“One Last Look”, nothing is what it seems

A single event can have enormous consequences.

A single event driven by fate, after Ben told his wife Charlotte he would be late home one night, he left early, and by chance discovers his wife having dinner in their favourite restaurant with another man.

A single event where it could be said Ben was in the wrong place at the wrong time.

Who was this man? Why was she having dinner with him?

A simple truth to explain the single event was all Ben required. Instead, Charlotte told him a lie.

A single event that forces Ben to question everything he thought he knew about his wife, and the people who are around her.

After a near-death experience and forced retirement into a world he is unfamiliar with, Ben finds himself once again drawn back into that life of lies, violence, and intrigue.

From London to a small village in Tuscany, little by little Ben discovers who the woman he married is, and the real reason why fate had brought them together.

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

NANOWRIMO – November 2025 – Day 4

The Third Son of a Duke

So, here’s the quandary that research can dump on you.  Trains in 1914 traditionally left from Fenchurch Street Station for Tilbury, but there is other evidence that special Tilbury trains ran from Paddington.  What do you pick for your story?

The thing is, once you start poking around, looking for dated photos of the dock at Tilbury that was at the end of the railways, the fact that there was a shed when the shipping agents were waiting for baggage that wasn’t sent ahead. And passengers who would show their tickets and be directed to the correct gangway, if, of course, the ship was tied up at the wharf, because there is evidence that the ships were moored off the pier and people were taken by tender to the ship.

What is the truth, what is inferred, what is known?  Research sometimes can leave you with an incomplete picture.

Then, we have to get the passengers aboard the ship, boarded by the correct gangway for their class, because the class system was alive and well in Edwardian England, and then, well, you get the picture.  Travelling on a state-of-the-art 10,000-ton vessel that took about 1400 passengers, much have been some undertaking.

How I would have loved to have been there in person.

1245 words, for a total of 6225 words.

Writing about writing a book – Day 19

I’m still working on the sequence of flashbacks for the story, filling out the back story to how Bill became associated with a man called Colonel Davenport.

It is important to remember that while Davenport may have begun with good intentions, it was not difficult to go slowly mad given the conditions.  This character, Davenport, runs a multitude of operations within the war zone, turning a huge profit and setting up a business for when the war ended.

Bill meets his Davenport’s cronies and then the man himself.  Life is not what it seems, and working for him is not a guarantee of safety, so Bill not only has to watch out for the enemy but also those with whom he also works.

 

Part 3 – In the Service of Davenport

Davenport and punishment

Busted mission, the first threat to Davenport

Manilow’s death – and how he got there

More on Manilow, the night before his death

Taken to rendezvous with Davenport’s boss

Identify Davenport by ‘sniveling morons’

Sniper – killing Ellen’s father – set up

Sniper – Killing Ellen’s father, execution

Planes and death

 

Bill gets to meet an interesting cast of characters, not the least of which is Davenport’s right-hand men, and a very unlucky lad who was supposed to see through his tour in the command station far from the war zone, and who is connected to a person close to him.

He was also unwittingly involved in a murder, one set up by Davenport, and one designed to keep his silence.

 

Part 4 – The Lead up to Capture, and in a POW camp

The object that Davenport is seeking

After R & R revoked, retrieved by Davenport for the last mission

Capture by Cho’s forces, delivered by Davenport’s men

In the POW Camp, and the arrival of Cho

Day of Rescue from Cho

Ellen and Jacobson after rescue in the hospital

 

Bill’s safety may have been assured had he simply toed the line, but, while on a secret mission with Davenport’s men, he sees an opportunity to take some evidence of Davenport’s activities, as an act of self-preservation.

Of course, he doesn’t reckon with the ruthlessness of Davenport and ends up in a camp where Bill is handed over to the chief interrogator, a friend of Davenport’s.  There is no doubt what Cho’s mission is.

But, like all seemingly simple plans, it doesn’t go the way Davenport wants, Bill does not talk, and is eventually rescued.

 

Part 5 – Post Rescue and Transworld

Employment at Transworld, then first interrogation via Collins

In hospital immediately after being shot

Davenport in my hospital room, post being shot

Recognize Jorgenson

 

Davenport discovers Bill was rescued, and that is has lost his memory of all the time in his service, so just in case Bill does, one day, remember, he will be there to get the answers, and the missing information.

It is almost a story within a story, and maybe one day will be published as such.

At least now I have some idea of how to work the much larger story into the flashbacks, as a prelude to what happens to Bill once he realizes who is behind everything that is happening at Transworld.

 

© Charles Heath 2015-2020

The cinema of my dreams – I never wanted to go to Africa – Episode 27

Our hero knows he’s in serious trouble.

The problem is, there are familiar faces and a question of who is a friend and who is foe made all the more difficult because of the enemy, if it was the enemy, simply because it didn’t look or sound or act like the enemy.

Now, it appears, his problems stem from another operation he participated in.

 

It took almost an hour to recover.  Monroe didn’t come looking for me, so I think they knew it would take some time for me to get my legs back.

And it felt good to stand under the hot shower for twenty-odd minutes, letting the warmth of the water sink into my bones and clear my head.

And think.

How long had Bamfield have an eye on me?  It was a question that sprung to mind the moment I saw him in the desert camp.  I’d heard if you were transferred to one of his commands, at some point, it was not because it was another posting, it was because he wanted you there.

I’d been specially selected by Bamfield personally, out of the preliminary training camp, to further my military career under his oversight.  I’d made it very clear from the outset that I was not interested in a commission, that I preferred the lower ranks.  Officers were a different breed, and I’d not been cut from that cloth.  Bamfield had admitted as much when I was first interviewed by him, and several other’s on what I soon discovered was his selection panel.

They were charged by him to find the best of the best.

And at that first interview, I’d disagreed with his assessment.  I’d been in trouble before, and the military was the only place I could go if I didn’t want to serve a stretch in jail.  Perhaps it was that innate ability of mine to seek out and become embroiled in trouble that caught his attention.

Certainly over time he and his instructors had honed those skills to a more refined set that, in civilian life, would set me up for a long stay in prison.  It begged the question of what I was going to do with myself after the military had finished with me, a question I hadn’t really thought about until I’d been shunted to my last post in a training school of sorts.

I realised now that it had been Bamfield sidelining me until an operation crying out for my particular talents came along.

That disastrous operation with Treen.

Was it his?  Or was it someone else who pulled it together, and he just provided the manpower.  It had been the first major active offshore operation I’d been on.  There’d been a few skirmishes along the way, but that was the first, and in a zone where I don’t think we were meant to be operating.

That had, I thought, been the sole purview of the CIA, and if I looked back on what had happened, there was no doubt the two agents we were supposed to pull out were CIA operatives, it had got too hot for them to stay, and they had clandestinely called for help.

It begged another question, was Bamfield CIA or working with the CIA, with or without the military hierarchy knowing?

The thing is, if it had been pulled off, as expected, no one would be any the wiser in that country, but once they found out, by whatever means it happened, the proverbial had hit the fan.  It goes hand in hand with trusting people on the ground who were purportedly working against their country’s regime, for better or worse.

That country had a ‘friendly’ government, that had been ‘supported’ and then been deposed in the usual coup by the military, and, afterwards, the new hardliners got the benefit of those times when the country was a friendly and had military hardware and knowledge to wage war clandestinely or otherwise with its neighbours, given willingly.

Lessons hadn’t been learned after a particular middle east debacle.  Maybe lessons would never be learned.  Just look at the number of times had relations turned sour after a coup and agents had to hastily withdraw.  It seems that my visit had been at the end of another of those ‘diplomatic’ missions that had gone wrong.

If this was such a case, I was about to find out.

© Charles Heath 2019

Writing a book in 365 days – My Story 44

The end is not the place to start finding plot holes

Third Edit, Big Plot Hole? It’s a Gift, Not a Disaster (and How to Fix It!)

You’re deep into your third edit. The words are starting to gleam, the narrative arc feels solid, and you can almost taste that “FIN” key. Then it hits you. A moment, a scene, a fundamental piece of your carefully constructed world… and it makes no sense.

Your stomach drops. Your heart sinks. A gaping, undeniable plot hole stares back at you from the page, like a canyon you somehow missed seeing until now. “Third edit?!” you scream internally. “How could I have missed this? My book is fundamentally broken! I’m a fraud! It’s over!”

Stop. Breathe. You’re not alone, and this isn’t the end. In fact, finding a big plot hole late in the game is not a disaster – it’s an opportunity.

Why You Absolutely Should NOT Panic

Let’s talk you off the ledge, writer. Here’s why this unexpected discovery is actually a good thing:

  1. You Found It! This is the single most important reason not to panic. Imagine if a reader found it after publication. Ouch. You, the diligent author, caught it before it became a problem for anyone else. Give yourself a pat on the back for your keen editorial eye.
  2. It Means You’re Getting Better. Spotting a plot hole on the third edit, rather than the first, shows your critical faculties are sharpening. You’re viewing your work with fresh, more discerning eyes, like a seasoned detective.
  3. It’s Fixable (Seriously). Very few plot holes are truly unfixable without rewriting the entire book. Most can be patched, rewoven, or even transformed into something stronger.
  4. It Can Make Your Story Stronger. Often, fixing a plot hole isn’t just about patching a flaw; it’s about deepening character motivation, adding a surprising twist, or solidifying your world-building in a way you hadn’t considered before. What felt like a weakness can become a new strength.
  5. It Happens to Everyone. Every single writer, from debut authors to multi-published bestsellers, grapples with plot logic. Stories are complex beasts, and human brains are fallible. This is part of the process.

How to Fix That Pesky Plot Hole: A Step-by-Step Guide

Okay, now that we’ve established your book isn’t doomed, let’s roll up our sleeves.

Step 1: Disengage and Diagnose

  • Step Away: The worst thing you can do is try to fix it immediately while you’re still in “panic mode.” Go for a walk, make some tea, watch an episode of your favorite show. Let your subconscious marinate.
  • Pinpoint the Genesis: Identify the exact moment or decision where the logic breaks. Is it a character doing something illogical? A timeline inconsistency? A magical rule being broken? A piece of information that shouldn’t exist yet?
  • Trace the Impact: How far does this plot hole ripple through your story? What other scenes, character motivations, or plot points does it implicitly invalidate? Don’t just look at the hole; look at what falls into it.

Step 2: Brainstorm Solutions (No Bad Ideas Yet!)

Get out a fresh notebook or open a blank document. For 15-20 minutes, just write down any idea that comes to mind, no matter how silly or impossible.

  • “Character X secretly had a twin!” (Probably too much, but write it down.)
  • “The magic system actually has this obscure loophole!”
  • “That scene never happened, it was a dream!” (Again, likely not the best, but capture it.)
  • “What if Character Y’s motivation was actually Z, which explains the moment?”
  • “Could I add a short scene earlier to explain this?”
  • “What if I just cut that entire problematic subplot?”

The goal here is quantity, not quality. Don’t filter.

Step 3: Employ Your Writer’s Toolbox

Now, let’s get strategic with some common plot-hole-fixing techniques:

  1. The Foreshadow/Setup: This is often the cleanest solution. Can you add a small detail, a throwaway line, an earlier scene, or even a brief internal thought a few chapters (or even many chapters) before the plot hole appears, that subtly explains or justifies it?
    • Example: If your character can suddenly fly, have them dream about flying earlier, or overhear a strange comment about ancient powers.
  2. Reverse-Engineer the Logic: What needs to be true for the problematic moment to work? Can you build that truth into your world or character history?
    • Example: Character had to be at Location A, but they were established at Location B. What if the journey from B to A is shorter than you thought? Or what if there’s a secret tunnel? Or what if they sent a proxy?
  3. Deepen Character Motivation: Often, a plot hole stems from a character making an inconsistent or illogical choice. Can you:
    • Give them a secret motivation for that action?
    • Add internal conflict or external pressure that forces their hand?
    • Show them making a flawed, very human decision under stress?
    • Sometimes a character’s mistake IS the plot point.
  4. World-Building Expansion/Clarification: If the hole is due to inconsistencies in your magic system, technology, or societal rules, can you:
    • Add a new rule or caveat that explains it?
    • Clarify an existing rule?
    • Show a character misunderstanding or misinterpreting a rule?
  5. The “Consequences” Approach: Instead of trying to erase the illogical moment, what if you embrace it and explore its consequences? The plot hole becomes a new catalyst for conflict.
    • Example: If a character’s decision was illogical, what are the immediate, negative repercussions? How do they deal with the fallout? This can be incredibly rich for storytelling.
  6. Information Management: Did you give the reader too much or too little information at a crucial point?
    • Too much: Can you withhold a detail for longer to maintain suspense and prevent the reader from spotting the flaw too soon?
    • Too little: Can you provide a key piece of information subtly earlier to make the problematic moment click into place?
  7. The Pruning Shears: Is the problematic scene, character, or subplot truly essential? Sometimes, the most elegant solution is to simply remove the offending element entirely. If it’s creating more problems than it solves, it might not belong.

Step 4: Implement and Re-read (with a Partner if Possible)

Once you’ve chosen a solution, carefully integrate it. This might mean adding a few lines, a paragraph, or even rewriting a small scene. Then, read through the entire section, or even the whole manuscript again, specifically looking for new inconsistencies your fix might have created.

If you have a trusted beta reader or critique partner, this is an excellent time to get their eyes on it. Explain the original plot hole and your proposed solution, and ask them if it now makes sense and feels organic.

You Got This.

Finding a big plot hole on your third edit isn’t a sign of failure; it’s a badge of honor. It means you care enough about your story, and your readers, to make it the absolute best it can be. Embrace the challenge, apply these strategies, and watch as that gaping chasm transforms into a seamlessly integrated, stronger part of your narrative.

What I learned about writing – There is never enough time for reading

And the point is, there should be.

To me, reading is an essential part of a writer’s life.  We see what others write, we see how others write, and we see what they write about.

It is an education in itself on the genre we eventually want to write for.  Call it homework, or very pleasant homework.

But…

Between everything else I have to do around the house, the time set aside for writing, the time set aside for maintaining social media, the time set aside for family, is there any time left?

About an hour before I go to sleep, though that time is considerably shortened if the book is boring.

Fortunately, quite often they are not.

The other problem is the intervals between new books from my favorite authors is getting less as they take on co-writers, such as James Patterson and Clive Cussler.   And even more are now getting co-authors which means my to be read list is getting longer and longer.

It seems the only time I can steal more than an hour away is when I go away on holiday.  This we try to do several times a year, and this year we’ll be going to Melbourne, and then a week in Tasmania.

There’s only one other problem involved, the fact books are so much cheaper there, and I’ll be buying more.

Damn.  It’s a never-ending cycle.

But, at the moment, the list reads like this,

Len Camarda, The Seventh Treasure

Edgar Wallace, The Clue of the new Pin

Nicola Upson, Nine Lessons

Matt Gallagher, Youngblood

Sam Peters, From Darkest Skies

And, of course, about a hundred others.

As odd as it sounds I’m looking forward to the few hours in the plane seeing many airlines are now doing away with inflight entertainment.  I’m sure food will be next.

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

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

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

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

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

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

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

… and it would have remained buried.

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

Even if it almost costs him his life.  Again.

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 him or her, 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, 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, people who look like someone we knew, and made the mistake of approaching them like a long lost friend, only to discover an embarrassed individual desperately trying to get away for what they perceive is 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 recognize was murder. The photo of the man up 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 at 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 realize 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, 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 a number of other delegates who had arrived on the same plane. I had mingled with a number of 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, bullet proof 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 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 was still 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 and explain this to people who had already made up their minds. I searched my mind for evidence. It was there, but in the confused state brought on by the medication, all I could think about was jail, and the sort of company I was going to have.

I think death would have been preferable.

Half an hour later, maybe longer, I was drifting in an 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 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 a another visitor. He is from the British Embassy I think. But he will have to wait until I have finished my examination.”

I realized 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 that 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 you were shot had made it an all-round embarrassment for them.”

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

“That is why you have another visitor.  I only took precedence because I insisted I speak with you first.  I have come, basically to ask you for a favour.  This situation has afforded us with 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 than 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, and 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, by the way she had announced herself, 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 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 a number of 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 note book 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 apologize 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 realized 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 realized we had made a mistake and reviewed the close 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 officer’s 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 it 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 wrong doing?”

“I have apologized. 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 co-operation Mr. Pargeter. Good morning.”

© Charles Heath 2015-2021

Writing a book in 365 days – My Story 44

The end is not the place to start finding plot holes

Third Edit, Big Plot Hole? It’s a Gift, Not a Disaster (and How to Fix It!)

You’re deep into your third edit. The words are starting to gleam, the narrative arc feels solid, and you can almost taste that “FIN” key. Then it hits you. A moment, a scene, a fundamental piece of your carefully constructed world… and it makes no sense.

Your stomach drops. Your heart sinks. A gaping, undeniable plot hole stares back at you from the page, like a canyon you somehow missed seeing until now. “Third edit?!” you scream internally. “How could I have missed this? My book is fundamentally broken! I’m a fraud! It’s over!”

Stop. Breathe. You’re not alone, and this isn’t the end. In fact, finding a big plot hole late in the game is not a disaster – it’s an opportunity.

Why You Absolutely Should NOT Panic

Let’s talk you off the ledge, writer. Here’s why this unexpected discovery is actually a good thing:

  1. You Found It! This is the single most important reason not to panic. Imagine if a reader found it after publication. Ouch. You, the diligent author, caught it before it became a problem for anyone else. Give yourself a pat on the back for your keen editorial eye.
  2. It Means You’re Getting Better. Spotting a plot hole on the third edit, rather than the first, shows your critical faculties are sharpening. You’re viewing your work with fresh, more discerning eyes, like a seasoned detective.
  3. It’s Fixable (Seriously). Very few plot holes are truly unfixable without rewriting the entire book. Most can be patched, rewoven, or even transformed into something stronger.
  4. It Can Make Your Story Stronger. Often, fixing a plot hole isn’t just about patching a flaw; it’s about deepening character motivation, adding a surprising twist, or solidifying your world-building in a way you hadn’t considered before. What felt like a weakness can become a new strength.
  5. It Happens to Everyone. Every single writer, from debut authors to multi-published bestsellers, grapples with plot logic. Stories are complex beasts, and human brains are fallible. This is part of the process.

How to Fix That Pesky Plot Hole: A Step-by-Step Guide

Okay, now that we’ve established your book isn’t doomed, let’s roll up our sleeves.

Step 1: Disengage and Diagnose

  • Step Away: The worst thing you can do is try to fix it immediately while you’re still in “panic mode.” Go for a walk, make some tea, watch an episode of your favorite show. Let your subconscious marinate.
  • Pinpoint the Genesis: Identify the exact moment or decision where the logic breaks. Is it a character doing something illogical? A timeline inconsistency? A magical rule being broken? A piece of information that shouldn’t exist yet?
  • Trace the Impact: How far does this plot hole ripple through your story? What other scenes, character motivations, or plot points does it implicitly invalidate? Don’t just look at the hole; look at what falls into it.

Step 2: Brainstorm Solutions (No Bad Ideas Yet!)

Get out a fresh notebook or open a blank document. For 15-20 minutes, just write down any idea that comes to mind, no matter how silly or impossible.

  • “Character X secretly had a twin!” (Probably too much, but write it down.)
  • “The magic system actually has this obscure loophole!”
  • “That scene never happened, it was a dream!” (Again, likely not the best, but capture it.)
  • “What if Character Y’s motivation was actually Z, which explains the moment?”
  • “Could I add a short scene earlier to explain this?”
  • “What if I just cut that entire problematic subplot?”

The goal here is quantity, not quality. Don’t filter.

Step 3: Employ Your Writer’s Toolbox

Now, let’s get strategic with some common plot-hole-fixing techniques:

  1. The Foreshadow/Setup: This is often the cleanest solution. Can you add a small detail, a throwaway line, an earlier scene, or even a brief internal thought a few chapters (or even many chapters) before the plot hole appears, that subtly explains or justifies it?
    • Example: If your character can suddenly fly, have them dream about flying earlier, or overhear a strange comment about ancient powers.
  2. Reverse-Engineer the Logic: What needs to be true for the problematic moment to work? Can you build that truth into your world or character history?
    • Example: Character had to be at Location A, but they were established at Location B. What if the journey from B to A is shorter than you thought? Or what if there’s a secret tunnel? Or what if they sent a proxy?
  3. Deepen Character Motivation: Often, a plot hole stems from a character making an inconsistent or illogical choice. Can you:
    • Give them a secret motivation for that action?
    • Add internal conflict or external pressure that forces their hand?
    • Show them making a flawed, very human decision under stress?
    • Sometimes a character’s mistake IS the plot point.
  4. World-Building Expansion/Clarification: If the hole is due to inconsistencies in your magic system, technology, or societal rules, can you:
    • Add a new rule or caveat that explains it?
    • Clarify an existing rule?
    • Show a character misunderstanding or misinterpreting a rule?
  5. The “Consequences” Approach: Instead of trying to erase the illogical moment, what if you embrace it and explore its consequences? The plot hole becomes a new catalyst for conflict.
    • Example: If a character’s decision was illogical, what are the immediate, negative repercussions? How do they deal with the fallout? This can be incredibly rich for storytelling.
  6. Information Management: Did you give the reader too much or too little information at a crucial point?
    • Too much: Can you withhold a detail for longer to maintain suspense and prevent the reader from spotting the flaw too soon?
    • Too little: Can you provide a key piece of information subtly earlier to make the problematic moment click into place?
  7. The Pruning Shears: Is the problematic scene, character, or subplot truly essential? Sometimes, the most elegant solution is to simply remove the offending element entirely. If it’s creating more problems than it solves, it might not belong.

Step 4: Implement and Re-read (with a Partner if Possible)

Once you’ve chosen a solution, carefully integrate it. This might mean adding a few lines, a paragraph, or even rewriting a small scene. Then, read through the entire section, or even the whole manuscript again, specifically looking for new inconsistencies your fix might have created.

If you have a trusted beta reader or critique partner, this is an excellent time to get their eyes on it. Explain the original plot hole and your proposed solution, and ask them if it now makes sense and feels organic.

You Got This.

Finding a big plot hole on your third edit isn’t a sign of failure; it’s a badge of honor. It means you care enough about your story, and your readers, to make it the absolute best it can be. Embrace the challenge, apply these strategies, and watch as that gaping chasm transforms into a seamlessly integrated, stronger part of your narrative.

In a word: well

At first, you would think this word has something to do with your health.

You’d be right.  “Are you well?” or “Are you well enough?”

Of course, it can cause some confusion, because how do you measure degrees of wellness.

Reasonably well, very well, not well, or just well.  Not a good descriptive word for the state of your health, maybe.

How about what if the team played well.  Not health this time, but a standard.

There’s ordinary, mediocre, as a team, brilliantly, and then there’s well.

It seems it can be used to describe an outcome.

Well, well.

Hang on, that’s something else again.

What about, then, we use the word to describe a hole in the ground with water at the bottom.

Or not if it is a drought.

A lot of people get water from a well, in fact in the olden days that was a common sight in a village.

What about those environment destroyers, oilmen.  They have oil wells, don’t they?

And when I went to school, there were ink wells on every desk.

Messy too, because I was once the ink monitor.

But if the well’s dried up?

It becomes a metaphor for a whole new bunch of stuff.

OR what about a stairwell?

And at the complexity of it all, for such a small word, tears well up in my eyes.