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 instalment of an old feature, and we’re back on the treasure hunt.
And the perils of writing on the fly often leads to back revisions to aid moving forward, and this is one of those occasions. A few revisions were required.
…
Short of jumping over the side, there was no way we were getting away. And judging from the expression on Rico’s face, now very plain to see halfway along the pier, he was not happy to see us.
Boggs stepped off the deck and joined me on the pier, just as Rico made it to where we were standing, just as it started in a gentle up and down motion with the water, churned up by a passing speed boat, but it was fear rather than the pier’s motions making me feel sick.
The sound of another boat caused me to glance in the opposite direction, out towards the sandbar, where I could see another large boat coming in our direction very quickly, and by the shape of it, quite possibly a police launch or the coast guard.
Rico had seen it too. “What have you done?”
“I called the police,” I said, trying to act braver than I felt. Even with the police on their way, Rico could still do something we’d all regret.
“Why?”
Movement by the fishing store caught my eye, and I saw it was two of the men who’d left the boat with Rico earlier, retreating. They’d seen the situation and were retreating. A police car with its siren blaring and lights flashing just stopped at the entrance to the pier and two officers were getting out, guns in hand.
Those men would getaway. Rico had seen them too and looked relieved. Odd for a man about to find himself in a lot of trouble.
Boggs blurted out, “There’s a dead body in the cabin.”
Rico shook his head. “That’s not possible. I’ve been gone for an hour and it isn’t possible he put himself there.”
He looked around to see the officers coming from the land side of the pier. There was no escape for him, or for us, but this could still end up a sticky situation for us if Rico decided to shoot his way out. Boggs said he owned a gun, and if it was not on him, it might be in the boat.
Rico climbed on board and then moved to the hatch. He lifted the hatch cover and folded it back to show an opening into the cabin. It hadn’t been locked; it just looked like it was. Just as the officers made it to the boat, he stepped in, then down into the cabin.
A minute later, when he came up Rico looked visibly shaken like he’d seen a ghost.
The police launch had arrived just off the stern, kicking up the water and causing the boat and pier to rock violently, two men at either end ready to secure their boat to ours. The land-based officers also arrived, somewhat out of breath, to join Boggs and I on the pier.
I recognised the officer who appeared to be in charge, a man called Johnson, the police chief’s deputy. He was known to shoot first and ask questions later. What worried me the most, he had his gun drawn and ready to shoot.
He looked at me, Rico, Boggs, then back to me. “What’s this all about?”
“There’s a body in the cabin,” Boggs said before I could say a word, still sounding very frightened, but whether it was the body in the cabin, Rico’s fury at his meddling or the fact the police were involved was hard to say.
He switched his glare to Rico. “That true?”
Rico nodded. “I don’t know where it came from, but it wasn’t there an hour ago.” A last look back at the cabin, he stepped off the boat onto the pier.
The seaman aboard the police launch slipped a rope over the bollard at the rear of our boat and then jumped on board to secure it. Another seaman did the same at the bow. Two more jumped on board, one covering Rico and the other going into the cabin.
When he came back up on deck he was talking into his cell phone.
You know that you are getting old when sitting at a table where only one person is less than 65.
There were just over a dozen of us, meeting up a few years back for my older brother’s 70th birthday.
I have to say, from the outset, that I never expected him to live that long, but when you take into consideration the longevity of our parents, my father reached 99 and my mother 96, it’s no longer a surprise.
As for me, I’m 73 this year, and there are three years between us.
Something else I hadn’t realised, but what possibly seems coincidental is the age difference between our granddaughters, which is also three years. One is 23, another is 19 and the youngest 16.
But…
It was interesting to finally meet a number of the guests, as, for many, many years, I’d only heard of them in passing conversation. This is because we very rarely manage to get down from Brisbane to Melbourne to catch up, and almost never when my brother has had one of these rare get-togethers.
Of course, these people had known him for years, and there was a thread that bound them together.
Stamps.
They were all stamp collectors.
I remember a long, long time ago, I used to collect stamps, but I did not have the same passion for collecting as my brother did, and if truth be told, I was a little jealous.
And he had a Stanley Gibbons catalogue that could put a value on every stamp. That, to me, showed dedication.
I just bought stamps that were big and colourful from obscure countries no one had ever heard of. But, in another sense, it was where I learned a lot about the British Commonwealth. Some of those African member countries were those same obscure places I had stamps for.
Then, when I could no longer be bothered, I just handed the lot to him and said he could do with them what he would.
Naturally, at this gathering, we didn’t talk about stamps.
In fact, after describing myself as the black sheep, well, grey sheep on account of the hair, it seemed we became the centre of attention.
To be honest, I expected the lunch to last an hour, but who knew there was so much to talk about, even though I really can’t remember much of it other than it lasted almost three hours. That’s a lot of time talking about nothing.
But I guess when you reach that golden age, time ceases to have any real meaning.
We now have a standing invitation to return, and since time is running out for all of us, it’s probably wise to not take so long to return.
The Story’s Fork in the Road: Navigating Multiple Paths (or How Many Roads Should You Pave?)
Ah, the delicious agony of the writer’s mind! You’re deep into a scene, a character’s decision point, or a pivotal plot twist, and suddenly—BAM!—five equally compelling, utterly captivating directions unfurl before you. Each one a glittering promise, a potential masterpiece.
Do you freeze, overwhelmed by the narrative labyrinth? Do you toss a coin? Or do you bravely (or foolishly) attempt to build five different narrative highways? This, my friends, is the quintessential writer’s dilemma, and one we’ve all grappled with.
Let’s break it down.
The Agony of Choice: Why It’s So Hard
First, let’s acknowledge why this is such a powerful struggle. It’s not a sign of weakness; it’s a testament to your boundless creativity. Each of those five paths represents a fully formed world, a different emotional journey, a distinct thematic exploration. Choosing one feels like abandoning four perfectly good children at the orphanage of your imagination. You fear:
Missing the “Best” Story: What if the path you don’t take was the one that would have won the Pulitzer?
Wasting Potential: All that rich imagery, those intriguing character possibilities… gone?
Regret: The lingering “what if” can haunt future drafts.
So, how do we navigate this creative crossroads?
Part 1: How Do We Know We’ve Chosen the “Right” One?
The short, honest answer? You don’t. Not with 100% certainty, at least not at first. But you can make the most informed, intentional choice for this particular story. Here’s how to approach it:
Revisit Your Core Vision & Theme:
What is the absolute heart of your story? What are you really trying to say?
What is the central question or conflict you’re exploring?
Which of the five paths most profoundly serves this core message or theme? Which one amplifies it, complicates it, or brings it into sharper relief?
Follow the Character’s Deepest Arc:
Where does your protagonist need to go to achieve their most meaningful growth or transformation?
Which path forces them to confront their greatest fears, make their hardest choices, or truly earn their redemption (or downfall)?
Sometimes, the “right” path isn’t the easiest or most obvious, but the one that most rigorously tests your characters.
Consider the Emotional Impact:
Which path elicits the strongest emotional response in you?
Which one feels most compelling, most resonant, most likely to move a reader?
Don’t underestimate your gut feeling. Your intuition, honed by countless hours of reading and writing, often knows best.
Outline Each Path (Briefly):
You don’t need to write five full drafts. Take an hour or two and jot down a very brief outline for each of the five directions.
Where does each path start? What are its key turning points? Where does it logically end?
Seeing them laid out, even in skeletal form, often reveals which one has the most inherent dramatic tension, sustained conflict, or satisfying resolution.
Listen to the Story’s Whisper:
Sometimes, one path just feels alive. The dialogue sparkles, the imagery flows effortlessly, the next scene already plays out in your head. That’s often the story telling you which way it wants to go. Trust that energy.
Ultimately, the “right” path is often the one you commit to with confidence and conviction, knowing it serves your story’s deepest purpose.
Part 2: Should We Write Five Different Versions of the Same Story?
This is where the practicalities of writing meet the boundless nature of imagination.
The Temptation: “Wouldn’t it be amazing to see how each version played out? What if they could be a series? Or alternate universe novels?”
The Reality (for most): Writing five different versions of the same story simultaneously is a monumental undertaking that can lead to burnout, analysis paralysis, and ultimately, five unfinished manuscripts.
However, there’s a nuanced approach:
The “What If” File:
Don’t discard those other brilliant ideas! Create a “What If” document or a story bible where you meticulously log these alternate paths.
Note down the potential plot points, character developments, thematic explorations, and even snippets of dialogue.
This frees up your current WIP while preserving those ideas for future projects. Many successful series or spin-offs are born from these discarded “what ifs.”
Experiment in Short Bursts:
If you’re truly torn, write a single scene or a very short chapter (500-1000 words) for the top two or three contenders.
See which one “sings.” Which one feels most natural to write? This micro-experimentation can often clarify your choice without committing to full drafts.
Future Projects, Not Current:
Recognise that those other four paths aren’t failures; they’re fertile ground for future stories.
Perhaps one becomes a standalone novel set in the same world, exploring a different character. Maybe another becomes a prequel or a sequel.
View them as seeds, not fully grown trees; you have to nurture all at once.
The Luxury of Revision:
Remember, you’re not carving your story in stone with your first draft. Write a version. See it through.
During revision, you might realise an earlier “what if” path actually does serve your story better, and you can pivot. But it’s much easier to pivot from a complete (even flawed) draft than from five fragments.
The “Right” Path is Often the One You Finish (and Polish)
Ultimately, the most important decision isn’t which path is objectively “best,” but which path you will commit to finishing, refining, and sharing with the world. A perfectly chosen, but incomplete, story has no impact. A story chosen with conviction, even one that had four other contenders, can move mountains.
So, trust your instincts, revisit your story’s core, outline your options, and then, pick a road. Pave it with your words, your sweat, and your heart. And know that those other roads? They’ll be there, waiting for another journey, another story, another day.
What’s your strategy when your story branches into multiple paths? Share your tips in the comments below!
Grab ’Em by the Throat: How to Write an Unrelenting Thriller
Legendary director Billy Wilder, the man behind Double Indemnity and Sunset Boulevard, had a simple, brutal piece of advice for storytellers: “Grab ’em by the throat and never let ’em go.”
In the world of thrillers, this isn’t just a stylistic choice—it is a functional necessity. If the reader stops to breathe, they might realise they’re holding a book. If they catch their breath, they might put it down to do the dishes or check their phone.
To create a truly unrelenting thriller, you have to treat your narrative like a chokehold. Here is how you master the grip.
1. The Hook isn’t a Suggestion—It’s a Siege
Most writers open with a scene-setter, a bit of atmosphere, or a slow burn. In an unrelenting thriller, that is a death sentence for your pacing.
Do not start with the protagonist waking up. Start with the moment their world shatters. Start with the body in the trunk, the phone call that shouldn’t be happening, or the gun pointed at their chest. The “throat-grabbing” begins on the very first page. If you spend three chapters building up to the inciting incident, you’ve already lost the reader’s adrenaline.
2. High Stakes, Higher Costs
An unrelenting thriller requires constant pressure. But pressure is meaningless if the protagonist has nothing to lose.
To keep the reader breathless, every decision your protagonist makes must cost them something. If they escape one trap, they should lose a vital tool, a piece of information, or a loved one in the process. Never let a victory be a clean one. By constantly stripping away their defences, you make the reader feel the desperation you’re trying to convey.
3. Kill the “Lull”
In screenwriting, we often talk about “beats.” In a thriller, these beats should feel like a rhythmic thumping—a heartbeat that never slows down.
If you find yourself writing a scene where two characters sit down for a long conversation to “explain the plot,” rewrite it. Move the scene to a moving vehicle. Put them in a building that’s burning down. The setting should always be working against the characters. If the scene is about information, make the delivery of that information dangerous.
4. The Principle of “Worst Case Scenario”
Whenever your protagonist thinks they’ve found a solution, present them with an even more terrifying problem.
This is the “never let ’em go” part of the Wilder philosophy. An unrelenting thriller is a series of escalating complications. Think of a staircase: every time the hero reaches a landing, they realise the stairs ahead are crumbling. Don’t give them a moment to process the last trauma before throwing the next one at them.
5. Short Sentences, Sharp Prose
The way you write affects the way the reader breathes. When you want the pace to accelerate, shorten your sentences. Use punchy, active verbs. Eliminate the modifiers that slow down the eye.
The long, winding, reflective sentence acts as a meditative pause, allowing the reader to lean back in their chair.
But this? This hits.
Use white space. Give the reader paragraphs that look like jagged shards of glass. It forces the reader’s eyes to move faster down the page, subconsciously mimicking the frantic pace of the plot.
6. The Psychological Clamp
Finally, remember that the most intense thrillers are internal. The reader needs to be gripped not just by the external danger, but by the protagonist’s psyche. We need to feel their sweat, their racing heart, and their irrational fear. Connect the reader’s nerves directly to the protagonist’s nervous system.
When your character is terrified, the reader should be checking the locks on their own doors.
The Takeaway
Billy Wilder knew that audiences are fickle. They want to be entertained, but more importantly, they want to be possessed by a story.
To write an unrelenting thriller, you must be a ruthless architect of tension. Stop being polite to your characters. Stop saving them. Keep the pressure on, keep the stakes rising, and keep your hands locked firmly around the reader’s attention span.
Beyond the Boulevard: Monte Carlo’s Hidden Gems and Next Big Adventures
Monte Carlo. The very name conjures images of glittering casinos, sleek sports cars, and the sun-drenched glamour of the French Riviera. And while the iconic Grand Prix circuit and the legendary Casino de Monte-Carlo are undeniably magnificent, the true magic of this principality often lies just a whisper off the beaten path.
For the discerning traveller, the question isn’t if there’s more to Monte Carlo, but what awaits those willing to venture a little further. So, buckle up, because we’re about to unveil the next five must-do and must-see experiences that will redefine your perception of this jewel of the Mediterranean.
1. Dive into the Depths: Exploring the Oceanographic Museum’s Hidden Aquariums
While the Oceanographic Museum is a renowned landmark, many visitors focus on its impressive exhibits and historical significance. However, venture deeper into its labyrinthine halls, and you’ll discover a world teeming with vibrant marine life in its less-publicised, yet equally captivating, aquariums.
Why it’s a must-do: Imagine coming face-to-face with a mesmerising array of Mediterranean species, from schools of shimmering sardines to the majestic presence of groupers, all housed within a building perched dramatically on the cliff face. It’s an intimate encounter with the underwater world, offering a tranquil escape from the bustling streets above. Seek out the specialised tanks showcasing the fascinating biodiversity of the local waters – it’s a surprisingly serene and educational experience.
2. Ascend to Serenity: A Hike to the Jardin S an Martin and its Panoramic Vistas
Most tourists flock to the Prince’s Palace for the Changing of the Guard, but a short, pleasant stroll away lies the serene Jardin Saint-Martin. This beautifully landscaped park, perched on the very edge of the Rock, offers not just respite, but breathtaking, unobstructed panoramas that often get overlooked.
Why it’s a must-do: Forget the crowded viewpoints. Here, you can wander amongst fragrant pine trees and vibrant bougainvillea, finding your own quiet bench to soak in the sweeping vistas of the harbor, the superyachts, and the distant coastline. The juxtaposition of the meticulously manicured gardens against the wild beauty of the sea is a photographer’s dream and a soul soother’s paradise. It’s the perfect spot for a leisurely picnic or simply to contemplate the grandeur of the Riviera.
3. Uncover Artistic Treasures: The Nouveau Musée National de Monaco (NMNM) in Villa Paloma and Villa Sauber
Beyond the glitz and glamour, Monte Carlo boasts a thriving contemporary art scene, often tucked away in elegant historical settings. The Nouveau Musée National de Monaco (NMNM) is comprised of two distinct villas, each offering a unique artistic experience that transcends the typical museum visit.
Why it’s a must-do: Villa Paloma, with its stunning contemporary architecture and sculpture garden, often hosts groundbreaking exhibitions by international artists. Villa Sauber, a Belle Époque townhouse, offers a more intimate setting for exploring historical collections, temporary exhibitions, and often features engaging multimedia displays. Exploring these two gems provides a deeper understanding of Monaco’s cultural fabric, showcasing a dynamic and evolving artistic identity that might surprise you.
4. Savor Local Flavors: A Culinary Journey Through the Condamine Market
While Michelin-starred restaurants are plentiful, for a true taste of Monaco’s everyday life and authentic flavours, head to the vibrant Condamine Market (Marché de la Condamine). This bustling open-air and covered market is a sensory delight, offering a glimpse into the local culinary scene.
Why it’s a must-do: Forget tourist traps; here you’ll find fresh produce, local delicacies, and a genuine community atmosphere. Sample Socca (a delicious chickpea pancake), indulge in freshly baked Fougasse, or simply grab a coffee and people-watch as locals shop for their daily ingredients. It’s an opportunity to connect with the heart of Monaco, to taste its heritage, and to discover culinary gems that are far from the tourist trail.
5. Embrace the Outdoors: A Coastal Ramble to the Exotic Garden’s Secret Trails
The Jardin Exotique is famous for its breathtaking collection of succulents and its stunning views. However, many visitors stick to the main paths. Those willing to explore a little further will discover a network of less-trafficked trails that lead to hidden grottos and offer even more secluded viewpoints.
Why it’s a must-do: Beyond the cacti and the impressive cave dwelling, these winding paths lead you through a microclimate of unique flora, offering moments of quiet contemplation amidst nature’s artistry. Discover hidden nooks with unparalleled views of the bay, and feel a sense of discovery as you navigate these less-worn routes. It’s an opportunity to experience the natural beauty of the region away from the crowds, breathing in the fragrant air and enjoying a more intimate connection with the landscape.
Monte Carlo is a destination that rewards curiosity. By venturing beyond the iconic landmarks and embracing these less-travelled paths, you’ll unlock a richer, more authentic, and ultimately, more unforgettable experience. So, pack your sense of adventure and get ready to discover a whole new side of this legendary principality.
What are your favourite “off the beaten path” spots in Monte Carlo? Share your hidden gems in the comments below!
As children, we all played hide and seek, where one person counted to a hundred and all the others hid themselves and you had to find them.
I was the spoilsport; I gave up looking very quickly because the kids I played with were very good at hiding.
You have some hide
Well, this means someone you know and probably hate has insulted you, or you’d you something you really did want to know
It’s an old expression often used by my mother on her sister, mostly because her sister was wiser and more sensible and sometimes sailed too close to the wind telling her the painful truth
Sailing too close to the wind? Yes, quite an interesting analogy – saying what is true without heed to the consequences or taking unnecessary risks.
We spent the morning in the hide
Ah, to be a birdwatcher. These are in my experience a very strange bunch. I prefer to be a trainspotter, but then we have been described as a very strange bunch.
However, not to be distracted, birdwatchers hand out in hides and camouflaged buildings where they can observe birds in their natural habitat without disturbing them.
And the camera some of these watchers have a very expensive.
Then, of course, there are the hunters, who lie in wait for say duck season to start, then shoot them.
It’s not my idea of fun, nor does it seem sporting.
We use cowhide to make shoes
After sending it to the tannery. Animal hides have Bern used over the centuries for many purposes such as clothes, shoes and bags.
Sheep hides make excellent fluffy mats beside the bed.
Mink hides were once used in fur coats, but now it’s frowned upon.
In the distance, he could hear the dinner bell ringing and roused himself. Feeling the dampness of the pillow and fearing the ravages of pent-up emotion, he considered not going down but thought it best not to upset Mrs Mac, especially after he said he would be dining.
In the event, he wished he had reneged, especially when he discovered he was not the only guest staying at the hotel.
Whilst he’d been reminiscing, another guest, a young lady, had arrived. He’d heard her and Mrs Mac coming up the stairs and then shown to a room on the same floor, perhaps at the other end of the passage.
Henry caught his first glimpse of her when she appeared at the door to the dining room, waiting for Mrs Mac to show her to a table.
She was in her mid-twenties, slim, with long brown hair, and the grace and elegance of a woman associated with countless fashion magazines. She was, he thought, stunningly beautiful with not a hair out of place, and make-up flawlessly applied. Her clothes were black, simple, elegant, and expensive, the sort an heiress or wife of a millionaire might condescend to wear to a lesser occasion than dinner.
Then there was her expression; cold, forbidding, almost frightening in its intensity. And her eyes, piercingly blue and yet laced with pain. Dracula’s daughter was his immediate description of her.
All in all, he considered, the only thing they had in common was, like him, she seemed totally out of place.
Mrs Mac came out of the kitchen, wiping her hands on her apron. She was, she informed him earlier, chef, waitress, hotelier, barmaid, and cleaner all rolled into one. Coming up to the new arrival, she said, “Ah, Miss Andrews, I’m glad you decided to have dinner. Would you like to sit with Mr Henshaw, or would you like to have a table of your own?”
Henry could feel her icy stare as she sized up his appeal as a dining companion, making the hair on the back of his neck stand up. He purposely didn’t look back. In his estimation, his appeal rating was minus six. Out of a thousand!
“If Mr Henshaw doesn’t mind….” She looked at him, leaving the query in mid-air.
He didn’t mind and said so. Perhaps he’d underestimated his rating.
“Good.” Mrs Mac promptly ushered her over. Henry stood, made sure she was seated properly and sat.
“Thank you. You are most kind.” The way she said it suggested snobbish overtones.
“I try to be when I can.” It was supposed to nullify her sarcastic tone, but it made him sound a little silly, and when she gave him another of her icy glares, he regretted it.
Mrs Mac quickly intervened, asking, “Would you care for the soup?”
They did, and, after writing the order on her pad, she gave them each a look, imperceptibly shook her head, and returned to the kitchen.
Before Michelle spoke to him again, she had another quick look at him, trying to fathom who and what he might be. There was something about him.
His eyes mirrored the same sadness she felt, and, yes, there was something else, that it looked like he had been crying. There was a tinge of redness.
Perhaps, she thought, he was here for the same reason she was.
No. That wasn’t possible.
Then she said, without thinking, “Do you have any particular reason for coming here?” Seconds later, she realised she’d spoken it out loud, hadn’t meant to actually ask, it just came out.
It took him by surprise, obviously not the first question he was expecting her to ask of him.
“No, other than it is as far from civilisation, and home as I could get.”
At least we agree on that, she thought.
It was obvious he was running away from something as well.
Given the isolation of the village and lack of geographic hospitality, it was, from her point of view, ideal. All she had to do was avoid him, and that wouldn’t be difficult.
After getting through this evening first.
“Yes,” she agreed. “It is that.”
A few seconds passed, and she thought she could feel his eyes on her and wasn’t going to look up.
Until he asked, “What’s your reason?”
Slightly abrupt in manner, perhaps, because of her question and how she asked it.
She looked up. “Rest. And have some time to myself.”
She hoped he would notice the emphasis she had placed on the word ‘herself’ and take due note. No doubt, she thought, she had completely different ideas of what constituted a holiday than he, not that she had said she was here for a holiday.
Mrs Mac arrived at a fortuitous moment to save them from further conversation.
Over the entree, she wondered if she had made a mistake coming to the hotel. Of course, there had been no conceivable way she could know that anyone else might have booked the same hotel, but she realised it was foolish to think she might end up in it by herself.
Was that what she was expecting?
Not a mistake then, but an unfortunate set of circumstances, which could be overcome by being sensible.
Yet, there he was, and it made her curious, not that he was a man, by himself, in the middle of nowhere, hiding like she was, but for quite varied reasons.
On discreet observation, whilst they ate, she gained the impression his air of light-heartedness was forced, and he had no sense of humour.
This feeling was engendered by his looks, unruly dark hair, and permanent frown. And then there was his abysmal taste in clothes on a tall, lanky frame. They were quality but totally unsuited to the wearer.
Rebellion was written all over him.
The only other thought crossing her mind, and incongruously, was that he could do with a decent feed. In that respect, she knew now from the mountain of food in front of her, he had come to the right place.
“Mr Henshaw?”
He looked up. “Henshaw is too formal. Henry sounds much better,” he said, with a slight hint of gruffness.
“Then my name is Michelle.”
Mrs Mac came in to take their order for the only main course, gather up the entree dishes, and then return to the kitchen.
“Staying long?” she asked.
“About three weeks. Yourself?”
“About the same.”
The conversation dried up.
Neither looked at the other, but rather at the walls, out the window, towards the kitchen, anywhere. It was, she thought, unbearably awkward.
Mrs Mac returned with a large tray with dishes on it, setting it down on the table next to theirs.
“Not as good as the usual cook,” she said, serving up the dinner expertly, “but it comes a good second, even if I do say so myself. Care for some wine?”
Henry looked at Michelle. “What do you think?”
“I’m used to my dining companions making the decision.”
You would, he thought. He couldn’t help but notice the cutting edge of her tone. Then, to Mrs Mac, he named a particular White Burgundy he liked, and she bustled off.
“I hope you like it,” he said, acknowledging her previous comment with a smile that had nothing to do with humour.
“Yes, so do I.”
Both made a start on the main course, a concoction of chicken and vegetables that were delicious, Henry thought when compared to the bland food he received at home and sometimes aboard my ship.
It was five minutes before Mrs Mac returned with the bottle and two glasses. After opening it and pouring the drinks, she left them alone again.
Henry resumed the conversation. “How did you arrive? I came by train.”
“By car.”
“Did you drive yourself?”
And he thought, a few seconds later, that was a silly question; otherwise, she would not be alone, and certainly not sitting at this table. With him.
“After a fashion.”
He could see that she was formulating a retort in her mind, then changed it, instead, smiling for the first time, and it served to lighten the atmosphere.
And in doing so, it showed him she had another, more pleasant side despite the fact she was trying not to look happy.
“My father reckons I’m just another of ‘those’ women drivers,” she added.
“Whatever for?”
“The first and only time he came with me, I had an accident. I ran up the back of another car. Of course, it didn’t matter to him that the other driver was driving like a startled rabbit.”
“It doesn’t help,” he agreed.
“Do you drive?”
“Mostly people up the wall.” His attempt at humour failed. “Actually,” he added quickly, “I’ve got a very old Morris that manages to get me where I’m going.”
The apple pie and cream for dessert came and went, and the rapport between them improved as the wine disappeared and the coffee came. Both had found, after getting to know each other better, that their first impressions were not necessarily correct.
“Enjoy the food?” Mrs Mac asked, suddenly reappearing.
“Beautifully cooked and delicious to eat,” Michelle said, and Henry endorsed her remarks.
“Ah, it does my heart good to hear such genuine compliments,” she said, smiling. She collected the last of the dishes and disappeared yet again.
“What do you do for a living?” Michelle asked in an offhand manner.
He had a feeling she was not particularly interested, and it was just making conversation.
“I’m a purser.”
“A what?”
“A purser. I work on a ship doing the paperwork, that sort of thing.”
“I see.”
“And you?”
“I was a model.”
“Was?”
“Until I had an accident, a rather bad one.”
“Oh, I’m sorry.”
So that explained the odd feeling he had about her.
As the evening wore on, he began to think there might be something wrong, seriously wrong with her because she didn’t look too well. Even the carefully applied makeup, from close, didn’t hide the very pale, tired look, or the sunken, dark-ringed eyes.
“I try not to think about it, but it doesn’t necessarily work. I’ve come here for peace and quiet, away from doctors and parents.”
“Then you will not have to worry about me annoying you. I’m one of those fall-asleep-reading-a-book types.”
Perhaps it would be like ships passing in the night, and then he smiled to himself about the analogy.
Dinner over, they separated.
Henry went back to the lounge to read a few pages of his book before going to bed, and Michelle went up to her room to retire for the night.
But try as he might, he was unable to read, his mind dwelling on the unusual, yet compellingly mysterious person he would be sharing the hotel with.
Overlaying that original blurred image of her standing in the doorway was another of her haunting expressions that had, he finally conceded, taken his breath away, and a look that had sent more than one tingle down his spine.
She may not have thought much of him, but she had certainly made an impression on him.
Beyond the Titanic: Five Unexpected Delights on Belfast’s Road Less Travelled
Belfast. The name often conjures images of the magnificent Titanic, its grand harbour, and perhaps a sprinkle of its complex history. And while these are undeniably essential stops, the real magic of Belfast, for those willing to venture off the beaten path, lies in its hidden gems and emerging experiences.
If you’ve “done” the Titanic and are looking for an authentic taste of this vibrant city, then strap in. We’re taking a detour down the roads less travelled to uncover the next five must-do’s and must-see’s in Belfast.
1. Dive into the Digital World at the Ulster Museum’s New Interactive Zones
While the Ulster Museum has always been a treasure trove of art, history, and natural sciences, it’s been quietly upping its game for the digital age. Forget dusty displays; venture into their newly developed interactive zones. These aren’t just for kids, though they’ll certainly love them! Imagine stepping into a virtual reality reconstruction of ancient Ulster, or engaging with cutting-edge exhibits on the science of sound and light through hands-on digital interfaces. It’s a dynamic and engaging way to connect with heritage and innovation, proving that learning can be as exciting as any adventure.
2. Explore the Artisanal Delights of the Cathedral Quarter’s Hidden Alleys
Beyond the buzzing pubs and restaurants of the Cathedral Quarter, lies a labyrinth of charming, often overlooked alleyways and courtyards. This is where Belfast’s creative pulse truly beats. Seek out independent galleries showcasing local artists, discover quirky vintage boutiques tucked away from the main drag, and stumble upon intimate coffee shops serving up exceptional brews. Keep an eye out for vibrant street art that adorns the brickwork, transforming these forgotten corners into open-air galleries. It’s an exploration that rewards patience and a keen eye for detail.
3. Get Your Hands Dirty at a Local Food Growing Project or Urban Farm
Belfast, like many modern cities, is embracing sustainability and local produce with open arms. The “road less travelled” here involves connecting with the city’s green initiatives. Look for opportunities to visit or even volunteer at a local food growing project or an urban farm. These spaces are more than just patches of land; they are community hubs fostering a deeper connection to where our food comes from. Learn about organic farming, taste freshly harvested produce, and engage with the passionate individuals who are nurturing these vital green spaces within the urban landscape. It’s a refreshing and grounding experience.
4. Uncover the Stories on the Outskirts: The Belfast Peace Walls and Community Art Tours
While the iconic Peace Walls are a significant part of Belfast’s history, venturing further afield offers a more nuanced and personal perspective. Instead of a standard tour, opt for a community-led tour focusing on the art and stories that have emerged from these areas. These tours are often run by people who have lived through the Troubles, offering raw, honest, and incredibly moving accounts. You’ll witness powerful murals that have become symbols of hope and resilience, and gain a profound understanding of the ongoing journey towards reconciliation. It’s a challenging but essential experience for anyone seeking to truly understand Belfast.
5. Experience the Buzz of a Local Gig in an Unconventional Venue
Belfast has a thriving music scene, but the real gems are often found outside the mainstream venues. Seek out local gigs in unconventional spaces. Think intimate pubs with a dedicated live music night, community centres hosting emerging bands, or even pop-up events in repurposed warehouses. This is where you’ll discover the authentic, raw talent that defines Belfast’s musical soul. The atmosphere is electric, the music is diverse, and the experience is infinitely more memorable than a crowded arena.
Belfast is a city that rewards curiosity. By stepping off the well-trodden tourist trails, you unlock a richer, more authentic, and deeply rewarding experience. So, next time you find yourself in this captivating city, dare to take the road less travelled. You might just discover your new favourite story, your most inspiring artwork, or your most unforgettable moment.
What are your favourite hidden gems in Belfast? Share them in the comments below!
A single event driven by fate, after Ben told his wife Charlotte he would be late home one night, he left early, and by chance discovered his wife having dinner in their favourite restaurant with another man.
A single event where it could be said Ben was in the wrong place at the wrong time.
Who was this man? Why was she having dinner with him?
A simple truth to explain the single event was all Ben required. Instead, Charlotte told him a lie.
A single event that forces Ben to question everything he thought he knew about his wife and the people who are around her.
After a near-death experience and forced retirement into a world he is unfamiliar with, Ben finds himself once again drawn back into that life of lies, violence, and intrigue.
From London to a small village in Tuscany, little by little, Ben discovers who the woman he married is, and the real reason why fate had brought them together.
Grab ’Em by the Throat: How to Write an Unrelenting Thriller
Legendary director Billy Wilder, the man behind Double Indemnity and Sunset Boulevard, had a simple, brutal piece of advice for storytellers: “Grab ’em by the throat and never let ’em go.”
In the world of thrillers, this isn’t just a stylistic choice—it is a functional necessity. If the reader stops to breathe, they might realise they’re holding a book. If they catch their breath, they might put it down to do the dishes or check their phone.
To create a truly unrelenting thriller, you have to treat your narrative like a chokehold. Here is how you master the grip.
1. The Hook isn’t a Suggestion—It’s a Siege
Most writers open with a scene-setter, a bit of atmosphere, or a slow burn. In an unrelenting thriller, that is a death sentence for your pacing.
Do not start with the protagonist waking up. Start with the moment their world shatters. Start with the body in the trunk, the phone call that shouldn’t be happening, or the gun pointed at their chest. The “throat-grabbing” begins on the very first page. If you spend three chapters building up to the inciting incident, you’ve already lost the reader’s adrenaline.
2. High Stakes, Higher Costs
An unrelenting thriller requires constant pressure. But pressure is meaningless if the protagonist has nothing to lose.
To keep the reader breathless, every decision your protagonist makes must cost them something. If they escape one trap, they should lose a vital tool, a piece of information, or a loved one in the process. Never let a victory be a clean one. By constantly stripping away their defences, you make the reader feel the desperation you’re trying to convey.
3. Kill the “Lull”
In screenwriting, we often talk about “beats.” In a thriller, these beats should feel like a rhythmic thumping—a heartbeat that never slows down.
If you find yourself writing a scene where two characters sit down for a long conversation to “explain the plot,” rewrite it. Move the scene to a moving vehicle. Put them in a building that’s burning down. The setting should always be working against the characters. If the scene is about information, make the delivery of that information dangerous.
4. The Principle of “Worst Case Scenario”
Whenever your protagonist thinks they’ve found a solution, present them with an even more terrifying problem.
This is the “never let ’em go” part of the Wilder philosophy. An unrelenting thriller is a series of escalating complications. Think of a staircase: every time the hero reaches a landing, they realise the stairs ahead are crumbling. Don’t give them a moment to process the last trauma before throwing the next one at them.
5. Short Sentences, Sharp Prose
The way you write affects the way the reader breathes. When you want the pace to accelerate, shorten your sentences. Use punchy, active verbs. Eliminate the modifiers that slow down the eye.
The long, winding, reflective sentence acts as a meditative pause, allowing the reader to lean back in their chair.
But this? This hits.
Use white space. Give the reader paragraphs that look like jagged shards of glass. It forces the reader’s eyes to move faster down the page, subconsciously mimicking the frantic pace of the plot.
6. The Psychological Clamp
Finally, remember that the most intense thrillers are internal. The reader needs to be gripped not just by the external danger, but by the protagonist’s psyche. We need to feel their sweat, their racing heart, and their irrational fear. Connect the reader’s nerves directly to the protagonist’s nervous system.
When your character is terrified, the reader should be checking the locks on their own doors.
The Takeaway
Billy Wilder knew that audiences are fickle. They want to be entertained, but more importantly, they want to be possessed by a story.
To write an unrelenting thriller, you must be a ruthless architect of tension. Stop being polite to your characters. Stop saving them. Keep the pressure on, keep the stakes rising, and keep your hands locked firmly around the reader’s attention span.
Thrills, Spills, and just a dash of Romance 