost impossible-to-find courtyard near the Rialto, the Palazzo Contarini del Bovolo features an extraordinary exterior spiral staircase. Known as the “staircase of the snail” (bovolo), this Renaissance masterpiece combines Gothic and Byzantine elements, curling up five stories to an open loggia.
The payoff: Climbing the staircase is an adventure in itself, but the true reward is the panoramic view from the top. You get a unique, intimate perspective of Venice’s terracotta rooftops and bell towers without the claustrophobic crowds of St. Mark’s Campanile. Finding it is half the fun—put the address into your phone and be prepared to wander down several dead-end alleys.
4. Explore the Authentic Heart of Cannaregio and the Ghetto
To experience genuine Venetian daily life—the sight of laundry dangling over canals, residents chatting in dialect, and non-chain grocery stores—head north to the Cannaregio district.
This area, which stretches toward the Mestre train station, is largely residential and offers excellent, affordable dining options. More importantly, it is home to the Ghetto Nuovo, the world’s first Jewish Ghetto, established in 1516.
Why it’s special: The Ghetto Nuovo is a place of powerful history and resilient culture. Due to space constraints imposed by the Republic, the buildings here are some of the tallest in Venice, stacked upon medieval foundations. Walk through the quiet central square, observe the five historic synagogues (many offer guided tours), and soak up the unique atmosphere. It’s a perfect way to step back into a complex, vital layer of Venetian history often overlooked by visitors rushing to the main sites.
5. Capture the Pastel Hues of Burano (But Go Early)
Yes, Burano is often listed on the main island tours, but most visitors arrive mid-day when the ferry lines are long, and the narrow canals are choked with people attempting the perfect photograph. To truly experience the magic of the famous rainbow-colored island, you must commit to the early start.
The secret timing: Take one of the first vaporetti out to Burano (via Murano and Torcello). Arriving just as the golden morning light hits the facades allows you to wander the lanes in near solitude. The local fishermen and lace makers are just beginning their day, and the lack of crowds amplifies the whimsical, fairy-tale quality of the architecture.
Tip: Since the island is famous for lacemaking, skip the mass-produced trinkets and seek out a small workshop where you can see the intricate craft being actively practiced.
Don’t Just Visit Venice—Live It
To travel the road less travelled in Venice isn’t about ticking off lesser-known sights; it’s about slow travel. It’s about getting lost, turning down the alley that looks too narrow, and replacing the tourist map with genuine curiosity.
When you allow yourself to wander away from the golden routes, you stop being a hurried observer and start becoming a temporary resident. The Venice you discover in these quiet pockets is richer, deeper, and far more rewarding.
By the time I returned to the Savoie, the rain had finally stopped, and there was a streak of blue sky to offer some hope that the day would improve.
The ship was not crowded, the possibility of bad weather perhaps holding back potential passengers. Of those I saw, a number of them would be aboard for the lunch by Phillippe Chevrier. I thought about it, but the Concierge had told me about several restaurants in Yvoire and had given me a hand-drawn map of the village. I think he came from the area because he spoke with the pride and knowledge of a resident.
I was looking down from the upper deck observing the last of the boarding passengers when I saw a woman, notable for her red coat and matching shoes, making a last-minute dash to get on board just before the gangway was removed. In fact, her ungainly manner of boarding had also captured a few of the other passengers’ attention. Now they would have something else to talk about, other than the possibility of further rain.
I saw her smile at the deckhand, but he did not smile back. He was not impressed with her bravado, perhaps because of possible injury. He looked at her ticket, then nodded dismissively and went back to his duties in getting the ship underway. I was going to check the departure time, but I, like the other passengers, had my attention diverted to the woman in red.
From what I could see, there was something about her. It struck me when the light caught her as she turned to look down the deck, giving me a perfect profile. I was going to say she looked foreign, but here, as in almost anywhere in Europe, that described just about everyone. Perhaps I was just comparing her to Phillipa, so definitively British, whereas this woman was very definitely not.
She was perhaps in her 30’s, slim or perhaps the word I’d use was lissom, and had the look and manner of a model. I say that because Phillipa had dragged me to most of the showings, whether in Milan, Rome, New York, London, or Paris. The clothes were familiar, and in the back of my mind, I had a feeling I’d seen her before.
Or perhaps, to me, all models looked the same.
She looked up in my direction, and before I could divert my eyes, she locked on. I could feel her gaze boring into me, and then it was gone as if she had been looking straight through me. I remained out on deck as the ship got underway, watching her disappear inside the cabin. My curiosity was piqued, so I decided to keep an eye out for her.
I could feel the coolness of the air as the ship picked up speed, not that it was going to be very fast. With stops, the trip would take nearly two hours to get to my destination. It would turn back almost immediately, but I was going to stay until the evening when it returned at about half eight. It would give me enough time to sample the local fare and take a tour of the medieval village.
Few other passengers ventured out on the deck, most staying inside or going to lunch. After a short time, I came back down to the main deck and headed forward. I wanted to clear my head by concentrating on the movement of the vessel through the water, breathing in the crisp, clean air, and letting the peacefulness of the surroundings envelope me.
It didn’t work.
I knew it wouldn’t be long before I started thinking about why things hadn’t worked and what part I played in it. And the usual question that came to mind when something didn’t work out. What was wrong with me?
I usually blamed it on my upbringing.
I had one of those so-called privileged lives, a nanny till I was old enough to go to boarding school, then sent to the best schools in the land. There I learned everything I needed to be the son of a Duke, or, as my father called it in one of his lighter moments, nobility in waiting.
Had this been five or six hundred years ago, I would have needed to have sword and jousting skills, or if it had been a few hundred years later, a keen military mind. If nothing else, I could ride a horse and go on hunts, or did until they became not the thing to do.
I learned six languages, and everything I needed to become a diplomat in the far-flung British Empire, except the Empire had become the Commonwealth, and then, when no one was looking, Britain’s influence in the world finally disappeared. I was a man without a cause, without a vocation, and no place to go.
Computers were the new vogue, and I had an aptitude for programming. I guess that went hand in hand with mathematics, which, although I hated the subject, I excelled in. Both I and another noble outcast used to toss ideas around in school, but when it came to the end of our education, he chose to enter the public service, and I took a few of those ideas we had mulled over and turned them into a company.
About a year ago, I was made an offer I couldn’t refuse. There were so many zeroes on the end of it I just said yes, put the money into a very grateful bank, and was still trying to come to terms with it.
Sadly, I still had no idea what I was going to do with the rest of my life. My parents had asked me to come back home and help manage the estate, and I did for a few weeks. It was as long as it took for my parents to drive me insane.
Back in the city, I spent a few months looking for a mundane job, but there were very few that suited my qualifications, and the rest I think I intimidated simply because of who I was. In that time, I’d also featured on the cover of the Economist and, through my well-meaning accountant, started involving myself with various charities, earning the title ‘philanthropist’.
And despite all of this exposure, even making one of those ubiquitous ‘eligible bachelor’ lists, I still could not find ‘the one’, the woman I wanted to spend the rest of my life with. Phillipa seemed to fit the bill, but in time, she proved to be a troubled soul with ‘Daddy’ issues. I knew that in building a relationship, compromise was necessary, but with her, in the end, everything was a compromise, and what had happened was always going to be the end result.
It was perhaps a by-product of the whole nobility thing. There was a certain expectation I had to fulfil, to my peers, contemporaries, parents and family, and those who either liked or hated what it represented. The problem was, I didn’t feel like I belonged. Not like my friend from schooldays, and now obscure acquaintance, Sebastian. He had been elevated to his Dukedom early when his father died when he was in his twenties. He had managed to fade from the limelight and was rarely mentioned either in the papers or the gossip columns. He was one of the lucky ones.
I had managed to keep a similarly low profile until I met Phillipa. From that moment, my obscurity disappeared. It was, I could see now, part of a plan put in place by Phillipa’s father, a man who hogged the limelight with his daughter, to raise the profile of the family name and through it their businesses. He was nothing if not the consummate self-advertisement.
Perhaps I was supposed to be the last piece of the puzzle, the attachment to the establishment, that link with a class of people he would not normally get in the front door. There was nothing refined about him or his family, and more than once I’d noticed my contemporaries cringe at the mention of his name, or any reference of my association with him.
Yet could I truthfully say I really wanted to go back to the obscurity I had before Phillipa? For all her faults, there were times when she had been fun to be with, particularly when I first met her, when she had a certain air of unpredictability. That had slowly disappeared as she became part of her father’s plan for the future. She just failed to see how much he was using her.
Or perhaps, over time, I had become cynical.
I thought about calling her. It was one of those moments of weakness when I felt alone, more alone than usual.
I diverted my attention back to my surroundings and the shoreline. Out of the corner of my eye, I could see the woman in the red coat, making a move. The red coat was like a beacon, a sort of fire engine red. It was not the sort of coat most of the women I knew would wear, but on her, it looked terrific. In fact, her sublime beauty was the other attribute that was distinctly noticeable, along with the fact that her hair was short rather than long and jet-black.
I had to wrench my attention away from her.
A few minutes later, several other passengers came out of the cabin for a walk around the deck, perhaps to get some exercise, perhaps checking up on me, or perhaps I was being paranoid. I waited till they passed on their way forward, and I turned and headed aft.
I watched the wake sluicing out from under the stern for a few minutes before retracing my steps to the front of the ship, and there I stood against the railing, watching the bow carve its way through the water. It was almost mesmerising. There, I emptied my mind of thoughts about Phillipa and thoughts about the woman in the red coat.
Until a female voice behind me said, “Having a bad day?”
I started, caught by surprise, and slowly turned. The woman in the red coat had somehow got very close to me without my realising it. How did she do that? I was so surprised I couldn’t answer immediately.
“I do hope you are not contemplating jumping. I hear the water is very cold.”
Closer up, I could see what I’d missed when I saw her on the main deck. There was a slight hint of Chinese, or Oriental, in her, particularly around the eyes, and of her hair, which was jet black. An ancestor twice or more removed had left their mark, not in a dominant way, but more subtly, and easily missed except from a very short distance away, like now.
Other than that, she was quite possibly Eastern European, perhaps Russian, though that covered a lot of territory. The incongruity of it was that she spoke with an American accent and was fluent enough for me to believe English was her first language.
Usually, I could ‘read’ people, but she was a clean slate. Her expression was one of amusement, but with cold eyes. My first thought, then, was to be careful.
“No. Not yet.” I coughed to clear my throat because I could hardly speak. And blushed, because that was what I did when confronted by a woman, beautiful or otherwise.
The amusement gave way to a hint of a smile that brightened her demeanour as a little warmth reached her eyes. “So that’s a maybe. Should I change into my lifesaving gear, just in case?”
It conjured up a rather interesting image in my mind until I reluctantly dismissed it.
“Perhaps I should move away from the edge,” I said, moving sideways until I was back on the main deck, a few feet further away. Her eyes had followed me, and when I stopped, she turned to face me again. She did not move closer.
I realised then she had removed her beret and it was in her left side coat pocket. “Thanks for your concern …?”
“Zoe.”
“Thanks for your concern, Zoe. By the way, my name is John.”
She smiled again, perhaps in an attempt to put me at ease. “I saw you earlier, you looked so sad, I thought …”
“I might throw myself overboard?”
“An idiotic notion, I admit, but it is better to be safe than sorry.”
Then she tilted her head to one side, then the other, looking intently at me. “You seem to be familiar. Do I know you?”
I tried to think of where I may have seen her before, but all I could remember was what I’d thought earlier when I first saw her; she was a model and had been at one of the showings. If she were, it would be more likely she would remember Phillipa, not me. Phillipa always had to sit in the front row.
“Probably not.” I also didn’t mention the fact that she may have seen my picture in the society pages of several tabloid newspapers because she didn’t look the sort of woman who needed a daily dose of the comings and goings, and, more often than not, scandal associated with so-called celebrities.
She gave me a look, one that told me she had just realised who I was. “Yes, I remember now. You made the front cover of the Economist. You sold your company for a small fortune.”
Of course. She was not the first who had recognised me from that cover. It had raised my profile considerably, but not Sternhaven’s. That article had not mentioned Phillipa or her family. I suspect Grandmother had something to do with that, and it was, now I thought about it, another nail in the coffin that was my relationship with Phillipa.
“I wouldn’t say it was a fortune, small or otherwise, just fortunate.” Each time, I found myself playing down the wealth aspect of the business deal.
“Perhaps then, as the journalist wrote, you were lucky. It is not, I think, a good time for internet-based companies.”
The latter statement was an interesting fact, one she read in the Financial Times, which had made that exact comment recently.
“But I am boring you.” She smiled again. “I should be minding my own business and leaving you to your thoughts. I am sorry.”
She turned to leave and took a few steps towards the main cabin.
“You’re not boring me,” I said, thinking I was letting my paranoia get the better of me. It had been Sebastian, on learning of my good fortune, who had warned me against ‘a certain element here and abroad’ whose sole aim would be to separate me from my money. He was not very subtle when he described their methods.
But I knew he was right. I should have let her walk away.
She stopped and turned around. “You seem nothing like the man I read about in the Economist.”
A sudden and awful thought popped into my head. Those words were part of a very familiar opening gambit. “Are you a reporter?”
I was not sure if she looked surprised or amused. “Do I look like one?”
I silently cursed myself for speaking before thinking, and then immediately ignored my own admonishment. “People rarely look like what they are.”
I saw the subtle shake of the head and expected her to take her leave. Instead, she astonished me.
“I fear we have got off on the wrong foot. To be honest, I’m not usually this forward, but you seemed like you needed cheering up when probably the opposite is true. Aside from the fact that this excursion was probably a bad idea. And,” she added with a little shrug, “perhaps I talk too much.”
I was not sure what I thought of her after that extraordinary admission. It was not something I would do, but it was an interesting way to approach someone and have them ignore their natural instinct. I would let Sebastian whisper in my ear for a little longer and see where this was going.
“Oddly enough, I was thinking the same thing. I was supposed to be travelling with my prospective bride. I think you can imagine how that turned out.”
“She’s not here?”
“No.”
“She’s in the cabin?” Her eyes strayed in that direction for a moment, then came back to me. She seemed surprised I might be travelling with someone.
“No. She is back in England, and the wedding is off. So is the relationship. She dumped me by text.”
OK, why was I sharing this humiliating piece of information with her? I still couldn’t be sure she was not a reporter.
She motioned to an empty seat, back from the edge. No walking the plank today. She moved towards it and sat down. She showed no signs of being cold, nor interested in the breeze upsetting her hair. Phillipa would be having a tantrum about now, being kept outside, and freaking out over what the breeze might be doing to her appearance.
I wondered, if only for a few seconds, if she used this approach with anyone else. I guess I was a little different, a seemingly rich businessman alone on a ferry on Lake Geneva, contemplating the way his life had gone so completely off track.
She watched as I sat at the other end of the bench, leaving about a yard between us. After I leaned back and made myself as comfortable as I could, she said, “I have also experienced something similar, though not by text message. It is difficult, the first few days.”
“I saw it coming.”
“I did not.” She frowned, a sort of lifeless expression taking over, perhaps brought on by the memory of what had happened to her. “But it is done, and I moved on. Was she the love of your life?”
OK, that was unexpected.
When I didn’t answer, she said, “I am sorry. Sometimes I ask personal questions without realising what I’m doing. It is none of my business.” She shivered. “Perhaps we should go back inside.”
She stood and held out her hand. Should I take it and be drawn into her web? I thought of Sebastian. What would he do in this situation?
I took her hand in mine and let her pull me gently to my feet. “Wise choice,” she said, looking up at the sky.
The Inverted Pyramid of Story Structure: Why Authors and Journalists Need It
Imagine reading a newspaper article where the author spends the first five paragraphs describing the weather, the protagonist’s childhood trauma, and the history of the town, before finally mentioning that a bank was just robbed.
You’d probably stop reading.
In journalism, that’s a cardinal sin. Readers want the facts—and they want them now. To solve this, journalists rely on a time-tested framework known as the inverted pyramid of story structure.
At first glance, this structure looks antithetical to creative writing. After all, fiction thrives on slow burns, rising tension, and delayed gratification. However, understanding and mastering the inverted pyramid isn’t just for reporters fetching morning coffee. It is a secret weapon that fiction authors can use to hook readers, sharpen their prose, and conquer the dreaded “middle-of-the-book slump.”
Here is a deep dive into what the inverted pyramid is, how it works, and why it matters to both journalists and authors.
What is the Inverted Pyramid?
Picture a standard triangle. The base is at the bottom, and the point is at the top. Now, flip it upside down.
The inverted pyramid is a metaphor for how information is prioritised in a piece of writing. The widest part of the triangle sits at the very top, representing the most crucial, must-know information. As the triangle tapers down to a sharp point at the bottom, the information becomes less critical, serving as background context, minor details, or “nice-to-haves.”
Traditionally, a news story structured with the inverted pyramid looks like this:
The Lead (The Broad Base): The opening sentence or paragraph. It answers the classic journalistic questions: Who, what, when, where, why, and how? The most vital news goes here.
The Body (The Tapering Middle): Supporting details, crucial context, quotes, and lesser evidence that explain the lead.
The Tail (The Sharp Point): Background information, tangential details, and wrap-up facts that can be easily chopped off by an editor if the page runs out of space.
Why the Inverted Pyramid is Crucial for Journalists
For journalists, this structure is driven by human psychology and the realities of media consumption. Here is why it reigns supreme in newsrooms:
It respects the reader’s time: Modern readers scan. If a headline promises a major political scandal, the reader wants to know what happened immediately, not three paragraphs down.
It accommodates editorial cutting: Historically, if an article was too long for the physical newspaper column, editors would simply chop it off from the bottom up. Because the least important information lived at the tail, cutting text didn’t ruin the core story.
It combats information fatigue: By putting the heavy lifting at the beginning, the reader can drop out of the article at any point and still walk away with the main takeaway.
The Plot Twist: Why Authors Need the Inverted Pyramid, Too
At this point, you might be asking: If fiction is about building suspense, why would an author want to give away the best parts at the beginning?
While novelists shouldn’t write their entire books like a news report, the underlying philosophy of the inverted pyramid solves several common creative writing hurdles. Here is how authors can apply it to their craft:
1. Hooking the Reader on Page One
In the attention economy, modern fiction authors face the same problem journalists do: readers have endless options, and their patience is thin. If your opening chapter is a slow, meandering description of a magic system or a family tree, you will lose them.
Applying the inverted pyramid to your opening scene means starting with your highest-impact material: high stakes, immediate action, a compelling voice, or a gripping emotional dilemma. Give the reader the “news” of your story right away, and save the deep lore for later when they are already hooked.
2. Structuring Scenes and Chapters
Every scene in a novel should function as a micro-story. If you apply the inverted pyramid to scene design:
The Top: Start the scene with the immediate conflict, goal, or revelation.
The Middle: Explore the reactions, dialogue, and rising tension.
The Bottom: End with the fallout, internal reflection, and setup for the next scene.
This prevents “sagging middles” in chapters where characters just walk and talk without moving the plot forward.
Authors love world-building. Unfortunately, readers usually don’t love reading unprompted history lessons.
The inverted pyramid teaches you how to prioritise information. The present danger or current character motivation sits at the top of the pyramid. The history of how the character got there sits at the bottom. By structuring your exposition this way, you ensure that backstory is only introduced when the reader has enough context to actually care about it.
4. Crafting Mysteries and Thrillers
In mystery and thriller writing, the inverted pyramid is practically mandatory. You start with the most shocking piece of information possible—a dead body, a stolen artifact, a ticking bomb (the top of the pyramid). The rest of the novel works its way down the pyramid, peeling back layers, offering clues, and providing context, until the ultimate truth is revealed at the narrow point.
Best Practices: Combining Narrative Art with Journalistic Efficiency
If you want to incorporate the inverted pyramid into your writing without turning your novel into a textbook, keep these best practices in mind:
Prioritize emotional impact over chronological order: You don’t have to start your story at the protagonist’s birth. Start with the moment their life changes, then flash back later.
Treat exposition like the “Tail”: Always ask yourself: Does the reader need to know this right now to understand the scene? If the answer is no, push it further down the pyramid.
Respect the reader’s intelligence: Give them the vital hooks upfront, but leave enough unanswered questions to pull them down the rest of the structure.
The Bottom Line
The inverted pyramid is far more than an outdated journalistic relic; it is a masterclass in prioritisation.
For journalists, it ensures clarity and efficiency in a fast-paced world. For authors, it serves as a powerful antidote to slow beginnings, info-dumps, and meandering plots. By learning to put your most vital, engaging material right at the top, you respect your reader’s time—and ensure they stay on the page until the very last word.
McCallister was old school, a man who would most likely fit in perfectly campaigning on the battlefields of Europe during the Second World War. He’d been like a fish out of water in the army, post-Falklands, and while he retired a hero, he still felt he’d more to give.
He’d applied and was accepted as head of a SWAT team, and, watching him now as he and his men disembarked from the truck in almost military precision, a look passed between Annette, the police liaison officer, and I that said she’d seen it all before. I know I had.
There was a one in four chance his team would be selected for this operation, and she had been hoping it would be one of the other three. While waiting for them to arrive she filled me in on the various teams. His was the least co-operative, and the more likely to make ad-hoc decisions rather than adhere to the plan, or any orders that may come from the officer in charge.
This, she said quite bluntly, was going to end badly.
I still had no idea why Prendergast instructed me to attend the scene of what looked to be a normal domestic operation, but as the nominated expert in the field in these types of situations, it was fairly clear he wasn’t taking any chances. It was always a matter of opinion between us, and generally I lost.
In this case, it was an anonymous report identifying what the authorities believed were explosives in one of the dockside sheds where explosives were not supposed to be.
The only reason why the report was given any credence was the man, while not identifying himself by name, said he’d been an explosive expert once and recognized the boxes. That could mean anything, but the Chief Constable was a cautious man.
With his men settled and preparing their weapons, McCallister came over to the command post, not much more than the SUV my liaison and I arrived in, with weapons, bulletproof vests, and rolls of tape to cordon off the area afterward. We both had coffee, steaming in the cold early morning air. Dawn was slowly approaching and although rain had been forecast it had yet to arrive.
A man by the name of Benson was in charge. He too had groaned when he saw McCallister.
“A fine morning for it.” McCallister was the only enthusiastic one here.
He didn’t say what ‘it’ was, but I thought it might eventually be mayhem.
“Let’s hope the rain stays away. It’s going to be difficult enough without it,” Benson said, rubbing his hands together. We had been waiting for the SWAT team to arrive, and another team to take up their position under the wharf, and who was in the final stages of securing their position.
While we were waiting we drew up the plan. I’d go in first to check on what we were dealing with, and what type of explosives. The SWAT team, in the meantime, were to ensure all the exits to the shed were covered. When I gave the signal, they were to enter and secure the building. We were not expecting anyone inside or out, and no movement had been detected in the last hour since our arrival and deployment.
“What’s the current situation?”
“I’ve got eyes on the building, and a team coming in from the waterside, underneath. Its slow progress, but they’re nearly there. Once they’re in place, we’re sending McKenzie in.”
He looked in my direction.
“With due respect sir, shouldn’t it be one of us?” McCallister glared at me with the contempt that only a decorated military officer could.
“No. I have orders from above, much higher than I care to argue with, so, McCallister, no gung-ho heroics for the moment. Just be ready to move on my command, and make sure you have three teams at the exit points, ready to secure the building.”
McCallister opened his mouth, no doubt to question those orders, but instead closed it again. “Yes sir,” he muttered and turned away heading back to his men.
“You’re not going to have much time before he storms the battlements,” Benson quietly said to me, a hint of exasperation in his tone. “I’m dreading the paperwork.”
It was exactly what my liaison officer said when she saw McCallister arriving.
The water team sent their ‘in position’ signal, and we were ready to go.
In the hour or so we’d been on site nothing had stirred, no arrivals, no departures, and no sign anyone was inside, but that didn’t mean we were alone. Nor did it mean I was going to walk in and see immediately what was going on. If it was a cache of explosives then it was possible the building was booby-trapped in any number of ways, there could be sentries or guards, and they had eyes on us, or it might be a false alarm.
I was hoping for the latter.
I put on the bulletproof vest, thinking it was a poor substitute for full battle armor against an exploding bomb, but we were still treating this as a ‘suspected’ case. I noticed my liaison officer was pulling on her bulletproof vest too.
“You don’t have to go. This is my party, not yours,” I said.
“The Chief Constable told me to stick to you like glue, sir.”
I looked at Benson. “Talk some sense into her please, this is not a kindergarten outing.”
He shrugged. Seeing McCallister had taken all the fight out of him. “Orders are orders. If that’s what the Chief Constable requested …”
Madness. I glared at her, and she gave me a wan smile. “Stay behind me then, and don’t do anything stupid.”
“Believe me, I won’t be.” She pulled out and checked her weapon, chambering the first round. It made a reassuring sound.
Suited up, weapons readied, a last sip of the coffee in a stomach that was already churning from nerves and tension, I looked at the target, one hundred yards distant and thought it was going to be the longest hundred yards I’d ever traversed. At least for this week.
A swirling mist rolled in and caused a slight change in plans.
Because the front of the buildings was constantly illuminated by large overhead arc lamps, my intention had been to approach the building from the rear where there was less light and more cover. Despite the lack of movement, if there were explosives in that building, there’d be ‘enemy’ surveillance somewhere, and, after making that assumption, I believed it was going to be easier and less noticeable to use the darkness as a cover.
It was a result of the consultation, and studying the plans of the warehouse, plans that showed three entrances, the main front hangar type doors, a side entrance for truck entry and exit and a small door in the rear, at the end of an internal passage leading to several offices. I also assumed it was the exit used when smokers needed a break. Our entry would be by the rear door or failing that, the side entrance where a door was built into the larger sliding doors. In both cases, the locks would not present a problem.
The change in the weather made the approach shorter, and given the density of the mist now turning into a fog, we were able to approach by the front, hugging the walls, and moving quickly while there was cover. I could feel the dampness of the mist and shivered more than once.
It was nerves more than the cold.
I could also feel rather than see the presence of Annette behind me, and once felt her breath on my neck when we stopped for a quick reconnaissance.
It was the same for McCallister’s men. I could feel them following us, quickly and quietly, and expected, if I turned around, to see him breathing down my neck too.
It added to the tension.
My plan was still to enter by the back door.
We slipped up the alley between the two sheds to the rear corner and stopped. I heard a noise coming from the rear of the building, and the light tap on the shoulder told me Annette had heard it too. I put my hand up to signal her to wait, and as a swirl of mist rolled in, I slipped around the corner heading towards where I’d last seen the glow of a cigarette.
The mist cleared, and we saw each other at the same time. He was a bearded man in battle fatigues, not the average dockside security guard.
He was quick, but my slight element of surprise was his undoing, and he was down and unconscious in less than a few seconds with barely a sound beyond the body hitting the ground. Zip ties secured his hands and legs, and tape his mouth. Annette joined me a minute after securing him.
A glance at the body then me, “I can see why they, whoever they are, sent you.”
She’d asked who I worked for, and I didn’t answer. It was best she didn’t know.
“Stay behind me,” I said, more urgency in my tone. If there was one, there’d be another.
Luck was with us so far. A man outside smoking meant no booby traps on the back door, and quite possibly there’d be none inside. But it indicated there were more men inside, and if so, it appeared they were very well trained. If that were the case, they would be formidable opponents.
The fear factor increased exponentially.
I slowly opened the door and looked in. A pale light shone from within the warehouse itself, one that was not bright enough to be detected from outside. None of the offices had lights on, so it was possible they were vacant. I realized then they had blacked out the windows. Why hadn’t someone checked this?
Once inside, the door closed behind us, progress was slow and careful. She remained directly behind me, gun ready to shoot anything that moved. I had a momentary thought for McCallister and his men, securing the perimeter.
At the end of the corridor, the extent of the warehouse stretched before us. The pale lighting made it seem like a vast empty cavern, except for a long trestle table along one side, and, behind it, stacks of wooden crates, some opened. It looked like a production line.
To get to the table from where we were was a ten-yard walk in the open. There was no cover. If we stuck to the walls, there was equally no cover and a longer walk.
We needed a distraction.
As if on cue, the two main entrances disintegrated into flying shrapnel accompanied by a deafening explosion that momentarily disoriented both Annette and I. Through the smoke and dust kicked up I saw three men appear from behind the wooden crates, each with what looked like machine guns, spraying bullets in the direction of the incoming SWAT members.
They never had a chance, cut down before they made ten steps into the building.
By the time I’d recovered, my head heavy, eyes watering and ears still ringing, I took several steps towards them, managing to take down two of the gunmen but not the third.
I heard a voice, Annette’s I think, yell out, “Oh, God, he’s got a trigger,” just before another explosion, though all I remember in that split second was a bright flash, the intense heat, something very heavy smashing into my chest knocking the wind out of me, and then the sensation of flying, just before I hit the wall.
I spent four weeks in an induced coma, three months being stitched back together and another six learning to do all those basic actions everyone took for granted. It was twelve months almost to the day when I was released from the hospital, physically, except for a few alterations required after being hit by shrapnel, looking the same as I always had.
But mentally? The document I’d signed on release said it all, ‘not fit for active duty; discharged’.
It was in the name of David Cheney. For all intents and purposes, Alistair McKenzie was killed in that warehouse, and for the first time ever, an agent left the Department, the first to retire alive.
I was not sure I liked the idea of making history.
