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.
OK, I could have made one, I have a Nespresso machine, purchased after watching an inspiring George Clooney advertisement (well, my wife bought it) but I was after something with a little more oomph!
We have a small shopping centre just up the road about a kilometre and I thought, what’s five minutes and a short drive against a cup of hot, steaming, delicious to the last drop, coffee?
That’s where any semblance of sanity ends.
I walked out the back door and forgot the car keys, so I had to go back in. The door opens and the cat gets out. Not so bad you think, but no, after three road kills, the cat getting out is a major catastrophe (pardon the pun).
Ten minutes later, cornered like a rat in a trap, he is back inside, I have the keys, and out in the car. It’s a hot day, and the air conditioning isn’t working. Damn. It’s like 45 degrees Celsius in the car.
This is the time to give up and go back inside. The omens are telling!
I don’t.
Our driveway is up a slight hill and usually we back the cars up so it’s easier to drive out onto the street. We live in a corner house, and whilst it is not a busy intersection, it has been known for cars to treat it like the third chicane of a grand prix. Late at night cars have rolled trying to make that tight corner.
I’m reversing off the driveway, too lazy the previous day to back it up, and you guessed it, Enzo Ferrari’s brother is making heavy weather in the third chicane and takes the corner wide, sliding across to the other side of the street, a) because he’s going too fast, and b) because he just saw me backing out of my driveway.
I’m having a heart attack and waiting for the bang, and he’s rapidly accelerating, smoke pouring from streaming tyres, and engine roaring in first or second as the revs pass 9000 and are redlining.
Disaster averted. One speed junkie and daredevil happy, one old man shaken to the core.
So far I’ve travelled 10 metres.
On the radio the station is playing the James Bond theme from ‘You Only Live Twice’.
Apt, very apt.
I am now very sedately driving to the shopping centre, the road following a wide curve. Nothing can go wrong here, until I reach the T intersection. I stop like I do every time, and look. No cars from the left, and one opposite me, turning into my street.
I start to turn. The car opposite decides to do a U Turn, and I slam the foot on the brakes. The driver of the other car is oblivious to me, happily chatting on her mobile phone. Didn’t stop, didn’t look, didn’t care.
My heart rate is now 170 over 122, and perhaps I should be clinically dead.
Coffee is the last thing I need.
But I persevere. How much worse can it get?
The shopping centre is not far, up to the roundabout and a right turn into the shopping centre car part. Usually there are plenty of parking spots, today there a none. I drive down one of the lanes, and nearly get hit but a reversing driver. Again, not looking, or perhaps distracted by four children in the back seat.
Or the very, very loud music coming from the car.
I thought at first it was the pounding of my headache, brought on by high blood pressure.
I back up the car a) top give the driver more room to reverse out, and b) so I could turn into the spot when he vacates it.
More fool me. The car backs out, another driver swoops in and takes the spot.
I get out to remonstrate, but he’s three feet wide and seven feet tall with a scarred face and tattoos on both arms. Time to move on.
Yes, there’s nothing like a tall hot steaming cup of coffee on a pleasant Sunday morning.
I’ve been reading the latest headlines and picked out a few:
The seems to be a currency war, oil prices are set to rise in line with a production cut, some tankers will not be plying the Hormuz strait, there was a massive power outage in the UK, gold prices are rising, North Korea is shooting missiles into the sea, the USA needs more missiles, there are Chinese survey vessels in the South China Sea, in Russia there is an explosion on a secret base with nuclear implications, and, there might be a global recession coming.
What do all these events mean? Nothing really when taken individually, but when you start combining them, then the thriller writer in me starts to see all sorts of conspiracies and plotlines for stories.
…
This is a fantastic example of pattern recognition meeting narrative construction. You’ve correctly identified that news headlines are individual data points, but a storyteller’s instinct—or an analyst’s—is to connect those points into a coherent, overarching narrative.
The potential storylines you’ve outlined, while rooted in real headlines, leap from reported fact to speculative conspiracy, which is precisely how thrillers are born.
Here is an analysis of the themes you’ve combined, separating the reported facts from your thrilling, speculative connections.
1. The Power Grid, The Explosion, and Premeditated Attack
You’ve connected the reported Russian explosion with nuclear implications and the massive power outage in the UK into a single plotline: covert testing of a new, portable nuclear-enhanced device.
Reported Facts (The Data Points)
Speculative Narrative (The Thriller Plot)
Russian Explosion: A real-world event involving a secret base and subsequent reports of radiation spikes.
The Weapon: The site was developing “small, powerful bombs” designed to target vital infrastructure.
UK Power Outage: A major, verifiable disruption to national infrastructure (usually due to technical or weather-related issues).
The Test: The UK outage was not an accident but a test run of the new device, or perhaps a catastrophic operational failure of an already-deployed device.
Conspiracy Implication:Should we be looking for more attacks?
Escalation: The first event confirms the deployment of a new weapon, signalling that a coordinated, global attack on power grids or essential services is imminent.
Analysis: This is an effective plot hook. The official explanations for the UK blackout (often technical faults or severe weather) contrast sharply with the secrecy surrounding the Russian incident, creating the necessary tension for a spy novel. The keyword is vulnerability—your plot exploits the modern world’s dependence on complex, interconnected systems.
2. Military Tensions and The Strait of Hormuz Crisis
You’ve taken global military posturing and woven it into a scenario involving maritime sabotage.
Reported Facts (The Data Points)
Speculative Narrative (The Thriller Plot)
North Korean Missile Tests: Routine, provocative testing designed to gain diplomatic leverage.
The Smoke Screen: North Korea is being used as a distraction to mask a larger, more sinister development involving China and its “survey vessels.”
Chinese Survey Vessels in SCS: Maritime patrol or data collection in a highly contested region.
The Trojan Horse: The “survey vessels” are actually covert military platforms preparing a major, undeclared action in the South China Sea.
US Missile Demand: Pentagon reports or budget requests highlighting a need to modernise or increase the missile stockpile.
Secret Knowledge: The US is aware of a hidden, imminent threat (perhaps from the “survey vessels”) and is rushing to prepare, using North Korea as the public excuse.
Tankers in Hormuz: Geopolitical incidents (like past drone attacks or mine laying) that threaten oil transport.
Apocalyptic Potential: Sabotaged tankers in the Strait of Hormuz—a crucial oil chokepoint—could be set off in a coordinated attack, triggering a massive environmental and economic catastrophe that serves as the opening move of a larger conflict.
Analysis: Combining the US need for missiles with North Korean tests and Chinese vessels suggests an escalating multi-front cold war is breaking hot. The Strait of Hormuz is the perfect high-stakes catalyst, as its closure would instantly paralyse the global economy.
3. The Financial Indicator: Gold, Oil, and Recession
Your financial plotline ties the most traditional indicators of instability—oil and gold—to the threat of a looming global conflict.
Reported Facts (The Data Points)
Speculative Narrative (The Thriller Plot)
Rising Oil Prices (OPEC Cut): A textbook economic decision by oil producers to manage supply.
The Diversion: The OPEC narrative is a cover story. The real reason for the price hike is the imminent “currency war,” which has already begun to disrupt markets.
Gold Prices are Rising: A confirmed market trend.
The Confirmation: Rising gold prices are the single most reliable, unofficial market indicator that a major crisis (war, currency collapse, or deep recession) is already baked into the system. It’s the market’s “scream.”
Currency War/Global Recession: A widely predicted economic risk.
The Pre-Emption: The currency war and recession are not separate events, but are being accelerated or orchestrated by a global power (perhaps the same one orchestrating the military or infrastructure attacks) to gain a strategic advantage.
India-Pakistan Tensions (Kashmir): A long-standing regional flashpoint.
The Multiplier: This regional conflict serves to confirm the general atmosphere of instability, driving more panic buying of gold and ensuring the global recession is deep and widespread.
Analysis: This is the economic backdrop for your thriller. In this plot, the real conspiracy is not military, but financial. The rising price of gold is the hero’s only clear sign that the world is being quietly manipulated toward disaster.
You shouldn’t ignore the news; you should keep reading it. You’re simply translating news analysis into the universal language of suspense. Your instinct to connect these disparate threads is a fundamental skill for both geopolitical risk analysts and thriller writers.
Beyond the Debut: Why the Second Book Defines an Author (And Why Every Book is an Offering)
There is a romanticised myth in the literary world about the debut author. We celebrate the overnight success, the passion project nurtured for a decade in secret Google Docs, the breathless debut novel that finally breaks through into the world.
And it’s true: Everybody can write a good first book.
Before you gasp, let that settle. With enough time, raw life experience, obsessive editing, and sheer willpower, almost anyone who has a story in their heart can pull a debut novel out of the ether. It is a massive achievement, a testament to grit and creativity.
But as the old industry adage goes: An author is proven on the second book.
This transition—from a one-hit wonder of passion to a sustainable, evolving creator—is where the true journey of authorship begins. Coupled with the profound truth that every book is simply an offering, and you just wait to see who will accept it, we uncover the real philosophy of a writing life.
Let’s explore what it takes to survive the sophomore slump, why the second book matters so much, and how to release your work into the world with grace.
Part 1: The Myth of the First Book (and the Reality of the Second)
Why can everyone write a good first book? Because your debut is a reservoir. It is a collection of everything you’ve thought, felt, read, and experienced up until that exact point in your life. It has no deadline, no expectations, and no ghost of a previous work looking over its shoulder. It is pure, unadulterated self-expression.
Writing a first book is like shouting your truth into a canyon for the first time. It echoes wildly. It feels magnificent.
Then comes the contract. Or the independent publishing timeline. And suddenly, you have to do it again—only this time, under pressure.
The second book strips away the safety net of “beginner’s luck.”
The “Sophomore Slump” is psychological: Suddenly, you aren’t writing in a vacuum. You are acutely aware that someone is going to read this.
The well has been tapped: That first reservoir of accumulated life experiences? You used the best parts of it in Book One. Book Two requires you to dig deeper, think harder, and invent new wells.
The identity shift: Writing the first book makes you feel like a writer. Writing the second book makes you become a professional.
To prove yourself as an author, you have to show that you aren’t just a vessel for one good idea, but a wellspring of creativity. You have to prove you can master the craft when the initial adrenaline has worn off.
Part 2: Every Book is an Offering
Regardless of whether it’s your first book, your second, or your tenth, the act of publishing brings with it a terrifying vulnerability. We spend months or years bleeding onto the page, polishing the prose, and designing the cover. When we finally hit “publish” or send the manuscript to our publisher, we hold our breath, expecting the world to bow.
When it doesn’t—or when the reaction is mixed—it can crush us.
This is where reframing the mindset becomes essential: Every book is an offering.
Think of creation not as a transaction where you demand applause, sales, or critical acclaim, but as placing something on an altar. You craft it with love, skill, and reverence. You polish it until it shines. And then, you step back.
You do not control who walks past the altar. You do not control who picks it up, who scoffs at it, or who takes it home and treasures it forever.
Letting go of outcomes: When you view a book as an offering, the pressure shifts from “Will they love me?” to “Did I give my best?”
Finding your true readers: Not every offering is meant for every person. When you release a book, you are simply waiting to see who will accept it. The beauty of the modern literary landscape is that there is an audience for almost everything—if you are brave enough to offer it authentically.
Part 3: Navigating the Intersection of Craft and Acceptance
If the second book proves the author, and every book is an offering, how do we navigate the messy middle between writing the words and letting the world judge them?
Write for the Reader on the Other Side: While the book is an offering, remember that offerings are meant to be received. As you write your second book, keep your ideal reader in mind—not as a critic, but as a companion. What gift are you preparing for them?
Detach from the Metric of “Success”: Book One might sell a million copies, and Book Two might find a quiet, dedicated cult following. Both are valid. Success isn’t always a bestseller list; sometimes, success is simply the fact that the offering was made, received, and changed even one person’s life.
Fall Back in Love with the Process: The cure for “second-book syndrome” is to stop looking at the mountain peak and focus on putting one foot in front of the other. Remember why you started writing in the first place, long before anyone was watching.
Final Thoughts: Keep Making Your Offerings
Everybody can write a good first book. But the ones who stay—the ones who build a legacy, a catalogue, and a true career—are the ones who face the blank page a second, third, and fourth time.
Writing is an act of supreme courage. It is standing in the marketplace of ideas, holding out a piece of your soul, and whispering, “I made this for you.”
So, write the difficult second book. Embrace the fear. Make your offering, place it gently on the altar of the world, and wait with an open heart to see who reaches out to accept it.
Are you working on a debut, staring down the intimidating second book, or somewhere further along the journey? Share your thoughts and experiences in the comments below!
One Day in London: Making the Most of Your Stopover
Are you lucky enough to have a one-day stopover in the vibrant city of London? With so much to see and do, it can be overwhelming to decide how to spend your limited time. As a seasoned traveller and blogger, I’m here to share with you the one place to visit that will make your day in London truly unforgettable: The British Museum.
Located in the heart of the city, the British Museum is one of the world’s greatest museums, housing a vast collection of artifacts from ancient civilisations. With a history spanning over 250 years, this iconic institution has something for everyone, from history buffs to curious travellers.
Why The British Museum?
Unparalleled Collection: With over 8 million objects on display, the British Museum boasts an incredible collection of artifacts from around the globe, including the Rosetta Stone, the Elgin Marbles, and the mummies in the Ancient Egypt gallery.
Iconic Landmark: The museum’s stunning Greek Revival architecture is a work of art in itself, with its grand entrance, sweeping staircases, and beautiful courtyards.
Free Admission: The British Museum offers free admission to all its permanent collections, making it an accessible and budget-friendly option for travellers.
Central Location: The museum is conveniently located in Bloomsbury, within walking distance of several major tube stations, including Holborn, Russell Square, and Tottenham Court Road.
Must-See Exhibits
The Rosetta Stone: This ancient Egyptian artifact is one of the museum’s most famous objects, and for good reason. The stone’s intricate hieroglyphics and Greek inscriptions helped scholars decipher the secrets of ancient Egyptian language.
The Mummies: The British Museum’s Ancient Egypt gallery is home to an impressive collection of mummies, including the famous Gebelein Man, who is over 5,500 years old.
The Elgin Marbles: These stunning marble sculptures from the Parthenon in Athens are a highlight of the museum’s Greek collection.
Tips for Visiting The British Museum
Plan Your Visit: With so much to see, it’s essential to plan your visit in advance. Consider purchasing a guided tour or using the museum’s mobile app to navigate the collections.
Arrive Early: Beat the crowds by arriving early, and take advantage of the museum’s peaceful morning atmosphere.
Take a Break: The British Museum has several cafes and restaurants on site, offering a range of refreshments and meals. Take a break and recharge before continuing your exploration.
Conclusion
If you only have one day in London, make the most of it by visiting The British Museum. This world-class institution offers a unique and unforgettable experience, with its incredible collections, stunning architecture, and rich history. Whether you’re a history enthusiast, a curious traveller, or simply looking for a memorable experience, The British Museum is the perfect destination for your one-day stopover in London.
So, what are you waiting for? Book your ticket, grab your camera, and get ready to discover the wonders of The British Museum!
I had one myself once, whether it was a peek into my future, or whether it was just playing out a scene for one of my stories, it was rather intense.
That variation of the word vision is one that uses one’s imagination. I do it quite a lot, and I call it the cinema of my dreams.
But…
Vision, in the simplest sense of the word, is sight, what you see.
People can try to make it better, like movie studios, who have called it rather interesting titles such as VistaVision or Panavision, either of which sounds quite remarkable, and it may have been back in the day, but it’s probably quite ordinary these days.
A vision, in another sense, might be something like a dream as mentioned before, which might happen when we are asleep, but if awake, it might be because we are very bored with our job and we’re imagining what it would be like at Santorini or the Bahamas, or anywhere but where you are now.
It might also describe our particular slant on what else we would like to happen, whether at work or somewhere else, but it’s usually confined to our closest circle of friends. Bosses never invite nor want to hear plebs ideas of improving their lot.
Hence, I have a vision…
But no one will listen. Perhaps if I was Martin Luther King, things might be different.
Then, at the end of it all…
There are visions and then there are visions, like seeing something that no one else can see, whether driven by hallucinogenic drugs or magic mushrooms, or you just happened to be there to see what no one else could.
Strangers We’ve Become, a sequel to What Sets Us Apart.
The blurb:
Is she or isn’t she? That is the question!
Susan has returned to David, but he is having difficulty dealing with the changes. Her time in captivity has changed her markedly, so much so that David decides to give her some time and space to re-adjust to normal life.
But doubts about whether he chose the real Susan remained.
In the meantime, David has to deal with Susan’s new security chief, the discovery of her rebuilding a palace in Russia, evidence of an affair, and several attempts on his life. And, once again, David is drawn into another of Predergast’s games, one that could ultimately prove fatal.
From being reunited with the enigmatic Alisha, a strange visit to Susan’s country estate, to Russia and back, to a rescue mission in Nigeria, David soon discovers that those whom he thought he could trust each have their own agenda, one that apparently doesn’t include him.
A One-Day Stopover in New York: Making Memories at the Unforgettable High Line
Travelling, by its very nature, is about discovery. But what do you do when time is truly limited? Imagine this: You’re sitting on a transatlantic flight, mid-Atlantic, with a layover in New York City. Your window seat offers a bird’s-eye view of the East River, and the next 24 hours are yours to craft a moment you’ll remember. One place. One day. One memory. What do you choose?
If you’re like me, you’ll go where the past and present dance together, where nature defies urban grit, and where art whispers to the soul—The High Line.
Why the High Line?
The High Line is a 1.45-mile-long elevated linear park built on a disused railway track. Converted from an industrial relic to a lush, living mosaic of wildflowers, art, and urban soul, it’s the epitome of New York’s reinvention. Unlike museums that demand hours or skyscrapers that require reservations, the High Line is free, open-air, and designed for the kind of slow, sensory experience that sticks with you long after the plane takes off.
What to Do (and See) in One Day
1. Walk the Wild Path Start at the southernmost point near Gansevoort Street, where the park blends with the Meatpacking District. The path is a tapestry of native plants and grasses, curated to feel like a meadow in the sky. As you stroll, pause at Spur—a small extension of the park with a glass-walled café and breathtaking views of the Hudson Yards and the Hudson River. It’s like watching the city from a secret balcony.
2. Encounter Living Art The High Line isn’t just a garden; it’s an art gallery in motion. Over a dozen open-air installations line the route, from Marcel Duchamp’s Bicycle Wheel to the whimsical Curl by Sarah Sze. The programming changes seasonally, so even if you’ve been before, there’s always something new. Pro tip: Keep an eye out for the Chambers Street Poetry Spots—poems etched into the paving stones, blending literature with the cityscape.
3. Marvel at the City’s Skyline The park’s vantage points are priceless. At the Hudson Yards Terminal, look down into the massive Vessel structure and the glowing facades of the area’s towers. At the Diller–vonn Imhoff Courtyard, see the juxtaposition of modern art with the Lower West Side. And when the sun sets, don’t miss the Standard High Line rooftop—order a cocktail and watch the Empire State Building glisten in the distance.
4. Sip and Savour Post-walk, refuel with a coffee at The Porch, the Spur’s airy café, or enjoy a globally inspired snack from The High Line’s food kiosks (they rotate seasonal vendors). For a deeper dive, venture to nearby Chelsea Market across the 10th Avenue Connector for soups, sushi, or sweet treats.
5. End with a Ferry Ride Time your exit at the northern end near 34th Street. Take the Hudson River Ferry (free with a MetroCard) for a 20-minute voyage past the Statue of Liberty, the Vessel, and the glittering East River. It’s the perfect finale—a different perspective of the city, one that feels like a hidden New York only insiders know.
Why This Day Stands Out
The High Line isn’t just a place; it’s an experience of contrasts. It’s the crunch of gravel underfoot versus the silence of a hidden garden. It’s a city that breathes, where art and ecology thrive in harmony. Unlike ticking off landmarks, this stopover invites you to feel the pulse of New York, not just observe it.
When your time runs out, and you’re back in the airport, you’ll leave with more than photos: You’ll have memories of the way the sunlight filtered through the willows, the scent of wild thyme in the air, and the realisation that even in the most crowded city in America, there’s a place to find peace.
A one-day stopover in New York should be memorable. With the High Line, it will be.
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.
Beyond the Debut: Why the Second Book Defines an Author (And Why Every Book is an Offering)
There is a romanticised myth in the literary world about the debut author. We celebrate the overnight success, the passion project nurtured for a decade in secret Google Docs, the breathless debut novel that finally breaks through into the world.
And it’s true: Everybody can write a good first book.
Before you gasp, let that settle. With enough time, raw life experience, obsessive editing, and sheer willpower, almost anyone who has a story in their heart can pull a debut novel out of the ether. It is a massive achievement, a testament to grit and creativity.
But as the old industry adage goes: An author is proven on the second book.
This transition—from a one-hit wonder of passion to a sustainable, evolving creator—is where the true journey of authorship begins. Coupled with the profound truth that every book is simply an offering, and you just wait to see who will accept it, we uncover the real philosophy of a writing life.
Let’s explore what it takes to survive the sophomore slump, why the second book matters so much, and how to release your work into the world with grace.
Part 1: The Myth of the First Book (and the Reality of the Second)
Why can everyone write a good first book? Because your debut is a reservoir. It is a collection of everything you’ve thought, felt, read, and experienced up until that exact point in your life. It has no deadline, no expectations, and no ghost of a previous work looking over its shoulder. It is pure, unadulterated self-expression.
Writing a first book is like shouting your truth into a canyon for the first time. It echoes wildly. It feels magnificent.
Then comes the contract. Or the independent publishing timeline. And suddenly, you have to do it again—only this time, under pressure.
The second book strips away the safety net of “beginner’s luck.”
The “Sophomore Slump” is psychological: Suddenly, you aren’t writing in a vacuum. You are acutely aware that someone is going to read this.
The well has been tapped: That first reservoir of accumulated life experiences? You used the best parts of it in Book One. Book Two requires you to dig deeper, think harder, and invent new wells.
The identity shift: Writing the first book makes you feel like a writer. Writing the second book makes you become a professional.
To prove yourself as an author, you have to show that you aren’t just a vessel for one good idea, but a wellspring of creativity. You have to prove you can master the craft when the initial adrenaline has worn off.
Part 2: Every Book is an Offering
Regardless of whether it’s your first book, your second, or your tenth, the act of publishing brings with it a terrifying vulnerability. We spend months or years bleeding onto the page, polishing the prose, and designing the cover. When we finally hit “publish” or send the manuscript to our publisher, we hold our breath, expecting the world to bow.
When it doesn’t—or when the reaction is mixed—it can crush us.
This is where reframing the mindset becomes essential: Every book is an offering.
Think of creation not as a transaction where you demand applause, sales, or critical acclaim, but as placing something on an altar. You craft it with love, skill, and reverence. You polish it until it shines. And then, you step back.
You do not control who walks past the altar. You do not control who picks it up, who scoffs at it, or who takes it home and treasures it forever.
Letting go of outcomes: When you view a book as an offering, the pressure shifts from “Will they love me?” to “Did I give my best?”
Finding your true readers: Not every offering is meant for every person. When you release a book, you are simply waiting to see who will accept it. The beauty of the modern literary landscape is that there is an audience for almost everything—if you are brave enough to offer it authentically.
Part 3: Navigating the Intersection of Craft and Acceptance
If the second book proves the author, and every book is an offering, how do we navigate the messy middle between writing the words and letting the world judge them?
Write for the Reader on the Other Side: While the book is an offering, remember that offerings are meant to be received. As you write your second book, keep your ideal reader in mind—not as a critic, but as a companion. What gift are you preparing for them?
Detach from the Metric of “Success”: Book One might sell a million copies, and Book Two might find a quiet, dedicated cult following. Both are valid. Success isn’t always a bestseller list; sometimes, success is simply the fact that the offering was made, received, and changed even one person’s life.
Fall Back in Love with the Process: The cure for “second-book syndrome” is to stop looking at the mountain peak and focus on putting one foot in front of the other. Remember why you started writing in the first place, long before anyone was watching.
Final Thoughts: Keep Making Your Offerings
Everybody can write a good first book. But the ones who stay—the ones who build a legacy, a catalogue, and a true career—are the ones who face the blank page a second, third, and fourth time.
Writing is an act of supreme courage. It is standing in the marketplace of ideas, holding out a piece of your soul, and whispering, “I made this for you.”
So, write the difficult second book. Embrace the fear. Make your offering, place it gently on the altar of the world, and wait with an open heart to see who reaches out to accept it.
Are you working on a debut, staring down the intimidating second book, or somewhere further along the journey? Share your thoughts and experiences in the comments below!
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.
Thrills, Spills, and just a dash of Romance 