Category: blogging

The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 35

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.

…

It was an understatement to say I was dreading going to Boggs’ place.

In fact, in the hour it took to get through the morning chores I had time to consider how and why I was in this position.  Boggs was a friend.  We were friends at school and as best we could we had each other’s back when the bullies came out to play.

At times that didn’t amount to much because as everyone knows, bullies hunt in packs.  Six against two wasn’t much of an equation.  And it those days, the teachers spent more time hiding from the students than being in front of them.

It was simply a case of what doesn’t kill you makes you stronger.

It didn’t feel like that, not for a very long time.

But, in the end, misfortune can make strange bedfellows, and in a town that depended on a single industry, it soon became apparent that there were more people against the Benderby’s and the Cossatino’s than for, and in small-town politics, that was more than an evening up.  Out of school and separated from their acolytes, both Alex and Vince found that whatever influence they had once, was now gone, and all that was left was a grunt, and we were basically left alone.

Boggs was the dreamer.

He had idolized his father and when he went missing it broke him.

This map thing was the first signs of Boggs finally coming back to life, but the problem was, it was all pinned on false hopes.  The Sherriff was right.  Boggs was in over his head, playing with the two most vicious families from around here, and it was bad enough that his father had fallen foul of them, the Sherriff was not about to see his son go the same way.  I was going to try and talk Boggs out of it.

Yet, on the other hand, it was people like us who needed a win, just to show there was still hope in this place.  With threats every day that the factory might have to close, there were dark clouds hanging over everyone’s head.

If the factory closed, there was going to be a very large hole in the local economy and a lot of people in financial trouble.  I’m not sure how finding the treasure might solve all of that, but I suspect Boggs’ had something up his sleeve.

I knocked on the door and his mother answered.  She looked harried.  She was a nurse and looked as though she just got home from the night shift at the hospital.  

“Boggs is in his room.”

“How are you this morning?”

“Tired.  And an afternoon shift, which I might not get to if I don’t get some sleep.  You know where he is.  Try not to make any noise.”

“Will do.”

I came in and closed the door, watching her dash off down the passage to the other end of the house.

She could not work endless double shifts for much longer, but like all of us, it was not out of desire but necessity.  She had implored Boggs to get a job and help, but he seemed oblivious to the problem.  I’d tried to speak to him, but he had that insufferable way of just not listening.

Boggs was in his room, sitting on the bed and staring at the ceiling.

I looed up too, but there was nothing there.

“Don’t tell me,” I said, “but you’ve suddenly discovered you’ve got X-Ray vision.”

“If only.  I could use it right now to find something that’s missing>”

“Your cell phone?”  Boggs was always misplacing something, of forgetting it.  I’d lost count how many times he’d misplaced his phone.

“No.  An underground river.”

OK.  That was out of left field.  I had no idea any rivers were missing, or, in fact, they could actually go missing.

Apparently, they could.

“There’s two,” he said.  300 years ago five or take this part of the coastline had several rivers that ran down from the mountain range.  What we now call the hills on the edge of the coastal plain.  There was also a lake, not very large, but it used to have several streams flow into it all year round and had an aqua flow that came out along the coastline.”

“And you figured all of this out from what?  A copy of the treasure map.”

The moment he started quoting rivers, streams, and lakes, I remembered each of those geographical features appeared on several of the map versions.  I had suggested, rather comically, that it would be funny if the treasure was buried in the lake.

It wasn’t all that funny.  It was also possible.

“Imagine this.  Drop anchor out to sea, in other words on the other side of the natural sandbar that formed at the seaward side of the river, get in the longboats and row inshore to the lake, across the lake, up another river to the base of the hills.  Then do a little exploring, north or south, and find a cave.  I reckon the treasure was buried in a cave.  We know there are caves up there, not many, but I think there used to be more.”

“Someone already did a survey with some rather fancy electronic equipment with the same idea in mind.  He found three, not very long, and certainly without treasure.  Two had substantial falls inside, which is why they were buried.”

“There’s more.”

He jumped up off the bed and went over to the robe and opened the door.  Tacked on the back was a copy of an ordnance survey map of this part of the coastline, and a tracing of the treasure map, to the same scale on top.

“As you can see, I think ‘I’ve found the correlation between the real, and what was real 300 years ago.”

Except there’s no rivers and no lake.  And no sand bar as I recall.  There was a small marina in what might have been where the river met the sea, but that’s gone.  They filled it in and build a shopping mall on it.  A huge, now half empty, shopping mall.  A modern wonder 40 years ago that was supposed to bring business and shoppers to the town.  For a few years it did, until another town 50 miles away got the same idea, sold the land for half the price, and made the rents a quarter of what they were here.

They called it progress.

We called it piracy.

“Then we can hardly row our boat inshore and up the stream, if it’s not there.”

I hated to state the obvious.

“But,” he said, looking like the cat who’d swallowed the canary.  “What if it is still there, but we just can’t see it?”

© Charles Heath 2020

Short Story Writing: Don’t try this at home – Part 4

This is not meant to be a treatise on short story writing.  Far be it from me to advise anyone on the subject.  I prefer to say how it is that I do it so you can learn all of the pitfalls in one go.

…

I find inspiration in the most unlikely places.

Shopping malls are great; there are so many things going on, so many different types of people, and there’s often enough to fill a journal.

Driving on the roads, you get to see some of the most amazing stunt driving, and it’s not even being filmed; it’s just playing out before your very eyes.

Waiting in hospitals, waiting for doctors, accountants, dentists, friends, hanging around coffee shops, cafes, bistros, restaurants, the list is endless.

But the best source, newspapers, and the more obscure the headline, the better, and then just let your imagination run free, like:

Four deaths, four mysteries, all homeless.

This poses a few interesting scenarios, such as whether they were homeless or were made to look like they’re homeless.  Are they connected in any way?

The point is, far from the original story that simply covers four seemingly random murders, a writer can turn this into a thriller very easily.

It could follow a similar headline in another country, where three headlines could be found, say, in London, where a man is found dead in an abandoned building, a week after he died, with no obvious signs of how he died.

A woman is killed in what seems from the outset an accident involving two cars, where, after three days, the driver of the second vehicle simply disappears.

A man is reported missing after not reporting for work when he was supposed to return from a vacation in Germany.

Where an obscure piece says that a man was found at the bottom of a mountain, presumed to have fallen in a climbing accident.

It’s all in the joining of the dots.

 

What I learned about writing – Ursula K LeGuin writing workshops

The Craft of the Craft: Inside Ursula K. Le Guin’s Writing Workshops

For aspiring writers, the name Ursula K. Le Guin stands as a monolith of literary craft. Beyond her genre-defining novels like The Left Hand of Darkness and the Earthsea cycle, Le Guin was a dedicated mentor. She believed that writing was a skill to be honed, not just a talent to be waited upon.

If you’ve ever wondered what it was like to sit in a room (or engage in a digital exchange) with the master of speculative fiction, you are asking about more than just a class—you are asking about a philosophy of language.

In this post, we’ll explore the core themes, methodologies, and enduring legacy of Ursula K. Le Guin’s writing workshops.

1. The Primacy of “The Sentence”

Le Guin was famously obsessed with the mechanics of the English language. Her workshops were rarely about high-concept plot brainstorming; they were about the rhythm and music of the sentence.

She often taught that a paragraph is a piece of music. If a sentence didn’t flow, if the cadence was awkward, or if the words didn’t communicate the precise “weight” of the idea, she would push students to rewrite it. Her workshops taught writers that if you cannot control the sentence, you cannot control the story.

2. Reading as Research

One of the most distinct aspects of Le Guin’s pedagogical approach was her insistence that to be a writer, you must be a voracious reader.

Her workshops often featured “close reading” sessions. She would assign classic and contemporary texts, asking students not just to enjoy the story, but to dissect how the author achieved specific effects. She taught that writers are essentially “thieves” of technique—you must read widely to understand the toolbox you have at your disposal.

3. The “Steering” of Narrative Perspective

Le Guin was an expert at shifting perspectives, most notably in Always Coming Home. In her workshops, she challenged students to abandon the “default” narrative voice.

She encouraged participants to experiment with:

  • The unreliable narrator: How do we trust (or distrust) the voice on the page?
  • Non-human perspectives: How does one describe the world without using human-centric metaphors?
  • Voice and Tone: How the specific register of a character’s voice dictates their social standing, their history, and their internal world.

4. The Philosophy of “The Craft” over “The Market”

Unlike many modern MFA programs that focus on “getting published,” Le Guin’s workshops were notoriously indifferent to the commercial market. She viewed writing as a communal, humanistic endeavour.

She often warned students against writing for trends. Her workshops were safe spaces to fail, to experiment with “weird” ideas, and to focus on the integrity of the work rather than its potential for a book deal. She taught that if you focus on the quality of the work, the audience will eventually find its way to you.

5. The Accessible Legacy: Steering the Craft

If you cannot attend a workshop taught by Le Guin herself, the next best thing is her seminal guidebook, Steering the Craft.

This book is essentially the curriculum of her workshops distilled into text. It provides:

  • Exercises in Sentence Structure: Moving beyond simple S-V-O (Subject-Verb-Object) sentences.
  • Exercises in Point of View: Learning to inhabit different narrative distances.
  • Exercises in Sound and Rhythm: Using assonance, consonance, and pacing to create mood.

What You Can Take Away Today

Whether you are a fantasy novelist or an essayist, you can adopt the “Le Guin Method” by implementing these three habits into your daily practice:

  1. Read Aloud: If a sentence trips you up when you read it aloud, it’s not ready. Rewrite it until it sounds like music.
  2. Limit Your Adjectives: Le Guin was famous for stripping away “filler” to let the strong verbs do the heavy lifting.
  3. Study the Masters: Pick a favorite author, transcribe a page of their work by hand, and try to understand exactly why they chose each word.

Final Thoughts

Ursula K. Le Guin’s workshops were never about “finding your voice” in a performative sense. They were about disciplining your voice. By treating writing as a craft—a trade similar to carpentry or weaving—she empowered thousands of writers to take their work seriously.

If you want to write better, stop looking for “inspiration” and start looking for the perfect word to end your next sentence.

Are you a fan of Ursula K. Le Guin’s writing advice? Have you read ‘Steering the Craft’? Share your favourite writing tip from her in the comments below!

365 Days of writing, 2026 – 189

Day 189 – Jane Austen’s novels as examples to draw on

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The Austen Blueprint: Mastering Structure, Dialogue, and Plot Through Jane Austen’s Novels

If you want to write a novel that stands the test of time, look no further than the 19th-century drawing rooms of Jane Austen. While the social landscape of Regency England may seem worlds away from the modern reader, Austen’s technical prowess remains the gold standard for novelists.

Whether you are writing contemporary romance, historical fiction, or a suspenseful thriller, Austen’s work offers a masterclass in narrative architecture. Here is how you can use Jane Austen’s novels as a blueprint for your own storytelling.

1. Structural Symmetry: The Art of the Controlled Narrative

Austen was the queen of “the perfect structure.” Her novels rely on a rhythmic pacing that keeps readers engaged without ever feeling rushed.

  • The Economy of Characters: Austen never included a character who didn’t serve a specific purpose. In your own work, audit your cast. If a character exists only for flavour, consider cutting them or merging their function with a protagonist to tighten your focus.
  • The “Small Village” Approach: Critics often joked that Austen wrote about “three or four families in a country village.” By limiting the scope of your setting, you create high-stakes intimacy. You don’t need a sprawling intergalactic empire to create tension; you just need a closed system where social consequences feel life-altering.

2. Dialogue as a Character Tool

Austen’s dialogue is legendary—sharp, witty, and deeply revealing. She rarely relied on “said-book” descriptors, preferring to let the weight of the words reveal the character’s soul.

  • Character Voice: Think of Mr. Collins’s sycophantic, flowery verbosity versus Mr. Darcy’s clipped, guarded brevity. When writing your dialogue, ask: Would my antagonist speak in long, rambling sentences, or short, punchy bursts? Give each character a distinct rhythmic signature.
  • Subtext is King: In an Austen novel, characters are often forbidden from saying exactly what they mean due to social decorum. This creates incredible tension. Try writing a scene where your characters are arguing about something trivial (like a letter or a walk) while the real conflict is something they are strictly prohibited from mentioning. The friction between what is said and what is felt is where the magic happens.

3. Plotting: The “Misunderstanding” Engine

Modern plotters often over-complicate their narratives. Austen’s plots are remarkably simple on the surface, usually revolving around money, marriage, or social reputation. But the engines of these plots are always character flaws.

  • The Internal-External Drive: Austen’s plots progress because of her characters’ internal biases. Elizabeth Bennet’s prejudice and Mr. Darcy’s pride aren’t just personality traits; they are the literal obstacles that prevent the plot from resolving early.
  • The Revelation Moment: A hallmark of the Austen plot is the “Anagnorisis”—the moment of discovery. Think of Darcy’s first letter to Elizabeth. It forces the protagonist to re-evaluate everything they thought they knew about the world. Identify the “prejudice” your protagonist holds and build your second act around a moment that forces them to burn that belief to the ground.

4. The “Slow Burn” Pacing

In today’s market, many writers feel pressured to start with a massive explosion. Austen teaches us the value of the slow burn. She builds tension through small, incremental shifts in relationship dynamics.

  • Use Micro-Events: Instead of a car crash, use a dance, an unwanted dinner invitation, or a shared secret. When the stakes are emotional, the smallest gesture—a held hand or a cold glance—carries the weight of an explosion.

Putting it into Practice

To apply this “Austen Blueprint” to your next draft, try this exercise:

  1. Strip it down: Take your current manuscript and identify the three most crucial relationships. Cut any character who doesn’t directly influence these dynamics.
  2. Audit the Dialogue: Go through a scene and delete all the dialogue tags (he said/she said). If you can’t tell who is speaking based on their word choice alone, rewrite the lines to be more distinct.
  3. Define the “Pride”: Write down the one lie your protagonist believes about the world. Does your current plot actually force them to face that lie, or are you just throwing external obstacles in their way?

Final Thoughts

Jane Austen’s brilliance wasn’t in grand, sweeping spectacles; it was in the profound understanding of human behaviour. By focusing on tight structures, character-driven dialogue, and the internal growth of your protagonist, you can craft a story that—like Pride and Prejudice—will be read and reread for generations.

Are you currently working on a manuscript? What lessons have you drawn from the classics to improve your writing? Share your thoughts below!

…

Top 5 sights on the road less travelled – Cyprus

Unveiling Cyprus: A Journey Along the Road Less Travelled

Cyprus, with its azure seas, ancient history, and Mediterranean charm, often draws travellers to its bustling resorts and UNESCO-listed sites. But beyond the well-trodden paths lies a lesser-known side of the island—a tapestry of hidden gems, serene landscapes, and rich cultural heritage waiting to be discovered. If you’re seeking adventure off the beaten track, here are five extraordinary experiences that will transform your Cyprus journey into an unforgettable odyssey.

1. Wander Through the Timeless Villages of Omodos

Nestled in the Troodos Mountains, Omodos is a picturesque village that feels like a step back in time. Lined with centuries-old stone houses and terraced olive groves, this UNESCO-recognised hamlet is a haven for those craving tranquillity. Known as a centre for Cypriot winemaking and olive oil production, Omodos offers a glimpse into traditional rural life. Visit the Monastery of Panagia Kanakaria, with its breathtaking 17th-century frescoes, and take a leisurely stroll through the surrounding fields. Tip: Enjoy a local wine tasting at one of the family-run wineries, and don’t miss the village’s annual olive oil festival.

Why It’s Off the Radar: While Omodos is gaining attention among locals, it remains a secret to most international travellers, making it perfect for quiet exploration.

2. Marvel at Stavros tou Athanasiou: The Church of Saint John in the Forest

Tucked between the lush forests of the Troodos Mountains, Stavros tou Athanasiou is a Byzantine gem dating back to the 10th–11th centuries. This UNESCO World Heritage Site is renowned for its stunning frescoes depicting biblical scenes with remarkable vibrancy. The church’s remote location, surrounded by pine trees and the scent of herbs, creates an almost otherworldly atmosphere. Tip: Light a candle to honour Saint John, a local tradition believed to bring blessings, and bring a picnic to savour the serene setting.

Why It’s Hidden: Nestled deep in the wilderness, it’s a 45-minute drive from Limassol, requiring a bit of commitment—exactly what adventurous travellers crave.

3. Escape to Karkarash Dam and Its Bucolic Surroundings

Just west of Nicosia, Karkarash Dam is a hidden oasis that boasts one of Cyprus’s most scenic reservoirs. Framed by olive groves and rolling hills, it’s a peaceful spot for picnics, hiking, or simply soaking in panoramic views. The nearby Ethnological Museum of Avdimou village offers a fascinating look into rural Cypriot life, with relics like old wine presses and traditional tools. Tip: Visit in the spring when wildflowers blanket the area, or in winter for birdwatching opportunities.

Why It’s Under the Radar: Unlike the island’s popular beaches, Karkarash remains a low-key destination, frequented mainly by locals.

4. Walk the Ammochostos Trail’s Valley of the Queens

Stretching across the Ammachosti mountain range, the Ammochostos Trail is a lesser-known hiking route that reveals Cyprus’s ancient past. The Valley of the Queens, part of this trail, is a mystical expanse of rock formations and tombs carved into cliffs—believed to predate even the nearby Valley of the Cyclops. As you trek, imagine the footsteps of merchants and pilgrims who once traversed this path. Tip: Start your hike at the ancient city of Golgoi near Limassol, and pack sturdy shoes—parts of the trail are rocky and unpaved.

Why It’s Secret: While the Ammochostos Trail is technically a historical route, the Valley of the Queens segment is rarely explored by tourists.

5. Discover Lara Beach: The Hidden Emerald Cove

Accessed via a 45-minute hike or a boat tour from Polis Chrysochous, Lara Beach is a secluded paradise in the Akamas Peninsula. Framed by towering cliffs, this crescent of golden sand is fringed by crystal-clear waters—a true hidden gem. The nearby Ghost Forest, a small island with stilted tree trunks rising from the sea, adds a touch of mystery to the experience. Tip: Bring a waterproof bag for your supplies and explore the surrounding coves for snorkelling or diving.

Why It’s Remote: The lack of road access means Lara Beach is one of the island’s best-kept secrets—perfect for privacy-seeking travellers.

Conclusion: Embrace the Uncharted
Cyprus is more than just its beaches and resorts—it’s a land of quiet villages, ancient trails, and natural wonders waiting to be uncovered. By straying from the well-worn paths, you’ll discover a side of the island that resonates with history, serenity, and authenticity. So pack your sense of adventure, rent a car, and let Cyprus surprise you with its hidden treasures. The road less travelled promises an unforgettable journey.

Got a favourite offbeat spot in Cyprus? Share it in the comments—we’d love to hear your discoveries!

In a word: Stick

Everyone knows what a stick is, it’s a lump of wood that you throw out in front of you, and if your dog is inclined to, he will run out and fetch it back.

Of course, there’s the obstinate ones who just lie down on the ground and look at you like you’re foolishly throwing away something useful.

For instance, that stick, and a few others that would be very useful to light a campfire, or just a woodfire in the house, during winter.

Or it can be a stick of wood needed for something else, like a building project, of those highly secret affairs that go on in the locked shed at the bottom of the garden.

I’m sure the dog who refuses to fetch sticks knows exactly what is going on there but is disinclined to say.

But..

If you are looking at the gooey sense of the word, there is an old saying, if you throw enough mud, some of it sticks’.

Yes, you can stick stuff to stuff, such as words cut out of various newspapers to make up a ransom or warning note.

Too many mystery movies, I know.

Paint will stick to timber or any surface, really.

Mud sticks to the bottom of shoes or boots and becomes analysable evidence.

I can stick to you like glue, which means that where you go, I go. This is quite handy if you are trying to stop an opposition player from scoring in a game.

I can use a walking stick, beat someone with a stick, use a stick to fly a plane, or use a gear stick to move a car.

I’m sure, if you think about it, you can come up with a dozen more ways to use it.

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

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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.

Top 5 sights on the road less travelled – Corsica

Corsica, known as the “Isle of Beauty,” has many stunning areas that are often overlooked by the crowds heading to the main coastal resorts.

Here are five of the next best places or activities to do on a less-travelled road in Corsica:

1. The Désert des Agriates

  • Why it’s “less travelled”: This vast, uninhabited area in the north-west is a protected coastal wilderness with no main roads. The beaches are often only accessible by boat, a long hike, or a rough, dusty 4×4 track.
  • The Experience: Explore the wild, fragrant maquis (scrubland) and find pristine white-sand beaches like Plage de Saleccia and Plage du Lodu. You can hire a boat-taxi from Saint-Florent for a day trip, or rent a 4×4 to experience the rugged interior track.

2. The Castagniccia Region (Chestnut Country)

  • Why it’s “less travelled”: Located in the mountainous north-east, this region is a maze of winding, narrow roads that discourage fast travel. Its villages were once wealthy but have been slowly abandoned, giving it an atmosphere of beautiful, forgotten history.
  • The Experience: Drive through deep chestnut forests (castagna is the Corsican word for chestnut) and discover ancient, isolated stone villages like Piedicroce or La Porta, which features a magnificent baroque church and bell tower. This area is perfect for feeling truly lost in time.

3. Hiking the Western Side of Cap Corse’s Sentier des Douaniers

  • Why it’s “less travelled”: While the Cap Corse loop road is popular, most tourists stick to the drive and the villages. The full coastal path (Sentier des Douaniers) is long, but the section on the wilder, rockier west coast sees fewer walkers than the northern tip.
  • The Experience: Start near a village like Centuri or Tollare and walk south along the “customs officers’ path,” an ancient route used to patrol the coast. You’ll be rewarded with dramatic sea views, Genoese watchtowers, and a silence that contrasts with the busy eastern coast.

4. The Alta Rocca Region and the Solenzara Natural Pools

  • Why it’s “less travelled”: Located in the mountainous south, the focus here is inland scenery, far from the coastal bustle of Porto-Vecchio and Propriano. The villages like Zicavo and Quenza offer an authentic glimpse of mountain life.
  • The Experience: Go for a freshwater swim in the natural rock pools (piscines naturelles) carved by rivers like the Solenzara, or head toward the spectacular Aiguilles de Bavella (Bavella Needles) for jaw-dropping mountain views and hiking trails.

5. The Niolo Valley and the Col de Vergio

  • Why it’s “less travelled”: This high-altitude valley is deep in the heart of the Corsican mountains, accessible via a dramatic, narrow road that climbs up to the Col de Vergio (the island’s highest road pass).
  • The Experience: Enjoy the dramatic scenery and cooler air. From the Col de Vergio, you are close to the famous GR20 hiking trail. A short hike to the Lac de Nino is a popular but quieter option. The valley is also known for its traditional Corsican products and its semi-wild roaming pigs and cows.

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.

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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

365 Days of writing, 2026 – 189

Day 189 – Jane Austen’s novels as examples to draw on

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The Austen Blueprint: Mastering Structure, Dialogue, and Plot Through Jane Austen’s Novels

If you want to write a novel that stands the test of time, look no further than the 19th-century drawing rooms of Jane Austen. While the social landscape of Regency England may seem worlds away from the modern reader, Austen’s technical prowess remains the gold standard for novelists.

Whether you are writing contemporary romance, historical fiction, or a suspenseful thriller, Austen’s work offers a masterclass in narrative architecture. Here is how you can use Jane Austen’s novels as a blueprint for your own storytelling.

1. Structural Symmetry: The Art of the Controlled Narrative

Austen was the queen of “the perfect structure.” Her novels rely on a rhythmic pacing that keeps readers engaged without ever feeling rushed.

  • The Economy of Characters: Austen never included a character who didn’t serve a specific purpose. In your own work, audit your cast. If a character exists only for flavour, consider cutting them or merging their function with a protagonist to tighten your focus.
  • The “Small Village” Approach: Critics often joked that Austen wrote about “three or four families in a country village.” By limiting the scope of your setting, you create high-stakes intimacy. You don’t need a sprawling intergalactic empire to create tension; you just need a closed system where social consequences feel life-altering.

2. Dialogue as a Character Tool

Austen’s dialogue is legendary—sharp, witty, and deeply revealing. She rarely relied on “said-book” descriptors, preferring to let the weight of the words reveal the character’s soul.

  • Character Voice: Think of Mr. Collins’s sycophantic, flowery verbosity versus Mr. Darcy’s clipped, guarded brevity. When writing your dialogue, ask: Would my antagonist speak in long, rambling sentences, or short, punchy bursts? Give each character a distinct rhythmic signature.
  • Subtext is King: In an Austen novel, characters are often forbidden from saying exactly what they mean due to social decorum. This creates incredible tension. Try writing a scene where your characters are arguing about something trivial (like a letter or a walk) while the real conflict is something they are strictly prohibited from mentioning. The friction between what is said and what is felt is where the magic happens.

3. Plotting: The “Misunderstanding” Engine

Modern plotters often over-complicate their narratives. Austen’s plots are remarkably simple on the surface, usually revolving around money, marriage, or social reputation. But the engines of these plots are always character flaws.

  • The Internal-External Drive: Austen’s plots progress because of her characters’ internal biases. Elizabeth Bennet’s prejudice and Mr. Darcy’s pride aren’t just personality traits; they are the literal obstacles that prevent the plot from resolving early.
  • The Revelation Moment: A hallmark of the Austen plot is the “Anagnorisis”—the moment of discovery. Think of Darcy’s first letter to Elizabeth. It forces the protagonist to re-evaluate everything they thought they knew about the world. Identify the “prejudice” your protagonist holds and build your second act around a moment that forces them to burn that belief to the ground.

4. The “Slow Burn” Pacing

In today’s market, many writers feel pressured to start with a massive explosion. Austen teaches us the value of the slow burn. She builds tension through small, incremental shifts in relationship dynamics.

  • Use Micro-Events: Instead of a car crash, use a dance, an unwanted dinner invitation, or a shared secret. When the stakes are emotional, the smallest gesture—a held hand or a cold glance—carries the weight of an explosion.

Putting it into Practice

To apply this “Austen Blueprint” to your next draft, try this exercise:

  1. Strip it down: Take your current manuscript and identify the three most crucial relationships. Cut any character who doesn’t directly influence these dynamics.
  2. Audit the Dialogue: Go through a scene and delete all the dialogue tags (he said/she said). If you can’t tell who is speaking based on their word choice alone, rewrite the lines to be more distinct.
  3. Define the “Pride”: Write down the one lie your protagonist believes about the world. Does your current plot actually force them to face that lie, or are you just throwing external obstacles in their way?

Final Thoughts

Jane Austen’s brilliance wasn’t in grand, sweeping spectacles; it was in the profound understanding of human behaviour. By focusing on tight structures, character-driven dialogue, and the internal growth of your protagonist, you can craft a story that—like Pride and Prejudice—will be read and reread for generations.

Are you currently working on a manuscript? What lessons have you drawn from the classics to improve your writing? Share your thoughts below!

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