Category: #amwriting

The cinema of my dreams – I always wanted to see the planets – Episode 37

Could it be an alien spaceship?

…

“We’re being hailed,” the communications officer said in her matter-of-fact tone.

“Not an alien then?”

The moment I said it, it sounded inappropriate.

“Definitely human, with an accent.”

I was not sure what I was expected to make of that.

“On screen.”

A bridge, not dissimilar to ours appeared, with the captain, or the person I assumed to be captain, standing in front of his chair.

“Whom am I addressing?” He asked.

I gave him my name, the ship, who we were, standard name, rank, and serial number stuff as per regulations.

“Where is the previous Captain?”

He seemed to have information about us, if not recent.

“Dead.”

“I’m sorry to hear that.”

OK, I didn’t think he was coming just to make small talk.

“Ship slowing, no signs of weapons charging,” I saw pop up on the screen.  In situations like this, best not to communicate when there’s an open communication session.

Then, a new notice, “second ship following the first, moving at the same spot, arrival time 18 minutes.”

I looked at the inset on the master screen, and even at that distance and low-quality magnification, it definitely didn’t look like anything in our fleet.

It begged the question, were they running away?

“Are you alone?”

“No.  But it’s not one of our ships.”

Not very helpful.

“I suggest you turn around and go back,” he added.

I saw him turn, as if someone beside him had spoken, or gestured.

“Sorry.  We have to go.  Don’t say we didn’t warn you.”

“Who are they?”

“People you don’t want to meet.”

The screen went back to being a window, and the vessel we’d just been in communication with came clearly into view, then vanished.

It was larger than our ship, but more streamlined, my first thought, like a sleek racing car.

“It seems we’re about to have our first encounter.  Number one, stay on the highest alert, the rest of the crew, battle stations, quick as you can.”

To the navigator, “Did we get anything on that ship, scans, personnel, weapons, engines, anything?”

“A little.  We can go through it later.  If we’re still in one piece.”

If the oncoming ship was alien, it was an unknown quantity, and the navigator could be forgiven for thinking we might not be able to defend ourselves.  Questions we should have asked the other ship were plentiful, and the surprise it caused caught us all offside when I should have been the exception.

There would be time later to analyze everything we did wrong, what I did wrong

Hopefully.

The alien ship was no longer a blurry blob in the distance, but an oddly shaped ship that bore similarities to our own.

I could only guess at the lifeforms aboard if there were any.  It was a moment of thrill, fear, and intense expectation.

Those last few minutes of waiting disappeared as though they were seconds, and suddenly it was opposite us, in space, on station maintaining its distance.  I had us brought to a stop after the other ship left, but in a state of instant readiness to depart just in case we were fired upon.

I was banking on the fact the aliens might be as curious about us as we were about them.

“Can we communicate with that vessel,” I asked, turning the senior communications officer, now on the bridge at the comms station.

“You can speak to them; we have all means of external communication open.”

He didn’t add that they might not understand what I said.

I shrugged.  “We are from the planet Earth on a voyage of exploration and discovery with no other agenda other than to meet and talk to other civilizations.”

It sounded quite strange listening to a somewhat stumbling and unrehearsed greeting that was to be our first words to an alien species.  I hoped that our credibility didn’t rest of those words.”

Silence.

“Any detectable activity aboard their ship?”

“Our scanners can’t penetrate their hull.  Nothing noteworthy outside the hull, but, then, if we don’t know what we’re looking for…”

“We know where you are from and who you are.”

It was a crackling rendition, the sort of sounds I’d expect from a vintage radio broadcast.”

I looked at the comms officer.

“An ancient radio frequency once associated with AM radio, sir, 812 megahertz.”

Did that mean we were more advanced than them?  I didn’t think so.

“Who am I addressing?”

This time the silence was broken by crackling, and what sounded like a tape recorder fast-forwarding.  This went on for about five minutes.

Then, much stronger, and clearer, “Who I am is irrelevant.  If you have similar intentions as the vessel before you, I strongly suggest you turn around and go back to your own galaxy.”

“They’ve moved to FM sir, not sure why they’re using such old technology”, the comms officer said quietly.

Two things popped into my head; from that proverbial left field, I once heard a language professor once pontificate on. The first, was from a scientist at the space training facility on what an alien race mighttry to communicate with us on, and that in his opinion would be the band waves we had been sending out into space for years. AM and FM in that context made perfect sense.

The second: how did an alien speak such good English?

“We have not, though I suspect that will not allay your fears.  All humans, which is what we call ourselves, are not the same.”

“Yet your ship carries weapons.”

“For defense.  If we are attacked, we will respond.  I would expect no less from you.”

There was a minute or so of silence, time I was guessing for my counterpart to formulate his next move.

It came sooner than I expected.

A humanoid form appeared, not exactly like us, but much the same as the early humanoid robots we created at the start of our foray into robotics and for that matter AI.

“We have had much interaction with your kind, one way or another, and it has always ended badly.  If you have no ill intentions towards up, will you accompany me back to my ship?  I assure you, and your crew I have no ill intentions.”

It would be a huge leap of faith.

 Number one, you have the ship.  I’m going to take a short trip to the other vessel.”

“You should take a crew member, as per protocol.”

Yes, the instruction. If we were to were to meet an alien, it was not to go with them without one or more crew members.

“Unfortunately, he’s a stickler for regulations.  I must go with another crew member, just in case.”

I didn’t add the ‘harm cones to me, and retribution will be meted out.’  I didn’t think at this delicate stage that would fly.

“No weapons then.”

“No weapons.  Nancy Woolmer to the bridge immediately.”

She arrived within five minutes, and the moment she was in proximity, we were, I assumed, beamed aboard his ship.

…

© Charles Heath 2021-2022

A photograph from the inspirational bin – 19

Does a rainy, cold, miserable sort of day usually reflect your mood?

It could be said the outlook is bleak, but from where I’m sitting, it might be more picturesque.

This photo was taken from the veranda of one of four cottages that have, one one side, a macadamia farm, and on the other, a valley with a small river running through it.

I’m told there is reasonably good fishing in the river.

But, on a good day, with blue skies and sunshine, the outlook is completely different.

This is the sort of place you go to do nothing, perhaps read a book, do a crossword, but nothing substantial.

We come here to wind down, and take several days to do it.

…

But, as for a story…

…

I have in mind a theme of a man on the run, from his past, his demons, and a very dangerous criminal.

Yes, it’s that old story of someone witnessing what they shouldn’t, and paying the price because they did.

Now, hiding out in the country, it’s only a matter of time before they are discovered.

What I learned about writing – Reality and imagination frequently clash

One minute I was sitting out in my office, working on some tweets, and the next I woke up, staring at a black screen.

I thought we’d lost power.

No, I’d been asleep for a long time.

To be honest, I’m worn out.  It’s the end of the year and when it’s supposed to be a time to relax, go on holidays, do something else, I find life is getting more and more hectic.

Yes, I’m going on holiday, but it will be a time when I’m subconsciously looking for new locales for stories, the people, the places, what goes on, all different to my usual humdrum.

So, not a holiday in the true sense of the word.

What put me into this trance-like state was writing the next line, yep, it was as simple as that.  I stopped at a particular point where I had something else to say, and it just felt like the train had come to the end of the track, out there, in the middle of nowhere.

I wrote that line in my mind, and it sounded good, much the same as we sometimes say something in our mind before we speak, and when we finally do, it sounded better in my head than out loud.

Perhaps I’m losing my touch.

Perhaps that ability to sum up everything I want to say in less than 200 characters is beginning to desert me, and old age and decrepitude is setting in.

Which reminds me, pills before bed.

Perhaps I’m just tired and it’s time to go to bed.

I keep putting it off because sometimes I can’t go to sleep and I’m just lying there staring at the ceiling, sometimes the cinema of my dreams.

I imagine I’m somewhere else, someone else, doing something else.

But not in a helicopter.  Not tonight.

Tonight it’s a sinking ship.

Gotta run!

365 Days of Writing, 2026 – Beyond the second novel

Playing the long game

…

The Long Game: How to Master Overarching Plot and Character Arcs in a Book Series

If you’ve ever closed the final page of a multi-book series feeling deeply satisfied—or conversely, let down by a fizzled-out ending—you know the immense power of series-long storytelling. Writing a standalone novel is a monumental achievement, but crafting a series is an entirely different beast.

Unless your books are strictly episodic standalones (where characters reset to the status quo at the end of each adventure), your success hinges on one critical element: maintaining overarching plot and character arcs.

Done right, these macro-arcs keep readers turning pages from book one to book ten. Done wrong, your series risks feeling repetitive, bloated, or directionless.

Let’s dive deep into how to develop, pace, and sustain massive plot and character arcs across an entire book series without losing your readers—or your mind.

What is an Overarching Arc (And Why Does It Matter)?

In a single novel, an arc is the trajectory of a protagonist moving from their “Ordinary World” through a series of trials to a point of transformation, alongside the rise and fall of the central plot.

In a series, you simply zoom out.

  • The Overarching Plot Arc: This is the macro-conflict that spans multiple books. While each individual novel must have its own satisfying, self-contained beginning, middle, and end, the overarching plot connects them all. Think of it as the ultimate destination, while each book is a major milestone along the highway.
  • The Overarching Character Arc: This is the multi-book journey of your protagonist (or ensemble cast). While a character might learn a specific lesson in Book 1, their core internal flaw, worldview, or emotional maturity should continue to be tested, fractured, and ultimately healed or transformed over the course of the entire series.

Without these overarching threads, your series isn’t really a series—it’s just a pile of books featuring the same characters. Overarching arcs provide momentum, emotional resonance, and a profound sense of reward for readers who invest their time in your world.

1. Strategies for Building an Expansive Plot Arc

When plotting a series, authors often make one of two mistakes: they either resolve the main conflict too quickly, leaving nowhere to go, or they drag out a thin plot until it snaps from exhaustion.

To keep your macro-plot engaging across multiple installments, consider these structural approaches:

The Recurring Antagonist

One of the most classic and effective methods is the Moriarty-to-Sherlock dynamic. Your protagonist defeats the villain’s immediate minion or foils a smaller plot in Book 1, but the master villain remains at large, shifting tactics in subsequent books. This gives readers a tangible target that evolves alongside the heroes.

The Morphing Conflict

Maybe the threat isn’t a single person, but an encroaching darkness, a magical contagion, or a political regime. As the series progresses, the nature of the conflict should change forms.

  • Book 1: A localized mystery or skirmish.
  • Book 3: A civil war.
  • Book 5: An existential threat to the entire world. By escalating the stakes, you ensure the plot doesn’t feel stagnant.

Subplots That Graduate to Main Plots

Sometimes, a seemingly minor background detail or a character’s personal subplot in Book 1 can slowly bleed into the main narrative, taking center stage by Book 3. This rewards attentive readers and makes your world feel organic and lived-in.

2. Evolving Your Characters Across Multiple Books

Plot hooks keep readers coming back for the action, but character growth keeps them coming back for the emotional payoff. If your main character is fundamentally the same person in Book 5 as they were in Book 1, you haven’t written a series arc—you’ve written stagnation.

Just as real human beings don’t solve all their psychological trauma in a single weekend, fictional characters shouldn’t overcome their deepest flaws in one novel.

  • Break the Internal Journey Into Stages: If your protagonist struggles with trust, Book 1 might be about learning to trust one person. Book 2 could force them to trust a wider community, only for that trust to be shattered in Book 3, forcing them to learn the harder lesson of discerning who is worthy of trust.
  • Consequences Must Stick: Actions have consequences in a well-built series. If a character makes a devastating mistake in Book 2, that emotional and physical baggage must carry over into Book 3. Scars—both visible and invisible—add authenticity.
  • Shifting Roles: As characters grow, their roles within their peer group or society should change. A naive rookie in Book 1 might become a reluctant mentor by Book 4, forcing them to grapple with the pressures of leadership.

3. The Golden Rule: “Give Yourself Plenty of Rope”

Perhaps the most common trap for new series authors is the “Kitchen Sink Syndrome”—cramming every single high-stakes idea, massive plot twist, and ultimate character revelation into the very first book.

When you exhaust your best material in Book 1, you leave yourself stranded with nowhere to escalate. Writing a successful series requires pacing your reveals.

How to Leave Room to Grow:

  • Hold Back the Lore: You might have a 50-page bible on the history of your magic system, but your readers don’t need to know all of it in chapter one. Drop breadcrumbs. Let mysteries linger.
  • Keep Characters Unfinished: Give your protagonist room to fail, regress, and take two steps forward and one step back. If they achieve total enlightenment or mastery by the end of the first book, their internal journey is over.
  • Foreshadow Without Delivering: Plant seeds for future conflicts that won’t sprout until later books. A throwaway line of dialogue about a distant continent or a forgotten prophecy in Book 1 can become the main plot of Book 3.

Final Thoughts: The Long-Term Vision

Writing a book series is like running a marathon while telling an unfolding story to the person running next to you. It requires a delicate balance: every individual book must feel complete and satisfying on its own, while simultaneously acting as a crucial stepping stone toward the grand finale.

By developing robust overarching plots, allowing your characters to undergo slow, earned transformations, and resisting the urge to burn through all your best ideas in the first act, you’ll build a rich, immersive series that readers will devour—and remember for years to come.

…

Top 5 sights on the road less travelled – Vienna

Vienna Beyond the Waltz: 5 Off-Beat Gems You Can’t Miss

Vienna. Just the name conjures images of majestic palaces, grand opera, and perhaps a slice of perfectly decadent Sachertorte. It’s a city steeped in imperial history, a classic tourist destination, and rightly so.

But what if you’ve already seen Schönbrunn, wandered the Ringstrasse, and gazed upon The Kiss? What if you’re pulling into Vienna on a road trip, looking to veer off the well-trodden tourist path and discover something truly unique?

Welcome to the Vienna that locals cherish—the road less travelled. Here are five essential, yet unconventional, things to do in the Austrian capital that will enrich your trip and leave you feeling like a true insider.

1. Dive into the Depths at the Third Man Museum

For fans of Cold War intrigue and cinematic history.

Forget typical movie museums; the Third Man Museum (Dritte Mann Museum) is a passion project run by dedicated enthusiasts. Tucked away in the less flashy 4th district (Wieden), this spot is a tribute to the iconic 1949 film The Third Man, which captured post-war Vienna’s atmosphere perfectly.

You’ll find thousands of artifacts, from original film posters, props, and scripts, to rare footage and historical documents detailing the Allied occupation of the city. It’s slightly cluttered, intensely atmospheric, and wonderfully niche. It doesn’t just celebrate the film; it gives you a fascinating look at the real city it was shot in.

  • Insider Tip: Check the opening times carefully—they are usually only open on Saturdays!

2. Take a Dip (or a Stroll) Along the Old Danube (Alte Donau)

For escaping the urban hustle without leaving the city.

When the summer heat hits, Viennese locals head not to a crowded beach, but to the Alte Donau—the horseshoe-shaped former main stream of the Danube. This tranquil area is miles away from the tourist crush and offers a refreshing, almost lakeside atmosphere right in the heart of Vienna’s 22nd district.

You can rent a rowboat, a pedal boat, or even an electric boat and enjoy the quiet waters, surrounded by charming boathouses and lush green banks. There are also several public bathing areas (known as Strandbäder) perfect for a swim.

  • Why it’s off-beat: Most tourists only see the straightened, industrial New Danube. The Alte Donau provides a glimpse into Vienna’s softer, more recreational side.

3. Seek out Hundertwasser’s Quirky Architectural Utopia

For lovers of color, curves, and defying convention.

While many tourists flock to the famous Hundertwasserhaus (a quirky apartment block), the real secret lies in visiting the other projects of the visionary Austrian artist, Friedensreich Hundertwasser.

Head to the Kunst Haus Wien, which houses a permanent exhibition of his work and is a museum designed entirely in his organic, colorful style. Afterward, explore the nearby Müllverbrennungsanlage Spittelau (Spittelau Waste Incineration Plant). Yes, an incinerator. Hundertwasser converted this industrial structure into a dazzling, gold-topped, eco-friendly fairytale castle, proving that even infrastructure can be art.

  • The Road Less Traveled Angle: While the Hundertwasserhaus is always packed, exploring these other sites gives you a much deeper appreciation for his unique architectural philosophy.

4. Experience Wine Culture in the Vienna Woods (Wienerwald)

For unparalleled views and authentic Austrian wine (Heuriger).

Did you know Vienna is one of the world’s only major capital cities with significant vineyards located within the city limits?

Skip the central bars and drive (or take the tram) to one of the picturesque suburbs nestled against the Wienerwald (Vienna Woods), such as Grinzing or the lesser-known Neustift am Walde.

Here you’ll find traditional Heuriger—rustic taverns run by the winemakers themselves. They serve their young wine (often a delightful white Grüner Veltliner) alongside simple, delicious homemade buffets (Brettljausen). The atmosphere is relaxed, the view over the city often stunning, and the experience authentically Viennese.

  • When to Go: Visit in late summer or early autumn for the best harvest atmosphere.

5. Step Back in Time at the Central Cemetery (Zentralfriedhof)

For history, grandeur, and an eerily serene experience.

A cemetery might seem like a morbid suggestion, but Vienna’s Zentralfriedhof is a sprawling, peaceful, and historically important destination that few tourists bother visiting. It’s so vast (the second largest in Europe) it even has its own bus line!

It is a beautiful park, yes, but its true draw is the honor graves (Ehrengräber). Here you can pay respects to icons like Beethoven, Schubert, Strauss, Brahms, and Arnold Schoenberg. The architectural splendor of the Art Nouveau church (St. Charles Borromeo Cemetery Church) is also breathtaking.

  • Why it’s worth the detour: It’s a profound testament to Vienna’s cultural importance and a uniquely quiet place for reflection, far from the central crowds.

Vienna offers endless classical charm, but for the true explorer on a road trip, the city rewards those who look beyond the main squares. Park your car, put on your walking shoes, and discover the quirky, colorful, and wonderfully authentic side of Austria’s imperial heart.

In a word: Left

The word left conjures up many interesting connotations such as:

Left at the altar, not a very nice occurrence but an oft-used scenario to fuel a Romcom

Should have turned left at Albuquerque, used by Bugs Bunny in a cartoon I saw once, and now basically is the go-to phrase when you get lost and have to tell someone

Lefties, not exactly the word but oft used to describe one side of politics usually leaning towards socialism or communism, or perhaps simply because they don’t agree with us

They’re coming at us left, right, and centre, meaning people, or some other object, are coming from everywhere, that is, from all directions

But one of some more simple explanations, I’m left-handed, which means I write with my left hand.

Only that doesn’t mean that I’m left-handed at everything because I’m right-handed using a bat and playing golf.  How does that work?

Turn left which means you turn in a specific direction, directly opposite to another direction, right, but I defy you to describe exactly how to turn left!

Oh, and by the way, I often get left and right mixed up.

There was only one slice of cake left, which means someone else ate it all, or that there’s one slice remaining, and you’d better be quick getting it.

Or probably the saddest of the examples, I left London to go home, meaning that I had to depart a place I wanted to stay but circumstances dictated I had to leave.  Usually, you have to go back to work where you came from, but more realistically you couldn’t afford to stay.

In politics, if you are a right-wing conservative, anyone from the other side is a left-wing lunatic.  Politics can be very polarising and there is often an all-or-nothing approach to the opposition. Rarely is there a middle of the road.

“The Things We Do For Love”

Would you give up everything to be with the one you love?

…

Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?

For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself.  It takes him to a small village by the sea, a place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.

Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledged that something had happened the moment they first met.  

Plans were made, plans were revised, and hopes were shattered.

A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone.  To keep him alive, she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.

But can love conquer all?

It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realises is the love of his life.

The cover, at the moment, looks like this:

lovecoverfinal1

Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?

For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself.  It takes him to a small village by the sea, s place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.

Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledge that something happened the moment they first met.  

Plans were made, plans were revised, and hopes were shattered.

A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone.  To keep him alive she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.

But can love conquer all?

It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realizes is the love of his life.

The cover, at the moment, looks like this:

lovecoverfinal1

Top 5 sights on the road less travelled – Madrid

Beyond the Postcards: 5 Unique Madrid Experiences on the Road Less Travelled

Madrid. The very name conjures images of grand boulevards, world-class art museums, and bustling tapas bars. And while the Prado, the Royal Palace, and Retiro Park are undeniably magnificent, there’s a whole other layer to Spain’s vibrant capital, waiting to be discovered by those willing to stray from the well-trodden path.

If you’re like me – a traveller who loves to peel back the layers and uncover the authentic pulse of a city – then pack your sense of adventure. Here are my top five “road less travelled” experiences that will show you Madrid most tourists never see.

1. Dive into the Multicultural Heart of Lavapiés & the Mercado de San Fernando

Forget the polished tourist markets; head straight to Lavapiés, one of Madrid’s most historic and multicultural neighbourhoods. This isn’t just about street art (though there’s plenty of incredible murals to discover); it’s about the aroma of spices, the sound of different languages, and the genuine buzz of local life.

Your main mission here? The Mercado de San Fernando. Unlike the famous Mercado de San Miguel, San Fernando is a working neighbourhood market that has embraced a new life while retaining its authentic charm. Here, you can buy “libros al peso” (books by weight), sample craft beers, indulge in delicious Ethiopian food, browse artisanal goods, or grab a traditional Spanish tapa alongside locals doing their daily shopping. It’s a sensory feast and a true microcosm of modern Madrid.

  • Why it’s special: Authentic, multicultural, affordable, and a peek into Madrid’s real daily life.
  • Don’t miss: The book stall, the craft beer vendors, and simply soaking in the atmosphere.

2. Catch Sunset (and a Panorama) at Parque de las Siete Tetas

Looking for the best panoramic view of Madrid, away from the tourist crowds? Ditch the rooftop bars and head to Parque del Cerro del Tío Pío, affectionately known by locals as “Parque de las Siete Tetas” (Park of the Seven Tits) due to its seven rolling hills.

Located in the Vallecas district (easily accessible by metro), this park offers an unparalleled, uninterrupted vista of the entire city skyline, with the majestic Sierra de Guadarrama mountains as a backdrop. Grab a picnic, a bottle of wine, and join Madrileños as they gather here to watch the sun dip below the horizon, painting the city in hues of orange and gold. It’s a truly magical and unpretentious experience.

  • Why it’s special: The best, most local sunset spot with breathtaking views.
  • Don’t miss: The golden hour – arrive 45 minutes before sunset for the full spectacle.

3. Step into a Tranquil Oasis at the Sorolla Museum

While the Prado and Reina Sofía are essential, escape the crowds at the beautiful Sorolla Museum, dedicated to the luminous works of Spanish impressionist Joaquín Sorolla. Housed in the artist’s former home and studio, this museum is a serene retreat.

Wander through light-filled rooms filled with his vibrant paintings, many depicting sun-drenched beaches and family life. But the real hidden gem here are the exquisite Andalusian-style gardens, designed by Sorolla himself. They offer a tranquil escape from the city bustle, making you feel as though you’ve stumbled into a private, sun-drenched oasis. It’s a personal and intimate experience with art and history.

  • Why it’s special: A stunning house-museum with beautiful art and serene gardens, far less crowded than the major museums.
  • Don’t miss: The gardens are as much a work of art as the paintings themselves.

4. Immerse Yourself in a Traditional Vermutería Experience

Forget the generic sangria; dive into a truly Madrileño tradition: the vermutería. While tapas bars are everywhere, a dedicated vermutería offers a unique glimpse into a cherished cultural ritual. Vermouth, often served on tap (vermut de grifo), is a fortified wine infused with botanicals, and it’s experiencing a massive revival.

Seek out a classic spot like Casa Camacho in Malasaña or Bodega de la Ardosa (also in Malasaña, though it’s more broadly a classic tavern). Order a “vermút de grifo” (vermouth on tap), often served with an olive and a slice of orange. Pair it with their specific, often pickle-laden, tapas. It’s a delicious, slightly bitter, and utterly authentic way to start your evening, surrounded by locals engaging in lively conversation.

  • Why it’s special: A distinct Madrid tradition, away from tourist traps, with a unique drink and specific food pairings.
  • Don’t miss: Trying a “yayo” at Casa Camacho – a local concoction of vermouth, soda, and gin.

5. Explore the Opulent World of the Museo Cerralbo

For a glimpse into the extravagant life of a 19th-century Spanish aristocrat, the Museo Cerralbo is an absolute treasure, yet surprisingly overlooked by many guidebooks. The Marqués de Cerralbo, a passionate collector, bequeathed his entire palace and its vast contents to the state.

Walking through its ornately decorated rooms, you’ll find an astonishing collection of art, weaponry, ancient artifacts, and opulent furnishings, all preserved as if the family just stepped out for the afternoon. It’s a time capsule that offers a fascinating contrast to the often more institutional feel of other museums, providing an intimate look at the aesthetics and lifestyle of Madrid’s elite.

  • Why it’s special: A beautifully preserved opulent palace and private collection, offering a unique historical perspective.
  • Don’t miss: The stunning grand staircase and the ballroom – imagine the parties that took place here!

Madrid is a city of endless discoveries, and sometimes the most memorable experiences are found when you venture just a little bit off the well-worn path. So, ditch the guidebook for an afternoon, follow your curiosity, and let Madrid truly reveal itself to you.

What are your favourite hidden gems in Madrid? Share them in the comments below!

An excerpt from “If Only” – a work in progress

Investigations of crimes don’t always go according to plan, nor does the perpetrator get found or punished.

That was particularly true in my case.  The murderer was incredibly careful in not leaving any evidence behind, to the extent that the police could not rule out whether it was a male or a female.

At one stage, the police thought I had murdered my own wife, though how I could be on a train at the time of the murder was beyond me.  I had witnesses and a cast-iron alibi.

The officer in charge was Detective First Grade Gabrielle Walters.  She came to me on the day after the murder seeking answers to the usual questions like, when was the last time you saw your wife, did you argue, the neighbours reckon there were heated discussions the day before.

Routine was the word she used.

Her fellow detective was a surly piece of work whose intention was to get answers or, more likely, a confession by any or all means possible.  I could sense the raging violence within him.  Fortunately, common sense prevailed.

Over the course of the next few weeks, once I’d been cleared of committing the crime, Gabrielle made a point of keeping me informed of the progress.

After three months, the updates were more sporadic, and when, for lack of progress, it became a cold case, communication ceased.

But it was not the last time I saw Gabrielle.

The shock of finding Vanessa was more devastating than the fact that she was now gone, and those images lived on in the same nightmare that came to visit me every night when I closed my eyes.

For months, I was barely functioning, to the extent that I had all but lost my job and quite a few friends, particularly those who were more attached to Vanessa rather than me.

They didn’t understand how it could affect me so much, and since it had not happened to them, my tart replies of ‘you wouldn’t understand’ were met with equally short retorts.  Some questioned my sanity, even, for a time, so did I.

No one, it seemed, could understand what it was like, no one except Gabrielle.

She was by her own admission, damaged goods, having been the victim of a similar incident, a boyfriend who turned out to be an awfully bad boy.  Her story varied only in that she had been made to witness his execution.  Her nightmare, in reliving that moment in time, was how she was still alive and, to this day, had no idea why she’d been spared.

It was a story she told me one night, some months after the investigation had been scaled down.  I was still looking for the bottom of a bottle and an emotional mess.  Perhaps it struck a resonance with her; she’d been there and managed to come out the other side.

What happened became our secret, a once-only night together that meant a great deal to me, and by mutual agreement, it was not spoken of again.  It was as if she knew exactly what was required to set me on the path to recovery.

And it had.

Since then, we saw each other about once a month in a cafe.   I had been surprised to hear from her again shortly after that eventful night when she called to set it up, ostensibly for her to provide me with any updates on the case, but perhaps we had, after that unspoken night, formed a closer bond than either of us wanted to admit.

We generally talked for hours over wine, then dinner and coffee.  It took a while for me to realise that all she had was her work; personal relationships were nigh on impossible in a job that left little or no spare time for anything else.

She’d always said that if I had any questions or problems about the case, or if there was anything that might come to me that might be relevant, even after all this time, all I had to do was call her.

I wondered if this text message was in that category.  I was certain it would interest the police, and I had no doubt they could trace the message’s origin, but there was that tiny degree of doubt about whether or not I could trust her to tell me what the message meant.

I reached for the phone, then put it back down again.  I’d think about it and decide tomorrow.

© Charles Heath 2018-2020

365 Days of Writing, 2026 – Beyond the second novel

Playing the long game

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The Long Game: How to Master Overarching Plot and Character Arcs in a Book Series

If you’ve ever closed the final page of a multi-book series feeling deeply satisfied—or conversely, let down by a fizzled-out ending—you know the immense power of series-long storytelling. Writing a standalone novel is a monumental achievement, but crafting a series is an entirely different beast.

Unless your books are strictly episodic standalones (where characters reset to the status quo at the end of each adventure), your success hinges on one critical element: maintaining overarching plot and character arcs.

Done right, these macro-arcs keep readers turning pages from book one to book ten. Done wrong, your series risks feeling repetitive, bloated, or directionless.

Let’s dive deep into how to develop, pace, and sustain massive plot and character arcs across an entire book series without losing your readers—or your mind.

What is an Overarching Arc (And Why Does It Matter)?

In a single novel, an arc is the trajectory of a protagonist moving from their “Ordinary World” through a series of trials to a point of transformation, alongside the rise and fall of the central plot.

In a series, you simply zoom out.

  • The Overarching Plot Arc: This is the macro-conflict that spans multiple books. While each individual novel must have its own satisfying, self-contained beginning, middle, and end, the overarching plot connects them all. Think of it as the ultimate destination, while each book is a major milestone along the highway.
  • The Overarching Character Arc: This is the multi-book journey of your protagonist (or ensemble cast). While a character might learn a specific lesson in Book 1, their core internal flaw, worldview, or emotional maturity should continue to be tested, fractured, and ultimately healed or transformed over the course of the entire series.

Without these overarching threads, your series isn’t really a series—it’s just a pile of books featuring the same characters. Overarching arcs provide momentum, emotional resonance, and a profound sense of reward for readers who invest their time in your world.

1. Strategies for Building an Expansive Plot Arc

When plotting a series, authors often make one of two mistakes: they either resolve the main conflict too quickly, leaving nowhere to go, or they drag out a thin plot until it snaps from exhaustion.

To keep your macro-plot engaging across multiple installments, consider these structural approaches:

The Recurring Antagonist

One of the most classic and effective methods is the Moriarty-to-Sherlock dynamic. Your protagonist defeats the villain’s immediate minion or foils a smaller plot in Book 1, but the master villain remains at large, shifting tactics in subsequent books. This gives readers a tangible target that evolves alongside the heroes.

The Morphing Conflict

Maybe the threat isn’t a single person, but an encroaching darkness, a magical contagion, or a political regime. As the series progresses, the nature of the conflict should change forms.

  • Book 1: A localized mystery or skirmish.
  • Book 3: A civil war.
  • Book 5: An existential threat to the entire world. By escalating the stakes, you ensure the plot doesn’t feel stagnant.

Subplots That Graduate to Main Plots

Sometimes, a seemingly minor background detail or a character’s personal subplot in Book 1 can slowly bleed into the main narrative, taking center stage by Book 3. This rewards attentive readers and makes your world feel organic and lived-in.

2. Evolving Your Characters Across Multiple Books

Plot hooks keep readers coming back for the action, but character growth keeps them coming back for the emotional payoff. If your main character is fundamentally the same person in Book 5 as they were in Book 1, you haven’t written a series arc—you’ve written stagnation.

Just as real human beings don’t solve all their psychological trauma in a single weekend, fictional characters shouldn’t overcome their deepest flaws in one novel.

  • Break the Internal Journey Into Stages: If your protagonist struggles with trust, Book 1 might be about learning to trust one person. Book 2 could force them to trust a wider community, only for that trust to be shattered in Book 3, forcing them to learn the harder lesson of discerning who is worthy of trust.
  • Consequences Must Stick: Actions have consequences in a well-built series. If a character makes a devastating mistake in Book 2, that emotional and physical baggage must carry over into Book 3. Scars—both visible and invisible—add authenticity.
  • Shifting Roles: As characters grow, their roles within their peer group or society should change. A naive rookie in Book 1 might become a reluctant mentor by Book 4, forcing them to grapple with the pressures of leadership.

3. The Golden Rule: “Give Yourself Plenty of Rope”

Perhaps the most common trap for new series authors is the “Kitchen Sink Syndrome”—cramming every single high-stakes idea, massive plot twist, and ultimate character revelation into the very first book.

When you exhaust your best material in Book 1, you leave yourself stranded with nowhere to escalate. Writing a successful series requires pacing your reveals.

How to Leave Room to Grow:

  • Hold Back the Lore: You might have a 50-page bible on the history of your magic system, but your readers don’t need to know all of it in chapter one. Drop breadcrumbs. Let mysteries linger.
  • Keep Characters Unfinished: Give your protagonist room to fail, regress, and take two steps forward and one step back. If they achieve total enlightenment or mastery by the end of the first book, their internal journey is over.
  • Foreshadow Without Delivering: Plant seeds for future conflicts that won’t sprout until later books. A throwaway line of dialogue about a distant continent or a forgotten prophecy in Book 1 can become the main plot of Book 3.

Final Thoughts: The Long-Term Vision

Writing a book series is like running a marathon while telling an unfolding story to the person running next to you. It requires a delicate balance: every individual book must feel complete and satisfying on its own, while simultaneously acting as a crucial stepping stone toward the grand finale.

By developing robust overarching plots, allowing your characters to undergo slow, earned transformations, and resisting the urge to burn through all your best ideas in the first act, you’ll build a rich, immersive series that readers will devour—and remember for years to come.

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