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.
Yes, it’s dark and late at night on this side of the world, and I’m guessing where you are, it’s probably winter, the sun’s disappeared, the day is freezing cold, and you’re having a hard time keeping warm.
Here, in the so-called land down under, which surprisingly a lot of people from the other side of the world do not know about, it is wet and cool, where it should be sunny and hot as well as humid.
Now, hang on, that can’t be true; others don’t know about us, because we all know the world is round and there has to be something or somewhere opposite. I know that north we have China, and Europe, and further away, the United States.
Been to China, Europe and the United States, so I know you’re all there, somewhere.
And, as you can see, the rain and the cold have amped up the boredom factor and pushed me to do anything other than writing. I have three jobs I’m supposed to be doing,
Editing the second Walthenson PI, a Private Detective novel
Writing two episodes of a serial story about surveillance going wrong, and
Finishing off some new travel blog posts
None of them is appealing to me at the moment.
Instead, I find myself looking at what is shown on Winter TV in the US, one of which is reruns of Snowpiercer and is suitably cold. It’s also complicated, and sometimes a little hard to follow, which means it takes two viewings to understand what’s going on. It will be interesting to see where series three leads us … and I’m hoping Melanie will be back
Fascinating.
Then there are several of my favourites, FBI, The Rookie, a show called The Equaliser, a new version of an old TV show I used to watch many years ago. Another will be the next series of Bridgerton, which was odd but interesting since we like those Jane Austen-like programs. Now, hopefully, there will be another series of Miss Scarlett and the Duke, set in Victorian England.
And as for the blacklist, since Liz left, it had gone downhill … let’s hope they find something to lift it, like Liz’s evil twin sister! Perhaps wisely, they wrapped it up, and it’s over.
I think that most authors are their own worst enemies!
Just when you think that the story is done, and you’re on the third re-read, just to make sure…
Damn!
I don’t like the way that chapter reads, and what’s worse, it’s about the tenth time I’ve looked at it.
It doesn’t matter the last three times you read it, it was just fine, or the editor has read it, and the chapter passed without any major comment.
I think the main problem I have is letting go. For some odd reason, certain parts of a story sometimes seem to me as though they are not complete, or may be missing a vital clue or connection for the story’s continuity.
That, of course, happens when you rewrite a section that is earlier in the story, and then have to make ongoing changes.
Yes, I hear the stern warnings that I should have made a comprehensive outline at the beginning, but the trouble is, I can change the ending as I’m writing it and then must go back and add the hooks earlier on. Not the best method, but isn’t that what an editor is for, to pick up the missed connections and out-of-the-blue events that happen for no reason?
I find that often after leaving a finished story for a month before the next reading, the whole picture must formulate itself in my head, so when I re-read, there was always a problem, one I didn’t want to think about until the re-read.
Even then, it might survive a second pass.
I know the scene is in trouble when I get to it, and alarm bells are going off. I find anything else to do but look at it.
So, here I am, making major changes.
But at least now I am satisfied with where it’s going.
What Dashiell Hammett’s The Maltese Falcon Teaches Us About Plotting and Vivid Description
When we talk about the titans of American crime fiction, one name towers above the rest: Dashiell Hammett. Before Raymond Chandler gave us poetic metaphors, and long before modern thriller writers cluttered pages with convoluted twists, Hammett stripped the genre down to its bone and sinew.
At the centre of his legacy is The Maltese Falcon (1930). Beyond its status as the quintessential noir novel, The Maltese Falcon is a masterclass in two distinct literary arts: exemplary plotting and vivid, objective description.
If you are a writer looking to sharpen your craft, or simply a lover of brilliant storytelling, Hammett’s seminal work offers invaluable lessons. Let’s dive into the anatomy of The Maltese Falcon and explore what we can learn from the man who revolutionised modern fiction.
1. The Power of the Objective Eye (Vivid Description Through Action)
Many aspiring writers believe that “vivid description” means loading a paragraph with purple prose, elaborate metaphors, and sweeping adjectives. Hammett proves the exact opposite.
As a former operative for the Pinkerton National Detective Agency, Hammett wrote what he knew. His descriptions are rooted in strict realism. He doesn’t tell us how a character feels; he shows us how they move, how they dress, and how they react to their environment.
The Iconic Introduction of Sam Spade
Look at how Hammett introduces his protagonist, private investigator Sam Spade, in the opening pages:
“Spade’s blondish gray hair was cut short, made his head-top look like a rose-bush with the blossoms clipped off. Eyes-yellow-gray—were small and wary. His chin prominent and hard… He sat reading a newspaper with a hard-boiled unconcern.”
Notice what’s missing? There is no deep internal monologue explaining Spade’s moral ambiguity. Instead, Hammett uses concrete, sharp imagery—”hard,” “wary,” “blossoms clipped off”—to paint a picture that lets the reader’s imagination do the heavy lifting.
What We Can Learn:
Show, Don’t Preach: Let your characters’ physical traits and micro-actions reveal their inner psychology.
Precision Over Poetry: Choose nouns and verbs that pack a punch. Instead of saying a room was messy, describe the exact placement of the half-empty highball glass and the unread mail.
Behavior as Characterization: Hammett understood that in high-stakes environments, people reveal themselves through posture, tics, and glances, not soliloquies.
2. The Architecture of Exemplary Plotting
A common trap in genre fiction is the “plot maze”—where authors add twists just to confuse the reader, resulting in a narrative that collapses under its own weight. The Maltese Falcon avoids this by treating its plot like a piece of precision machinery. Every scene moves the ball forward, and every character has a distinct, driving motivation.
The plot kicks off when Brigid O’Shaughnessy (disguised as “Miss Wonderley”) walks into Spade’s office with a lie. From that moment, a chain reaction of greed is set in motion, drawing in a colourful rogues’ gallery: Kasper Cairo, Joel Cairo, and the ominous Kasper Gutman (the “Fat Man”).
They are all hunting the elusive, jewel-encrusted black bird. But the falcon itself is famously a MacGuffin—an object that drives the plot forward while ultimately holding no intrinsic value.
What We Can Learn:
Character-Driven Plotting: Hammett doesn’t force his characters to do unnatural things just to make a plot twist work. The plot is an inevitable collision course driven by greedy, desperate people all chasing the same prize.
Master the MacGuffin: Give your characters a focal point of desire, but remember that the pursuit of the object is always more interesting than the object itself. The tension comes from the shifting alliances and betrayals among the hunters.
Tight Causality: In a well-plotted story, Scene A must lead directly to Scene B, connected by either “therefore” or “but”—never “and then.” Hammett ensures that every lie told and every body dropped has immediate consequences for Sam Spade.
3. The Enigma of the Protagonist (Ambiguity is Magnetic)
Traditional heroes up to that point were often clear-cut champions of good. Sam Spade shattered that mold. He is sleeping with his late partner’s wife, he is mercenary about his fees, and at the end of the novel, he turns the woman he loves (and desires) over to the police because, as he tells her, “I’m not going to play the sap for you.”
Hammett teaches us that a protagonist doesn’t need to be likable to be compelling. They need to have a code. Spade’s code isn’t about traditional morality; it’s about professional pride and survival in a corrupt world.
What We Can Learn:
Embrace Moral Grey Areas: Flawed protagonists are infinitely more relatable and realistic than paragons of virtue.
Define Your Character’s Code: Even if your character is a scoundrel, they must have lines they refuse to cross. This creates internal tension and reader loyalty.
Final Takeaway: Read Hammett Like a Blueprint
Dashiell Hammett didn’t just write pulp detective stories; he wrote literature that exposed the anxieties of modern life through the lens of crime.
By studying The Maltese Falcon, writers can learn how to strip away narrative fat. Through vivid, objective descriptions, you can ground your readers in reality, and through rigorous, cause-and-effect plotting, you can keep them turning the pages late into the night.
The falcon may have been a fake, but the lessons Dashiell Hammett left behind are the real deal.
Are you a fan of classic noir? What is your favorite Dashiell Hammett novel? Let us know in the comments below!
Making the Most of Your One-Day Stopover in Moscow: The Ultimate Guide to Red Square
If you’re whisked away on a one-day stopover in Moscow, you’re in for a whirlwind of history, grandeur, and unforgettable vistas. While the city teems with landmarks, there’s one place that captures Moscow’s soul and serves as the perfect hub for a memorable day: Red Square. This iconic plaza isn’t just a single attraction—it’s the heart of Russia’s capital, where centuries of imperial history, stunning architecture, and vibrant culture converge. Here’s how to make the most of your day.
Morning: Arrival and the Majesty of Red Square
Start your day early to beat the crowds and soak in the serene, pre-dawn atmosphere of Red Square (Красная площадь). As the sun rises, the golden domes of St. Basil’s Cathedral shimmer, and the Kremlin’s fortress walls glow in the light. Begin your stroll here, taking photographs and marvelling at the square’s historical energy.
St. Basil’s Cathedral: Pop into this kaleidoscopic masterpiece. Climb its domes for panoramic views of Moscow, or simply admire its colourful onion-shaped roofs.
GUM Department Store: Adjacent to the square, this neoclassical shopping arcade has sold luxury goods to Russian elites for centuries. Grab a coffee at its open-air café to people-watch.
Midday: Kremlin Intrigue
A short walk away lies the Kremlin—Moscow’s most powerful symbol. This fortified complex is a labyrinth of palaces, cathedrals, and museums. Allocate 2–3 hours here to explore:
Kremlin Walls and Towers: Walk along the 19th-century fortress walls, with stunning views of the city below.
Cathedrals of the Assumption and St. George: Tour these UNESCO-listed churches, where Russian emperors and Soviet leaders are buried.
The Armory Chamber: Discover opulent treasures like the Diamond Fund and Fabergé eggs.
Pro Tip: Book your Kremlin tickets in advance to skip the lines—especially recommended if you’re short on time.
Afternoon: The State Historical Museum
Head back to Red Square for a deeper dive into Russia’s past at the State Historical Museum (Gosudarstvennyy istoricheskiy muzei). Its gold-domed façade is a masterpiece itself, but inside, you’ll find exhibits spanning Byzantine icons to Soviet memorabilia. This is a must for history buffs, offering context for the landmarks you’ve seen.
Alternatively, take a lunch break at Ermolaevskiy (just steps from the square). This historic restaurant serves traditional Russian dishes like borscht and pelmeni in a lively, old-world setting.
Evening: A Walk to the Kremlin Wall and Beyond
As the sun sets, stroll along the Kremlin Wall Gardens, a hidden gem with a prime view of the Kremlin and St. Basil’s. For a romantic finale, visit Sparrow Hills (Vorobyevy Gory) in Moscow’s southwest. The 200-meter hill offers sweeping views of the city’s skyline and is lit up at night—a magical way to cap your day.
You will not go outside, you will not go to the movies.
The word not, when used by your parents when you are a child is the key in the lock keeping you from having fun.
It is the very definition of everything negative, and much harsher than just a plain no.
That you will ‘not…’ has been the gateway for many an exploit or adventure, because anything you have done contrary to the ‘not’ is all that much sweeter.
Until you get into trouble, but, then, isn’t that how you learn life’s lessons?
But if you are a programmer like me, not takes on a whole new meaning in a language like,
‘If not like …. then’
meaning in layman’s terms if something isn’t like a specific value then do something else.
Hang on, isn’t that a bit like reality?
This is not to be confused with the word Knot which is,
A blemish in a piece of wood
The speed of a ship, winds, and sometimes a plane
But basically,
Something you tie to keep your shoes on, or around your finger to remind you to tie your shoes before getting on the 36-knot high-speed ferry made of knotty wood.
It is also something you find in tangled hair and is very painful trying to remove it.
It is also an unpleasant tightness in body muscles and you need a masseuse to get rid of them.
50 photographs, 50 stories, of which there is one of the 50 below.
They all start with –
A picture paints … well, as many words as you like. For instance:
And the story:
…
It was once said that a desperate man has everything to lose.
The man I was chasing was desperate, but I, on the other hand, was more desperate to catch him.
He’d left a trail of dead people from one end of the island to the other.
The team had put in a lot of effort to locate him, and now his capture was imminent. We were following the car he was in, from a discreet distance, and, at the appropriate time, we would catch up, pull him over, and make the arrest.
There was nowhere for him to go.
The road led to a dead-end, and the only way off the mountain was back down the road we were now on. Which was why I was somewhat surprised when we discovered where he was.
Where was he going?
“Damn,” I heard Alan mutter. He was driving, being careful not to get too close, but not far enough away to lose sight of him.
“What?”
“I think he’s made us.”
“How?”
“Dumb bad luck, I’m guessing. Or he expected we’d follow him up the mountain. He’s just sped up.”
“How far away?”
“A half-mile. We should see him higher up when we turn the next corner.”
It took an eternity to get there, and when we did, Alan was right, only he was further on than we thought.”
“Step on it. Let’s catch him up before he gets to the top.”
Easy to say, not so easy to do. The road was treacherous, and in places, just gravel, and there were no guard rails to stop a three-thousand-foot fall down the mountainside.
Good thing then, I had the foresight to have three agents on the hill for just such a scenario.
Ten minutes later, we were in sight of the car, still moving quickly, but we were going slightly faster. We’d catch up just short of the summit car park.
Or so we thought.
Coming quickly around another corner, we almost slammed into the car we’d been chasing.
“What the hell…” Aland muttered.
I was out of the car and over to see if he was in it, but I knew that it was only a slender possibility. The car was empty, and no indication of where he had gone.
Certainly not up the road. It was relatively straightforward for the next mile, at which we would have reached the summit. Up the mountainside from here, or down.
I looked up. Nothing.
Alan yelled out, “He’s not going down, not that I can see, but if he did, there’s hardly a foothold and that’s a long fall.”
Then where did he go?
Then a man looking very much like our quarry came out from behind a rock embedded just a short distance up the hill.
“Sorry,” he said quite calmly. “Had to go if you know what I mean.”
I’d lost him.
It was as simple as that.
I had been led a merry chase up the hill, and all the time he was getting away in a different direction.
I’d fallen for the oldest trick in the book, letting my desperation blind me to the disguise that anyone else would see through in an instant.
It was a lonely sight, looking down that road, knowing that I had to go all that way down again, only this time, without having to throw caution to the wind.
One Day in Budapest: The One Place You Must Visit to Make It Unforgettable
Budapest, the radiant capital of Hungary, straddles the mighty Danube River with regal grace. If you’re passing through with just a 24-hour stopover, time is precious—and every minute counts. You could scramble to tick off museums, thermal baths, and ruin bars, but to make your brief encounter with this city truly memorable, there’s one place that captures the soul, history, and breathtaking beauty of Budapest in a single panoramic view:
The Fisherman’s Bastion (Halászbástya).
Perched atop Castle Hill in the historic Buda district, the Fisherman’s Bastion isn’t just a viewpoint—it’s a fairytale come to life. Built between 1895 and 1902 in a neo-Gothic and neo-Romanesque style, this ornate terrace was originally constructed as part of Budapest’s millennium celebrations. Legend says it was named after the medieval guild of fishermen who once defended this stretch of the city walls.
But why prioritise this over Budapest’s many other wonders?
1. The View That Defines Budapest
From the seven turrets and arcaded terraces of Fisherman’s Bastion, you get the postcard panorama of the city. To the east, across the shimmering Danube, lies the grand Hungarian Parliament Building—its domed silhouette glowing in the morning light or illuminated like a crown at night. The Chain Bridge stretches beneath, connecting Buda and Pest in elegant symmetry. At sunrise or sunset, the city feels like a living painting.
This view alone makes the climb worth it. It’s not just scenery—it’s a moment of awe that crystallises your entire Budapest experience.
2. A Fairytale Atmosphere
With its whitewashed stone turrets, intricate balconies, and stairways that seem lifted from a storybook, the Bastion feels like something out of a dream. It’s especially enchanting in the early morning, when the crowds are thinner, and the golden light spills over the rooftops of the old town.
Don’t miss the underground section—originally a fish market—now housing exhibitions and offering unique angles of the Danube and Parliament.
3. Next-Door to the Magic
The Fisherman’s Bastion sits right beside Matthias Church, a stunning 13th-century Gothic church with a kaleidoscopic tiled roof and an interior glittering with gold and stained glass. Spend 15 quiet minutes inside, and you’ll feel like you’ve stepped back centuries.
Together, these two landmarks form the heart of Budapest’s medieval heritage—compact, walkable, and utterly Instagram-worthy.
4. The Perfect Starting (or Ending) Point
Whether you begin your day here at sunrise or end it with the city lights flickering to life, Fisherman’s Bastion sets the tone. After soaking in the view, you can easily descend into the charming Vörösmarty Square, explore Váci Street for coffee and souvenirs, or hop on a Danube cruise to see the city from the water—all within your tight schedule.
Pro Tips for Your One-Day Stopover:
Arrive early. Beat the tour groups by getting there right at opening time (typically 9:00 AM).
Visit at dusk. The city lights reflect off the river, and Parliament glows in golden illumination—a sight you’ll remember forever.
Combine it with Castle Hill. Take 30 minutes to wander the cobbled streets of the Buda Castle district—quaint cafés, artisan shops, and hidden courtyards await.
Use public transport. Take Tram 19 or 47 to Széll Kálmán tér, then the funicular up to the Castle—fast, scenic, and efficient.
Final Thoughts
In just one day, you can’t see everything Budapest offers—but you can feel its spirit. And at Fisherman’s Bastion, with the wind in your hair and the Danube gleaming below, you’ll feel it deeply. It’s more than a sightseeing stop; it’s the soul of the city in a single, breathtaking moment.
So when your plane touches down for that brief layover, let Fisherman’s Bastion be your destination. Because sometimes, one perfect place is all it takes to fall in love with an entire city.
Revenge is a dish best served cold – or preferably so when everything goes right
Of course, it rarely does, as Alistair, Zoe’s handler, discovers to his peril. Enter a wildcard, John, and whatever Alistair’s plan for dealing with Zoe was dies with him.
It leaves Zoe in completely unfamiliar territory.
…
John’s idyllic romance with a woman who is utterly out of his comfort zone is on borrowed time. She is still trying to reconcile her ambivalence after being so indifferent for so long.
They agree to take a break, during which she disappears. John, thinking she has left without saying goodbye, refuses to accept the inevitable and calls on an old friend for help in finding her.
After the mayhem and being briefly reunited, she recognises an inevitable truth: there is a price to pay for taking out Alistair; she must leave and find them first, and he would be wise to keep a low profile.
But keeping a low profile just isn’t possible, and enlisting another friend, a private detective and his sister, a deft computer hacker, they track her to the border between Austria and Hungary.
What John doesn’t realise is that another enemy is tracking him to find her too. It could have been a grand tour of Europe. Instead, it becomes a race against time before enemies old and new converge for what will be an inevitable showdown.
What Dashiell Hammett’s The Maltese Falcon Teaches Us About Plotting and Vivid Description
When we talk about the titans of American crime fiction, one name towers above the rest: Dashiell Hammett. Before Raymond Chandler gave us poetic metaphors, and long before modern thriller writers cluttered pages with convoluted twists, Hammett stripped the genre down to its bone and sinew.
At the center of his legacy is The Maltese Falcon (1930). Beyond its status as the quintessential noir novel, The Maltese Falcon is a masterclass in two distinct literary arts: exemplary plotting and vivid, objective description.
If you are a writer looking to sharpen your craft, or simply a lover of brilliant storytelling, Hammett’s seminal work offers invaluable lessons. Let’s dive into the anatomy of The Maltese Falcon and explore what we can learn from the man who revolutionised modern fiction.
1. The Power of the Objective Eye (Vivid Description Through Action)
Many aspiring writers believe that “vivid description” means loading a paragraph with purple prose, elaborate metaphors, and sweeping adjectives. Hammett proves the exact opposite.
As a former operative for the Pinkerton National Detective Agency, Hammett wrote what he knew. His descriptions are rooted in strict realism. He doesn’t tell us how a character feels; he shows us how they move, how they dress, and how they react to their environment.
The Iconic Introduction of Sam Spade
Look at how Hammett introduces his protagonist, private investigator Sam Spade, in the opening pages:
“Spade’s blondish gray hair was cut short, made his head-top look like a rose-bush with the blossoms clipped off. Eyes-yellow-gray—were small and wary. His chin prominent and hard… He sat reading a newspaper with a hard-boiled unconcern.”
Notice what’s missing? There is no deep internal monologue explaining Spade’s moral ambiguity. Instead, Hammett uses concrete, sharp imagery—”hard,” “wary,” “blossoms clipped off”—to paint a picture that lets the reader’s imagination do the heavy lifting.
What We Can Learn:
Show, Don’t Preach: Let your characters’ physical traits and micro-actions reveal their inner psychology.
Precision Over Poetry: Choose nouns and verbs that pack a punch. Instead of saying a room was messy, describe the exact placement of the half-empty highball glass and the unread mail.
Behavior as Characterization: Hammett understood that in high-stakes environments, people reveal themselves through posture, tics, and glances, not soliloquies.
2. The Architecture of Exemplary Plotting
A common trap in genre fiction is the “plot maze”—where authors add twists just to confuse the reader, resulting in a narrative that collapses under its own weight. The Maltese Falcon avoids this by treating its plot like a piece of precision machinery. Every scene moves the ball forward, and every character has a distinct, driving motivation.
The plot kicks off when Brigid O’Shaughnessy (disguised as “Miss Wonderley”) walks into Spade’s office with a lie. From that moment, a chain reaction of greed is set in motion, drawing in a colourful rogues’ gallery: Kasper Cairo, Joel Cairo, and the ominous Kasper Gutman (the “Fat Man”).
They are all hunting the elusive, jewel-encrusted black bird. But the falcon itself is famously a MacGuffin—an object that drives the plot forward while ultimately holding no intrinsic value.
What We Can Learn:
Character-Driven Plotting: Hammett doesn’t force his characters to do unnatural things just to make a plot twist work. The plot is an inevitable collision course driven by greedy, desperate people all chasing the same prize.
Master the MacGuffin: Give your characters a focal point of desire, but remember that the pursuit of the object is always more interesting than the object itself. The tension comes from the shifting alliances and betrayals among the hunters.
Tight Causality: In a well-plotted story, Scene A must lead directly to Scene B, connected by either “therefore” or “but”—never “and then.” Hammett ensures that every lie told and every body dropped has immediate consequences for Sam Spade.
3. The Enigma of the Protagonist (Ambiguity is Magnetic)
Traditional heroes up to that point were often clear-cut champions of good. Sam Spade shattered that mold. He is sleeping with his late partner’s wife, he is mercenary about his fees, and at the end of the novel, he turns the woman he loves (and desires) over to the police because, as he tells her, “I’m not going to play the sap for you.”
Hammett teaches us that a protagonist doesn’t need to be likable to be compelling. They need to have a code. Spade’s code isn’t about traditional morality; it’s about professional pride and survival in a corrupt world.
What We Can Learn:
Embrace Moral Grey Areas: Flawed protagonists are infinitely more relatable and realistic than paragons of virtue.
Define Your Character’s Code: Even if your character is a scoundrel, they must have lines they refuse to cross. This creates internal tension and reader loyalty.
Final Takeaway: Read Hammett Like a Blueprint
Dashiell Hammett didn’t just write pulp detective stories; he wrote literature that exposed the anxieties of modern life through the lens of crime.
By studying The Maltese Falcon, writers can learn how to strip away narrative fat. Through vivid, objective descriptions, you can ground your readers in reality, and through rigorous, cause-and-effect plotting, you can keep them turning the pages late into the night.
The falcon may have been a fake, but the lessons Dashiell Hammett left behind are the real deal.
Are you a fan of classic noir? What is your favorite Dashiell Hammett novel? Let us know in the comments below!
It was in darkness. I was sure I had left several lights on, especially over the door, so I could see to unlock it.
I looked up and saw that the globe was broken.
Instant alert.
I went to the first hiding spot for the gun, and it wasn’t there. I went to the backup, and it wasn’t there either. Someone had found my carefully hidden stash of weapons and removed them.
Who?
There were four hiding spots, and all were empty. Someone had removed the weapons. That could only mean one possibility.
I had a visitor, not necessarily here for a social call.
But, of course, being the well-trained agent I’d once been and not one to be caught unawares, I crossed over to my neighbour and relieved him of a weapon that, if found, would require a lot of explaining.
Suitably armed, it was time to return the surprise.
There were three entrances to the villa: the front door, the back door, and a rather strange escape hatch. One of the more interesting attractions of the villa I’d rented was its heritage. It was built in the late 1700s by a man who was, by all accounts, a thief. It had a hidden underground room, which had been in the past a vault but was now a wine cellar, and it had an escape hatch by which the man could come and go undetected, particularly if there was a mob outside the door baying for his blood.
It now gave me the means to enter the villa without my visitors being alerted, unless, of course, they were in the vicinity of the doorway inside the villa, but that possibility was unlikely. It was not where anyone could anticipate or expect a doorway to be.
The secret entrance was at the rear of the villa, behind a large copse, two camouflaged wooden doors built into the ground. I moved aside some of the branches that covered them and lifted one side. After I’d discovered the doors and rusty hinges, I’d oiled and cleaned them, and cleared the passageway of cobwebs and fallen rocks. It had a mildew smell, but nothing would get rid of that. I’d left torches at either end so I could see.
I closed the door after me and went quietly down the steps, enveloped in darkness till I switched on the torch. I traversed the short passage, which turned ninety degrees about halfway to the door at the other end. I carried the key to this door on the keyring, found it and opened the door. It too had been oiled and swung open soundlessly.
I stepped into the darkness and closed the door.
I was on the lower level under the kitchen, now the wine cellar, the ‘door’ doubling as a set of shelves which had very little on them, less to fall and alert anyone in the villa.
Silence, an eerie silence.
I took the steps up to the kitchen, stopping when my head was level with the floor, checking to see if anyone was waiting. There wasn’t. It seemed to me to be an unlikely spot for an ambush.
I’d already considered the possibility of someone coming after me, especially because it had been Bespalov I’d killed, and I was sure he had friends, all equally as mad as he was. Equally, I’d also considered it nigh on impossible for anyone to find out it was me who killed him because the only people who knew that were Prendergast, Alisha, a few others in the Department, and Susan.
That raised the question of who told them where I was.
If I were the man I used to be, my first suspect would be Susan. The departure this morning, and now this was too coincidental. But I was not that man.
Or was I?
I reached the start of the passageway that led from the kitchen to the front door and peered into the semi-darkness. My eyes had got used to the dark, and it was no longer an inky void. Fragments of light leaked in around the door from outside and through the edge of the window curtains where they didn’t fit properly. A bone of contention upstairs in the morning, when first light shone and invariably woke me up hours before I wanted to.
Still nothing.
I took a moment to consider how I would approach the visitor’s job. I would get a plan of the villa in my head, all entrances, where a target could be led to or attacked, and where there would be no escape.
Coming in the front door. If I were not expecting anything, I’d just open the door and walk in. One shot would be all that was required.
Contract complete.
I sidled quietly up the passage, staying close to the wall, edging closer to the front door. There was an alcove where the shooter could be waiting. It was an ideal spot to wait.
Crunch.
I stepped on some nutshells.
Not my nutshells.
I felt it before I heard it. The bullet with my name on it.
And how the shooter missed, from point-blank range, and hit me in the arm, I had no idea. I fired off two shots before a second shot from the shooter went wide and hit the door with a loud thwack.
I saw a red dot wavering as it honed in on me, and I fell to the floor, stretching out, looking up where the origin of the light was coming and pulled the trigger three times, evenly spaced, and a second later I heard the sound of a body falling down the stairs and stopping at the bottom, not very far from me.
Two assassins.
I’d not expected that.
The assassin by the door was dead, a lucky shot on my part. The second was still breathing.
I checked the body for any weapons and found a second gun and two knives. Armed to the teeth!
I pulled off the balaclava; a man, early thirties, definitely Italian. I was expecting a Russian.
I slapped his face, waking him up. Blood was leaking from several slashes on his face when his head had hit the stairs on the way down. The awkward angle of his arms and legs told me there were broken bones, probably a lot worse internally. He was not long for this earth.
“Who employed you?”
He looked at me with dead eyes, a pursed mouth, perhaps a smile. “Not today, my friend. You have made a very bad enemy.” He coughed, and blood poured out of his mouth. “There will be more …”
Friends of Bespalov, no doubt.
I would have to leave. Two unexplainable bodies, I’d have a hard time explaining my way out of this mess. I dragged the two bodies into the lounge, clearing the passageway just in case someone had heard anything.
Just in case anyone was outside at the time, I sat in the dark, at the foot of the stairs, and tried to breathe normally. I was trying not to connect the dots that led back to Susan, but the coincidence was worrying me.
A half-hour passed, and I hadn’t moved. Deep in thought, I’d forgotten about being shot, unaware that blood was running down my arm and dripping onto the floor.
Until I heard a knock on my front door.
Two thoughts: it was either the police, alerted by the neighbours, or it was the second wave, though why would they be knocking on the door?
I stood and immediately felt a stabbing pain in my arm. I took out a handkerchief and turned it into a makeshift tourniquet, then wrapped a kitchen towel around the wound.
If it were the police, this was going to be a difficult situation. Holding the gun behind my back, I opened the door a fraction and looked out.
No police, just Maria. I hoped she was not part of the next ‘wave’.
“You left your phone behind on the table. I thought you might be looking for it.” She held it out in front of her.
When I didn’t open the door any further, she looked at me quizzically and then asked, “Is anything wrong?”
I was going to thank her for returning the phone, but I heard her breathe in sharply and add, breathlessly, “You’re bleeding.”
I looked at my arm and realised it was visible through the door, and not only that, the towel was soaked in blood.
“You need to go away now.”
Should I tell her the truth? It was probably too late, and if she were any sort of law-abiding citizen, she would go straight to the police.
She showed no signs of leaving, just an unnerving curiosity. “What happened?”
I ran through several explanations, but none seemed plausible. I went with the truth. “My past caught up with me.”
“You need someone to fix that before you pass out from blood loss. It doesn’t look good.”
“I can fix it. You need to leave. It is not safe to be here with me.”
The pain in my arm was not getting any better, and the blood was starting to run down my arm again as the tourniquet loosened. She was right, I needed it fixed sooner rather than later.
I opened the door and let her in. It was a mistake, a huge mistake, and I would have to deal with the consequences. Once inside, she turned on the light and saw the pool of blood just inside the door and the trail leading to the lounge. She followed the trail and turned into the lounge, turned on the light, and no doubt saw the two dead men.
I expected her to scream. She didn’t.
She gave me a good, hard look, perhaps trying to see if I was dangerous. Killing people wasn’t something you looked the other way about. She would have to go to the police.
“What happened here?”
“I came home from the cafe and two men were waiting for me. I used to work for the Government, but no longer. I suspect these men were here to repay a debt. I was lucky.”
“Not so much, looking at your arm.”
She came closer and inspected it.
“Sit down.”
She found another towel and wrapped it around the wound, retightening the tourniquet to stem the bleeding.
“Do you have medical supplies?”
I nodded. “Upstairs.” I had a medical kit, and on the road, I usually made my own running repairs. Another old habit I hadn’t quite shaken off yet.
She went upstairs, rummaged, and then came back. I wondered briefly what she would think of the unmade bed, though I was not sure why it might interest her.
She helped me remove my shirt and then cleaned the wound. Fortunately, she didn’t have to remove a bullet. It was a clean wound but it would require stitches.
When she’d finished, she said, “Your friend said one day this might happen.”
No prizes for guessing who that friend was, and it didn’t please me that she had involved Maria.
“Alisha?”
“She didn’t tell me her name, but I think she cares a lot about you. She said trouble has a way of finding you, gave me a phone and said to call her if something like this happened.”
“That was wrong of her to do that.”
“Perhaps, perhaps not. Will you call her?”
“Yes. I can’t stay here now. You should go now. Hopefully, by the time I leave in the morning, no one will ever know what happened here, especially you.”
Thrills, Spills, and just a dash of Romance 