The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 86

Here’s the thing…

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.

A meeting with Nadia’s father

I’d met Nadia’s father once, but had seen him often on the streets.

He was a man to be feared, and never went anywhere without two of his foot soldiers beside him.  Perhaps that was the downside of being a crime boss, you could not be out by yourself.

Benderby was the same, but he was better at disguising them as almost normal people.  Cossatino’s henchmen looked exactly what they were, armed gorillas in cheap suits.

Vince was like his father, but with younger versions, the hangers-on from school days.  It crossed my mind more than once how Nadia had separated him from his minders, but I imagine she was more resourceful than he was.

We said little on the way back to the car, there was little to say.  I might have disagreed with her course of action, in fact, they needed to be taught a lesson, but I knew in doing so, it put a target on her back.

And, if anything happened to Vince, she have her father to answer to.  In that, I don’t think that bothered her, because, unlike Vince, she could stand up to him.  It would have taken more courage than I had for her to up and leave the way she had.

Of course, it didn’t take a lot to see why.  As far as her father and Vince were concerned, she was dispensible, if or when a situation warranted it.  Like working with Boggs and I had no doubt prompted Vince’s reaction.

Not far from the car was another, and as we approached, a man got out of the rear.  Two others got out from the front.  In the receding light, it was difficult to see who it was, but since the man had two minders it had to be either Benderby or Cossatino.

I looked at Nadia, and from her expression, she knew who it was.  She stopped just short of the car, and I joined her.

“It’s my father,” she said.

“How did he know where you’d be?”

“A tracker on my car.”

So, she had intended he find her, but was it her intention that he find Vince?  I doubted he would be interested in what happened to Alex.

She held up her hand, and said, “I wouldn’t come too close, Dad, not if your help wants to scrape what’s left of Vince off the side of the container.”

I looked closely at her hand, and it was her mobile phone.  Would that convince him she meant what she said?

“You’re not that clever Nadia.”

He took two steps, his two minders pulled out their guns and were aiming them at us.

I saw her finger move, and a second later there was a sharp bang coming from the direction of the mall.

“The next one will go off next to Vince.  Unlike what he did to Sam and I, he won’t have time to think about his death.  Tell your goons to put away their guns and get back in the car, or else.”

Cossatino stopped and motioned to his men to lower their weapons.  They did not put them away, nor did they look like they were going back to the car.

A test of wills.  Who would crack first?

I wondered if she had wired an explosive in the container.  I didn’t know much about electronics, but the steel walls of the container surely would have interfered with a cell phone signal.  I guess it didn’t have to be in the container.

“I get it,” he said.  “I should not have told Vince to take care of the problem.  I didn’t consider he would take it literally.  I’m sorry.  We don’t have to do this.”

“Just the fact you think I’m a problem is bad enough, but getting Vince to deal with it?”

“That was a mistake.  The solution was never to hurt you, or your friends.”

“He murdered Boggs, and for what?  There never was any treasure, was there?”

“Maybe once, but no.  The real treasure was the maps.  People will pay a small fortune for them if they believe there’s a chance of finding a trove.  We couldn’t have anyone upsetting the apple cart, but killing him wasn’t what I asked for.  Vince and that fool Alex took it too far, and that’s on me.”

“Literal or not, you’ve made it very clear I don’t fit into this family.  I never did, did I?  You only tolerated Alex because it was a way of uniting the Cossatino’s and the Benderby’s, not because you wanted me to be happy.”

“There will always be a place for you, Nadia.”

“Not while Vince is alive.  He won’t let it go, no matter what you tell him.”

“You leave Vince to me.”

“No.  I can’t trust you either.  So, here’s the deal.  Sam and I are going back to Italy.  I want no part of the family.  But if I see you, Vince, or anyone else I don’t like hanging around, then Isobel and the twins will pay it.”

“What are you talking about…”

At that precise moment, his phone rang, a rather odd ring tone, like one specially set for a particular person, and he answered it without hesitation.

A few seconds later, the call ended.

“You have my word nothing will happen to you, or Sam, as long as I’m alive.”  He motioned to his men to go back to the car.  “Have a nice life Nadia.”

He glared at her for a few seconds then followed his men to the car.  The car then drove off, leaving the two of us standing alone in the increasing twilight.

I had a hundred questions, but it didn’t seem to be the right time.  I went with the most obvious, “What just happened?”

“My father thought he could clean up the mess he made using me as the scapegoat.  Instead, he just confessed to, and confirmed Vince and Alex’s role in Boggs’s death.”  She held up her phone.  “Charlene was listening in to the confessions.  The sheriff should have the two boys by now, and…”

In the distance we could hear the sirens of the police cars and see the flashing lights.  Cossatino had driven into a trap.

“Isobel and the twins?”

“My father’s mistress.  He’s been seeing her since before my mother disappeared.  He cares more for them than me, even Vince if truth be told.  It’s his one weakness and guarantees our safety.  We are going to Italy?”

It might not have been the thought at the top of my list at that very moment, but it was almost a definite yes. There was nothing left here for me, and the last thing I wanted was Benderby as a proxy father.

The sirens had stooped, and the flashing lights become static.  Nadia looked tired, perhaps more than a little sad at the way everything had turned put.  I know I was.

As for what just happened, Nadia had surprised me.  I think for a moment back at the mall she really was going to leave them to die, which I might have considered no better than her brother or Alex’s actions, but she really wasn’t like any of them, and I put that down to her mother.

Something else I hadn’t realized was that she had a different mother, but a memory from a long distant past came back when she had mentioned her to her father, something my mother had said, more or less to say she couldn’t understand what a woman like Francesca could see in a man like him.

Perhaps she had simply up and left when she finally realized the monster she married, but it didn’t explain why she left her daughter behind.  Perhaps her father was guilty of that crime too.

“I think we both need a change, and I’ve never been out of the country.”  I took her hand in mine, then gave her a hug. 

She was shaking, whether it was the cold or the enormity of what just happened was debatable, but for the moment it was over. There would be new storms to face tomorrow, not the least of which would be to face my mother.

“Let’s go back to the hotel.  You need to get some rest.”

© Charles Heath 2020-2022

The 2am Rant: There are so many things I haven’t done

Does it really matter, you ask?

Perhaps not, but now seems to be an appropriate time, nearing the age of 72, to take stock.

We have achieved a lot in the last twenty or so years once the children have grown up and can look after themselves.

Unlike a lot of more modern couples who are travelling in their 20s and 30s and then having children, we chose to do it the other way around.

To me, it seemed easier to deal with teenagers when we were in our 40s rather than our 60s.  With the benefit of hindsight, I can truthfully say we were right.

We were older and wiser when we travelled and more aware of the dangers around us, sometimes overlooked or ignored by a youthful devil-may-care attitude.

But, in saying that ….

No, I don’t think I’ll be getting to see Mt Kilimanjaro, observing the wild animals in the Serengeti, climbing Mt Everest, or seeing the ancient pyramids.

But, if it is ever possible before I die, I still want to go to the Greek Islands, and, Santorini is at the top of my travel bucket list.

We’ve been to London.  We’ve been to Paris and Euro Disney.  We’ve been to Rome and seen the ancient ruins.  We’ve been to Vienna, Schönbrunn Palace, and, particularly for us, a visit to Swarovski crystal world, near Innsbruck, we’ve been to Salzburg, and been on the Sound of Music tour.

We’ve been to Florence and loved it, we’ve been to Venice and loved that too, and we’ve spent a few days in the heart of Tuscany, and want to go back for longer, much longer.

In fact, that’s the second item on the travel bucket list.

We’ve also been to Singapore and Hong Kong, at first out of necessity as an airline stopover, but then we went back to see the city and tourist, and non-tourist attractions.

I will not forget staying at the Hong Kong Conrad Hotel as a Diamond Hilton Honors member.  Oh, the memories.

We’ve also stayed on the French Riviera, in a timeshare apartment in Antibes where every morning when out back you had a view of the shimmering Mediterranean if the sun was out.

Nice, Cannes, Monte Carlo, the billionaire’s yachts in Antibes harbour, Monte Carlo, and ‘that’ casino, taking the same drive along the coast as Grace Kelly did in To Catch a Thief, and feeling like James Bond arriving for a new adventure, minus the half-million-dollar sports car.

But now, crashing back to earth with an extremely hard thump ….

Travel in the future is looking difficult for both of us, not only financially but from a health aspect.  We are both not as sprightly as we used to be.

Yet given the restraints and if it is at all possible, aside from the Greek Islands and Tuscany, the next items on the list are:

Germany, visiting both Berlin, from a Cold War aspect, the Brandenburg gate springs to mind, and Munich at the time of the Octoberfest.  As a beer drinker that is also high on my bucket list.

Scotland, more so since we’ve started watching Outlander, and besides being a beer drinker, I am also partial to a good Single Malt, the Whiskey Trail.

Ireland, because my wife’s previous name was Murphy and at some point, in the long distant past some relatives emigrated to Australia, and she would like to visit the country of her forebears.

But with the current state of the world, our health issues, and that all-important requisite money, or the lack of it, perhaps it’s time to visit other parts of our own country.

Perhaps it’s time to do a culinary trip, particularly down south.  It’s practical, achievable, and safe.

And it’s a big country.

365 Days of Writing, 2026 – 240

Day 240 – The usefulness of old writing tropes

The Power of Tropes: Why Cliffhangers, Third-Act Twists, and the Hero’s Quest Still Rule Storytelling

As writers, we all chase the holy grail of absolute originality. We want to craft something so entirely unprecedented that it leaves readers breathless, wondering, “How on earth did they think of that?”

However, in the pursuit of being unique, it’s easy to slip into the writing morass—that confusing, overly abstract swamp where narratives become so convoluted that they alienate the reader entirely.

The truth? Tropes aren’t the enemy of creativity; they are its foundation. Tropes are the shared language between storyteller and audience. When used skillfully, time-tested devices like cliffhangers, third-act twists, and the hero’s quest act as narrative anchor points. They keep readers turning pages while giving you a sturdy framework to inject your own voice and subvert expectations.

Let’s break down three of the most powerful storytelling tropes, exploring the distinct advantages and disadvantages of each, and how you can use them without falling into clichés.


1. The Cliffhanger: The Ultimate Page-Turner

Think of the classic serialised novels of the 19th century or modern prestige television: just as the tension reaches a fever pitch, bam—fade to black. A cliffhanger abruptly halts the narrative at a moment of high suspense, leaving the ultimate fate of the characters hanging in the balance.

The Advantages:

  • Instant Engagement: Cliffhangers hijack our psychological need for closure (known as the Zeigarnik effect). Readers remember uncompleted tasks and unresolved plots much better than finished ones, making it nearly impossible to put the book down.
  • Momentum: They bridge the gap between chapters, episodes, or books. In serialised fiction or indie publishing, a well-placed cliffhanger is your best tool for securing immediate pre-orders for the sequel.

The Disadvantages:

  • Reader Frustration: If overused or deployed cheaply, cliffhangers can feel manipulative. When every single chapter ends with a manufactured crisis that is immediately resolved in the next sentence, readers lose trust in the narrative stakes.
  • The “Cheap Trick” Trap: Relying solely on cliffhangers can mask lazy plotting. If the core narrative arc isn’t compelling on its own, a cliffhanger is just a Band-Aid slapped over a boring story.

Pro Tip: Use cliffhangers sparingly and ensure they emerge naturally from the plot. A true cliffhanger should answer one major question while brilliantly spawning two more.


2. The Third-Act Twist: The Perspective Shifter

Positioned just as the story hurtles toward its climax, the third-act twist turns everything the reader thought they knew completely upside down. Think of The Sixth SenseGone Girl, or Shutter Island. Suddenly, clues that were hiding in plain sight take on a terrifying or triumphant new meaning.

The Advantages:

  • High Re-readability: A masterfully executed twist rewards the reader. Once the secret is out, looking back at the narrative jigsaw puzzle and seeing how the pieces fit together is one of the most deeply satisfying experiences a reader can have.
  • Emotional Resonance: A great twist doesn’t just shock; it changes the stakes. It forces the protagonist (and the audience) to re-evaluate their journey, often elevating a standard plot into a profound thematic statement.

The Disadvantages:

  • The “Come Out of Nowhere” Problem: If a twist has no foreshadowing, it stops being clever and starts looking like cheating. Readers hate feeling tricked by information the author withheld just to pull a fast one.
  • Predictability: Conversely, because third-act twists are so ubiquitous, seasoned readers can often spot them a mile away. If your twist relies on an amnesiac narrator, a secret twin, or “it was all a dream,” genre-savvy readers will guess it by page fifty.

Pro Tip: Play fair. Hide your clues in moments of high action so the reader’s attention is divided. When the twist drops, the reader should slap their forehead and say, “Of course! It was right there the whole time!”


3. The Hero’s Quest: The Blueprint of Human Myth

From The Odyssey and The Lord of the Rings to Star Wars and The Hunger Games, the hero’s quest (often mapped out as Joseph Campbell’s Hero’s Journey) is the undisputed heavyweight champion of storytelling structures. A protagonist is called to adventure, crosses a threshold, faces trials, undergoes a profound transformation, and returns home forever changed.

The Advantages:

  • Universal Resonance: The hero’s quest mirrors the human condition. We are all striving to grow, overcome obstacles, and find our place in the world. Because of this, the quest structure speaks directly to our primal emotional wiring.
  • Built-in Character Arcs: The structure forces your protagonist to change. By putting them through a gauntlet of external trials that reflect their internal flaws, you guarantee a deeply satisfying character arc.

The Disadvantages:

  • Formulaic Fatigue: Because it is so ubiquitous, the quest can easily feel paint-by-numbers. If you hit every single milestone of the Hero’s Journey without subverting any expectations, your story risks feeling like a generic clone of a thousand other books.
  • Scope Creep: Quests are naturally sprawling. It is very easy to get bogged down in world-building, lore, and “fetch quests” that stall the narrative momentum and exhaust the reader.

Pro Tip: Subvert the milestones. Maybe your hero refuses the call and stays home, changing their small corner of the world instead. Or perhaps the mentor figure turns out to be the ultimate antagonist. Give the familiar skeleton some entirely new skin.


Conclusion: Embrace the Tropes, Find Your Voice

Tropes are not a cage; they are tools. Cliffhangers keep the pages turning, third-act twists blow the reader’s mind, and the hero’s quest provides a resonant emotional backbone.

Don’t be afraid to lean into these time-tested traditions. Readers want the comfort of the familiar, provided you deliver it with a fresh voice, sharp prose, and genuine emotional stakes. Use these tropes as your foundation, and let your unique perspective be the architecture that brings the house down.


What is your favorite trope to write or read? Do you love a good plot twist, or do you prefer a classic epic journey? Let us know in the comments below!

If I only had one day to stop over in – Venice – what would I do?

A Day in Venice: Making the Most of Your 24-Hour Stopover

Venice, the City of Water, is a place that has captivated the hearts of travellers for centuries. With its stunning architecture, rich history, and unique culture, it’s no wonder that Venice is a top destination for many. But what if you only have a day to spend in this enchanting city? Is it possible to make the most of your 24-hour stopover and create unforgettable memories? The answer is yes, and it all starts with visiting one iconic place: St. Mark’s Square.

The Heart of Venice: St. Mark’s Square

Located in the heart of Venice, St. Mark’s Square (Piazza San Marco) is the city’s most famous landmark and a must-visit destination for any traveller. This stunning square is surrounded by breathtaking architecture, including the magnificent St. Mark’s Basilica, the Doge’s Palace, and the Campanile di San Marco (St. Mark’s Bell Tower). As you step into the square, you’ll be struck by the sheer beauty and grandeur of your surroundings.

Why St. Mark’s Square is a Must-Visit

So, what makes St. Mark’s Square the perfect place to visit during your one-day stopover in Venice? Here are just a few reasons:

  • Unparalleled Architecture: The square is home to some of the most stunning examples of Byzantine architecture in the world, including the intricate mosaics and golden domes of St. Mark’s Basilica.
  • Rich History: St. Mark’s Square has been the centre of Venetian life for centuries, with a history dating back to the 9th century. You can almost feel the weight of history as you walk through the square.
  • Cultural Significance: The square is a hub of cultural activity, with street performers, musicians, and artists adding to the lively atmosphere.
  • Accessibility: St. Mark’s Square is easily accessible by vaporetto (water bus) or on foot, making it a convenient destination for travellers with limited time.

Tips for Visiting St. Mark’s Square

To make the most of your visit to St. Mark’s Square, here are a few tips to keep in mind:

  • Arrive Early: Get to the square early in the morning to avoid the crowds and enjoy a more peaceful atmosphere.
  • Dress Modestly: Remember to dress modestly when visiting the basilica, as it’s a place of worship.
  • Take a Guided Tour: Consider taking a guided tour of the square and its surrounding attractions to get a deeper understanding of the history and culture.
  • Enjoy the Views: Don’t forget to take in the stunning views of the square from the top of the Campanile di San Marco, which offers breathtaking vistas of the city.

Conclusion

In conclusion, St. Mark’s Square is the perfect destination for travellers with a one-day stopover in Venice. With its stunning architecture, rich history, and cultural significance, this iconic square is sure to leave a lasting impression. By visiting St. Mark’s Square, you’ll be able to experience the essence of Venice and create unforgettable memories of your time in this enchanting city. So, make the most of your 24-hour stopover and head to St. Mark’s Square – you won’t regret it!

What I learned about writing: The dust jacket biography

There is that biography that sits on the inside of the dustcover of your book, slightly more impressive than that on X. What are the requirements?

That’s a fantastic point, and you’ve hit on the core difference between marketing copy (the X bio) and the author’s professional narrative (the book dust jacket bio).

The dust jacket biography, often called the Author Flap Copy or Jacket Copy, has a completely different purpose, format, and tone than the 160-character X bio. It serves as an authoritative statement to both readers and the book industry.


Key Differences in Purpose and Tone

FeatureX (Twitter) Bio (160 Characters)Book Dust Jacket Bio (Approx. 150-250 Words)
Primary GoalAcquisition & Engagement: Get a quick follow and signal the type of content the user tweets.Authority & Trust: Validate the author’s expertise and establish their professional credentials.
PerspectiveOften First-Person (“I write…”) to establish a personal connection.Almost always Third-Person (“She lives in…”, “He is a…”) to create an objective, authoritative voice.
ToneConversational, Witty, Casual, or Punchy.Formal, Professional, Established, and Narrative-Driven.
FocusCurrent interests, latest projects, and a personal flair.The author’s full professional history, prior publications, and relevant background.

Essentials for the Dust Jacket Biography

Since the book flap bio has a generous word count (relative to X), it functions as a short professional narrative. It should ideally include the following five components:

1. The Opening Hook (Name & Residency)

Start with the author’s full name and their geographic context, often framed by a sentence that establishes their vocation.

  • Example: Dr. Alana Chen is a professor of history at Yale University and a renowned specialist in Cold War espionage.

2. Relevant Credentials and Expertise

This is where the biography justifies why the author is the person who should be writing this particular book.

  • Non-Fiction: Include academic degrees, professional roles, awards, and relevant real-world experience (e.g., “A former intelligence analyst,” “Holds a PhD in Astrophysics,” “Co-founder of the global non-profit…”).
  • Fiction: Mention prior successful novels, major literary awards, or specific background that lends authenticity to the story (e.g., “Her short stories have appeared in The New Yorker,” “A three-time winner of the Edgar Award”).

3. Prior Work and Social Proof

List a maximum of two or three previous major works to demonstrate a history of publication and success.

  • Example: She is the author of the critically acclaimed novels, The Silicon Fog and The Memory Architect.

4. Personal/Relatable Detail

A single sentence to humanise the author and make them relatable to the reader. This is often an interest, a pet, or a detail about their family life.

  • Example: When not researching ancient civilisations, she enjoys hiking the trails near her home with her two rescue dogs.

5. Current Location

The final line often returns to their place of residence to provide a grounding detail.

  • Example: He currently lives in London. (This is often stylised to be the last, standalone line.)

In a word: Brevity

Now, brevity is something that I have not been able to fully wrap my head around.

The dictionary explains Brevity as

‘concise and exact use of words in writing and speech’

So…

I remember working with a writer a long time ago who explained certain authors’ styles, and for James A Michener of Hawaii fame, he said Michener wrote sentences instead of words, paragraphs instead of sentences, pages instead of paragraphs and chapters instead of pages.

It was a little harsh considering I’d just read the book and had liked it, despite its length and the time it took.

But some time later I realised he was not criticising Michener, but trying to tell me, in his, what I came to discover, interesting way, that I should strive to write more compactly.

I then came across a book by Brian Callison which was exactly that, the concise version, a story that fit into about 200 pages.

That too was a good book, and it took me a day to read it, and by his use of that economy of words, it read quickly.

Of course, I have tried over the years to emulate both styles, and to a certain degree, failing, because I think I have created my own style which is somewhere in between.

Still, when editing, it is always in the back of my mind that I should be

Using words instead of sentences

Using sentences instead of paragraphs

Using paragraphs instead of pages, and

Using pages instead of chapters.

The chapters, he said, with an air of amusement, will always take care of themselves.

 

“What Sets Us Apart”, a mystery with a twist

David is a man troubled by a past he is trying to forget.

Susan is rebelling against a life of privilege and an exasperated mother who holds a secret that will determine her daughter’s destiny.

They are two people brought together by chance. Or was it?

When Susan discovers her mother’s secret, she goes in search of the truth that has been hidden from her since the day she was born.

When David realizes her absence is more than the usual cooling off after another heated argument, he finds himself being slowly drawn back into his former world of deceit and lies.

Then, back with his former employers, David quickly discovers nothing is what it seems as he embarks on a dangerous mission to find Susan before he loses her forever.

Find the Kindle version on Amazon here:  http://amzn.to/2Eryfth

whatsetscover

If I only had one day to stop over in – Paris – what would I do?

 Parisian Odyssey: Making Memories in 24 Hours at the Eiffel Tower
Subtitle: How to Craft an Unforgettable Day in the City of Light

Paris—the city where every cobbled street hums with history, every café table holds a story, and every landmark feels plucked from a dream. But when time is your most coveted luxury (and you’re stuck with just 24 hours), where do you begin? While the Louvre, Notre-Dame, and Montmartre all clamour for attention, there’s one icon that transcends mere sightseeing: the Eiffel Tower. More than a landmark, it’s the heartbeat of Paris. Here’s how to make your brief stopover a day you’ll remember forever.


Morning: Conquer the Iron Lady

Start your day early at the Eiffel Tower to avoid crowds. A pre-booked ticket to the top is non-negotiable—trust us, skipping the queue will save precious minutes. Ascend the 125 meters to the second floor for a panoramic view of the city: the Seine slicing through neighbourhoods, the distant dome of Sacré-Cœur, and the green sprawl of the Bois de Boulogne. If you’re energetic, the 164 steps to the first level (1,710 total to the top) are free, though the lift is worth it for efficiency.

Pro Tip: Grab a pastis or croissant from one of the restaurants on the first floor. It’s breakfast with a view!


Midday: Stroll the Champs-Élysées Backdrop

The Eiffel Tower isn’t an island—it’s a focal point for some of Paris’s most iconic scenery. Walk west toward the Champs-Élysées, a 1.2-mile boulevard that’s the epitome of Parisian glamour. Stop at the Arc de Triomphe for a photo (and climb for an even more divine view), then cruise past luxury shops like Dior and Louis Vuitton. You don’t need to spend a cent—just bask in the je ne sais quoi of Parisian elegance.

Unexpected Detour: Veer south to Trocadéro Gardens, a sprawling park with fountains and shaded paths. It’s a peaceful respite and the perfect spot to picnic with a baguette and fromage from a nearby market.


Afternoon: Seine Secrets and Hidden Gems

By 3 PM, head to the Seine River. The Eiffel Tower is visible from nearly every bridge here, but two spots are must-sees:

  1. Pont d’Iéna (military museum) for a photo-perfect view of the tower against the sunset.
  2. Rive Gauche Promenade for a leisurely walk past Left Bank cafés and the Institut de France.

If time allows, hop on a 1-hour Seine River cruise. As the boat glides past bridges and monuments, the Eiffel Tower will loom like a guardian, its silhouette contrasting with Haussmann-era architecture.


Evening: Twilight Magic and Farewell Glows

As dusk falls, make your way to Port de la Conférence (just south of the Eiffel Tower) or Pont National. Here, you’ll witness the tower’s daily ritual: a sparkling display every hour, where over 20,000 bulbs twinkle for five minutes. It’s romantic, awe-inspiring, and utterly unique to Paris.

Culinary Finale: Dine at a Seine-side restaurant like Le Jules Verne (inside the Eiffel Tower, reservations essential) or Café de l’Escargot for a jazz-tinged bistro vibe. Either way, you’ll cap off your day with the tower as your backdrop.


Why the Eiffel Tower?

In a day, you can’t do everything in Paris. You can’t visit every museum, every bakery, or every cabaret. But with the Eiffel Tower as your anchor, you’ll experience the city’s soul:

  • Iconic Energy: It’s the symbol of Paris you’ll recognise in movies, music, and literature.
  • Versatile Vibe: From bustling tourist hub to tranquil riverside retreat, it adapts to your dream.
  • Time Efficiency: Its centrality lets you explore adjacent neighbourhoods without exhausting yourself.

A 24-hour stopover is fleeting, but a day spent weaving through the Eiffel Tower’s orbit? That’s an hourglass filled with light, history, and memories.

Final Thought: Paris isn’t just seen—it’s felt. Choose the Eiffel Tower, and let it sweep you off your feet. After all, you’re not just visiting a city. You’re stepping into a masterpiece.

Bon voyage, and bon appétit! 🇫🇷

The story behind the story: A Case of Working With the Jones Brothers

To write a private detective serial has always been one of the items at the top of my to-do list, though trying to write novels and a serial, as well as a blog, and maintain a social media presence, well, you get the idea.

But I made it happen, from a bunch of episodes I wrote a long, long time ago, used these to start it, and then continued on, then as now, never having much of an idea where it was going to end up, or how long it would take to tell the story.

That, I think, is the joy of ad hoc writing, even you, as the author, have as much of an idea of where it’s going as the reader does.

It’s basically been in the mill since 1990, and although I finished it last year, it looks like the beginning to end will have taken exactly 30 years.  Had you asked me 30 years ago if I’d ever get it finished, the answer would be maybe?

My private detective, Harry Walthenson

I’d like to say he’s from that great literary mould of Sam Spade, or Mickey Spillane, or Philip Marlowe, but he’s not.

But I’ve watched Humphrey Bogart play Sam Spade with much interest, and modelled Harry and his office on it.  Similarly, I’ve watched Robert Micham play Phillip Marlow with great panache, if not detachment, and added a bit of him to the mix.

Other characters come into play, and all of them, no matter what period they’re from, always seem larger than life.  I’m not above stealing a little of Mary Astor, Peter Lorre or Sidney Greenstreet, to breathe life into beguiling women and dangerous men alike.

Then there’s the title, like

The Case of the Unintentional Mummy – this has so many meanings in so many contexts, though I imagine that back in Hollywood in the ’30s and ’40s, this would be excellent fodder for Abbott and Costello

The Case of the Three-Legged Dog – Yes, I suspect there may be a few real-life dogs with three legs, but this plot would involve something more sinister.  And if made out of plaster, yes, they’re always something else inside.

But for mine, to begin with, it was “The Case of the …”, because I had no idea what the case was going to be about, well, I did, but not specifically.

Then I liked the idea of calling it “The Case of the Brothers’ Revenge” because I began to have a notion there was a brother no one knew about, but that’s stuff for other stories, not mine, so then it went the way of the others.

Now it’s called ‘A Case of Working With the Jones Brothers’, finished the first three drafts, and I am at the editor for the last reading.

I have high hopes of publishing it in mid-2026.  It even has a cover.

PIWalthJones1

365 Days of Writing, 2026 – 240

Day 240 – The usefulness of old writing tropes

The Power of Tropes: Why Cliffhangers, Third-Act Twists, and the Hero’s Quest Still Rule Storytelling

As writers, we all chase the holy grail of absolute originality. We want to craft something so entirely unprecedented that it leaves readers breathless, wondering, “How on earth did they think of that?”

However, in the pursuit of being unique, it’s easy to slip into the writing morass—that confusing, overly abstract swamp where narratives become so convoluted that they alienate the reader entirely.

The truth? Tropes aren’t the enemy of creativity; they are its foundation. Tropes are the shared language between storyteller and audience. When used skillfully, time-tested devices like cliffhangers, third-act twists, and the hero’s quest act as narrative anchor points. They keep readers turning pages while giving you a sturdy framework to inject your own voice and subvert expectations.

Let’s break down three of the most powerful storytelling tropes, exploring the distinct advantages and disadvantages of each, and how you can use them without falling into clichés.


1. The Cliffhanger: The Ultimate Page-Turner

Think of the classic serialised novels of the 19th century or modern prestige television: just as the tension reaches a fever pitch, bam—fade to black. A cliffhanger abruptly halts the narrative at a moment of high suspense, leaving the ultimate fate of the characters hanging in the balance.

The Advantages:

  • Instant Engagement: Cliffhangers hijack our psychological need for closure (known as the Zeigarnik effect). Readers remember uncompleted tasks and unresolved plots much better than finished ones, making it nearly impossible to put the book down.
  • Momentum: They bridge the gap between chapters, episodes, or books. In serialised fiction or indie publishing, a well-placed cliffhanger is your best tool for securing immediate pre-orders for the sequel.

The Disadvantages:

  • Reader Frustration: If overused or deployed cheaply, cliffhangers can feel manipulative. When every single chapter ends with a manufactured crisis that is immediately resolved in the next sentence, readers lose trust in the narrative stakes.
  • The “Cheap Trick” Trap: Relying solely on cliffhangers can mask lazy plotting. If the core narrative arc isn’t compelling on its own, a cliffhanger is just a Band-Aid slapped over a boring story.

Pro Tip: Use cliffhangers sparingly and ensure they emerge naturally from the plot. A true cliffhanger should answer one major question while brilliantly spawning two more.


2. The Third-Act Twist: The Perspective Shifter

Positioned just as the story hurtles toward its climax, the third-act twist turns everything the reader thought they knew completely upside down. Think of The Sixth SenseGone Girl, or Shutter Island. Suddenly, clues that were hiding in plain sight take on a terrifying or triumphant new meaning.

The Advantages:

  • High Re-readability: A masterfully executed twist rewards the reader. Once the secret is out, looking back at the narrative jigsaw puzzle and seeing how the pieces fit together is one of the most deeply satisfying experiences a reader can have.
  • Emotional Resonance: A great twist doesn’t just shock; it changes the stakes. It forces the protagonist (and the audience) to re-evaluate their journey, often elevating a standard plot into a profound thematic statement.

The Disadvantages:

  • The “Come Out of Nowhere” Problem: If a twist has no foreshadowing, it stops being clever and starts looking like cheating. Readers hate feeling tricked by information the author withheld just to pull a fast one.
  • Predictability: Conversely, because third-act twists are so ubiquitous, seasoned readers can often spot them a mile away. If your twist relies on an amnesiac narrator, a secret twin, or “it was all a dream,” genre-savvy readers will guess it by page fifty.

Pro Tip: Play fair. Hide your clues in moments of high action so the reader’s attention is divided. When the twist drops, the reader should slap their forehead and say, “Of course! It was right there the whole time!”


3. The Hero’s Quest: The Blueprint of Human Myth

From The Odyssey and The Lord of the Rings to Star Wars and The Hunger Games, the hero’s quest (often mapped out as Joseph Campbell’s Hero’s Journey) is the undisputed heavyweight champion of storytelling structures. A protagonist is called to adventure, crosses a threshold, faces trials, undergoes a profound transformation, and returns home forever changed.

The Advantages:

  • Universal Resonance: The hero’s quest mirrors the human condition. We are all striving to grow, overcome obstacles, and find our place in the world. Because of this, the quest structure speaks directly to our primal emotional wiring.
  • Built-in Character Arcs: The structure forces your protagonist to change. By putting them through a gauntlet of external trials that reflect their internal flaws, you guarantee a deeply satisfying character arc.

The Disadvantages:

  • Formulaic Fatigue: Because it is so ubiquitous, the quest can easily feel paint-by-numbers. If you hit every single milestone of the Hero’s Journey without subverting any expectations, your story risks feeling like a generic clone of a thousand other books.
  • Scope Creep: Quests are naturally sprawling. It is very easy to get bogged down in world-building, lore, and “fetch quests” that stall the narrative momentum and exhaust the reader.

Pro Tip: Subvert the milestones. Maybe your hero refuses the call and stays home, changing their small corner of the world instead. Or perhaps the mentor figure turns out to be the ultimate antagonist. Give the familiar skeleton some entirely new skin.


Conclusion: Embrace the Tropes, Find Your Voice

Tropes are not a cage; they are tools. Cliffhangers keep the pages turning, third-act twists blow the reader’s mind, and the hero’s quest provides a resonant emotional backbone.

Don’t be afraid to lean into these time-tested traditions. Readers want the comfort of the familiar, provided you deliver it with a fresh voice, sharp prose, and genuine emotional stakes. Use these tropes as your foundation, and let your unique perspective be the architecture that brings the house down.


What is your favorite trope to write or read? Do you love a good plot twist, or do you prefer a classic epic journey? Let us know in the comments below!