David is a man troubled by a past he is trying to forget.
Susan is rebelling against a life of privilege and an exasperated mother who holds a secret that will determine her daughter’s destiny.
They are two people brought together by chance. Or was it?
When Susan discovers her mother’s secret, she goes in search of the truth that has been hidden from her since the day she was born.
When David realizes her absence is more than the usual cooling off after another heated argument, he finds himself being slowly drawn back into his former world of deceit and lies.
Then, back with his former employers, David quickly discovers nothing is what it seems as he embarks on a dangerous mission to find Susan before he loses her forever.
Making the leap beyond the second novel is one of the most perilous tightrope walks in a writer’s career.
Publishing a debut is a milestone. Writing the second book proves you aren’t a one-hit wonder (though dealing with the dreaded “Sophomore Slump” is very real). But Book Three and beyond is where the real career begins. This is where you transition from writing isolated stories to building a sustainable literary business and a sprawling narrative universe.
Here is a breakdown of the challenges, the pitfalls, and the roadmap for successfully writing a long-running series.
PART 1: The Challenges
1. The Lore Mountain (Continuity)
In Book 1, you can keep track of eye colours, magic systems, and timelines in your head or on a few sticky notes. By Book 4, your internal hard drive will crash.
The Challenge: Readers have encyclopedic memories. If a character’s dead uncle is suddenly mentioned as being alive, or the geography of a fictional city shifts to suit a new plot point, your fans will notice and call you out in reviews.
2. The Middle-Book Sag
Books 1 and 2 usually have high energy: you are introducing the world, setting up the core conflict, and resolving the initial arc. Books 3 through $N$ often suffer from “bridge-building syndrome”—where the book exists merely to move pieces around the board for the finale.
The Challenge: Keeping every individual book structurally satisfying while it simultaneously serves a massive, overarching plot.
3. Character Stagnation vs. Distortion
How many times can your detective solve a murder, or your wizard save the world, without fundamentally changing?
The Challenge: If your characters don’t grow, they become boring. But if they change too much, they become unrecognisable from the person readers fell in love with in Book 1.
4. Creative Fatigue
Falling out of love with your own creation is a terrifying experience. When you’ve lived with the same fictional people, locations, and magic systems for half a decade, the urge to burn the world down and write something completely different becomes overwhelming.
PART 2: The Pitfalls
1. The “Reset Button” (Stasis)
The Pitfall: At the end of Book 3, your protagonist learns a massive lesson, heals their trauma, or finds peace. But you have a contract for Book 4, so you instantly undo their growth, break up their relationship, or create a brand-new trauma so they can start the book back at square one.
Why it fails: Readers feel cheated. Growth must be permanent, meaning the challenges must continually escalate.
2. Scope Creep (The “Marvel-ization” Trap)
The Pitfall: Starting with a grounded, intimate story (e.g., a local murder mystery) and slowly inflating the stakes until Book 5 involves stopping an intergalactic deity from destroying the multiverse.
Why it fails: Readers often care more about small, grounded stakes and character relationships than exploding planets. When everything is apocalyptic, nothing matters.
3. Info-Dumping to Catch Up New Readers
The Pitfall: Spending the first three chapters of Book 3 re-explaining the lore from Books 1 and 2 so that a stray new reader isn’t confused.
Why it fails: It bores your loyal existing fans to tears. You must trust your audience to either read the previous books or piece things together through context clues.
PART 3: Is It Possible to Write a Long Series?
Yes, absolutely. In fact, from a business and marketing perspective, series are the holy grail of modern publishing (especially in genres like Fantasy, Sci-Fi, Romance, and Thrillers).
Algorithms love series because they generate “read-through”—when a reader finishes Book 1 and immediately buys Books 2, 3, and 4.
However, writing a successful long series requires a shift in methodology:
How to Actually Pull It Off:
Build a “Bible”: Start treating your series like a franchise. Maintain a master document (or use software like Scrivener, Notion, or campfire.otg) tracking character bios, timelines, geography, magic/technology rules, and loose plot threads.
Design the Architecture Early: Know your ending—or at least the broad strokes of it. George R.R. Martin and Patrick Rothfuss are currently trapped by their own sprawling gardens because they didn’t map out the end before writing the middle. You don’t need every detail, but you must know the destination.
Mix Macro and Micro Arcs:
The Micro Arc (The Book): Has its own beginning, middle, end, and emotional takeaway.
The Macro Arc (The Series): A massive puzzle piece that advances slightly with every single book.
Give Secondary Characters Room to Breathe: If you get tired of your main protagonist, let a secondary or tertiary character take the spotlight for a chapter, a subplot, or even a spin-off novella. This breathes fresh air into the universe without derailing the main plot.
Accept That Your Audience Will Shrink (and That’s Okay): Series attrition is real. Book 2 will always sell fewer copies than Book 1, and Book 5 fewer than Book 2. Write for the die-hards who make the journey all the way to the end, rather than trying to optimise for casual readers who dropped off years ago.
The Bottom Line
Moving beyond the second novel is the moment you graduate from “aspiring novelist” to “professional storyteller.” It requires discipline over inspiration, organisation over intuition, and a willingness to respect the world you’ve built enough not to break it just to squeeze out one more sequel.
To write a private detective serial has always been one of the items at the top of my to-do list, though trying to write novels and a serial, as well as a blog, and maintain a social media presence, well, you get the idea.
But I made it happen, from a bunch of episodes I wrote a long, long time ago, used these to start it, and then continued on, then as now, never having much of an idea where it was going to end up, or how long it would take to tell the story.
That, I think, is the joy of ad hoc writing, even you, as the author, have as much of an idea of where it’s going as the reader does.
It’s basically been in the mill since 1990, and although I finished it last year, it looks like the beginning to end will have taken exactly 30 years. Had you asked me 30 years ago if I’d ever get it finished, the answer would be maybe?
My private detective, Harry Walthenson
I’d like to say he’s from that great literary mould of Sam Spade, or Mickey Spillane, or Philip Marlowe, but he’s not.
But I’ve watched Humphrey Bogart play Sam Spade with much interest, and modelled Harry and his office on it. Similarly, I’ve watched Robert Micham play Phillip Marlow with great panache, if not detachment, and added a bit of him to the mix.
Other characters come into play, and all of them, no matter what period they’re from, always seem larger than life. I’m not above stealing a little of Mary Astor, Peter Lorre or Sidney Greenstreet, to breathe life into beguiling women and dangerous men alike.
Then there’s the title, like
The Case of the Unintentional Mummy – this has so many meanings in so many contexts, though I imagine that back in Hollywood in the ’30s and ’40s, this would be excellent fodder for Abbott and Costello
The Case of the Three-Legged Dog – Yes, I suspect there may be a few real-life dogs with three legs, but this plot would involve something more sinister. And if made out of plaster, yes, they’re always something else inside.
But for mine, to begin with, it was “The Case of the …”, because I had no idea what the case was going to be about, well, I did, but not specifically.
Then I liked the idea of calling it “The Case of the Brothers’ Revenge” because I began to have a notion there was a brother no one knew about, but that’s stuff for other stories, not mine, so then it went the way of the others.
Now it’s called ‘A Case of Working With the Jones Brothers’, finished the first three drafts, and I am at the editor for the last reading.
I have high hopes of publishing it in mid-2026. It even has a cover.
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 with what happened during the second world 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…
——
Mayer fought the urge to panic, and then consider giving himself up. He remembered what the Standartenfuhrer said, and knew that it was not an option.
He slid back into the forest, then far enough back, stood, and ran, the thick snow not only hampering his speed but also covering the sound of his flight.
He stopped and listened for the sound of the following soldiers, but all he could hear was the sound of a locomotive and his breathing. His heart was pounding, not used to such exercise or fear.
The soldiers must have stopped where the running person had fallen, and then on the verge of the tree line when the Standartenfuhrer had been shot.
He kneeled down and struggled to catch his breath. He had the bad the Standartenfuhrer had thrust upon him as they got out of the car, and hoped it had a map, but it was too dark to look now.
From earlier, he remembered the other side of the railway tracks had trees too, and the road that led to the border, the village, if there was one, and the railway station. There would also be a small shunting area, freight sheds, or something else to hide in, maybe even a signal tower.
Somewhere warm, and with some light, so he could plan his next move. He was not sure what the Standartenfuhrer Had planned, but it certainly could not be by car the whole way, and they would not make the rendezvous by walking.
The plan had to include going by train.
Brenner pass was along the main track from Austria to the south of Italy, and from an earlier look at a map, the train would go through F, Verona, Bologna, to Florence where he would find the next guide.
Details of that guide hopefully were in the bag, a bag that he would have to hide or lose if he was captured because it would give away the escape route and resistance members who helped those fleeing Germany.
If he had the time or could think straight. The cold was making that very difficult. And there was the shock of losing the Standartenfuhrer.
It took five minutes to regain a certain amount of calm and be able to think.
First, he had to get back to the tree line and see where he was, in proximity to the village, and the railway tracks.
That took about ten minutes carefully picking his way through the trees. There was no path, it was dark, and he kept hitting low branches and getting covered in snow. There was enough down the back of his neck to make him very uncomfortable.
When he reached the tree line he looked back from where he had been, about a kilometer, and he could see the torches of the soldiers milling around where he and the Standartenfuhrer had been. The train was still there, the locomotive’s light blazing in front, lighting a short distance of the track in front of it, almost blindingly bright.
He was not sure why it was waiting on the track.
Looking the other way, there were two sets of tracks, a wide clear area, then another track with several flat cars and a guards van sitting in darkness, all of which were covered in snow. They were not being used, so the van might provide some shelter.
He just had to get over there, about 100 meters distant. The problem was there were lights, not very bright, at regular distances, but short enough that a man might present a shadowy outline if anyone was looking.
If he stayed low and run fast, it might just work.
A train whistle in the distance, coming from Italy caused him to shrink back into the cover of the trees. Another train was coming. It was oddly busy at a very late hour.
The locomotive also had a bright light that lit up the edge of the tree line, so he had to go further back to get away from it, and wait until the train passed. It had a lot of flat cars with tanks and troop carriers on it, going back to Germany. There were no soldiers so perhaps the equipment was needed elsewhere, maybe that final push to England he kept hearing about.
Once that train passed, the one that had been waiting finally restarted itsjourney south and slowly rumbled past him. It was almost like a passenger train with no priority had had to wait until essential war trains passed.
When that train had gone, the surrounding area descended into a quiet, also silent field. The snow had begun to fall heavier, which would be advantageous, and after several long looks in both directions, he ran, crossing the tracks, the empty space, and then to the guard van where he hid between it and the freight car until he caught his breath.
And see if anyone had seen him, expecting whistles and shouting coming from up the track.
Another look showed that only two torches remained back where there had been frenetic activity. He hoped they considered they had caught the people they were looking for.
He went down the side of the guard’s van to the door, climbed the ladder, and tried the door. It was unlocked. There was no reason why it would be locked.
He went in and shut the door, and immediately it was warmer, and certainly dryer. IT was impossibly dark inside, so he felt around in the bag and found a torch. Someone had been clever enough to add a torch, some first aid equipment. The papers included a map.
He checked the cabin for windows and found the shutters were closed, so he didn’t have to stifle the torches light. A further check showed a bed at the end of the cabin, with a blanket, musty but dry.
There was a stove, a kettle with water, and a tin of tea leaves. He wasn’t going to start a fire, so no tea. There was no food, so the hunger would have to remain for a while longer. The water tasted alright, but he could melt some snow if he needed more.
A place to stay, at least until daybreak when it would be wise to get into the forest on the roadside, and head towards the village, or perhaps wait for a train and see if he could hide on it for the trip south.
By the time I returned to the Savoie, the rain had finally stopped, and there was a streak of blue sky to offer some hope that the day would improve.
The ship was not crowded, the possibility of bad weather perhaps holding back potential passengers. Of those I saw, a number of them would be aboard for the lunch by Phillippe Chevrier. I thought about it, but the Concierge had told me about several restaurants in Yvoire and had given me a hand-drawn map of the village. I think he came from the area because he spoke with the pride and knowledge of a resident.
I was looking down from the upper deck observing the last of the boarding passengers when I saw a woman, notable for her red coat and matching shoes, making a last-minute dash to get on board just before the gangway was removed. In fact, her ungainly manner of boarding had also captured a few of the other passengers’ attention. Now they would have something else to talk about, other than the possibility of further rain.
I saw her smile at the deckhand, but he did not smile back. He was not impressed with her bravado, perhaps because of possible injury. He looked at her ticket, then nodded dismissively and went back to his duties in getting the ship underway. I was going to check the departure time, but I, like the other passengers, had my attention diverted to the woman in red.
From what I could see, there was something about her. It struck me when the light caught her as she turned to look down the deck, giving me a perfect profile. I was going to say she looked foreign, but here, as in almost anywhere in Europe, that described just about everyone. Perhaps I was just comparing her to Phillipa, so definitively British, whereas this woman was very definitely not.
She was perhaps in her 30’s, slim or perhaps the word I’d use was lissom, and had the look and manner of a model. I say that because Phillipa had dragged me to most of the showings, whether in Milan, Rome, New York, London, or Paris. The clothes were familiar, and in the back of my mind, I had a feeling I’d seen her before.
Or perhaps, to me, all models looked the same.
She looked up in my direction, and before I could divert my eyes, she locked on. I could feel her gaze boring into me, and then it was gone as if she had been looking straight through me. I remained out on deck as the ship got underway, watching her disappear inside the cabin. My curiosity was piqued, so I decided to keep an eye out for her.
I could feel the coolness of the air as the ship picked up speed, not that it was going to be very fast. With stops, the trip would take nearly two hours to get to my destination. It would turn back almost immediately, but I was going to stay until the evening when it returned at about half eight. It would give me enough time to sample the local fare and take a tour of the medieval village.
Few other passengers ventured out on the deck, most staying inside or going to lunch. After a short time, I came back down to the main deck and headed forward. I wanted to clear my head by concentrating on the movement of the vessel through the water, breathing in the crisp, clean air, and letting the peacefulness of the surroundings envelope me.
It didn’t work.
I knew it wouldn’t be long before I started thinking about why things hadn’t worked and what part I played in it. And the usual question that came to mind when something didn’t work out. What was wrong with me?
I usually blamed it on my upbringing.
I had one of those so-called privileged lives, a nanny till I was old enough to go to boarding school, then sent to the best schools in the land. There I learned everything I needed to be the son of a Duke, or, as my father called it in one of his lighter moments, nobility in waiting.
Had this been five or six hundred years ago, I would have needed to have sword and jousting skills, or if it had been a few hundred years later, a keen military mind. If nothing else, I could ride a horse and go on hunts, or did until they became not the thing to do.
I learned six languages, and everything I needed to become a diplomat in the far-flung British Empire, except the Empire had become the Commonwealth, and then, when no one was looking, Britain’s influence in the world finally disappeared. I was a man without a cause, without a vocation, and no place to go.
Computers were the new vogue, and I had an aptitude for programming. I guess that went hand in hand with mathematics, which, although I hated the subject, I excelled in. Both I and another noble outcast used to toss ideas around in school, but when it came to the end of our education, he chose to enter the public service, and I took a few of those ideas we had mulled over and turned them into a company.
About a year ago, I was made an offer I couldn’t refuse. There were so many zeroes on the end of it I just said yes, put the money into a very grateful bank, and was still trying to come to terms with it.
Sadly, I still had no idea what I was going to do with the rest of my life. My parents had asked me to come back home and help manage the estate, and I did for a few weeks. It was as long as it took for my parents to drive me insane.
Back in the city, I spent a few months looking for a mundane job, but there were very few that suited my qualifications, and the rest I think I intimidated simply because of who I was. In that time, I’d also featured on the cover of the Economist and, through my well-meaning accountant, started involving myself with various charities, earning the title ‘philanthropist’.
And despite all of this exposure, even making one of those ubiquitous ‘eligible bachelor’ lists, I still could not find ‘the one’, the woman I wanted to spend the rest of my life with. Phillipa seemed to fit the bill, but in time, she proved to be a troubled soul with ‘Daddy’ issues. I knew that in building a relationship, compromise was necessary, but with her, in the end, everything was a compromise, and what had happened was always going to be the end result.
It was perhaps a by-product of the whole nobility thing. There was a certain expectation I had to fulfil, to my peers, contemporaries, parents and family, and those who either liked or hated what it represented. The problem was, I didn’t feel like I belonged. Not like my friend from schooldays, and now obscure acquaintance, Sebastian. He had been elevated to his Dukedom early when his father died when he was in his twenties. He had managed to fade from the limelight and was rarely mentioned either in the papers or the gossip columns. He was one of the lucky ones.
I had managed to keep a similarly low profile until I met Phillipa. From that moment, my obscurity disappeared. It was, I could see now, part of a plan put in place by Phillipa’s father, a man who hogged the limelight with his daughter, to raise the profile of the family name and through it their businesses. He was nothing if not the consummate self-advertisement.
Perhaps I was supposed to be the last piece of the puzzle, the attachment to the establishment, that link with a class of people he would not normally get in the front door. There was nothing refined about him or his family, and more than once I’d noticed my contemporaries cringe at the mention of his name, or any reference of my association with him.
Yet could I truthfully say I really wanted to go back to the obscurity I had before Phillipa? For all her faults, there were times when she had been fun to be with, particularly when I first met her, when she had a certain air of unpredictability. That had slowly disappeared as she became part of her father’s plan for the future. She just failed to see how much he was using her.
Or perhaps, over time, I had become cynical.
I thought about calling her. It was one of those moments of weakness when I felt alone, more alone than usual.
I diverted my attention back to my surroundings and the shoreline. Out of the corner of my eye, I could see the woman in the red coat, making a move. The red coat was like a beacon, a sort of fire engine red. It was not the sort of coat most of the women I knew would wear, but on her, it looked terrific. In fact, her sublime beauty was the other attribute that was distinctly noticeable, along with the fact that her hair was short rather than long and jet-black.
I had to wrench my attention away from her.
A few minutes later, several other passengers came out of the cabin for a walk around the deck, perhaps to get some exercise, perhaps checking up on me, or perhaps I was being paranoid. I waited till they passed on their way forward, and I turned and headed aft.
I watched the wake sluicing out from under the stern for a few minutes before retracing my steps to the front of the ship, and there I stood against the railing, watching the bow carve its way through the water. It was almost mesmerising. There, I emptied my mind of thoughts about Phillipa and thoughts about the woman in the red coat.
Until a female voice behind me said, “Having a bad day?”
I started, caught by surprise, and slowly turned. The woman in the red coat had somehow got very close to me without my realising it. How did she do that? I was so surprised I couldn’t answer immediately.
“I do hope you are not contemplating jumping. I hear the water is very cold.”
Closer up, I could see what I’d missed when I saw her on the main deck. There was a slight hint of Chinese, or Oriental, in her, particularly around the eyes, and of her hair, which was jet black. An ancestor twice or more removed had left their mark, not in a dominant way, but more subtly, and easily missed except from a very short distance away, like now.
Other than that, she was quite possibly Eastern European, perhaps Russian, though that covered a lot of territory. The incongruity of it was that she spoke with an American accent and was fluent enough for me to believe English was her first language.
Usually, I could ‘read’ people, but she was a clean slate. Her expression was one of amusement, but with cold eyes. My first thought, then, was to be careful.
“No. Not yet.” I coughed to clear my throat because I could hardly speak. And blushed, because that was what I did when confronted by a woman, beautiful or otherwise.
The amusement gave way to a hint of a smile that brightened her demeanour as a little warmth reached her eyes. “So that’s a maybe. Should I change into my lifesaving gear, just in case?”
It conjured up a rather interesting image in my mind until I reluctantly dismissed it.
“Perhaps I should move away from the edge,” I said, moving sideways until I was back on the main deck, a few feet further away. Her eyes had followed me, and when I stopped, she turned to face me again. She did not move closer.
I realised then she had removed her beret and it was in her left side coat pocket. “Thanks for your concern …?”
“Zoe.”
“Thanks for your concern, Zoe. By the way, my name is John.”
She smiled again, perhaps in an attempt to put me at ease. “I saw you earlier, you looked so sad, I thought …”
“I might throw myself overboard?”
“An idiotic notion, I admit, but it is better to be safe than sorry.”
Then she tilted her head to one side, then the other, looking intently at me. “You seem to be familiar. Do I know you?”
I tried to think of where I may have seen her before, but all I could remember was what I’d thought earlier when I first saw her; she was a model and had been at one of the showings. If she were, it would be more likely she would remember Phillipa, not me. Phillipa always had to sit in the front row.
“Probably not.” I also didn’t mention the fact that she may have seen my picture in the society pages of several tabloid newspapers because she didn’t look the sort of woman who needed a daily dose of the comings and goings, and, more often than not, scandal associated with so-called celebrities.
She gave me a look, one that told me she had just realised who I was. “Yes, I remember now. You made the front cover of the Economist. You sold your company for a small fortune.”
Of course. She was not the first who had recognised me from that cover. It had raised my profile considerably, but not Sternhaven’s. That article had not mentioned Phillipa or her family. I suspect Grandmother had something to do with that, and it was, now I thought about it, another nail in the coffin that was my relationship with Phillipa.
“I wouldn’t say it was a fortune, small or otherwise, just fortunate.” Each time, I found myself playing down the wealth aspect of the business deal.
“Perhaps then, as the journalist wrote, you were lucky. It is not, I think, a good time for internet-based companies.”
The latter statement was an interesting fact, one she read in the Financial Times, which had made that exact comment recently.
“But I am boring you.” She smiled again. “I should be minding my own business and leaving you to your thoughts. I am sorry.”
She turned to leave and took a few steps towards the main cabin.
“You’re not boring me,” I said, thinking I was letting my paranoia get the better of me. It had been Sebastian, on learning of my good fortune, who had warned me against ‘a certain element here and abroad’ whose sole aim would be to separate me from my money. He was not very subtle when he described their methods.
But I knew he was right. I should have let her walk away.
She stopped and turned around. “You seem nothing like the man I read about in the Economist.”
A sudden and awful thought popped into my head. Those words were part of a very familiar opening gambit. “Are you a reporter?”
I was not sure if she looked surprised or amused. “Do I look like one?”
I silently cursed myself for speaking before thinking, and then immediately ignored my own admonishment. “People rarely look like what they are.”
I saw the subtle shake of the head and expected her to take her leave. Instead, she astonished me.
“I fear we have got off on the wrong foot. To be honest, I’m not usually this forward, but you seemed like you needed cheering up when probably the opposite is true. Aside from the fact that this excursion was probably a bad idea. And,” she added with a little shrug, “perhaps I talk too much.”
I was not sure what I thought of her after that extraordinary admission. It was not something I would do, but it was an interesting way to approach someone and have them ignore their natural instinct. I would let Sebastian whisper in my ear for a little longer and see where this was going.
“Oddly enough, I was thinking the same thing. I was supposed to be travelling with my prospective bride. I think you can imagine how that turned out.”
“She’s not here?”
“No.”
“She’s in the cabin?” Her eyes strayed in that direction for a moment, then came back to me. She seemed surprised I might be travelling with someone.
“No. She is back in England, and the wedding is off. So is the relationship. She dumped me by text.”
OK, why was I sharing this humiliating piece of information with her? I still couldn’t be sure she was not a reporter.
She motioned to an empty seat, back from the edge. No walking the plank today. She moved towards it and sat down. She showed no signs of being cold, nor interested in the breeze upsetting her hair. Phillipa would be having a tantrum about now, being kept outside, and freaking out over what the breeze might be doing to her appearance.
I wondered, if only for a few seconds, if she used this approach with anyone else. I guess I was a little different, a seemingly rich businessman alone on a ferry on Lake Geneva, contemplating the way his life had gone so completely off track.
She watched as I sat at the other end of the bench, leaving about a yard between us. After I leaned back and made myself as comfortable as I could, she said, “I have also experienced something similar, though not by text message. It is difficult, the first few days.”
“I saw it coming.”
“I did not.” She frowned, a sort of lifeless expression taking over, perhaps brought on by the memory of what had happened to her. “But it is done, and I moved on. Was she the love of your life?”
OK, that was unexpected.
When I didn’t answer, she said, “I am sorry. Sometimes I ask personal questions without realising what I’m doing. It is none of my business.” She shivered. “Perhaps we should go back inside.”
She stood and held out her hand. Should I take it and be drawn into her web? I thought of Sebastian. What would he do in this situation?
I took her hand in mine and let her pull me gently to my feet. “Wise choice,” she said, looking up at the sky.
Every time I close my eyes, I see something different.
I’d like to think the cinema of my dreams is playing a double feature, but it’s a bit like a comedy cartoon night on Fox.
But these dreams are nothing to laugh about.
Once again there’s a new instalment of an old feature, and we’re back on the treasure hunt.
There was a clock tower not far from the hotel, and I heard it strike 12 midnight. It was time to go home before I turned into a pumpkin. Or perhaps I didn’t quite have it right. It didn’t matter. I needed sleep and it wasn’t going to happen here.
Nadia was being a temptress and not even realising it.
“You need me on your team. I know the inside of the mall like the back of my hand.”
It didn’t surprise me. She used to run with a group of girls who could give Alex and Vince a run for their money in being cruel. I was positive now that she was in the mall at the same time we were, and quite possibly following us. After what Alex said earlier, there were going to be a lot of people following each other.
“You know where the bodies are?”
A slight hesitation before she said, “I might.”
The question was whose bodies. Missing girls, Benderby’s enemies. Certainly not the archaeologist, but if there was a torture chamber down there, maybe some clues that would point the police in the right direction.
“Well, tempting as that sounds, but no.”
“What if I told you I think I know where they tortured that archaeologist guy.”
“Why would they, in fact, it’s the one thing in all of this that puzzles me. Rico might have had a reason simply because he’s little more than a blunt instrument, not an extractor of information, that required a little more refinement than he’s, and the Benderby’s, what on earth could he know that they needed it from him.”
“Try the exact contents of this so-called treasure.”
“No one could possibly know what that pirate, whatever his name was, actually had?”
Not unless he was with the captain when he buried it, which, of course, unless he was a time traveler, he wasn’t and therefore couldn’t know.
“No one could possibly know that.”
“I beg to differ.”
She knew something we didn’t. This was turning out to be a very interesting day.
“How?”
“Say for instance the pirate had a journal, a ship log I think it’s called, and in that journal, he noted everything he pillaged from all of the ships they attacked.”
“You’ve seen it?” I asked, slightly incredulously. This was the first I’d heard of one, and I doubted Boggs had either unless it was something he was not telling me.
“No.”
“How do you know about it?”
“Vince.”
“He’s pulling your leg. There’s no such journal or log in existence.”
“Oh, there is. That’s what the archaeologist had. And that’s what both Alex and Vince were trying to buy. And when he wouldn’t sell it to Alex, his men went a little too far with their persuasion tactics.”
“I bet Vince wasn’t happy.”
“No. He thinks Alex does know where it is, so they’re playing their games of cat and mouse. But it’s a waste of time. My source tells me the archaeologist never gave up the location of the journal. Both the Benderby’s and the Cossatino’s have been to his house but it was nowhere to be found.”
And if that was the case, then there would be no interior to the house left; one of the other would have stripped the walls in their search. But, if it was true and there was such a journal, two questions came to mind. The obvious was, where was it? The less obvious was why the archaeologist didn’t go looking for the treasure himself?
There was an answer: he didn’t have the right map.
I cast my mind back to the only time Boggs showed me what he called the real map. It had been folded, and you could see the fold marks that had been there for a long, long time. Was it possible at some point the map was separated from the journal?
Had someone known about the map, and stolen it rather than the journal?
“I can see the cogs ticking over in your head, Smidge. You are going to need me, in the end. Especially if you find the treasure. You’ll want to know what both Vince and Alex are up to, and little old me will be right there between them.”
“You think that Alex doesn’t know what you’re up to?”
“You already know more than you did when you walked in the door. Either of them finds the treasure, I get nothing. You and Boggs find it, maybe I’ll get something. I don’t care what they think.”
She was dangerous, deceptive, and beguiling sometimes all at the same time. This was one of those moments.
“I think Boggs doesn’t entirely trust you, or anyone,” she said.
“That couldn’t possibly surprise you. Look what’s happened to him over the years. No one knows what happened to his father.”
“Maybe we can find out. How about you and I pay the mall a visit. I guarantee it will be a lot more interesting than finding a mannequin.”
How can something so simple become so complicated and complex?
In New York, it seemed impossible to get exactly what you would like. The coffee there is driven by what the machine interprets you want, aside from the language constraints due to the fact that English (or American) comes in a zillion different flavours.
So, what do I like (you notice I don’t say ‘want’)
A double shot Latte with two sugars and half a shot of vanilla. That’s in a large cup.
As we all know, coffee can come in a regular, large, or extra-large cup, but, hang on, these cup sizes sometimes have names, and you need to know what these names are.
My efforts of pointing to the cup size in New York often had horrendous consequences when the cup piles were close together. Sometimes it was a double shot in a regular, and a single shot in an extra-large cup.
One even had the name benti, or bento, or something like that.
Being old and decrepit, my memory for cup sizes isn’t all that great, so using a name in one shop that doesn’t have that size, well, you get it.
It seems not only coffee makers in New York have a problem producing consistent coffee.
Perhaps, then, that’s half the charm of drinking it, the fact that no cup is ever the same.
And, when an outlet gets it right, finally, they go and change the coffee bean supplier, and all of a sudden, it’s bitter, or it’s lighter, as coffee shops try to reduce their costs and maximise profits.
Six dollars is a lot of money for a cup of coffee unless, of course, you have to feed that addiction, in which case, you’ll have a cup at whatever the cost.
I need coffee right now, so it’s off to the cupboard to see what’s available.
Maccona instant, which is not bad
A Nespresso long black – ok, don’t get me started with Nespresso because they have numbers from 1 to 12, possibly more, recognising strengths, and I usually have a double shot using a 10 and a 12.
And, yes, they fool around with the type of beans they use because there seem to be inconsistencies in potency from time to time.
Then there are coffee bags, much the same as tea bags, which produces and interestingly flavoured brew which I’m still trying to figure out. It tastes like coffee, but there’s something else there, like … paper?
Beyond the Fold: Is Speculative Fiction Just a Series of ‘What Ifs’ Gleaned from Today’s Headlines?
Ever read a news story – a groundbreaking scientific discovery, a chilling political development, a startling environmental report – and felt a tiny tremor in your imagination? That whisper of a thought: “What if this continued? What if this went wrong? What if this changed everything?”
If so, you’ve touched the very essence of speculative fiction.
The idea that speculative fiction – encompassing science fiction, fantasy, dystopia, and alternate history – is simply a series of “what-ifs” is compelling. And the notion that these “what-ifs” are often gleaned from the headlines of the papers over time is not just plausible; it’s often the very engine driving the genre.
Let’s unpack this fascinating relationship.
The “What If” Generator: Curiosity as a Catalyst
At its heart, speculative fiction is the ultimate thought experiment. It doesn’t merely invent worlds; it interrogates ours. Authors take a single variable – a technological leap, a societal shift, a historical divergence, a potential disaster – and push it to its logical (or terrifyingly illogical) conclusion.
The “what if” is the seed. What if humans could genetically engineer their children? What if artificial intelligence achieved sentience? What if a virus wiped out most of humanity? What if a forgotten magic re-emerged? What if a certain political leader never came to power?
These questions aren’t born in a vacuum.
Headlines as a Crucible of Inspiration
The news, whether the morning paper, the evening broadcast, or the relentless scroll of our digital feeds, is a rich and constantly evolving source of these “what-ifs.” It reflects humanity’s biggest fears, our grandest ambitions, our ethical dilemmas, and our scientific breakthroughs.
Consider these historical and ongoing examples:
Technological Advancements: The discovery of electricity led to tales of Frankenstein. Early computer science gave rise to cyberpunk visions of interconnected digital worlds. Today, headlines about AI development, CRISPR gene editing, quantum computing, and space tourism are actively feeding new narratives about our future and what it means to be human. Environmental Concerns: From Rachel Carson’s “Silent Spring” to modern reports on climate change, deforestation, and plastic pollution, environmental headlines have directly inspired dystopian futures where resources are scarce, and humanity battles the consequences of its own hubris. Societal and Political Upheaval: Totalitarian regimes, surveillance states, economic inequalities, and political polarisation are not new. 1984, Brave New World, and The Handmaid’s Tale are poignant examples of authors extrapolating from contemporary political anxieties and societal trends, pushing them to their extreme conclusions to serve as warnings. Epidemics and Public Health: Long before recent global events, authors explored fictional plagues and pandemics, drawing on real-world outbreaks throughout history to imagine scenarios of societal collapse, survival, and the ethical dilemmas of containment. Scientific Discoveries: From the discovery of new planets to breakthroughs in neuroscience, astrophysics, and biology, every scientific headline offers a potential portal to a new fictional reality. What if we found alien life? What if we unlocked the secrets of the brain? Speculative fiction doesn’t just copy the headlines; it amplifies them. It takes the disquieting whispers of today’s news and turns them into roaring narratives, exploring the deeper implications that headlines can only hint at.
Beyond the Event: The Human Element
But it’s crucial to remember that speculative fiction isn’t just about the event or the discovery. It’s about what those what-ifs do to people. How do individuals adapt, resist, thrive, or crumble under these altered circumstances? It explores human nature in a crucible of change, examining our ethics, our resilience, and our capacity for both cruelty and compassion.
The headlines provide the stage and the initial conflict, but the human drama unfurls within.
A Mirror and a Lantern
Ultimately, by taking these “what-ifs” gleaned from the continuous narrative of our world, speculative fiction serves a vital dual purpose:
It holds up a mirror: Reflecting our current anxieties, hopes, and moral quandaries back at us, often in exaggerated forms, forcing us to confront them.
It acts as a lantern: Illuminating potential futures, both utopian and dystopian, allowing us to consider the paths we might be heading down and perhaps, to choose a different course.
So, yes, speculative fiction is indeed largely a series of “what-ifs,” and the headlines of the papers – both today’s and yesterday’s – are its constant, fertile ground. It’s a testament to our enduring curiosity, our inherent need to understand consequences, and our powerful imagination to dream up not just what is, but what could be. And in doing so, it helps us better understand what we want our present to become.
Day 198 – Robert Heinlein’s five business habits for writers
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Master the Craft: 5 Business Habits of Robert A. Heinlein (And Why One is So Contested)
When people think of Robert A. Heinlein, they picture a grandmaster of science fiction. Alongside Isaac Asimov and Arthur C. Clarke, Heinlein was one of the “Big Three” writers who shaped the genre during its Golden Age, penning timeless classics like Starship Troopers, Stranger in Strange Land, and The Moon Is a Harsh Mistress.
However, Heinlein was more than just a visionary storyteller; he was a disciplined professional. Long before he became a household name, he treated writing not as a fragile artistic muse, but as a hard-nosed business.
In his famous essay “On the Writing of Speculative Fiction” (and later expanded in letters and his collection Grumbles from the Grave), Heinlein laid out five simple rules for writing success. They sound deceptively easy, but together, they form a rigorous boot camp for any aspiring author.
While four of these rules are widely accepted wisdom in the writing community, the third rule remains a fierce point of debate among authors, editors, and writing coaches to this day.
Let’s break down Heinlein’s five business rules, examine why they work, and dive into the controversy surrounding rule number three.
Heinlein’s 5 Rules for Writers
Heinlein stated these rules with trademark bluntness. If you want to make a living as a writer, he argued, you only need to follow these steps:
You must write.
You must finish what you start.
You must refrain from rewriting except to editorial order. (The Contested One)
You must put the work on the market.
You must keep the work on the market until it is sold.
At a glance, this looks like a blueprint for industrial-scale content production. Let’s look at each one to understand the philosophy behind the master’s machine.
Rule 1: You must write.
It sounds painfully obvious, but millions of aspiring writers fail at the very first hurdle. They talk about writing, they think about writing, and they outline for years. Heinlein’s point is that a writer writes. Ideas are worthless until they hit the page. You cannot call yourself a writer based on your potential; you are only a writer based on your output.
Rule 2: You must finish what you start.
Half-written manuscripts sitting in a digital graveyard earn zero dollars and tell zero stories. Heinlein argued that writers who constantly abandon projects to start “better” ideas train themselves in the habit of quitting. Finishing a flawed book teaches you infinitely more than abandoning a brilliant premise at Chapter Three.
Rule 3: You must refrain from rewriting except to editorial order.
Cue the record scratch.
This is where the collective groan of the modern writing community echoes across the internet.
In Heinlein’s view, endlessly tweaking, polishing, and revising your own work is a trap—a form of procrastination disguised as perfectionism. He believed that the longer a manuscript sat on your desk, the colder it got, and the more likely you were to tinker it to death. Furthermore, if you are revising endlessly before selling, you aren’t producing new work. Write it, get it as right as you can the first time, and move on. Revise only when a paying editor tells you what needs to be fixed.
Why is this rule so contestible today? Modern creative writing culture is built on the altar of the revision. Today’s authors are told that “writing is rewriting,” and that the real magic happens in drafts two, three, and four (and beyond). Writers work with critique partners, developmental editors, and beta readers to refine pacing, deepen character arcs, and fix plot holes before ever submitting a manuscript to a publisher or self-publishing platform.
Critics of Heinlein’s third rule argue that:
Writing standards have changed: Readers and publishers expect a higher level of polish in a first submission today than they did in the mid-20th-century pulp magazine era.
Heinlein was a genetic anomaly: Heinlein famously claimed that his first drafts required virtually no corrections. Not every writer possesses the preternatural internal editor that Heinlein had.
Self-publishing demands quality control: In the indie publishing boom, authors act as their own publishers. If you don’t revise your work heavily before hitting “publish,” the reviews will be merciless.
The Defense of Rule 3: To be fair to Heinlein, his rule is often misunderstood. He wasn’t saying “turn in sloppy first drafts.” He was saying, “Trust your initial creative instinct, finish the book, and get it out the door.” He wanted writers to avoid the endless loop of self-doubt where a manuscript is trapped in revision purgatory for five years. For high-output authors (especially in genres like sci-fi, fantasy, and romance), over-editing can indeed be a profit-killing waste of time.
Rule 4: You must put the work on the market.
A manuscript gathering dust in a drawer or a hidden folder on your desktop has a success rate of 0%. Heinlein was ruthless about this: a writer’s job doesn’t end when the typing stops. You have to submit the work to agents, publishers, or—in today’s landscape—platforms where readers can buy it. Fear of rejection keeps too many great stories locked away. Put the product on the shelf.
Rule 5: You must keep the work on the market until it is sold.
If magazine A rejects your short story, send it to magazine B. If publisher X passes on your novel, submit it to publisher Y (or self-publish it). Heinlein understood the statistics of the business. Rejection is rarely a definitive judgment of a story’s quality; often, it’s just a mismatch of taste, timing, or market trends. A professional writer keeps the inventory circulating until it finds a home.
How to Apply Heinlein’s Wisdom Today
You don’t have to agree with 100% of Heinlein’s advice to benefit from his core philosophy. Here is how you can synthesize his business habits for the modern writing era:
Treat writing like a job: Show up consistently. Word counts matter.
Embrace completion: Fight the urge to abandon projects when the initial dopamine rush fades. Push through the messy middle and type “The End.”
Find a balance on revisions: Respect modern standards of quality, but beware of “perfectionism paralysis.” Set a deadline for your edits, and once the book is strong, let it go into the world.
Detach your ego from rejection: Rejections aren’t personal failures; they are simply shipping expenses on the road to publication.
Final Thoughts
Robert A. Heinlein’s five rules remind us that writing is both an art and a business. While his third rule—avoiding major rewrites unless requested by an editor—remains a hot-button debate in writers’ circles, the underlying mindset is bulletproof: produce, finish, submit, and repeat.
What do you think? Can modern authors survive by following Heinlein’s strict “no rewriting” policy, or is rule number three a relic of a bygone era? Let us know your thoughts in the comments below!
Beyond the Beaten Path: 5 Hidden Gems to Discover in Stockholm
Stockholm is a city that effortlessly blends old-world charm with modern innovation. While most visitors flock to iconic landmarks like the Royal Palace, Gamla Stan, and the Vasa Museum, there’s an entirely different side of the city waiting to be explored — one that reveals intimate neighbourhoods, local rituals, and quiet corners tucked away from the tourist trail.
If you’ve already climbed the usual sightseeing checklist — or if you simply prefer a more authentic, off-the-beaten-path adventure — here are five lesser-known experiences that offer a fresh perspective on Sweden’s capital.
1. Wander the Abandoned Beauty of Fårö Island (Just Beyond the City)
While technically not in Stockholm, Fårö — a quiet island in the Baltic Sea just a short ferry ride from the mainland — feels like stepping into a Nordic fairytale. Made famous by filmmaker Ingmar Bergman, who lived and worked here, Fårö is a tranquil mosaic of windswept beaches, ancient stone forts, and dramatic limestone caves.
Most travellers focus on Gotland’s main island, Visby, but Fårö remains relatively untouched. Rent a bicycle and explore the Fogelhushamnen nature reserve, where jagged alvar plains meet the sea. Have lunch at Högklint, a café with panoramic ocean views, and time your visit with the spring lambing season to see the island come alive. It’s a poetic detour that feels worlds away from urban life, yet is easily reachable via a day trip.
Pro tip: Combine with a stop in Ljugarn, a charming fishing village on Gotland’s northeastern coast.
2. Get Lost in the Graffiti Labyrinths of Tantolunden Tunnel
Tucked beneath a busy overpass in Södermalm lies one of Stockholm’s best-kept secrets — the Tantolunden graffiti tunnel. Unlike the curated street art of other cities, this underground corridor is a constantly evolving canvas of colour, emotion, and political commentary.
Spray-painted by local artists and rebellious youth, the tunnel pulses with raw creativity. It’s especially stunning during winter when the soft glow of streetlights reflects off icy walls, illuminating vibrant murals of wolves, goddesses, and dystopian visions.
Take the tunnel as a starting point and continue your urban exploration into nearby Hornsgatan, lined with independent boutiques, vinyl shops, and hidden cafés like Kafé Döbling, where locals sip fika in cozy nooks.
3. Soak in the Silence at Djurgårdsbrunn Canal
Forget the crowds lining the shores of Nybroviken — for a truly peaceful moment on the water, head to Djurgårdsbrunn Canal. Nestled within the expansive Djurgården island, this 18th-century waterway was once used to supply fresh water to the Royal Palace.
Today, it’s a serene escape, perfect for a morning walk or a quiet picnic. The canal is flanked by lush greenery, wooden bridges, and historic pump houses, with the occasional swan gliding past. Come summer, locals bring out folding chairs and books, unwinding in near-silence.
Pack a Scandinavian-style picnic — think crispbread, pickled herring, and lingonberry juice — and enjoy a moment of mångata, the Swedish concept of the shimmering reflection of moonlight on water. You’ll likely have the entire area to yourself.
4. Explore the Secret Soviet-Era Bunker at Lovön
Did you know Stockholm has a Cold War bunker hidden beneath an unassuming forest? Located on the island of Lovön — part of the city’s national urban park — the Klara Shelter is just one of many underground military installations built during the mid-20th century to protect government officials in case of nuclear attack.
While the original bunker in central Stockholm is occasionally open for tours, the more accessible and atmospheric option is the P1 bunker at Lovön. Officially declassified and occasionally open for public visits or special exhibitions, this labyrinthine complex could house thousands and function independently for weeks.
Even if it’s closed, the surrounding area is worth visiting — pine forests, rocky shores, and the nearby Drottningholm Palace Water Theatre, a UNESCO-listed outdoor stage dating back to the 1700s that still hosts baroque operas.
Keep an eye on events by the Stockholm City Museum — they often organise rare guided bunker tours.
5. Sip Coffee in a Converted Church: Kaffistiet @ Katarina Kyrka
In the heart of Södermalm lies Katarina Church, a stark 18th-century building with panoramic views of the city. But the real treasure is downstairs, in the crypt-turned-café known as Kaffistiet.
This intimate coffeehouse, run by Katarina Parish, feels like drinking espresso in a sacred cave. Exposed stone walls, soft candlelight, and the faint scent of incense create a meditative atmosphere. They serve single-origin beans roasted in Stockholm and homemade pastries baked daily.
Sit by a small window overlooking the graveyard and listen to soft choral music drifting from above. It’s a place where spirituality and secular calm coexist — and where you can enjoy one of the city’s best cappuccinos with a side of introspection.
Bonus: Sundays often feature live acoustic music or poetry readings — check their Facebook page for schedules.
Final Thoughts: Embrace the Quiet Side of Stockholm
Stockholm’s charm doesn’t lie solely in its famous sights — it lives in the hushed echoes of ancient tunnels, the spontaneous art on forgotten walls, and the quiet rituals of daily life that unfold beyond guidebooks.
The city rewards the curious traveller. So next time you’re in Sweden’s capital, leave the map behind. Venture into the misty islands, dive into underground art, and find peace in places where history and silence speak louder than words.
Because in Stockholm, the road less travelled doesn’t just lead to discovery — it leads to soul.
Have you found your own hidden gem in Stockholm? Share your secret spots in the comments below!
Thrills, Spills, and just a dash of Romance 