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.
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.
That’s a great question! While Rhodes is famous for its Colossus and the Old Town, the island is large enough to hide numerous quieter corners.
Here are five places or activities to explore on a road less travelled in Rhodes:
1. The Medieval Fortress of Monolithos
What it is: A picturesque, ruined 15th-century castle built by the Knights of St. John, perched atop a massive, isolated rock overlooking the sea on the southwest coast.
Why it’s less travelled: It’s located far from the main resort towns and requires a dedicated drive. The destination itself is just the ruin and a small, functional chapel (Agios Panteleimonas), offering a quiet, reflective experience.
Activity: Climb the stone steps to the top for incredible panoramic views of the rugged coastline, the sea, and the nearby small island of Halki, especially beautiful at sunset.
2. Exploring the South Coast Beaches (e.g., Agathi or Prasonisi)
While the northern beaches are packed, the southern tip of the island offers wilder, quieter, and more remote stretches of sand.
Prasonisi: This is a small peninsula connected to Rhodes by a narrow strip of sand, creating two bays. It’s a spectacular natural spot.
Activity: It’s famous for windsurfing and kitesurfing due to the strong winds, offering an active alternative to sunbathing. One side is calm, and the other is wavy.
Agathi Beach (Golden Sand Beach): Though not completely unknown, it is significantly quieter than Faliraki or Tsambika, featuring fine golden sand and shallow, crystal-clear water.
3. The Seven Springs (Epta Piges) Tunnel Walk
Located inland, this is a cool, forested area offering a unique, slightly adventurous activity away from the beaches.
What it is: A lush oasis where seven natural springs converge to feed a river. The water is channelled through a dark, narrow, man-made tunnel built in 1931.
Activity: Walk the 186-meter-long tunnel! The water is shallow, but it’s pitch black, cold, and narrow, making it an adventurous and refreshing walk (if you prefer to stay dry, there is a path overground). It leads to a small lake where you can relax.
4. The Petaloudes Valley (Valley of the Butterflies)
While it attracts visitors, the Valley of the Butterflies offers a unique natural experience that takes you away from the coastal towns and focuses on nature conservation.
What it is: A unique habitat and one of the only places in Europe where the Panaxia Quadripunctaria (Jersey Tiger Moth) gathers in large numbers during the summer months (usually July and August).
Activity: Follow the gentle hiking path that winds through the cool, shaded valley, crossing small wooden bridges and waterfalls. It’s less about beach time and more about appreciating the island’s biodiversity and unique microclimate.
5. The Kamiros Ruins and Traditional Village of Embona
Kamiros and Embona offer a deep dive into the island’s history and local life, away from the bustling tourist centres.
Kamiros: Located on the west coast, this is one of the three ancient cities of Rhodes (alongside Lindos and Ialysos). It is a quieter, less-visited archaeological site.
Activity: Explore the well-preserved ruins of the Hellenistic city, which was abandoned centuries ago, giving you a sense of a genuine, unearthed ancient town without the crowds of a major landmark.
Embona: A traditional, mountainous village located on the slopes of Mount Attavyros (the island’s highest peak).
Activity: Embona is the centre of the island’s wine production. Visit a local winery, taste the indigenous varieties, and enjoy a traditional Greek lunch far from the tourist tavernas.
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.”
The Ghost in the Machine: Why Your Brain Skips Words (and How to Catch Them)
“Proofread carefully to see if you any words out.” — William Safire
If you read that opening sentence at a glance, your brain likely auto-corrected it. You probably didn’t even notice that the word “leave” was missing.
That is the phenomenon that keeps professional writers, editors, and students up at night. Why does our brain—an incredibly sophisticated biological supercomputer—blindly skip over our own errors? And more importantly, why is meticulous proofreading the most critical step in communication?
The Psychology of the “Invisible” Error
When we write, we aren’t just putting symbols on a page; we are externalising a thought process. By the time you reach the end of a sentence, your brain has already “pre-processed” the meaning.
When you go back to proofread, your brain isn’t reading what is actually there. Instead, it is performing a shortcut, retrieving the intended meaning from your memory and projecting it onto the page. You aren’t reading the text; you are reading your own internal map of the text.
This is why, as William Safire famously pointed out, we often leave words out. Our brains are “predictive engines.” If you write, “The cat sat on the mat,” your brain knows the pattern of that sentence so well that it fills in the gaps even if you accidentally typed, “The cat sat mat.”
Why Precision is Your Only Currency
In a digital age where attention spans are measured in seconds, precision is more than just good grammar—it’s a trust signal. Here is why closely checking your writing is non-negotiable:
1. It Protects Your Credibility
Typos, omitted words, and grammatical slips act as “cognitive friction.” When a reader hits an error, they pause. That pause breaks their immersion. If enough errors occur, the reader stops focusing on what you are saying and starts focusing on your lack of attention to detail. Once you lose their focus, you lose their trust.
2. Clarity Prevents Chaos
Omitted words can change the entire intent of a sentence. In professional settings, a missing “not” or a misplaced decimal point isn’t just an embarrassment—it’s a liability. Rigorous proofreading ensures your message is received exactly as you intended, leaving zero room for interpretation.
3. It Respects Your Audience
When you publish unpolished work, you are essentially asking the reader to do the heavy lifting of editing your thoughts. Taking the time to proofread is a mark of respect; it shows that you value the reader’s time and have put in the effort to make your ideas as accessible as possible.
Pro-Tips for Catching the Ghost Words
If your brain is programmed to hide your mistakes, how do you trick it into revealing them? Use these professional tactics to bypass your own internal “auto-correct”:
Change the Medium: If you wrote the draft on a laptop, print it out. A physical page triggers a different visual response in the brain than a screen does.
The “Read-Aloud” Rule: When you read silently, your brain moves faster than your eyes. When you read aloud—physically sounding out every syllable—your brain is forced to process every singular word. You will hear the missing words immediately.
Read Backwards: It sounds tedious, but reading your sentences from the final word to the first forces your brain to analyse individual words rather than the “flow” of the sentence. It makes the text look foreign, which makes errors stand out like sore thumbs.
Step Away: This is the most important rule. You cannot proofread your own work immediately after writing it. You need to create “cognitive distance.” Give it an hour, or better yet, a full night. Returning with fresh eyes is the only way to see what is actually written, rather than what you intended to write.
Final Thoughts
William Safire’s quote serves as a humble reminder: we are all prone to the same cognitive blind spots. Excellence isn’t about being perfect; it’s about having a system that catches the humanity in your work.
The next time you hit “send” or “publish,” take a moment to read your work one last time—not as the author, but as a sceptical stranger. Your readers will thank you for it.
Struggling to polish your content? Remember: Writing is an act of creation, but editing is an act of refinement. Take your time, slow down, and don’t let your brain skip the details.
My next destination in the quest was the hotel we believed Anne Merriweather had stayed at.
I was, in a sense, flying blind because we had no concrete evidence she had been there, and the message she had left behind didn’t quite name the hotel or where Vladimir was going to take her.
Mindful of the fact that someone might have been following me, I checked to see if the person I’d assumed had followed me to Elizabeth’s apartment was still in place, but I couldn’t see him. Next, I made a mental note of seven different candidates and committed them to memory.
Then I set off to the hotel, hailing a taxi. There was the possibility that the cab driver was one of them, but perhaps I was slightly more paranoid than I should be. I’d been watching the queue, and there were two others before me.
The journey took about an hour, during which time I kept an eye out the back to see if anyone had been following us. If anyone was, I couldn’t see them.
I had the cab drop me off a block from the hotel and then spent the next hour doing a complete circuit of the block the hotel was on, checking the front and rear entrances, the cameras in place, and the siting of the driveway into the underground carpark. There was a camera over the entrance, and one we hadn’t checked for footage. I sent a text message to Fritz to look into it.
The hotel lobby was large and busy, which was exactly what you’d want if you wanted to come and go without standing out. It would be different later at night, but I could see her arriving about mid-afternoon, and anonymous among the clientele the hotel attracted.
I spent an hour sitting in various positions in the lobby simply observing. I had already ascertained where the elevator lobby for the rooms was, and the elevator down to the car park. Fortunately, it was not ‘guarded’, but there was a steady stream of concierge staff coming and going to the lower levels, and, just from time to time, guests.
Then, when there was a commotion at the front door, what seemed to be a collision of guests and free-wheeling bags, I saw one of the seven potential taggers sitting by the front door. Waiting for me to leave? Or were they wondering why I was spending so much time there?
Taking advantage of that confusion, I picked my moment to head for the elevators that went down to the car park, pressed the down button, and waited.
There was no car on the ground level, so I had to wait, watching, like several others, the guests untangling themselves at the entrance, and keeping an eye on my potential surveillance, still absorbed in the confusion.
The doors to the left car opened, and a concierge stepped out, gave me a quick look, then headed back to his desk. I stepped into the car, pressed the first level down, the level I expected cars to arrive on, and waited what seemed like a long time for the doors to close.
As they did, I was expecting to see a hand poke through the gap, a latecomer. Nothing happened, and I put it down to a television moment.
There were three basement levels, and for a moment, I let my imagination run wild and considered the possibility that there were more levels. Of course, there was no indication on the control panel that there were any other floors, and I’d yet to see anything like it in reality.
With a shake of my head to return to reality, the car arrived, the doors opened, and I stepped out.
A car pulled up, and the driver stepped out, went around to the rear of his car, and pulled out a case. I half expected him to throw me the keys, but the instant glance he gave me told him he was not the concierge, and instead he brushed past me like I wasn’t there.
He bashed the up button several times impatiently and cursed when the doors didn’t open immediately. Not a happy man.
Another car drove past on its way down to a lower level.
I looked up and saw the CCTV camera, pointing towards the entrance, visible in the distance. A gate that lifted up was just about back in position, then clunked when it finally closed. The footage from the camera would not prove much, even if it had been working, because it didn’t cover the lift lobby, only what was in the direction of the car entrance.
The doors to the other elevator car opened, and a man in a suit stepped out.
“Can I help you, sir? You seem lost.”
Security, or something else. “It seems that way. I went to the elevator lobby, got in, and it went down rather than up. I must have been in the wrong place.”
“Lost it is, then, sir.” I could hear the contempt for Americans in his tone. “If you will accompany me, please.”
He put out a hand ready to guide me back into the elevator. I was only too happy to oblige him. There had been a sign near the button panel that said the basement levels were only to be accessed by the guests.
Once inside, he turned a key and pressed the lobby button. The doors closed, and we went up. He stood, facing the door, not speaking. A few seconds later, he was ushering me out to the lobby.
“Now, sir, if you are a guest…”
“Actually, I’m looking for one. She called me and said she would be staying in this hotel and to come down and visit her. I was trying to get to the sixth floor.”
“Good. Let’s go over to the desk and see what we can do for you.”
I followed him over to the reception desk, where he signalled one of the clerks, a young woman who looked and acted very efficiently, and told her of my request, but then remained to oversee the proceeding.
“Name of guest, sir?”
“Merriweather, Anne. I’m her brother, Alexander.” I reached into my coat pocket and pulled out my passport to prove that I was who I said I was. She glanced cursorily at it.
She typed the name into the computer, and then we waited a few seconds while it considered what to output. Then, she said, “That lady is not in the hotel, sir.”
Time to put on my best-confused look. “But she said she would be staying here for the week. I made a special trip to come here to see her.”
Another puzzled look from the clerk, then, “When did she call you?”
An interesting question to ask, and it set off a warning bell in my head. I couldn’t say today, it would have to be the day she was supposedly taken.
“Last Saturday, about four in the afternoon.”
Another look at the screen, then, “It appears she checked out Sunday morning. I’m afraid you have made a trip in vain.”
Indeed, I had. “Was she staying with anyone?”
I just managed to see the warning pass from the suited man to the clerk. I thought he had shown an interest when I mentioned the name, and now I had confirmation. He knew something about her disappearance. The trouble was, he wasn’t going to volunteer any information because he was more than just hotel security.
“No.”
“Odd,” I muttered. “I thought she told me she was staying with a man named Vladimir something or other. I’m not too good at pronouncing those Russian names. Are you sure?”
She didn’t look back at the screen. “Yes.”
“OK, now one thing I do know about staying in hotels is that you are required to ask guests with foreign passports their next destination, just in case they need to be found. Did she say where she was going next?” It was a long shot, but I thought I’d ask.
“Moscow. As I understand it, she lives in Moscow. That was the only address she gave us.”
I smiled. “Thank you. I know where that is. I probably should have gone there first.”
She didn’t answer; she didn’t have to, her expression did that perfectly.
The suited man spoke again, looking at the clerk. “Thank you.” He swivelled back to me. “I’m sorry we can’t help you.”
“No. You have more than you can know.”
“What was your name again, sir, just in case you still cannot find her?”
“Alexander Merriweather. Her brother. And if she is still missing, I will be posting a very large reward. At the moment, you can best contact me via the American Embassy.”
Money is always a great motivator, and that thoughtful expression on his face suggested he gave a moment’s thought to it.
I left him with that offer and left. If anything, the people who were holding her would know she had a brother, that her brother was looking for her, and equally that brother had money.
For a story that was conceived during those long boring hours flying in a steel cocoon, striving to keep away the thoughts that the plane and everyone in it could just simply disappear as planes have in the past, it has come a long way.
Whilst I have always had a fascination with what happened during the second world war, not the battles or fighting, but in the more obscure events that took place, I decided to pen my own little sidebar to what was a long and bitter war.
And, so, it continues…
I woke to the sound of a cracking sound behind me, and, when I rolled over, I found myself staring up the barrel of a gun.
The number one rule broken, don’t fall asleep in enemy territory.
But something else bothered me in those few seconds as I struggle to wake up and comprehend what was happening. Where was Jack? If he’d been here this would not have happened.
But still bleary-eyed from just waking up and in that initial confused state of not knowing where and when, all I could see was a uniformed shape holding the gun standing over me, and feel, in those few seconds that I was not going to survive this.
I braced myself for a bullet, wondering if death was going to be instantaneous. I had hoped I might die in a less inglorious manner.
“Sam? Is that you?”
It was a rather dumb question to be asking an enemy soldier because my mind hadn’t adjusted to the fact the soldier was not in a German uniform, nor in work clothes, but quite possibly the uniform of a soldier from the castle, and if it was, why be asking the question and not just shooting me?
Then, finally, my eyes focussed and I could see clearly who it was, and breathed a sigh of relief. Whoever it was, knew me but that wasn’t necessarily a good thing. But in the next second, I saw the gun retract and the man behind it come closer and crouch down beside me.
He was not a soldier from the castle, but a soldier in the familiar British uniform. From somewhere else entirely. An Army Captain if I was not mistaken, which, for another second, I also thought was odd.
And then recognition of a face I hadn’t seen in years.
“Blinky?”
OK, so it was a strange nickname, but it was apt, William O’Reilly blinked a lot, hence the nickname. And Will had been on the same training course as I had three years before, only he had ended up in administration. Bad eyesight.
“It is you, Sam.”
“What the hell are you doing here?”
I dragged myself up from the ground to sit up. I did a quick scan around me, but Jack was nowhere to be found. It was not like him to desert me when trouble arrived.
“Apparently rescuing your sorry ass. Now that I’m here, I can see why the Colonel said you needed help.” He held out his hand and pulled me up.
“Forster? You work for him?”
“No, but he asked for someone who knew you by sight, and I was the only one available. Besides, I was getting sick of sitting behind a desk while the rest of you were out in the field doing heroic shit.”
I brushed the undergrowth off my uniform and straightened my clothes. It didn’t make me feel any more comfortable.
“I don’t think falling asleep is very heroic. When did the orders come through?”
“Yesterday. A message was sent and received, a rendezvous at an old church. I came with three others, including a very serious sergeant major who had absolutely no sense of humor. I saw this farm; thought I’d check it out.”
“You’re lucky you didn’t get your head shot off.”
“By the man-mountain. Nearly, yes, until I told him who I was. Said you were up here. Waiting for something?”
“Then enemy. We were hoping they turn up so we could deal with them.”
“That would be the traitors up at the castle, or the turncoat resistance members working with them? Carlo, he told me his name, he reckons it’s not happening. Said once I found you to come down and we’ll catch up with the others at this church.”
I picked up the weapon and then we headed towards Carlo’s position.
I could see the Colonel’s reasoning. Send someone I knew who couldn’t be working for the other side. It worried me that the message from Thompson hadn’t been received, because if it had, Martina would have got someone to tell us.
“Sunday in New York” is ultimately a story about trust, and what happens when a marriage is stretched to its limits.
When Harry Steele attends a lunch with his manager, Barclay, to discuss a promotion that any junior executive would accept in a heartbeat, it is the fact that his wife, Alison, who previously professed her reservations about Barclay, also agreed to attend that casts a small element of doubt in his mind.
From that moment, his life, in the company, in deciding what to do, his marriage, his very life, spirals out of control.
There is no one big factor that can prove Harry’s worst fears, that his marriage is over, just several small, interconnecting events, when piled on top of each other, point to a cataclysmic end to everything he had believed in.
Trust is lost firstly in his best friend and mentor, Andy, who only hints at impending disaster, Sasha, a woman whom he saved, and who appears to have motives of her own, and then in his wife, Alison, as he discovers piece by piece, damning evidence that she is about to leave him for another man.
Can we trust what we see with our eyes or trust what we hear?
Haven’t we all jumped to conclusions at least once in our lives?
Can Alison, a woman whose self-belief and confidence are about to be put to the ultimate test, find a way of proving their relationship is as strong as it has ever been?
Every time I close my eyes, I see something different.
I’d like to think the cinema of my dreams is playing a double feature but it’s a bit like a comedy cartoon night on Fox.
But these dreams are nothing to laugh about.
Once again there’s a new installment of an old feature, and we’re back on the treasure hunt.
…
The Ormiston’s from the papers
…
The Ormiston story and that of the thousand or so acres between the sea and the mountains are now known as Patterson’s reach, but once called The Grove, began in 1865 when the original Henrich Ormiston arrived from Germany.
Originally intending to go to Australia to grow grapes in South Australia, instead, his fate turned West to the Americas, and, eventually, this part of Florida. He started out with the intention of growing grapes, but when that failed to materialize, he moved on to Oranges, hence the name, The Grove.
He had married before leaving Germany and had two children, Marta and Gunter before leaving, and Friedrich after he arrived in 1866. That Friedrich died, according to the gravestone, in 1924. Neither Marta nor Gunter stayed, leaving Friedrich to carry on the business, have an only child which he named after his father, Heinrich, born in 1899 and who died in 1976. He in turn had a single son, which he named Friedrich, the infamous person with who Boggs father had a tempestuous business relationship.
Friedrich was born in 1932, during the depression, and it was about that time that the notion there might be buried treasure, somewhere along that coastal area of Florida, floated by a university professor, Emil Stravinsky, who specialized in old pirates. He had published a book that basically speculated where treasure might be found, and one of those areas was right smack bang in the middle of The Grove.
This information was plucked from the paper’s births, death, and marriages column around the specified dates, the death notices giving some light on the respective Ormiston’s life and toils on their land.
Heinrich, Friedrich’s father, fell for the story hook line and sinker, and with a promise to share the proceeds of an estimated multimillion-dollar trove, invested a fair chunk of the savings he’d amassed over the years in the first of many treasure hunts. The name Stravinsky rang a bell in my head.
A quick look forward to the most recent editions showed it was the man who had died on Rico’s boat, who was, in fact, a third-generation relative of the original professor, an archaeologist in his own right, and digging a bit further into the story, the paper had published a dozen or so extracts from the professor’s book, hinting their subject matter had been derived from a particular pirate’s log, and from notes made over the years of research by the professor. It sounded like there was a diary.
I was going to have to find a copy of the professor’s book, which, if it had been published nearly 90 years ago, would now be out of print.
When the father, Heinrich had failed to locate the treasure, the son Friedrich continued the search, only he put more time and effort into more meticulous research rather than take the professor’s word of its whereabouts.
This was about the time Boggs’s father came into the picture.
He had lived and worked in the Caribbean and discovered quite by chance when a storm had blown his boat way off course on a weekend sailing run, the ruins of an encampment and hidden inlet on an uninhabited island where he believed the pirate had operated from.
While waiting to be rescued, the storm had damaged his boat, he took the time to explore, and although he hadn’t told anyone at the time of his rescue, he had discovered a box buried near where a building had once stood containing a map, several coins, a sextant, and a flag. The news of those discoveries came some years later when it was revealed he’s struck a deal with Ormiston to renew the search for the treasure.
When the result of that expedition came to nothing, each of the partners blamed the other for the lack of success, with Ormiston all but telling anyone who would listen that Boggs had created the map himself for the purpose of extorting money under false pretenses.
Boggs then had to produce the map, where it was authenticated as a map that had been created at the time of the pirate’s reign, but no one could say whether it was just an invention of someone at the time, or it was real. The fact nothing was found suggested the latter, and it marked to start of the feud between Boggs and Ormiston.
The question in my mind was whether Boggs had that particular map, and had he shown it briefly to me? Certainly, one of the maps he had was quite old, but there were so many variations, and they all looked equally as old, it was hard to tell.
One point I was quite certain on, none of the maps I’d seen showed the treasure’s final resting place as being in a cave, and I got the impression just before when I’d run into Boggs, that it was exactly where he was going.
Had that been the clue his father had referred to? Even with the so-called original map, if it showed the treasure hidden in a cave why did Boggs need Ormiston’s help?
Had Ormiston known that might be the final resting place of the treasure?
I would soon find out. My next stop was the library.
This is not a treatise, but a tongue-in-cheek discussion on how to write short stories. Suffice to say, this is not the definitive way of doing it, just mine. It works for me – it might not work for you.
Everyone has one in them, possibly more, and me, well, it’s how I keep the wolves from the door.
Yes, I read my stories to them, and they fall asleep.
Or maybe not, I’m never quite sure what effect anything I write has on anyone. And, reading a lot of the posts on how to handle bad reviews and rejection, such a recurrent theme, I don’t think I want to.
Ignorance is bliss, is it not?
Well, one day I’m sure something will happen. It’s probably in the seven stages of writing:
Euphoria
Planning
Research
Writing
Failure
Search for the guilty
Distinction for the uninvolved
I guess you don’t fail if you don’t put it out there. Searching for the guilty, well, there’s only one person to blame, the editor, and distinction for the uninvolved, didn’t your friend, relation, confidante, significant other, say it wasn’t going to work?
But, despite everything, I like writing short stories and try to produce one in a single sitting. I try to keep the word count down, but the stories, somehow they just evolve in my head and don’t want to end the main character’s story.
In reality, there is no end to the story unless they die, and then, of course, the story branches off, just like a family tree,
Some stories are so intricate, they need another story to fill in the gaps, and then another because the plot is running through your head at a thousand miles an hour, and your fingers won’t stop typing, because if you do, it will all dissipate into thin air like smoke.
Stories can, you know, dissipate like smoke; one minute you’re mining a rich vein, the next, you’ve hit a ton of worthless quartz.
Then all the constraints come into play, nagging at the back of your mind, and you find yourself waking up in a bath of sweat, crying out, I didn’t do it, the crime that is, not lose the best 2,000 words you’ve ever written.
But that’s all of those words you write, isn’t it?
But I digress, and I’ll write some more on the subject, what was it again?
What Lessons Ernest Hemingway Can Teach a New Writer Looking for Advice
When you hear the name Ernest Hemingway, most people picture a rugged man with a battered typewriter, a love of big-game hunting, and a penchant for whiskey. What’s less obvious is that behind that larger‑than‑life persona lies a set of writing principles so clear and disciplined that they still feel fresh to anyone just starting out on the page.
If you’re a fledgling writer wondering how to turn vague ideas into tight, compelling prose, Hemingway’s habits and philosophies offer a practical roadmap. Below, I’ve distilled the most useful lessons from his life and work into bite‑size, actionable advice you can start applying today.
1. Embrace the “Iceberg Theory” – Show, Don’t Tell
“If a man doesn’t have the courage to tell his story in its entirety, then it’s not worth telling at all.” – Ernest Hemingway (paraphrased)
Hemingway’s famous “Iceberg Theory” (or theory of omission) teaches us to trust the reader. Only the tip of the story—dialogue, action, a vivid image—needs to appear on the page. The deeper emotions and backstory remain hidden, like an iceberg beneath the water’s surface.
How to use it:
Write a scene with only dialogue and action. Resist the urge to add explanatory sentences.
Ask yourself, “What’s the subtext?” Let the reader infer the stakes through what’s left unsaid.
Practice the “five‑sentence rule.” Summarise a scene in five sentences, then strip away any that merely explain rather than show.
2. Keep Sentences Short, Yet Powerful
Hemingway’s prose is notorious for its brevity. He believed a sentence should be as short as possible—but no shorter. This forces you to choose the most precise words and eliminates needless fluff.
Practical steps:
Bad Example
Hemingway‑Style Revision
“He walked slowly across the hallway, his steps echoing in the empty, dimly lit corridor.”
“He walked. His steps echoed.”
“She felt an overwhelming sense of sadness that she could not quite explain.”
“She felt sad.”
Read your work aloud. If a sentence trips you up, cut or re‑phrase.
Aim for an average of 12–15 words per sentence in early drafts; later, trim aggressively.
3. Write Like You Speak
Hemingway once said he wanted his prose to be as “simple as a newspaper article.” He modelled his diction on everyday speech, which makes his stories feel immediate and authentic.
Try this exercise:
Record a conversation (with consent) about a topic you care about.
Transcribe it and note the most natural phrases.
Insert those phrases into a paragraph of your own writing, ensuring the rhythm feels conversational yet purposeful.
4. Revise Relentlessly – The “Two‑Draft” Method
Hemingway famously rewrote his stories over 30 times. He believed the first draft was just the “bone,” and the real work happened in the edits.
Two‑Draft System:
Draft 1 – “Skeleton.” Write without worrying about style or perfection; focus on getting the plot down.
Draft 2 – “Polish.” Cut every adverb, replace weak verbs, and apply the Iceberg Theory.
After the second pass, give the piece a 48‑hour cooling period before a final, “laser‑focused” edit. This distance sharpens your eye for leftover cruft.
5. Live a Life Worth Writing About
Hemingway’s most vivid stories came from his personal experiences—war, fishing, bullfighting, travel. He didn’t merely write about these things; he lived them, then stripped away the excess to reveal the universal truth.
What this means for you:
Seek experiences outside your comfort zone. Even a short hike can provide sensory details that make a scene pop.
Keep a “sensory notebook.” Jot down sounds, smells, textures, and emotions you encounter daily.
Translate real moments into fiction by focusing on the emotional core, not the exact event.
6. Discipline Over Inspiration
Hemingway’s daily routine was brutally regimented: a set number of words, a specific writing time, and a habit of writing standing up to keep his posture—and mind—alert. He believed that discipline creates the space for inspiration.
Implement a Hemingway‑style habit:
Step
Action
1. Set a word goal
500–1,000 words per day (adjust to your schedule).
2. Choose a time block
Early morning, after dinner, or any slot you can protect.
3. Create a ritual
Light a candle, brew a cup of coffee, or stand at a desk.
4. Write, regardless of “feeling”
If the words feel forced, keep typing—most drafts are rough.
5. End with a “stop”
Knowing when to close a session prevents burnout.
7. Read Like a Writer, Not Just a Reader
Hemingway devoured the works of Gertrude Stein, James Joyce, and Mark Twain—writers whose styles were wildly different from his own. He dissected their sentences, noting what worked, what didn’t, and why.
Your reading plan:
Pick three diverse authors each month.
Underline passages that evoke strong feeling.
Write a short analysis: What makes this line effective?How could I adapt this technique?
This active reading trains you to recognise craft, not just story.
8. Accept Failure as Part of the Process
Hemingford’s first manuscript, The Sun Also Rises, was rejected several times before finally being published. He used those rejections as fuel, not as proof of inadequacy.
To internalise this mindset:
Create a “Rejection Log.” List every “no” you receive, then note one concrete lesson you learned from each.
Set a “failure quota.” Aim for a certain number of “bad drafts” each month—knowing you’re moving forward.
9. Write About What You Know… And Then Some
Hemingway’s iconic line, “All you have to do is write one true sentence,” stresses authenticity. He often wrote about familiar subjects—fishing, war, love—yet he expanded these experiences into universal truths.
Action tip:
Identify a “core truth” in your life (e.g., “I feel most alive when I’m racing against time”).
Build a story that uses that truth as the emotional spine, even if the plot seems unrelated.
10. Keep the End in Mind—But Don’t Stifle the Journey
Hemingway once told a young writer: “You start with the ending in mind, but you must let the characters discover it.” In practice, this means knowing your story’s destination while allowing the narrative to breathe.
How to balance the two:
Write a one‑sentence synopsis of your story’s ending.
Outline only the major beats—don’t lock every scene in stone.
Write the middle sections organically, listening to where the characters naturally head.
Re‑align at the revision stage if the ending no longer fits.
TL;DR – Hemingway’s 5‑Point Checklist for New Writers
Lesson
Quick Action
1
Iceberg Theory
Show, don’t explain.
2
Short Sentences
Aim ≤15 words per sentence.
3
Speak the Language
Use conversational diction.
4
Relentless Revision
Two‑draft system + 48‑hour break.
5
Discipline > Inspiration
Set a daily word goal & ritual.
Final Thought
Ernest Hemingway’s legacy isn’t about mimicking his staccato style or his macho mythos; it’s about adopting a mindset of clarity, honesty, and relentless work ethic. By internalising the lessons above, you’ll not only write tighter prose but also cultivate the stamina needed to finish the stories you start.
So, the next time you sit down with a blank page, remember: the sea may be vast, but the iceberg you’re building is yours alone. Write, cut, live, and keep the pen moving—just as Hemingway did, one deliberate sentence at a time.
Ready to put these lessons into practice? Grab a notebook, set a timer for 20 minutes, and write a scene using only dialogue and action. Then, edit it down until you’ve removed every word that isn’t absolutely necessary. Share your results in the comments below; I’d love to see how Hemingway’s shadow guides your own voice!
Thrills, Spills, and just a dash of Romance 