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.
The novel ‘Echoes from the Past’ started out as a short story I wrote about 30 years ago, titled ‘The Birthday’.
My idea was to take a normal person out of their comfort zone and led on a short but very frightening journey to a place where a surprise birthday party had been arranged.
Thus, the very large man with a scar and a red tie was created.
So was the friend with the limousine who worked as a pilot.
So were the two women, Wendy and Angelina, who were Flight Attendants that the pilot friend asked to join the conspiracy.
I was going to rework the short story, then about ten pages long, into something a little more.
And like all rewrites, especially those I have anything to do with, it turned into a novel.
There was motivation. I had told some colleagues at the place where I worked at the time that I liked writing, and they wanted a sample. I was going to give them the re-worked short story. Instead, I gave them ‘Echoes from the past’
Originally, it was not set anywhere in particular.
But when considering a location, I had, at the time, recently been to New York in December, and visited Brooklyn and Queens, as well as a lot of New York itself. We were there for New Year’s, and it was an experience I’ll never forget.
One evening, we were out late and finished up in Brooklyn Heights, near the waterfront, and there was rain and snow; it was cold and wet, and apartment buildings were shimmering in the street light, and I thought, “This is the place where my main character will live”.
It had a very spooky atmosphere, the sort where ghosts would not be unexpected. I felt more than one shiver go up and down my spine in the few minutes I was there.
I had taken notes, as I always do, of everywhere we went, so I had a ready supply of locations I could use, changing the names in some cases.
Fifth Avenue near the Rockefeller Centre is amazing at first light, and late at night with the Seasonal decorations and lights.
The original main character was a shy man with few friends, hence not expecting the surprise party. I enhanced that shyness into purposely lonely because of an issue from his past that leaves him always looking over his shoulder and ready to move on at the slightest hint of trouble. No friends, no relationships, just a very low profile.
Then I thought, what if he breaks the cardinal rule and begins a relationship?
But it is also as much an exploration of a damaged soul as it is the search for a normal life, without having any idea what normal was, and how the understanding of one person can sometimes make all the difference in what we may think or feel.
Exploring Buenos Aires Beyond the Tourist Trail: 5 Unexpected Adventures
When most travellers picture Buenos Pride, they think of the tango‑filled streets of San Telmo, the grand avenues of Recoleta, and the bustling cafés of Palermo. While those neighbourhoods are undeniably iconic, the Argentine capital hides a wealth of lesser‑known gems that reveal a more intimate, quirky, and authentic side of the city.
If you’ve already checked off the classic attractions and still have a craving for something different, these five off‑the‑beaten‑path experiences will take you deeper into Buenos Aires’ soul—without the crowds. Pack a reusable water bottle, wear comfortable shoes, and get ready to wander where locals love to roam.
1. Stroll Through the Hidden Gardens of Jardín Japonés at Night
Why it’s special Most visitors see Jardín Japonés (the Japanese Garden) during daylight hours, but the garden transforms after sunset. The soft glow of lanterns, the gentle hum of koi swimming under moonlight, and the occasional echo of a distant saxophone from a nearby jazz bar create a magical, almost cinematic atmosphere.
What to do
Evening tea ceremony – Join a 30‑minute tea‑ceremony workshop (offered on Fridays at 7 pm). It’s a quiet, meditative experience that includes a short talk on the tea’s cultural meaning.
Night photography – The garden’s bridges, stone lanterns, and the iconic tea house make superb low‑light subjects. Bring a tripod and experiment with long‑exposure shots of the koi pond.
Moonlit stroll – Follow the moss‑covered stepping stones along the tea garden’s “Shinrin‑yoku” (forest‑bath) path. The silence is punctuated only by the rustle of bamboo and distant traffic, offering a rare moment of urban tranquillity.
Pro tip – The garden closes at 9 pm, but the surrounding Barrio de Palermo’s quiet side streets remain lively with hidden speakeasies. Grab a late‑night empanada from a local bakery and head to Bar Los Galgos for an after‑hours gin cocktail.
2. Take a Mini‑Cruise on the Río de la Plata in a Historic “Patache”
Why it’s special While most tourists imagine the Río de la Plata as a massive, industrial waterway, a handful of small, restored patache vessels (traditional Argentine sailing boats) offer intimate tours focusing on the river’s ecological and historical narrative.
What to do
Eco‑tour (2 hours) – Departing from Puerto Madero’s Muelle 1, this guided cruise visits the “Isla de los Pájaros” bird sanctuary. A naturalist points out native herons, cormorants, and the occasional shy black‑skinned swan.
Historical storytelling – On select evenings, a local historian narrates tales of early 19th‑century smugglers, the 1880 “Golden Age” of river trade, and the river’s role in shaping Buenos Aires’ identity.
Sunset salsa – Some night cruises feature impromptu tango or milonga lessons on deck, letting you sway to the river’s gentle lull while the city lights flicker in the distance.
Pro tip – Book the “sunset salsa” cruise for a Wednesday or Thursday—mid‑week sails are less crowded, and you’ll enjoy a complimentary glass of Malbec from a boutique vineyard in Mendoza.
3. Explore the Street Art Labyrinth of Colegio Nacional de Arquitectura (CNA)
Why it’s special The façade of the National School of Architecture (CNA) is a living canvas. Since 2015, a rotating collective of local and international muralists has turned its concrete walls into a kaleidoscope of political commentary, surreal imagery, and whimsical cartoons.
What to do
Guided “Graffiti Walk” (45 min) – Follow a self‑guided QR‑code trail that links to short video interviews with the artists. Learn the symbolism behind the giant armadillo, the floating books, and the hidden QR‑code that unlocks a secret Instagram filter.
Hands‑on stencil workshop – Every Saturday at 11 am, the school’s community art space offers a free stencil‑making class. Produce a mini‑poster to take home—a souvenir you actually made yourself.
Evening “Light‑Up” show – On the first Friday of each month, the building’s façade is illuminated with projection mapping, syncing the murals to a live DJ set. The resulting visual symphony is a must‑see for night‑owls.
Pro tip – Bring a reusable tote bag for the workshop supplies and wear comfortable shoes; the CNA campus is a sprawling, cobblestone‑strewn complex perfect for a leisurely wander.
4. Savour a Secret Supper Club in Barrio Chino (Little China)
Why it’s special Buenos Aires’ Chinatown, nestled in the heart of Belgrano, is often overlooked by tourists who flock to the more famous “Chinatown” of Buenos Aires (the restaurant strip on Avenida Corrientes). Hidden within the narrow alleys is a rotating supper club run by a collective of Chinese‑Argentine chefs who fuse traditional Sichuan flavours with Argentine ingredients.
What to do
Reserve a seat – The club operates on a “by invitation only” model. Sign up on their WeChat group or follow their Instagram (@secretchinasabado) to receive a secret code for reservations.
Taste the “Chimichurri Dumplings” – A standout dish that blends Argentine chimichurri sauce with delicate pork dumplings, served with a smoky paprika‑infused broth.
Cultural exchange – After dinner, the chef hosts a short talk about the migration story of Chinese families arriving in Buenos Aires in the early 1900s, followed by a live erhu (Chinese violin) performance.
Pro tip – Arrive a few minutes early to explore the nearby Plaza de la China, a tiny garden with a bronze statue of a dragon. The surrounding streets are lined with hidden tea houses where you can enjoy a post‑dinner té mate infused with jasmine.
5. Ride the Vintage Tram and take a short walk to the local Museum in La Boca
Why it’s special Most visitors associate La Boca with colourful houses and the famous Caminito street. Few know that a vintage 1920s tram line still operates on a short, scenic route that ends at the Museum of Industry—a former meat‑packing plant turned interactive exhibition space.
What to do
Tram ride (20 min) – Board at the historic Tram Station Plaza de la República (a modest brick building with a tiny ticket booth). The tram clatters through cobblestone streets, passing hidden murals and small workshops.
Museum tour – Visit the museum that showcases local history.
Coffee at the café.
Bonus: How to Weave These Experiences Into One Seamless Itinerary
Day
Morning
Afternoon
Evening
1
Night stroll in Jardín Japonés (7 pm)
Late‑night empanada & cocktail in Palermo
Rest
2
Mini‑cruise on Río de la Plata (2 pm)
Walk along Puerto Madero
Light‑up show at CNA (9 pm)
3
Graffiti walk at CNA (10 am)
Stencil workshop (11 am)
Dinner at secret Chinatown supper club (8 pm)
4
Tram ride and walk to La Boca Museum
Museum tour & coffee
Free night – explore local bars in La Boca
5
Free day – revisit favorite spots or relax in a park
Optional bike ride along the Ecological Reserve
Celebrate with a tango show in a hidden speakeasy
Final Thoughts
Buenos Aires is a city of layers—each neighbourhood, street, and riverbank offers a story waiting to be discovered. By stepping off the traditional tourist map, you’ll uncover hidden gardens that whisper at night, historic vessels that glide through the river’s heart, and culinary experiences that fuse continents.
These five “road‑less‑travelled” adventures give you a taste of the city’s creative, industrial, and multicultural spirit, inviting you to see Buenos Aires not just as a destination, but as a living, breathing tapestry of stories.
Ready to explore? Pack your curiosity, charge your camera, and let the hidden corners of Buenos Aires become your personal playground.
This case has everything: red herrings, jealous brothers, femme fatales, and at the heart of it all, greed.
See below for an excerpt from the book…
Coming soon!
An excerpt from the book:
…
When Harry took the time to consider his position, a rather uncomfortable position at that, he concluded that he was somehow involved in another case that meant very little to him.
Not that it wasn’t important in some way he was yet to determine, it was just that his curiosity had got the better of him, and it had led to this: sitting in a chair, securely bound, waiting for someone, one of his captors had called Doug.
It was not the name that worried him so much; it was the evil laugh that had come after the name was spoken.
Doug what? Doug the ‘destroyer’, Doug the ‘dangerous’, Doug the ‘deadly’; there were several sinister connotations, and perhaps that was the point of the laugh, to make it more frightening than it was.
But there was no doubt about one thing in his mind right then: he’d made a mistake. A very big. and a costly mistake. Just how big the cost, no doubt, he would soon find out.
His mother and his grandmother, the wisest person he had ever known, had once told him never to eavesdrop.
At the time, he couldn’t help himself, and instead of minding his own business, listening to a one-sided conversation that ended with a time and a place. The very nature of the person receiving the call was, at the very least, sinister, and, because of the cryptic conversation, there appeared to be, or at least to Harry, criminal activity involved.
For several days, he had wrestled with the thought of whether he should go. Stay on the fringe, keep out of sight, observe and report to the police if it was a crime. Instead, he had willingly gone down the rabbit hole.
Now, sitting in an uncomfortable chair, several heat lamps hanging over his head, he was perspiring, and if perspiration could be used as a measure of fear, then Harry’s fear was at the highest level.
Another runnel of sweat rolled into his left eye, and, having his hands tied, it literally made it impossible to clear it. The burning sensation momentarily took his mind off his predicament. He cursed and then shook his head, trying to prevent a recurrence. It was to no avail.
Let the stinging sensation be a reminder of what was right and what was wrong.
It was obvious that it was the right place and the right time, but in considering his current perilous situation, it definitely was the wrong place to be, at the worst possible time.
It was meant to be his escape, an escape from the generations of lawyers, what were to Harry, dry, dusty men who had been in business since George Washington said to the first Walthenson to step foot on American soil, ‘Why don’t you become a lawyer?” when asked what he could do for the great man.
Or so it was handed down as lore, though Harry didn’t think Washington meant it literally, the Walthenson’s, then as now, were not shy of taking advice.
Except, of course, when it came to Harry.
He was, Harry’s father was prone to saying, the exception to every rule. Harry guessed his father was referring to the fact that his son wanted to be a Private Detective rather than a dry, dusty lawyer. Just the clothes were enough to turn Harry off the profession.
So, with a little of the money Harry inherited from one of his aunts, he leased an office in Gramercy Park and had it renovated to look like the Sam Spade detective agency, you know the one, Spade and Archer, and The Maltese Falcon.
There’s a movie and a book by Dashiell Hammett if you’re interested.
So, there it was, painted on the opaque glass inset of the front door, ‘Harold Walthenson, Private Detective’.
There was enough money to hire an assistant, and it took a week before the right person came along, or, more to the point, didn’t just see his business plan as something sinister. Ellen, a tall, cool woman in a long black dress, or so the words of a song in his head told him, fitted in perfectly.
She’d seen the movie, but she said with a grin, Harry was no Humphrey Bogart.
Of course not, he said, he didn’t smoke.
Three months on the job, and it had been a few calls, no ‘real’ cases, nothing but missing animals, and other miscellaneous items. What he really wanted was a missing person. Or perhaps a beguiling, sophisticated woman who was as deadly as she was charming, looking for an errant husband, perhaps one that she had already ‘dispatched’.
Or for a tall, dark and handsome foreigner who spoke in riddles and in heavily accented English, a spy, or perhaps an assassin, in town to take out the mayor. The man was such an imbecile that Harry had considered doing it himself.
Now, in a back room of a disused warehouse, that wishful thinking might be just about to come to a very abrupt end, with none of the romanticised trappings of the business befalling him. No beguiling women, no sinister criminals, no stupid policemen.
Just a nasty little man whose only concern was how quickly or how slowly Harry’s end was going to be.
Plotters vs. Pantsers: Why Even the Most Spontaneous Novelists Need a Series Bible
If you’ve ever reached book three of your epic fantasy or detective series only to realise your protagonist’s eyes magically shifted from piercing blue to emerald green, or that a character who died in chapter four just casually walked back into a scene, you aren’t alone.
Writing a book series is an incredible creative journey, but it is also a marathon of memory. When you live with characters for months—or years—at a time, details blur.
So, when writing a series, does it pay to have a plan for each novel, if only to maintain continuity?
In a word: Absolutely.
While the debate between “plotters” (those who outline meticulously) and “pantsers” (those who write by the seat of their pants) is fierce in the writing community, long-term continuity demands a hybrid approach. Let’s dive into why minor memory lapses happen, the hidden costs of ignoring continuity, and how a simple planning tool can save your sanity (and your readers’ trust).
The Anatomy of Amnesia: How Continuity Errors Happen
Human memory is notoriously unreliable, and when you are knee-deep in the throes of drafting, your brain is prioritising plot momentum, emotional arcs, and dialogue over trivial data.
Over the course of a multi-book series, several common continuity issues inevitably creep in:
The Shape-Shifters (Physical Descriptions): Hair colours darken, eye colours shift, scars migrate from the left cheek to the right, and heights fluctuate.
The Aging Paradox: Did timeline pacing get a little wobbly? Suddenly, a character who was supposed to be 16 in book one is acting suspiciously like a seasoned 21-year-old by book two, even though only six months have passed in the book’s universe.
The Lazarus Effect: Minor characters—or worse, major ones—disappear for a book, only for the author to accidentally reintroduce them with a different name, backstory, or worse, revive them from the dead without explanation.
Logistical Lapses: Geography and lore are major culprits. Did the journey from City A to City B take three days on horseback in the first book, but only an afternoon in the sequel? Did a magic system suddenly acquire a new rule (or lose an old one) just to help you write your way out of a corner?
Why Continuity Errors Cost You Readers
You might think, “Surely my readers won’t notice if a character’s eye colour changes.”
Think again.
Today’s readers are deeply engaged. They read with a fine-toothed comb, theorise on forums like Reddit, and discuss books passionately on BookTok and Goodreads. When they spot a glaring continuity error, it pulls them right out of the fictional dream.
Frequent inconsistencies signal a lack of polish. Worse, they break trust. If a reader can’t rely on you to remember basic facts about your own world, they may hesitate to invest their time and money into the next instalment of your series.
Planning Each Novel: The Blueprint for Success
You don’t have to outline every single plot twist, chapter by chapter, if that kills your creative joy. Many successful authors proudly write by the seat of their pants for the actual storytelling.
However, planning for continuity is entirely different from plotting a narrative. To maintain structural integrity across a series, you need a two-pronged strategy:
1. The Individual Novel Outline
Even if you hate strict outlines, having a loose roadmap for each novel ensures that your pacing holds up, subplots resolve, and you don’t write yourself into a narrative dead end. Knowing your destination doesn’t mean you can’t take scenic detours along the way, but it does mean you won’t accidentally drive off a cliff.
2. The Ultimate Weapon: The “Series Bible”
If you take away only one piece of advice from this article, let it be this: Create a Series Bible.
A Series Bible is a centralized, living document (using software like Scrivener, Notion, Google Docs, or a dedicated binder) where you track the immutable facts of your fictional world. It should include:
Character Profiles: Full names, nicknames, physical descriptions, birthdays/ages, key relationships, core motivations, and major life events.
The Timeline: A master chronological ledger tracking what happens on what day, month, and year across all books.
World-Building Lore: Rules of magic, geography, political structures, currency, and technology. Keep a running glossary of invented terms, town names, and historical events.
The “Loose Ends” Ledger: A list of unresolved plot threads or lingering questions you need to address in future books.
Strike a Balance: Structure Meets Creativity
Planning doesn’t mean chaining yourself to a spreadsheet. Think of a series outline and a continuity bible not as a cage, but as safety rails. They give you the freedom to drive fast and take creative risks, knowing you won’t crash into a wall of your own making further down the road.
By investing just a little bit of time upfront to track your characters, ages, and world rules, you save yourself hours of agonising developmental edits later—and you deliver a polished, immersive experience that keeps readers coming back for book after book.
Are you a plotter or a pantser? How do you keep track of your series continuity? Let us know your favourite tips and tricks in the comments below!
There was something about this one that resonated with me.
This is a novel about a world generally ruled by perception, and how people perceive what they see, what they are told, and what they want to believe.
I’ve been guilty of it myself, as I’m sure we all have at one time or another.
For the main characters, Harry and Alison, other issues are driving their relationship.
For Alison, it is a loss of self-worth through losing her job and from losing her mother and, in a sense, her sister.
For Harry, it is the fact that he has a beautiful and desirable wife, his belief that she is the object of other men’s desires, and, in particular, his immediate superior’s.
Between observation, the less-than-honest motives of his friends, a lot of jumping to conclusions based on very little fact, and you have the basis of one very interesting story.
When it all comes to a head, Alison finds herself in a desperate situation, and she realises only the truth will save their marriage.
But is it all the truth?
What would we do in similar circumstances?
Rarely does a book have me so enthralled that I could not put it down until I knew the result. They might be considered two people who should have known better, but as is often the case, they had to get past what they both thought was the truth.
And the moral of this story, if it could be said there is one, is that nothing is ever what it seems.
Back to the explosion at what was first thought to be at a takeaway. Certainly, it had been levelled, but so had several other buildings in the near vicinity, but we haven’t got to that part yet.
The boredom of the flight is still allowing me to explore the opening sequence a little further, where we left our man on the scene under tight police guard.
…
In five minutes, perhaps less, the whole scene had turned into countless vehicles with red and blue flashing lights, screams from the victims, and yelling from the rescuers.
I was still under police guard, but coming from the other side of the scene, a rather battered and bleeding street policeman came running towards us, stopping short of the man standing back, the one I assumed was in charge.
“Tell me you’ve got them,” he gasped, then looked from the man in charge to me and then back again, looking very concerned.
“We have.” He looked very calm and pleased with himself.
“What? Him?” He nodded in my direction. “He was blown up in the blast and from what I saw was chasing the real culprits, two men covered in dust, one of whom was carrying a large duffel bag.”
“This guy was caught running from the scene.”
I decided to add my bit to the discussion. “Your car drove straight past them. I can’t see how you missed them.”
He was starting to look worried. “We were given your exact description from an anonymous tip.”
The battered policeman bent over and then collapsed to the ground. Two of my captors went towards him, but he motioned them away. “Of course you did, by the two men escaping. Get after them, before it’s too late. And free this guy. He’s got nothing to do with the blast.”
After removing the cuffs, they jumped back in their car and headed back in the direction they came. Too late now, the two men would be long gone.
I went over to the policeman on the ground just as another ambulance pulled up and as the paramedics got out, I motioned to them to come and attend him.
“What happened,” I asked him
“A bank robbery, the clowns used far too much explosive and almost brought the building down on them. Not so lucky for the neighbours.”
He was looking around, then stopped, looking at the place where I’d just been held down. I followed his gaze and then saw what he saw. The cuffs were still on the ground where the man who removed them had obviously dropped them.
His expression changed, and for a moment I thought he was going to explode.
“What’s wrong.” Obviously, something was but I couldn’t see it.
“The cuffs. We haven’t used those for years now. They weren’t real police.”
My mind clicked into gear at the same time as he uttered the words.
They were there to help the others escape whilst holding us both up with a phony arrest. I wonder what they would do if they hadn’t been sent after their fellow robbers.
The battered policeman just sighed and lay down on the pavement and let the paramedics work on him.
Only then did we notice he had a piece of an iron bar sticking out of his side.
Then, of course, people just don’t happen to be in the wrong place at the wrong time.
With my attention elsewhere, I walked into a man who was hurrying in the opposite direction. He was a big man with a scar running down the left side of his face from the eye socket to the mouth, and he was wearing a black shirt with a red tie.
That was all I remembered as my heart almost stopped.
He apologised as he stepped to one side, the same way I stepped, as I also muttered an apology.
I kept my eyes down. He was not the sort of man I wanted to recognise later in a lineup. I stepped to the other side, and so did he. It was one of those situations. Finally getting out of sync, he kept going in his direction, and I went towards the bus, which was now pulling away from the curb.
Getting my breath back, I just stood riveted to the spot watching it join the traffic. I looked back over my shoulder, but the man I’d run into had gone. I shrugged and looked at my watch. It would be a few minutes before the next bus arrived.
Wait, or walk? I could also go by subway, but it was a long walk to the station. What the hell, I needed the exercise.
At the first intersection, the ‘Walk’ sign had just flashed to ‘Don’t Walk’. I thought I’d save a few minutes by not waiting for the next green light. As I stepped onto the road, I heard the screeching of tyres.
A yellow car stopped inches from me.
It was a high-powered sports car, perhaps a Lamborghini. I knew what they looked like because Marcus Bartleby owned one, as did every other junior executive in the city with a rich father.
Everyone stopped to look at me, then the car. It was that sort of car. I could see the driver through the windscreen shaking his fist, and I could see he was yelling too, but I couldn’t hear him. I stepped back onto the sidewalk, and he drove on. The moment had passed, and everyone went back to their business.
My heart rate hadn’t come down from the last encounter. Now it was approaching cardiac arrest, so I took a few minutes and several sets of lights to regain composure.
At the next intersection, I waited for the green light, and then a few seconds more, just to be sure. I was no longer in a hurry.
Next, I heard what sounded like a gunshot. A few people looked around, worried expressions on their faces, but when it happened again, I saw it was an old car backfiring. I also saw another yellow car, much the same as the one before, stopped on the side of the road. I thought nothing of it, other than it was the second yellow car I’d seen.
At the next intersection, I realised I was subconsciously heading towards Harry’s new bar. It was somewhere on 6th Avenue, so I continued walking in what I thought was the right direction.
I don’t know why I looked behind me at the next intersection, but I did. There was another yellow car on the side of the road, not far from me. It, too, looked the same as the original Lamborghini, and I was starting to think it was not a coincidence.
Moments after crossing the road, I heard the roar of a sports car engine and saw the yellow car accelerate past me. As it passed by, I saw there were two people in it, and the blurry image of the passenger was a large man with a red tie.
Now my imagination was playing tricks.
It could not be the same man. He was going in a different direction.
In the few minutes I’d been standing on the pavement, it had started to snow; early for this time of year, and marking the start of what could be a long, cold winter. I shuddered, and it was not necessarily because of the temperature.
I looked up and saw a neon light advertising a bar, coincidentally the one Harry had ‘found’ and, looking once in the direction of the departing yellow car, I decided to go in. I would have a few drinks and then leave through the back door if there were one.
And I don’t know how I got here. I have a sneaking suspicion that I stepped through a portal, only I didn’t recognise it as one until I reached this side.
I say this side because the world I’m in now is not the world I remember from a while back, well, perhaps a year or so. Time passes very slowly here.
Before everything made sense, China didn’t hate us, and we had just finished touring some of the most remarkable sights of that very country.
There was no coronavirus, and I didn’t fear for my life, and the fact that I had a compromised immune system didn’t matter a hoot, except for the constant pain in my lower back and hands, the result of psoriatic arthritis going berserk as I get older.
My grandchildren were in school, alternately loving and hating it. Every Friday I would get one from school, and she would tell me her world was hell, and I had no idea what it was like.
Another would start all her sentences with ‘basically’, and the other would end hers with ‘like’.
I would lament the fact that our schools no longer teach proper English, and we could sit around and talk about the YA novel I was writing for them, and that they were the characters in this mythical kingdom. And, yes, they are princesses, if not crotchety one day, and all smiles and goodness the next.
And, in an instant, that whole world was blown away.
Am I angry? I was. A year is too long to be mad at everyone and everything.
Do I have a different outlook on life? Yes, I live every day as if it were my last, because the truth is, it just might be.
Can I travel anywhere? No. There’s too much risk in a world where few people under the age of 65 care about consequences.
Is there a reason to live? You may well ask.
I have thought about this often, lying awake in bed every morning, asking myself why I would bother getting up. I can’t go anywhere, I can’t do very much.
But…
We have here an almost remarkable record in keeping the coronavirus at bay, so we have some freedom. We can’t leave the country, and every other month a state or two closes its borders, so travelling outside the state is too risky. The schools are back, and I resumed pick-up duties last Friday, and, yes, the sweetness of the complaints about school life is like music to my ears.
Do I have a reason to live? Yes. There are three girls and grandchildren: one 16, one 19, and one 22. The 16-year-old is in Year 11 of secondary school; the 19-year-old is in the second year of university, has a car, a steady boyfriend, and a life plan; and the 22-year-old is settled into her degree at another university, one closer to home. She can also drive herself, a shred of independence that has changed her outlook, going from a child to someone more mature.
I hadn’t realised how much their lives were in such a constant state of change. Nor had I realised how much they prefer to tell me about it rather than their parents.
So, the answer to that deep and meaningful question is: is there a reason to live?
Yes. We can have so many things we think are essential to living our lives taken away, but in the end, they are all but superficial. You can lose a car, some of your mobility, a house, or any sort of chattel, but they are insignificant. What matters most, and always will, is family. I’m lucky, and indeed, extremely grateful, to have mine so near.
Now I suppose I should be getting to bed. Tomorrow, I have just been informed that I’m rostered on in what is known as ‘Poppy’s Taxi ‘.
And ready to hear the next enthralling episode of school life these days.
In every office, neighbourhood, classroom, and family, there exists a quiet force—a person whose actions speak louder than words. These are the unsung heroes: the colleague who picks up the slack without a word, the parent who works two jobs behind closed doors, the volunteer who shows up week after week, rain or shine. They rarely seek the spotlight, and that’s exactly why their stories deserve to be amplified.
But how do we take someone whose humility is their hallmark and transform them into a memorable character—one that inspires and resonates with others? The answer lies not in grand exaggeration, but in thoughtful storytelling that honours authenticity, reveals depth, and celebrates quiet strength.
Here’s how to turn the unsung hero into a character others can truly celebrate.
1. Discover the Quiet Moment That Speaks Volumes
Memorable characters are born not from dramatic acts, but from meaningful details. Instead of focusing on monumental achievements, look for the small, everyday choices that reveal character.
Maybe it’s the teacher who stayed late three days in a row to help a struggling student. Or the janitor who remembers every student’s name and greets them with a smile—even on the toughest days. These moments may go unnoticed, but they form the emotional core of a powerful story.
Tip: Ask, “What would this person do when no one is watching?” The answer often holds the essence of their character.
2. Humanise Through Vulnerability
Audiences connect not with perfection, but with authenticity. Even the most selfless individuals have fears, doubts, and dreams. Sharing a moment of vulnerability doesn’t diminish a hero—it humanises them.
Perhaps your unsung hero once failed spectacularly before finding their stride. Or maybe they help others because they once needed help themselves. These layers of complexity make their journey relatable, and their perseverance even more inspiring.
Tip: Include a moment of doubt or personal struggle. It makes the triumph—however quiet—feel earned.
3. Show, Don’t Just Tell
There’s a difference between saying “she’s kind” and showing her quietly slipping a care package under a coworker’s door after hearing about their illness. Great storytelling doesn’t announce virtues—it reveals them through action.
Use scenes, dialogue, and sensory details. Let readers see the calloused hands of the farmer who rises before dawn. Hear the voice of the mentor who patiently explains the same concept over and over. Feel the tension in the room when someone steps in to defuse a conflict with empathy.
Tip: Write as if you’re filming a movie—what would the camera capture?
4. Anchor Their Story in Purpose
Unsung heroes often act not for recognition, but because they believe in something bigger. What drives them? Is it a personal value? A painful memory? A vision for a better community?
When you reveal their why, you transform them from a background figure into a person with conviction. Purpose gives their actions weight and direction. It’s what makes their consistency remarkable.
Tip: Ask, “What would this person fight for, even if they lost?” That’s the heart of their story.
5. Invite Others to Celebrate
A memorable character doesn’t just exist in isolation—they impact others. Show how their actions create ripples. Maybe a student finally believed in themselves because of a mentor’s quiet encouragement. Maybe a community rallied because someone took the first step.
When others reflect on what the hero has done, it validates their impact. Testimonials, memories, and small acknowledgments from people they’ve helped turn individual actions into a legacy.
Tip: End with a moment of recognition—not for fame, but for appreciation. Let someone say, “I wouldn’t be here without you.”
6. Respect Their Humility
Celebrating an unsung hero doesn’t mean turning them into a caricature of selflessness. Avoid melodrama or exaggeration. Honour their quiet nature by keeping the tone grounded and respectful.
Sometimes the most powerful tribute is understated—a simple portrait, a heartfelt letter, a candid photo essay. Let their actions speak for themselves.
Tip: When in doubt, ask: “Would this person feel seen, not exposed?”
The Power of Recognition
We don’t need more superheroes in capes—we need more stories that illuminate the extraordinary within ordinary lives. When we elevate the quiet, compassionate, consistent people among us, we do more than celebrate individuals. We redefine what it means to be a hero.
By turning unsung heroes into memorable characters, we give others permission to see the value in service, in patience, in showing up—even when no one’s watching.
And perhaps, in doing so, we inspire the next generation of quiet heroes to rise.
Who’s your unsung hero? Share their story—not for applause, but for impact.
The Dark Side of Narrative: Why Certain Story Elements Fail (And How to Fix Them)
Every great story is built on a foundation of classic elements: compelling characters, gripping conflict, and immersive world-building. But what happens when these trusty narrative tools are pushed too far?
Even the most celebrated storytelling tropes can become a writer’s worst enemy if mishandled. When relied upon as crutches, certain story elements can instantly pull readers out of the narrative, destroy suspense, and leave an audience feeling cheated.
As writers, understanding the disadvantages of these common tropes is essential for crafting fresh, engaging fiction. Today, we’re breaking down four major story elements to avoid—complete with examples—so you can elevate your storytelling and keep your readers turning pages.
1. The Exposition Dump (The “As You Know, Bob” Trap)
The Problem
Exposition is necessary for world-building, but an exposition dump (or info-dump) occurs when a writer forces massive amounts of back-story, historical context, or technical data into the narrative all at once.
The biggest disadvantage of the exposition dump is that it grinds the pacing to a complete halt. Instead of showing us the world through action and reaction, the author pauses the story to lecture the reader. Worse yet is the infamous “As you know, Bob” dialogue, where two characters explain things to each other that they both already know purely for the benefit of the audience.
An Example to Avoid
“As you know, Captain, ever since the Great AI Wars of 2142—which decimated 80% of Earth’s population and led to the ban of all sentient technology—our spaceship’s hyperdrive has been powered by your rare crystal bloodline.”
How to Fix It
Weave information through action and conflict. Reveal world-building details only when they become immediately relevant to the character’s survival or goals. Let the reader piece the puzzle together organically rather than handing them a textbook.
2. Concluding with a Shootout (The Lazy Climax)
The Problem
Action is thrilling, but treating a shootout or massive physical brawl as the default climax for every story is a major narrative pitfall.
The disadvantage of relying on a shootout to wrap things up is that it often feels unearned. If the central conflict of your story is emotional, psychological, or interpersonal, resolving it with flying bullets or laser blasts is a cop-out. It swaps genuine emotional resonance for cheap spectacle, rendering the character arcs completely irrelevant.
An Example to Avoid
After a poignant, slow-burn psychological drama about a grieving father fighting for custody of his daughter, the climax abruptly features a thirty-minute warehouse shootout with a random drug cartel. (Bonus points if the cartel had nothing to do with the actual emotional core of the story.)
How to Fix It
Match your climax to your core conflict. If your story is about forgiveness, the climax should be an emotional confrontation, not a physical one. If you must have action, ensure the stakes of the battle directly mirror the internal stakes of the characters.
3. Mistaken Identities (The Forced Misunderstanding)
The Problem
Mistaken identity tropes can work wonderfully in Shakespearean comedies, but in modern drama and thrillers, they often feel manipulative and frustrating.
The primary disadvantage of mistaken identities is that they rely on manufactured conflict. When major plot developments happen simply because characters refuse to ask basic clarifying questions or because someone is wearing a slightly different hat, readers feel insulted. It creates “idiot plot syndrome”—a story that only moves forward because everyone involved is acting completely irrationally.
An Example to Avoid
The romantic leads spend 300 pages hating each other and avoiding romance because one of them overheard a heavily edited half-sentence out of context, completely ignoring years of established trust and chemistry.
How to Fix It
Raise the emotional intelligence of your characters. If characters are going to misunderstand each other, make the deception complex, systemic, or psychological—not just a contrived accident that could be resolved with a five-second conversation.
4. “And Everyone Was Dead” (The Nihilistic Ending)
The Problem
Nothing deflates a reader’s investment quite like the “and everyone was dead” ending—often accompanied by the revelation that the entire story was just a dream, or that every character perished in a meaningless twist of fate.
While gritty, tragic, and ambiguous endings can work brilliantly (think Hamlet), killing off your entire cast for shock value carries a massive disadvantage: it renders the entire journey pointless. If every character the reader cared about dies without achieving anything, the audience is left wondering why they invested their time in the first place.
An Example to Avoid
After a harrowing 400-page fantasy epic where the heroes cross continents, make ultimate sacrifices, and defeat the dark lord, a stray meteor suddenly strikes the castle during the victory celebration, instantly wiping out every single named character.
How to Fix It
Honour the reader’s emotional investment. If you want a bittersweet or tragic ending, ensure that the sacrifices made by the characters actually meant something. Even in death, characters should achieve a thematic victory or leave the world fundamentally changed for the better.
Write with Intention
Tropes and story elements aren’t inherently evil; they are tools in a writer’s toolbox. However, relying on exposition dumps, lazy shootouts, frustrating mistaken identities, or nihilistic “everyone dies” endings can quickly alienate your audience.
By recognizing the disadvantages of these tropes, you can subvert expectations, sharpen your pacing, and deliver a deeply satisfying payoff that keeps readers hooked from the first page to the last.
What’s your least favorite storytelling trope to encounter in the wild? Let us know in the comments below
Thrills, Spills, and just a dash of Romance 