Top 5 sights on the road less travelled – Vaduz

The Road‑Less‑Travelled in Vaduz: 5 Hidden Gems Worth Exploring

Vaduz may be tiny, but it’s brimming with surprises for the curious traveller. While most visitors gravitate toward the iconic castle, the state museum, and the glittering shopping street, the capital of Liechtenstein has a quieter side that rewards those who wander off the main postcard route. Below are my five favourite “off‑the‑beaten‑path” experiences – perfect for a day (or a few hours) when you crave something a little different.


1. Stroll the “Kunstweg” – Vaduz’s Secret Art Trail

Why it’s special

Tucked between the historic centre and the foothills of the Alps, a short footpath leads you past a series of contemporary sculptures and mural‑covered walls that most guidebooks skip. Each piece is curated by the tiny but vibrant Kunstverein Liechtenstein (Art Association) and changes seasonally, so you’ll never see the same lineup twice.

What to look for

  • The “Glass Feather” – a translucent installation that refracts sunlight into a rainbow on the riverbank.
  • “Echoes of the Alps” – a series of bronze panels that play faint Alpine wind sounds when you step close.
  • Hidden mural on a back‑alley building, painted by a local graffiti collective, depicting a mythic Liechtensteinic dragon.

Tips

  • Bring a small notebook – the artists love hearing visitors’ thoughts, and a quick sketch can become a souvenir.
  • Go early in the morning; the light makes the glass installations sparkle like gems.

2. Taste the “Heidi‑Style” Alpine Farmstead Café

Why it’s special

While the capital’s cafés cater to tourists, a family‑run farmstead just outside the city gates (about a 10‑minute walk) serves authentic, farm‑to‑table dishes in a rustic barn setting. Think cheese‑fondue made from the farm’s own alps‑milk, freshly baked “Vaterspaß” rye rolls, and a secret herb‑infused jam that locals swear is the best thing since the invention of the internet.

What to order

  • Schlössli Cheese Fondue – a blend of Gruyère, Emmental, and a pinch of local mountain herbs.
  • Kaiserschmarrn à la Vaduz – fluffy shredded pancake served with apple‑compote made from the orchard behind the café.
  • “Alpine Whisper” Liqueur – a house‑made apricot spirit you can sip on the terrace while watching the goats graze.

Tips

  • Sit on the hay‑straw benches for the full farm‑feeling experience.
  • Ask the owner, Marta, for a quick tour of the cheese‑aging cellar – it’s a 5‑minute walk in the back, and she loves sharing the process.

3. Explore the “Mysterious Underground Vaults” of the Old Customs House

Why it’s special

Behind the sleek, modern façade of the customs office lies a network of vaulted stone chambers built in the 18th century to store smuggled goods and precious metals. The city council now opens them for guided “Night‑Whisper” tours, featuring low‑light lanterns, storytelling, and a taste of historic Liechtensteinian spirits.

Highlights

  • The “Silversmith’s Chamber” – where clandestine metalwork took place.
  • The “Map Room” – a dusty wall of hand‑drawn cartography showing secret Alpine passes used by traders.
  • The “Wine Cellar of the Count” – still contains a few bottles of 1913 Riesling, preserved in perfect condition.

Tips

  • Book at least 48 hours in advance; the tours are limited to ten participants.
  • Wear comfortable shoes – the stone steps can be slippery when the lanterns are lit.

4. Bike the “Rheintal Loop” – A Scenic Ride the Locals Call “The Green Ribbon”

Why it’s special

Most visitors see Vaduz from a car window or a train seat, but the Rheintal Loop offers a 25‑km bicycle circuit that winds along the calm banks of the Rhine, climbs through pine‑scented hills, and passes tiny hamlets where children still wave from their doorsteps. It’s a perfect blend of nature, history, and quiet village life.

Must‑see stops

  • The ancient Roman bridge in Nendeln – a stone arch spanning the river, still in use today.
  • Kleinwalsertal viewpoint – a small plateau with a panoramic bench offering a 180° view of the Alps and the valley below.
  • The “Butterfly Meadow” near Schaan – a meadow packed with native wildflowers, especially vibrant in late June.

Tips

  • Rent a hybrid bike from the “Alpine Cycle Co.” on Helvetiaplatz – they provide helmets, a waterproof map, and a complimentary energy bar.
  • Pack a lightweight rain jacket; weather in the Alps can shift in a heartbeat.

5. Attend a “Silent Film Night” at the Old Town Cinema (Kinemathek)

Why it’s special

The tiny, Art‑Deco cinema on the corner of Gassnerstrasse shows an eclectic mix of classic silent movies, local experimental shorts, and occasional live piano accompaniment. The venue is intimate (just 50 seats), and the décor retains its 1920s charm: velvet curtains, brass sconces, and a historic popcorn machine that still whirs like a miniature steam engine.

Upcoming shows (as of 2025)

  • “The Prince of the Valley” – a 1923 Liechtensteinic drama about a young aristocrat who renounces his title to become a shepherd.
  • “Alpine Echoes” – a modern short film series filmed entirely on a smartphone by local students, depicting the lives of mountain rescue dogs.
  • “Live Piano Night” – a concert where pianist Miriam Keller plays original scores while the audience watches classic Buster Keaton reels.

Tips

  • Arrive early to snag a seat by the wall; the acoustics are best there.
  • Grab a cup of “Müesli Latte” from the café downstairs – it’s a warm milk drink with toasted oat flakes and a dash of cinnamon.

Bonus: How to Weave These Gems Into a Perfect Day

TimeActivityReason
08:00Breakfast at the Alpine Farmstead CaféFresh, local fare to fuel your adventure
09:30Walk the KunstwegGentle warm‑up while soaking in art & light
11:00Bike the Rheintal Loop (first half)Scenic ride & gentle hill climbs
13:00Picnic lunch (grab a cheese platter from the farmstead)Picnic by the river – pure bliss
14:30Underground Vaults tourDive into Vaduz’s secret past
16:30Continue the Loop (second half)Return via a different side, spotting hidden villages
18:30Evening coffee at the Old Town Cinema caféRelax before the film
19:30Silent Film NightEnd the day with nostalgic magic

Final Thoughts

Vaduz may wear a crown of polished tourism, but underneath lies a tapestry of quiet corners, local traditions, and hidden stories waiting for the inquisitive traveller. Whether you’re an art lover, a foodie, a history buff, a cyclist, or a cinephile, these five off‑the‑beaten‑path experiences will let you see a side of the capital that most guidebooks overlook.

So next time you wander into this Alpine jewel, stray from the usual map, ask a local for a secret, and let Vaduz’s quieter rhythms surprise you.

Ready to explore? Pack your walking shoes, a sense of adventure, and maybe a notebook for those spontaneous sketches – Vaduz’s hidden treasures are just a few steps away.

Happy travels!

“One Last Look”, nothing is what it seems

A single event can have enormous consequences.

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.

It is available on Amazon here:  http://amzn.to/2CqUBcz

365 Days of writing, 2026 – Beyond the second novel

The ultimate blueprint

The Ultimate Blueprint: Simple Guidelines for Planning and Writing a Series of Novels

Stepping into the world of novel series writing is both exhilarating and terrifying. Whether you are dreaming of an epic fantasy saga like Harry Potter, a sprawling space opera, or a gripping multi-book mystery series, the sheer scale of the project can easily overwhelm even the most disciplined writers.

How do you keep your plot straight across three, five, or ten books? How do you keep readers hooked from the final page of Book 1 without resorting to cheap tricks?

As a copywriter and content strategist, I look at book series through the dual lens of creative storytelling and audience retention. Just like a successful content marketing funnel, a great book series needs structural integrity, consistent branding (or tone), and a compelling journey that keeps the “consumer” coming back for more.

Here are some simple, actionable guidelines to help you plan and write a successful series of novels from conception to publication.


1. Define the Scope: Trilogy, Open-Ended, or Arc-Based?

Before you write a single word of Chapter 1, you need to know the architectural style of your series. Not all series are created equal. Broadly speaking, they fall into three categories:

  • The Finite Trilogy/Saga: Think The Lord of the Rings or The Hunger Games. There is one overarching plot, a clear beginning, middle, and end, and the series concludes when the main conflict is resolved.
  • The Episodic/Open-Ended Series: Think classic detective fiction like Sherlock Holmes or Lee Child’s Jack Reacher. The protagonist remains the same, but each book features a standalone mystery or adventure.
  • The Arc-Based Series: Think most modern urban fantasy or television shows. There is a “case of the week” or book-specific conflict, but a massive, overarching plot unfolds slowly in the background over multiple books.

Pro Tip: If this is your first series, start with a trilogy or a tight arc-based series. Open-ended series can easily suffer from “plot fatigue,” while trilogies force you to respect pacing and finality.

2. Establish the Core Promise (And Honour It)

Every genre has unwritten rules and reader expectations. If you are writing a romance series, the reader expects a happily-ever-after (HEA) or at least a happy-for-now (HFN). If you are writing a thriller, they expect high stakes and resolution.

When planning a series, define your Core Promise:

  • What emotional or psychological journey are you taking the reader on?
  • What makes this world and these characters unique?

Deliver a satisfying conclusion to each individual book while advancing the larger narrative promise across the series. If a reader finishes Book 1 and feels like nothing happened because it was “just setup” for Book 2, you’ve broken the contract of trust.

3. Map the Macro and the Micro (Outlining)

You can sometimes “pantser” (write by the seat of your pants) a standalone novel, but doing so for a series is a recipe for massive continuity errors, plot holes, and writer’s block.

You need a two-tier outlining strategy:

  • The Macro Outline (The Series Arc): Map out the major beats of the entire series before you start. Where does the protagonist start in Book 1? What is the midpoint of the entire series (usually in Book 2 of a trilogy)? How does it end in the final book? Knowing your destination prevents you from writing yourself into a corner.
  • The Micro Outline (The Individual Book): Once the macro arc is set, zoom in and outline the specific book you are currently writing. Ensure it has its own distinct three-act structure, rising action, climax, and resolution.

4. Design Characters with Built-In Runway

Your protagonist needs room to grow. If your main character starts Book 1 as an all-knowing, all-powerful master of their universe, where do they go by Book 3? Nowhere.

  • Give them flaws: Flaws create internal conflict, which is just as important as external conflict.
  • Plan the character arc: Map out how the character’s worldview will shift from book to book.
  • Don’t neglect the supporting cast: Introduce recurring side characters who can carry subplots, offer contrasting viewpoints, or act as foils for your protagonist.

5. Build a Living, Breathing Bible (Continuity Tracking)

Nothing pulls a reader out of a story faster than a character having blue eyes in Book 1 and brown eyes in Book 3, or a magical rule changing on a whim.

Create a Series Bible—a digital document (using tools like Notion, Scrivener, or even a simple Google Doc) where you track:

  • Character Profiles: Names, physical descriptions, quirks, key relationships, and character arcs.
  • World-Building Rules: Geography, history, magic systems, technology, or societal rules.
  • The Timeline: A chronological master-list of when events happen in your universe.

Update this bible religiously as you write. Future-you will thank present-you.

6. Balance Cliffhangers and Resolution

One of the trickiest parts of writing a series is figuring out how to end each individual book.

  • Avoid the “Abrupt Stop”: Do not simply cut the story off mid-sentence on page 300 and call it a cliffhanger. That frustrates readers.
  • Resolve the Main Conflict of the Book: The immediate threat of this specific novel must be dealt with. The villain of Book 1 should be defeated (or the immediate mystery solved).
  • Introduce the Next Catalyst: Once the dust settles, introduce a new revelation, a twist, or a threat that points directly toward Book 2. The reader should feel a sense of closure plus a massive spike of curiosity about what happens next.

7. Consider Your Release Strategy (For Indie and Hybrid Authors)

If you are self-publishing or working with independent presses, your release strategy matters immensely for series success.

Unlike traditional publishing, where books often come out years apart, modern readers consume content rapidly.

  • Write ahead: Ideally, write the first two or three books (or even the whole series) before publishing the first one.
  • Rapid release: Launching books close together (e.g., 1–3 months apart) allows you to capture algorithmic momentum, keep advertising profitable, and hook readers who hate waiting for sequels.

Final Thoughts: Consistency is King

Writing a series of novels is a marathon, not a sprint. The secret ingredient isn’t raw talent—it’s consistency. By setting clear structural goals, keeping meticulous notes in your series bible, and respecting the pacing of both individual books and the overarching narrative, you’ll build a cohesive, immersive world that readers won’t want to leave.

Now, open up that blank document, map out your macro-arc, and start writing the first chapter of your multi-book masterpiece!


Are you planning a book series right now? What genre are you tackling, and what’s your biggest challenge? Let’s chat in the comments below!

Harry Walthenson, Private Detective – the second case – A case of finding the “Flying Dutchman”

What starts as a search for a missing husband soon develops into an unbelievable story of treachery, lies, and incredible riches.

It was meant to remain buried long enough for the dust to settle on what was once an unpalatable truth, when enough time had passed, and those who had been willing to wait could reap the rewards.

The problem was, no one knew where that treasure was hidden or the location of the logbook that held the secret.

At stake, billions of dollars’ worth of stolen Nazi loot brought to the United States in an anonymous tramp steamer and hidden in a specially constructed vault under a specifically owned plot of land on the once docklands of New York.

It may have remained hidden and unknown to only a few, if it had not been for a mere obscure detail being overheard …

… by our intrepid, newly minted private detective, Harry Walthenson …

… and it would have remained buried.

Now, through a series of unrelated events, or are they, that well-kept secret is out there, and Harry will not stop until the whole truth is uncovered.

Even if it almost costs him his life.  Again.

The cinema of my dreams – I always wanted to write a war story – Episode 50

For a story that was conceived during those long boring hours flying in a steel cocoon, striving to keep away the thoughts that the plane and everyone in it could just simply disappear as planes have in the past, it has come a long way.

Whilst I have always had a fascination in what happened during the second worlds war, not the battles or fighting, but in the more obscure events that took place, I decided to pen my own little sidebar to what was a long and bitter war.

And, so, it continues…

Meyer was cramping, having been confined to a relatively small space in the box car for far too long.

He had considered when the train was moving to come out to stretch, but then the train had stopped several times for lengthy periods when soldiers had searched all of the cars.

There had been one time when he had almost been discovered, a soldier getting a little too close for comfort, and had been called away a few moments before he lifted the palings that covered his hiding spot.

Then, at another siding, the soldiers brought dogs, and one had stopped near the carriage sniffing and making moaning sounds before then doing what dogs do against the wheels.

Expletives and laughter from the soldiers, relief from Meyer.  He knew if he was caught, the chances were he’d be shot.

Now, it was night, very, very late and the train had arrived at Florence and some time was spent unconnected the wagons then reconnecting to a shunting engine and pushed into a siding one across from the last.  From the crack in the back wall, he could see the station platforms in the distance, where only a few lights were on.

Next to where the boxcar sat was a wall, or houses or warehouses he didn’t know, but safety was just 30 meters away.  All he had to do was get from the car, and through or over that wall.

He waited, and during the next hour there was a train arrival, where the lights were turned on just before, during and after it left, back the way it had come, most of the time taken putting the locomotive on the other end.

It was going to be a problem if he chose to leave, and a train was arriving.  All the advance notice was the whistle.

The other problem was the sporadic nature of the patrols, two German soldiers wandering up and down the tracks, aiming their torches at walls and windows, loading telling each other war stories and crude stories.  They were bored, which would work in his favour.

There was, he noted, about an hour between each one.

Figuring it was about three in the morning after the second patrol had returned to the station, he came out of his hiding spot.  He tried not to make any noise which meant the harder he tried, the more it happened.

Once out he peered through the rear guard’s window at the station and it was deserted.  There were no lights up the lines where the wagons were parked.  There was no sign of the shunting locomotive.

He went over to the door and pulled.  It was stiff and at first, didn’t move.  A harder tug loosened the track and the door slid sideways about 30 centimetres.  He put his head out to check.  The moon was out, and it was quite light, light enough to see up and down the track.

There were about 20 wagons on the siding.  The wall ran for most of that distance, with what appeared to be an opening opposite the tenth or eleventh wagon.  That’s where he would go.

He pushed the door open wide enough to squeeze through and climbed down onto the tracks.  Once down he closed the door.  If anyone had checked, it had been closed before.  Keeping close to the side of the wagons, he headed away from the station.

About three wagons along, a light came on almost opposite him, illuminating the tracks,, the wagons and him.  Several seconds later, a whistle sounded, not a train whistle but one like a guard.

Then a man yelled out “Halt!”

He looked back towards the station and could see two soldiers running awkwardly in the middle of the tracks towards him.

Meyer started running for the gap in the wall, keeping as close to the wagons as he could.

When he looked back over his shoulder, he could see they were gaining on him.  He was still stiff and sore from being in that confined space for so long.

Another light came on further along.

He stopped and looked around.  The soldiers were raising their guns.

He saw only one way out, and climbed under the train and over to the other side of the train, away from his objective.

He ran harder and was nearly at the end of the wagons when a man stepped out in front of him.  He was not in a uniform.

Meyer almost stumbled and fell trying to stop crashing into him.

“Meyer?”

The man knew his name.  He looked Italian, was he from the resistance?

“Who are you?” he asked in halting Italian.

“What is the doe word?”

Code word?  What code word?  The piece of paper in his pocket, given to him by the British officer.  He pulled it out.  “Winston.”

“Right, you’re the one I’m here for.  Follow me if you want to live.”

The man then ran across the tracks to the opposite side, and Meyer followed as quickly as he could.  Then just short of the stone wall, there was an opening in the ground where another man was half in, half out.

“This way,” he said, then disappeared down the hole.

The soldiers had been held up crossing under the train to follow and were now so far behind they were out of sight. 

Meyer saw the hold, with a ladder and climbed down.  The man who had led him there followed and put the lid back over the top.

“Where are we?” Meyer asked.

“The sewers.  A little smelly, but you’re safe.  For the moment.”

© Charles Heath 2021-2023

An excerpt from “Mistaken Identity” – a work in progress

The odds of any one of us having a doppelganger are quite high. Whether or not you got to meet them or be confronted by them was significantly lower. Except, of course, unless you are a celebrity.

It was a phenomenon remarkable only for the fact that, at times, certain high-profile people, notorious or not, had doubles if only to put off enemies or the general public. Sometimes we see people in the street who look like someone we knew and make the mistake of approaching them like a long-lost friend, only to discover an embarrassed individual desperately trying to get away from what they perceive as a stalker, or worse.

And then sometimes it is a picture that looms up on a TV screen, an almost exact likeness of you. At first, you are fascinated, and then, according to the circumstances and narrative that is attached to that picture, either flattered or horrified.

For me, one turned to the other when I saw an almost likeness of me flash up on the screen when I turned the TV on in my room. What looked to be my photo, with only minor differences, was in the corner of the screen, the newsreader speaking in rapid Italian, so fast I could only translate every second or third word.

But the one word I did recognise was murder. The photo of the man on the screen was the subject of an extensive manhunt. The crime, the murder of a woman in the very same hotel I was staying, and it was being played out live several floors above me. The gist of the story, the woman had been seen with and staying with the man who was my double, and, less than an hour ago, the body had been discovered by a chambermaid.

The killer, the announcer said, was believed to be still in the hotel because the woman had died shortly before she had been discovered.

I watched, at first fascinated by what I was seeing. I guess I should have been horrified, but at that moment it didn’t register that I might be mistaken for that man.

Not until another five minutes had passed, and I was watching the police in full riot gear, with a camera crew following behind, coming up a passage towards a room. Live action of the arrest of the suspected killer, the breathless commentator said.

Then, suddenly, there was a pounding on the door. On the TV screen, plain to see, was the number of my room. I looked through the peephole and saw an army of police officers. It didn’t take much to realise what had happened. The hotel staff identified me as the man in the photograph on the TV and called the police.

Horrified wasn’t what I was feeling right then.

It was fear.

My last memory was the door crashing open, the wood splintering, and men rushing into the room, screaming at me, waving guns, and when I put my hands up to defend myself, I heard a gunshot.

And in one very confused and probably near-death experience, I thought I saw my mother and thought what was she doing in Rome?

I was the archetypal nobody.

I lived in a small flat, I drove a nondescript car, had an average job in a low-profile travel agency, was single, and currently not involved in a relationship, had no children, and, according to my workmates, no life.

They were wrong. I was one of those people who preferred their own company; I had a cat, and travelled whenever I could. And I did have a ‘thing’ for Rosalie, one of the reasons why I stayed at the travel agency. I didn’t expect anything to come of it, but one could always hope.

I was both pleased and excited to be going to the conference. It was my first, and the glimpse I had seen of it had whetted my appetite for more information about the nuances of my profession.

Some would say that a travel agent wasn’t much of a job, but to me, it was every bit as demanding as being an accountant or a lawyer. You were providing a customer with a service, and arguably, more people needed a travel agent than a lawyer. At least that was what I told myself as I watched more and more people start using the internet, and our relevance slowly dissipating.

This conference was about countering that trend.

The trip over had been uneventful. I was met at the airport and taken to the hotel where the conference was being held with several other delegates who had arrived on the same plane. I had mingled with several other delegates at the pre-conference get-together, including one whose name was Maryanne.

She was an unusual young woman, not the sort that I usually met, because she was the one who was usually surrounded by all the boys, the life of the party. In normal circumstances, I would not have introduced myself to her, but she had approached me. Why did I think that may have been significant? All of this ran through my mind, culminating in the last event on the highlight reel, the door bursting open, men rushing into my room, and then one of the policemen opened fire.

I replayed that last scene again, trying to see the face of my assailant, but it was just a sea of men in battle dress, bulletproof vests and helmets, accompanied by screaming and yelling, some of which I identified as “Get on the floor”.

Then came the shot.

Why ask me to get on the floor if all they were going to do was shoot me? I was putting my hands up at the time, in surrender, not reaching for a weapon.

Then I saw the face again, hovering in the background like a ghost. My mother. Only the hair was different, and her clothes, and then the image was going, perhaps a figment of my imagination brought on by pain-killing drugs. I tried to imagine the scene again, but this time it played out without the image of my mother.

I opened my eyes and took stock of my surroundings. What I felt in that exact moment couldn’t be described. I should most likely be dead, the result of a gunshot wound. I guess I should be thankful the shooter hadn’t aimed at anything vital, but that was the only item on the plus side.

I was in a hospital room with a policeman by the door. He was reading a newspaper and sitting uncomfortably on a small chair. He gave me a quick glance when he heard me move slightly, but didn’t acknowledge me with either a nod or a greeting, just went back to the paper.

If I still had a police guard, then I would still be considered a suspect. What was interesting was that I was not handcuffed to the bed. Perhaps that only happened in TV shows. Or maybe they knew I couldn’t run because my injuries were too serious. Or the guard would shoot me long before my feet hit the floor. I knew the police well enough now to know they would shoot first and ask questions later.

On the physical side, I had a large bandage over the top left corner of my chest, extending over my shoulder. A little poking and prodding determined the bullet had hit somewhere between the top of my rib cage and my shoulder. Nothing vital there, but my arm might be somewhat useless for a while, depending on what the bullet hit on the way in or through.

It didn’t feel like there were any broken or damaged bones.

That was the good news.

On the other side of the ledger, my mental state, there was only one word that could describe it. Terrified. I was looking at a murder charge and jail time, a lot of it. Murder usually had a long time in jail attached to it.

Whatever had happened, I didn’t do it. I know I didn’t do it, but I had to try to explain this to people who had already made up their minds. I searched my mind for evidence. It was there, but in the confused state brought on by the medication, all I could think about was jail, and the sort of company I was going to have.

I think death would have been preferable.

Half an hour later, maybe longer, I was drifting in and out of consciousness. A nurse, or what I thought was a nurse, came into the room. The guard stood, checked her ID card, and then stood by the door.

She came over and stood beside the bed. “How are you?” she asked, first in Italian, and when I pretended I didn’t understand, she asked the same question in accented English.

“Alive, I guess,” I said. “No one has come and told me what my condition is yet. You are my first visitor. Can you tell me?”

“Of course. You are very lucky to be alive. You will be fine and make a full recovery. The doctors here are excellent at their work.”

“What happens now?”

“I check you, and then you have another visitor. He is from the British Embassy, I think. But he will have to wait until I have finished my examination.”

I realised then she was a doctor, not a nurse.

My second visitor was a man, dressed in a suit, the sort of which I associated with the British Civil Service.  He was not very old, which told me he was probably a recent graduate on his first posting, the junior officer who drew the short straw.

The guard checked his ID but again did not leave the room, sitting back down and going back to his newspaper.

My visitor introduced himself as Alex Jordan from the British Embassy in Rome, and he had been asked by the Ambassador to sort out what he labelled a tricky mess.

For starters, it was good to see that someone cared about what happened to me.  But, equally, I knew the mantra, get into trouble overseas, and there is not much we can do to help you.  So, after that lengthy introduction, I had to wonder why he was here.

I said, “They think I am an international criminal by the name of Jacob Westerbury, whose picture looks just like me, and apparently, for them, it is an open and shut case.”  I could still hear the fragments of the yelling as the police burst through the door, at the same time telling me to get on the floor with my hands over my head.

“It’s not.  They know they’ve got the wrong man, which is why I’m here.  There is the issue of what had been described as excessive force, and the fact that you were shot had made it an all-around embarrassment for them.”

“Then why are you here?  Shouldn’t they be here apologising?”

“That is why you have another visitor.  I only took precedence because I insisted on speaking with you first.  I have come, basically, to ask you for a favour.  This situation has afforded us an opportunity.  We would like you to sign the official document, which basically indemnifies them against any legal proceedings.”

Curious.  What sort of opportunity was he talking about?  Was this a matter that could get difficult and I could be charged by the Italian Government, even if I wasn’t guilty, or was it one of those hush-hush type deals, you do this for us, we’ll help you out with that?  “What sort of opportunity?”

“We want to get our hands on Jacob Westerbury as much as they do.  They’ve made a mistake, and we’d like to use that to get custody of him if or when he is arrested in this country.  I’m sure you would also like this man brought into custody as soon as possible, so you will stop being confused with him.  I can only imagine what it was like to be arrested in the manner you were.  And I would not blame you if you wanted to get some compensation for what they’ve done.  But.  There are bigger issues in play here, and you would be doing this for your country.”

I wondered what would happen if I didn’t agree to his proposal.  I had to ask, “What if I don’t?”

His expression didn’t change.  “I’m sure you are a sensible man, Mr Pargeter, who is more than willing to help his country whenever he can.  They have agreed to take care of all your hospital expenses, refund the cost of the Conference, and travel.  I’m sure I could also get them to pay for a few days at Capri or Sorrento, if you like, before you go home.  What do you say?”

There was only one thing I could say.  Wasn’t it treason if you went against your country’s wishes?

“I’m not an unreasonable man, Alex.  Go do your deal, and I’ll sign the papers.”

“Good man.”

After Alex left, the doctor came back to announce the arrival of a woman, who had announced herself as the publicity officer from the Italian police. When she came into the room, she was not dressed in a uniform.

The doctor left after giving a brief report to the civilian at the door. I understood the gist of it: “The patient has recovered excellently, and the wounds are healing as expected. There is no cause for concern.”

That was a relief.

While the doctor was speaking to the civilian, I speculated on who she might be. She was young, not more than thirty, conservatively dressed, so an official of some kind, but not necessarily with the police. Did they have prosecutors? I was unfamiliar with the Italian legal system.

She had long, wavy black hair and the sort of sultry looks of an Italian movie star, and her presence made me more curious than fearful, though I couldn’t say why.

The woman then spoke to the guard, and he reluctantly got up and left the room, closing the door behind him. She checked the door and then came back towards me, standing at the end of the bed. Now alone, she said, “A few questions before we begin.” Her English was only slightly accented. “Your name is Jack Pargeter?”

I nodded. “Yes.”

“You are in Rome to attend the Travel Agents Conference at the Hilton Hotel?”

“Yes.”

“You attended a preconference introduction on the evening of the 25th, after arriving from London at approximately 4:25 pm.”

“About that time, yes. I know it was about five when the bus came to collect me, and several others, to take us to the hotel.”

She smiled. It was then that I noticed she was reading from a small notepad.

“It was ten past five to be precise. The driver had been held up in traffic. We have several witnesses who saw you on the plane, on the bus, at the hotel, and with the aid of closed-circuit TV, we have established you are not the criminal Jacob Westerbury.”

She put her notebook back in her bag and then said, “My name is Vicenza Andretti, and I am with the prosecutor’s office. I am here to formally apologise for the situation that can only be described as a case of mistaken identity. I assure you, it is not the habit of our police officers to shoot people unless they have a very strong reason for doing so. I understand that in the confusion of the arrest, one of our officers accidentally discharged his weapon. We are undergoing a very thorough investigation into the circumstances of this event.”

I was not sure why, but between the time I had spoken to the embassy official and now, something about letting them off so easily was bugging me. I could see why they had sent her. It would be difficult to be angry or annoyed with her.

But I was annoyed.

“Do you often send a whole squad of trigger-happy riot police to arrest a single man?” It came out harsher than I intended.

“My men believed they were dealing with a dangerous criminal.”

“Do I look like a dangerous criminal?” And then I realised if it was mistaken identity, the answer would be yes.

She saw the look on my face and said quietly, “I think you know the answer to that question, Mr Pargeter.”

“Well, it was overkill.”

“As I said, we are very sorry for the circumstances you now find yourself in. You must understand that we honestly believed we were dealing with an armed and dangerous murderer, and we were acting within our mandate. My department will cover your medical expenses and any other amounts for the inconvenience this has caused you. I believe you were attending a conference at your hotel. I am very sorry, but given the medical circumstances you have, you will have to remain here for a few more days.”

“I guess, then, I should thank you for not killing me.”

Her expression told me that was not the best thing I could have said in the circumstances.

“I mean, I should thank you for the hospital and the care. But a question or two of my own. May I?”

She nodded.

“Did you catch this Jacob Westerbury character?”

“No. In the confusion created by your arrest, he escaped. Once we realised we had made a mistake and reviewed the closed-circuit TV, we tracked him leaving by a rear exit.”

“Are you sure it was one of your men who shot me?”

I watched as her expression changed to one of surprise.

“You don’t think it was one of my men?”

“Oddly enough, no. But don’t ask me why.”

“It is very interesting that you should say that, because in our initial investigation, it appeared none of our officers’ weapons had been discharged. A forensic investigation into the bullet tells us it was one that is used in our weapons, but…”

I could see their dilemma.

“Have you any enemies that would want to shoot you, Mr Pargeter?”

That was absurd because I had no enemies, at least none that I knew of, much less anyone who would want me dead.

“Not that I’m aware of.”

“Then it is strange, and will perhaps remain a mystery. I will let you know if anything more is revealed in our investigation.”

She took an envelope out of her briefcase and opened it, pulling out several sheets of paper.

I knew what it was. A verbal apology was one thing, but a signed waiver would cover them legally. They had sent a pretty girl to charm me. Perhaps using anyone else would not have worked. There was potential for a huge litigation payout here, and someone more ruthless would jump at the chance of making a few million out of the Italian Government.

“We need a signature on this document,” she said.

“Absolving you of any wrongdoing?”

“I have apologised. We will take whatever measures are required for your comfort after this event. We are accepting responsibility for our actions and are being reasonable.”

They were. I took the pen from her and signed the documents.

“You couldn’t add dinner with you on that list of benefits?” No harm in asking.

“I am unfortunately unavailable.”

I smiled. “It wasn’t a request for a date, just dinner. You can tell me about Rome, as only a resident can. Please.”

She looked me up and down, searching for the ulterior motive. When she couldn’t find one, she said, “We shall see once the hospital discharges you in a few days.”

“Then I’ll pencil you in?”

She looked at me quizzically. “What is this pencil me in?”

“It’s an English colloquialism. It means maybe. As when you write something in pencil, it is easy to erase it.”

A momentary frown, then recognition and a smile. “I shall remember that. Thank you for your time and cooperation, Mr Pargeter. Good morning.”

© Charles Heath 2015-2021

The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 51

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 installment of an old feature, and we’re back on the treasure hunt.

—-

We took her car.  It wasn’t a limousine of the sort I’d seen the other Cossatino’s driving around in, but a shabby old compact that had seen better days.  Perhaps it was selected for its camouflage qualities, it fitted in with a lot of other old cars that the general population drove.

No one in this town could afford any better.  Not unless you were a Cossatino or a Benderby.  Alex, for instance, had been given a Porsche on his 18th birthday.  By comparison, I was given a new, but second hand, bicycle.

She had parked in a back street some distance from the hotel, and the several times I checked, we were not being followed.  She had noticed me looking over my shoulder a few times but hadn’t commented.  Not until we had driven several miles.

“Alex has one of his mates following me,” I said by way of an explanation.  “Alex seems to think I might lead them to the treasure, which is about as daft as it can get.”

“He’s clutching at straws.  His old man had found out what he’s doing, not that he has told him he knows, and he’s going out of his way to distract Alex.  Old man Benderby doesn’t think there is any treasure.”

“How do you know what the old man is doing?”

“Talks to my father.  They might be sworn enemies, but that doesn’t mean they don’t talk.  It amuses them to see Alex and Vince go head to head.  It’s a waste of time trying to impress their respective fathers.”

“What about you?”

“I’m not trying to impress anyone.  At the right time, I’m packing my bags and going back to Italy to live with the other branch of the family, the ones who are not interested in being master criminals.  I just want to soak up the Tuscan sun and drink wine.”

“I’m sure your father would have something to say about that.”

“He has, but I’m not interested in using my ‘wiles’ as he calls them to get men to spill their secrets.  I’ve seen what it’s done to my mother and my sisters.  I’m not a criminal.”

Not now perhaps.  But back in school, she used every asset to get what she wanted.  It won over Alex, and a few others, particularly those who did her schoolwork for her.  She had nearly every boy at school dangling on a puppet string.

I was lucky she never gave me a second look.

“Well, I’m sure you made a lot of boys happy.”

A sidelong glance told me that wasn’t the wisest of statements to make.  Despite the fact it was true, I guess it was a time she’d rather forget.

I changed the subject.  “So when you went away, I’m thinking you went over to Italy?”

“For a while.  My father thought I was getting a little too close to Alex and sent me to what he thought would be purgatory.  I loved it.  Pity I had to come back.”

We’d reached a small area behind a row of shrubs that shielded us from being seen from the mall.  Something else I’d noticed, it was a cloudy night, and off and on the moon would disappear behind a bank of scudding clouds, and then just before we arrived, the moon had completely disappeared.

When we got out of the car, the darkness closed in around us, and it took a minute or so for my eyes to adjust.  The black clothes almost made us invisible.

I watched her as she wrapped her hair up into a bun and secure it with a band.  Dragged back off her forehead, it made her look older.  It also accentuated the fact she had carefully applied makeup, an odd thing to do when about to go running around in a very dirty place.

The parking spot was a long way from where Boggs and I had last gained entry, so did she have a different entry point.

“Ready?” she asked.

“As ever.”

She took off at a quick pace and I found myself almost jogging to keep up.  She was very fit.  I was not.  We cut across another carpark, one of several surrounding the mall, this one giving some cover because originally there had been landscaping.  It was now overgrown and out of control, and we could move through it and no one could see us.

Not that there was anyone else there.

We came out of the garden, crossed a road, and into an inset where there was a door.

The rusting sign on the door said that the outside should be kept clear as it was a fire exit.

The lock, from what I could see, looked reasonably clean, unlike patches of rust on the door itself, and around the edges of the lock.

“I presume you have a key?”

She pulled a keyring out of her pocket with several keys on it, selected one, and inserted it in the lock.

Nothing.

She tried the next key.  Same result.  She tried the last key.

It turned, and the door swung open.  For a door that showed the rust it did, it moved easily and silently.

She stood to one side as I passed through, then she followed me in, closing the door behind us.  A sign on the back said the door was not to be used, except for fire emergencies, and was alarmed.  No power, no alarm.

“Don’t suppose I should ask where you got the key?”

“Best not.”  She handed me a small torch and turned hers on.  I followed suit.  There was not a lot of light in front of us.  It was, however, quite dark.

“Follow me,” she said, and we set off down a long narrow passage.

—-

© Charles Heath 2020-2021

The 2am Rant: We are taught not to be selfish, but…

Today I decided to take some time out and read a few blogs, to see what the rest of the world is doing leading up to CampNaNoWriMo, and sometimes read some news that’s usually a few days old, not that I’m complaining.

And still working on the James Bondish piece that set my mind on fire.  Last I heard, he has almost completed a successful, almost suicide, mission.  There’s just a small matter of a rebel helicopter with air-to-air missiles trying to shoot down the escape plane.

I try to keep away from the news if it’s possible, but it comes at you from everywhere.  My browser somehow decided to allow notifications and every few minutes a little popout slides out from the bottom right corner and tells me what’s gone wrong.

Never any good news by the way.

And yes, I have Windows 10, but I can’t be bothered reading the manual to find out how to stop them.  Maybe, subconsciously, I don’t.

I never thought one man could generate so many headlines.  We had one, given the nickname, the human headline, but Trump, he is in a class of his own.

I used to like watching him on The Apprentice, believe it or not.

But again I digress…

I saw the word selfish popup in a number of posts, and it reminded me that, at times writers have to be.  There are only so many hours in a day, and after emails, blogs, reading, news, life, there’s very little time left to write.

So, we need to be selfish at those times.  I am because when I sit down to write, there shouldn’t be any distractions.  As a writer, I’m not seeking popularity, maybe one day that will come, but I’m in this writing thing because I have stories to tell and I want to get them down.  Nobody may ever read them, I may never rise above mediocrity, but I am doing something I love, and very few of us out there can say that unequivocally.

Most of us have a day job or something else that consumes a great deal of our time.

Oh to be a successful author like James Patterson?  But how does he do it?  I guess it comes down to hard work, and a little bit of luck.

And maybe, one day, if I work hard enough, some of it might come my way.

What I learned about writing – Patterns, images and words

Breaking Free from Conventional Patterns: A Guide to Classicist, Modernist, and Personalised Visual Storytelling

As creatives, we’re often influenced by the styles and trends of our time. When it comes to visual storytelling, two dominant patterns have emerged: classicism and modernism. While these styles have their roots in art and architecture, they also extend to the world of design, writing, and even social media. But what happens when we want to break free from these conventional patterns and forge our own path? In this post, we’ll explore the characteristics of classicist and modernist patterns, discuss the pros and cons of using them, and provide guidance on creating your own unique visual language.

Classicism: Timeless Elegance

Classicism is characterised by:

  • Symmetry and balance
  • Ornate details and embellishments
  • Traditional typography and serif fonts
  • Earthy colours and muted tones
  • References to historical and cultural icons

Classical patterns evoke a sense of tradition, sophistication, and timelessness. They’re often associated with luxury brands, high-end products, and institutions that value heritage and prestige. If you’re aiming to create a sense of authority, trust, and stability, classicist patterns might be the way to go.

Modernism: Bold Innovation

Modernist patterns, on the other hand, are marked by:

  • Clean lines and minimalism
  • Geometric shapes and abstract forms
  • Sans-serif fonts and bold typography
  • Bright colours and bold contrasts
  • Emphasis on functionality and simplicity

Modernist patterns embody the spirit of innovation, progress, and experimentation. They’re commonly used in tech, design, and creative industries that prioritize forward thinking and cutting-edge ideas. If you want to convey a sense of dynamism, creativity, and forward momentum, modernist patterns might be your best bet.

The Risks of Conventional Patterns

While both classicist and modernist patterns have their advantages, relying too heavily on them can lead to:

  • Lack of originality and uniqueness
  • Overuse and clichés
  • Inability to stand out in a crowded market
  • Limited creative freedom and expression

Creating Your Own Patterns: The Power of Personalisation

So, what if you want to break free from these conventional patterns and create something truly unique? The good news is that you can! By combining elements from different styles, experimenting with new forms and shapes, and incorporating personal touches, you can develop a visual language that reflects your brand’s personality and values.

Here are some tips for creating your own patterns:

  1. Experiment with hybrids: Mix and match elements from classicism and modernism to create a style that’s both timeless and innovative.
  2. Draw from personal experiences: Incorporate patterns and motifs that reflect your personal story, interests, or cultural background.
  3. Play with typography: Use custom fonts, handwritten scripts, or unconventional typography to add a touch of personality to your designs.
  4. Incorporate natural elements: Use organic shapes, textures, and colours to bring a sense of warmth and authenticity to your visual storytelling.
  5. Keep it simple: Don’t be afraid to strip away unnecessary elements and focus on simplicity and clarity.

Conclusion

In the world of visual storytelling, patterns and styles can be both a blessing and a curse. While classicist and modernist patterns have their advantages, they can also limit our creative potential and lead to clichés. By embracing the power of personalisation and experimentation, we can break free from conventional patterns and create a visual language that’s truly unique and reflective of our brand’s personality. So, don’t be afraid to take risks, try new things, and forge your own path. The possibilities are endless, and the results can be truly remarkable.

365 Days of Writing, 2026 – 205

Day 205 – Short or long titles

The Great Title Debate: Why Both Short & Long Titles Work (And How to Choose)

We’ve all heard the golden rule of content creation: Keep it short and punchy.

From Ernest Hemingway to modern-day Twitter, brevity is traditionally praised as the ultimate form of wit. Short titles are clean, easy to read on mobile screens, and instantly digestible.

Yet, if you look at the top-ranking articles on Google, viral YouTube videos, and bestselling books, you’ll notice a fascinating paradox: Extremely long titles are just as popular.

Think about it. Would you rather click on “Productivity Tips” or “10 Scientifically Proven Productivity Tips That Will Transform Your Morning Routine Before 8 AM”?

While both work, they serve entirely different psychological triggers. If short and simple titles are so great, why do long titles dominate just as much? And more importantly, which one should you use?

Let’s dive into the psychology of titles and explore the exact guidelines you need to write headlines that convert.


The Case for Short Titles (Why Simple Wins)

Short titles have stood the test of time because of how human brains process information.

  • Cognitive Load is Low: Readers are lazy (or rather, busy). A short title requires zero effort to scan and comprehend.
  • Mobile-Friendly: With over 60% of web traffic coming from mobile devices, short titles don’t get awkwardly cut off by screen boundaries.
  • The Power of Mystery: Short titles often act as curiosity gaps. Think of iconic book titles like DuneOutliers, or Eats, Shoots & Leaves. They force the reader to ask, “What is this actually about?”

Best used for: Branded content, creative storytelling, news headlines, and audiences who already trust your authority.


The Case for Long Titles (Why Detail Dominates)

If short titles are so efficient, why do long, multi-clause titles consistently rank well on Google and pull massive click-through rates (CTR) on platforms like YouTube?

Here is the secret: Long titles are actually mini-pitches.

  1. Search Engine Optimisation (SEO): Google loves context. A longer title allows you to pack in primary keywords, secondary keywords, and intent-driven modifiers without looking like you’re keyword-stuffing.
  2. Explicit Value Proposition: Long titles remove all ambiguity. The reader instantly knows what they are getting, how much they are getting (e.g., “10 ways”), and why it matters to them.
  3. Targeting Niche Intent: Someone searching for “Marketing” is a broad, hard-to-please user. Someone searching for “B2B SaaS Content Marketing Strategy for Early-Stage Startups” has high intent. A long title catches that specific, highly valuable fish.

Best used for: How-to guides, SEO-driven blog posts, educational content, and YouTube tutorials.


Guidelines: How to Choose (and Write) Short vs. Long Titles

You don’t have to guess which length to use. Follow these copywriting guidelines to determine the right length for your next piece of content—and how to execute it properly.

Guideline 1: Match Title Length to Search Intent

  • Informational/How-To: Lean toward long titles. Users want to know they’ve found the exact answer to their specific problem.
    • Example: “How to Fix a Leaking Faucet” vs. “Step-by-Step Guide: How to Fix a Leaking Single-Handled Kitchen Faucet in 15 Minutes”
  • Navigational/Branded: Lean toward short titles. The user is already looking for a specific brand or concept.
    • Example: “Nike Air Max Review”

Guideline 2: Balance SEO with Readability

For SEO, Google generally displays the first 50–60 characters of a title tag (roughly 600 pixels).

  • If you write a long title, put the most important keyword and hook at the very beginning.
  • Use the second half of the title for emotional triggers, modifiers (like “2024 Guide”), or brackets.
  • Formula: [Primary Keyword]: [Compelling Benefit] + [Modifier]

Guideline 3: Use Subheadlines to Bridge the Gap

You don’t have to cram everything into the main title. Use a two-part title structure (Headline + Subheadline) to get the best of both worlds:

  • Main Title (Short & Punchy): Grabs attention.
  • Subtitle (Long & Descriptive): Delivers context.
  • Example:
    • Headline: The Power of Habit
    • Subheadline: Why We Do What We Do in Life and Business

Guideline 4: A/B Test Your Titles

Audiences are unpredictable. What works for a B2B SaaS blog might fail for a lifestyle magazine. Whenever possible, run A/B tests on your headlines using tools like MonsterInsights, Optimizely, or built-in email marketing subject line testers. You might find that your audience prefers a punchy 5-word title over a descriptive 12-word title—or vice versa.


The Verdict

So, which is better: short or long?

The truth is, there is no universal “better”—only “more appropriate.”

Short titles win on aesthetics, branding, and punchy curiosity. Long titles win on clarity, search engine optimisation, and explicit value.

Instead of obsessing over character counts, focus on clarity, relevance, and meeting the user’s intent. If a short title says it best, use it. If you need a longer title to explain the immense value hidden inside your content, don’t be afraid to spell it out.