Category: Creative Writing

In a word: Key

So, as we all know, a key is used to lock or unlock a door, gate, or something else.  It’s either made of shiny metal, brass, or rusty iron, it can be small, or very, very big, as is the key to a dungeon.

We can have one key or we can have many or even a master key that unlocks everything, very handy if you have a house full of locked rooms.

People always seem to want to steal them, especially in crime shows.

There is also an item called a key card.  Not the metal thing, but a plastic thing, that opens doors.  Odd that it’s called keyless entry!

Then there’s what is known as the key to something, i.e. you might have the key to his or her heart, metaphorically speaking.

And in that metaphorical sense, it opens up pandora’s box with a plethora of different meanings.

He had the key to the puzzle.

I wish sometimes I had the key to be able to write better, that that one particular key eludes me.

There are keys on a keyboard, the ones you use on computers and calculators.  They were originally on typewriters.  You can also find keys on a piano, or an accordion, and some other musical instruments.

A key can also be a master index field, or unique identifier, in a database, particularly those kept on computers.

And,

there’s a host of other uses for the word key, such as

roughening a surface

describing the shooting area on a basketball court

a group, or one, of small coral islets

matching words to pictures

or, you’re just too keyed up to sleep.

 

 

 

The first case of PI Walthenson – “A Case of Working With the Jones Brothers”

This case has everything, red herrings, jealous brothers, femme fatales, and at the heart of it all, greed.

See below for an excerpt from the book…

Coming soon!

PIWalthJones1

An excerpt from the book:

When Harry took the time to consider his position, a rather uncomfortable position at that, he concluded that he was somehow involved in another case that meant very little to him.

Not that it wasn’t important in some way he was yet to determine, it was just that his curiosity had got the better of him, and it had led to this: sitting in a chair, securely bound, waiting for someone one of his captors had called Doug.

It was not the name that worried him so much, it was the evil laugh that had come after the name was spoken.

Doug what? Doug the ‘destroyer’, Doug the ‘dangerous’, Doug the ‘deadly’; there was any number of sinister connotations, and perhaps that was the point of the laugh, to make it more frightening than it was.

But there was no doubt about one thing in his mind right then: he’d made a mistake. A very big. and costly, mistake. Just how big the cost, no doubt he would soon find out.

His mother, and his grandmother, the wisest person he had ever known, had once told him never to eavesdrop.

At the time he couldn’t help himself and instead of minding his own business, listening to a one-sided conversation which ended with a time and a place. The very nature of the person receiving the call was, at the very least, sinister, and, because of the cryptic conversation, there appeared to be, or at least to Harry, criminal activity involved.

For several days he had wrestled with the thought of whether he should go. Stay on the fringe, keep out of sight, observe and report to the police if it was a crime. Instead, he had willingly gone down the rabbit hole.

Now, sitting in an uncomfortable chair, several heat lamps hanging over his head, he was perspiring, and if perspiration could be used as a measure of fear, then Harry’s fear was at the highest level.

Another runnel of sweat rolled into his left eye, and, having his hands tied, literally, it made it impossible to clear it. The burning sensation momentarily took his mind off his predicament. He cursed and then shook his head trying to prevent a re-occurrence. It was to no avail.

Let the stinging sensation be a reminder of what was right and what was wrong.

It was obvious that it was the right place and the right time, but in considering his current perilous situation, it definitely was the wrong place to be, at the worst possible time.

It was meant to be his escape, an escape from the generations of lawyers, what were to Harry, dry, dusty men who had been in business since George Washington said to the first Walthenson to step foot on American soil, ‘Why don’t you become a lawyer?” when asked what he could do for the great man.

Or so it was handed down as lore, though Harry didn’t think Washington meant it literally, the Walthenson’s, then as now, were not shy of taking advice.

Except, of course, when it came to Harry.

He was, Harry’s father was prone to saying, the exception to every rule. Harry guessed his father was referring to the fact his son wanted to be a Private Detective rather than a dry, dusty lawyer. Just the clothes were enough to turn Harry off the profession.

So, with a little of the money Harry inherited from one of his aunts, he leased an office in Gramercy Park and had it renovated to look like the Sam Spade detective agency, you know the one, Spade and Archer, and The Maltese Falcon.

There’s a movie and a book by Dashiell Hammett if you’re interested.

So, there it was, painted on the opaque glass inset of the front door, ‘Harold Walthenson, Private Detective’.

There was enough money to hire an assistant, and it took a week before the right person came along, or, more to the point, didn’t just see his business plan as something sinister. Ellen, a tall cool woman in a long black dress, or so the words of a song in his head told him, fitted in perfectly.

She’d seen the movie, but she said with a grin, Harry was no Humphrey Bogart.

Of course not, he said, he didn’t smoke.

Three months on the job, and it had been a few calls, no ‘real’ cases, nothing but missing animals, and other miscellaneous items. What he really wanted was a missing person. Or perhaps a beguiling, sophisticated woman who was as deadly as she was charming, looking for an errant husband, perhaps one that she had already ‘dispatched’.

Or for a tall, dark and handsome foreigner who spoke in riddles and in heavily accented English, a spy, or perhaps an assassin, in town to take out the mayor. The man was such an imbecile Harry had considered doing it himself.

Now, in a back room of a disused warehouse, that wishful thinking might be just about to come to a very abrupt end, with none of the romanticized trappings of the business befalling him. No beguiling women, no sinister criminals, no stupid policemen.

Just a nasty little man whose only concern was how quickly or how slowly Harry’s end was going to be.

…

© Charles Heath 2019-2024

NANOWRIMO – November 2025 – Day 11

…

The Third Son of a Duke

…

So we are getting the back stories for a few of the passengers, a group forms, of which our protagonists are part of; my grandmother is there, but only as a floating member. I have given her a role that gels with the protagonist as a friend, though more aloof than the others.  As the son of a Duke, and therefore of aristocratic bearing, he and my grandmother will act as chaperones for the other girls who attach themselves to the group that gathers in the lounge.

He will prefer her as a companion while the likes of Louise tend to make a more romantic impact.  But, as one might expect of the time, he is uncertain of his arrangement with the arranged marriage, so he cannot commit to anything other than a respectable friendship, which he makes quite plain from the outset.

He is not looking for romance.  Others might be.

I also have a look at the reasons why so many disaffected young women are leaving England for a new life in Australia, far from the poverty, and worse, class distinction, the lack of opportunities for women, and the lack of acceptable husbands, not that they are looking.  There are also aspects of societal expectation that a woman doesn’t work and is meant to have children and look after their husbands.

This is a period where the unwritten rule of what society believes is a woman’s place in society is taking a beating, and women want more from their lives.  After all, suffragettes are fighting for electoral equality; at least in Australia, these girls will have a vote. 

…

1455 words, for a total of 16835 words.

Writing about writing a book – Day 23

I’ve been thinking a lot about Bill’s service, and the characters he meets along the way, some of whom shape the man he became, others he remained friends with after he was discharged, and those that were killed.

Several have a direct bearing in the main story, for instance, Brainless, a rather ubiquitous nickname, given to him because of his actions, that is to say, he acts without thinking, sometimes when in great peril, a man who never quite recovered but is, for all intents and purposes Bill’s friend and someone he feels responsible to look after, perhaps because of how many times he saved Bill from death, or worse.

There is also Manilow, but we’ll save him for later.

So, this is where ‘Brainless’ gets his introduction:

…

It was the first time I’d been hit by a bullet, and it hurt.  It was a steep learning curve, realizing you have been hit, and then the brain going into overdrive to tell you first it going to hurt like hell, and then begin to assess the damage, running every scenario from ‘it’s a flesh wound’ to ‘Oh God, I’m going to die’.

At least, that was what had happened to me for the first time.

Seconds, or minutes, or hours later, a man who doubled as a Medic came scrabbling over to me and looked at the wound.  A silly thought, how did he know I’d been shot?  Had I screamed?  He made a quick assessment, told me I’d live, and dressed it as well and as quickly as he could.

There were other casualties.

I lasted until I was brought into a clearing some miles further on, after the enemy had been killed, or had retreated, and loaded onto a helicopter.  There I was told everything would be OK and then the lights went out.

My first visit to a mobile army hospital, after being hit, was a novelty.  It was nothing like a real hospital.  Nor was the staff.  It took a different sort of medical personnel to man a front-line hospital where you were just as likely to become a casualty yourself.

The doctor was quite jovial about the whole matter saying I would be back out again in no time, not exactly a prospect I was looking forward to.  It was almost a mend job without anesthetic and the memory of it remained with me for some time.  Facilities were not primitive, but they just appeared that way.

I was one of the less needy casualties that day.  After being stitched up, a nurse took me to a bed in a ward with a mixture of serious and not-so-seriously wounded.

The nurse, whose name was Wendy, had the same sense of humour I had.  She insisted we be on first-name terms from the start.  How she kept her humour was a mystery, for most noticeable was her tired look as if she had been doing the same thing for too long.

The bed was comfortable, the temperature bearable, and the food edible.  Being, and remaining, injured had its good points.

I slept well the first night.  I presumed the injection she’d given me was to ensure I had a restful sleep.  It was long overdue and much needed.

The next morning the numbers had thinned.  Two men had died, and several others returned to duty.  To my left was a sad and distant private, who, from time to time, would start moaning.  He’d been in the middle of a mortar attack and was both deaf and had serious psychological problems.

To my right, there was a large man who barely fit in the bed.  He was a perpetually unhappy person, with only minor injuries, a bullet wound to his upper leg.  Nothing serious, he said, and just wanted to leave as soon as possible.  Brainless, the nurse called him.  Always wanted to get back to the war and kill some more of the enemy.  An obsession, she said.

He was staring morosely at the ceiling when I woke.  It took a few minutes to regain full consciousness, a sign I’d been in a drugged sleep.

“What are you in for?” he asked.

“Leg wound.  Nothing serious.”  You?”

“Leg.  Bastards snuck up on me.  And the useless rearguard didn’t do his job properly.”

“Landmine?”

“Sniper.”

I’d seen both.  Tread in the wrong place, and you didn’t do it again.  Sniper’s fire came from almost anywhere, taking out soldiers and civilians indiscriminately.  You could never hear the bullet, just feel it.

“Mongrel,” I said with feeling.

“Yours?”

“Probably the same.  I didn’t see it coming.  I hate it when you can’t see the bastards.  There ought to be some law they send you a message first.  Give you a chance….”

“Chap other side killed himself.  Had enough.  It was written all over his face.  What kind of sooks are we bringing over here?”

“National service,” I said quietly.

“You?” he asked.

I could feel his contempt for ‘Nashos’ and to be glad I was not one.  “I believe I volunteered.”

He didn’t ask what I meant, and even if he had, I probably would have made up a lie.  I hardly thought if I said my father-in-law hated me that much he would send me here, would make any sense, particularly to this man beside me.

He snorted.  “More the fool you, then.”

We were both released on the same day.  His unit had suffered major casualties, and the story he gave me in the hospital was not quite true.  He’d gone down trying to save what men he could in an ambush.  Heroics came to mind, but his selfless actions were much more than that.  Without a unit, he joined ours.

Wendy remained in my mind for some time after that visit.  When I returned the next time, my injuries being more serious, I enquired as to her whereabouts, only to discover she was dead too, a victim of her own hand, simply because she could not cope with the death, mutilation, and waste.

There was no doubt it affected all of us in different ways.  Some didn’t like the idea of going back out into the jungle and found their own peace.  Others, like Wendy, needed something more, but all too often, no one recognized what the solution was until it was too late.

…

Now that I have paved the way, I must go back to the main story and write the part where Brainless enters the picture.

…

© Charles Heath 2016-2025

The cinema of my dreams – I never wanted to go to Africa – Episode 34

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, and because of it, he has now been roped into what might be called a suicide mission.

…

I had hoped we’d land in daylight, but I could see the benefits of arriving at the landing strip after darkness had fallen, and a more primitive form of landing lights had been used.

Less interest from the local people and no bright lights lighting up the runway.

The only lights I could see from the air were the primitive landing lights, fires burning in used fuel drums, and a glimmer of light emanating from two of the buildings set back from the airstrip.

It did worry me, probably more than it should, that the pilots would be landing a plane of this size in virtually a paddock, flying by the seat of their pants, and all credit to them if they got the plane on the ground.  I guessed they’d flown into more than one hot spot around the world, and at least at this one, they were not being shot at.

Their turn around would be quick, just enough time to take on a small amount of fuel and then leave.  No one had said if it would be a fuel tanker or by drums and hand pumps.

The plane had a short distance to go from the end of the runway to what might be called terminal buildings.  The moment the engines were cut, there was a flurry of movement, and after the fuselage door was quickly opened by the co-pilot, then the rear access ramp lowered and standing at the end, once it hit the ground, I could see a tanker and a Land Rover heading towards the rear of the plane, with only small headlamps on.

Monroe had joined me.  Behind me was a hive of activity as the team moved the crates of camera equipment to the end of the ramp, and then the individual packs.  Jacobi was escorted down on the ground by his two-man guard.

“Is this necessary,” he asked as he passed by me

I ignored him.

The Range Rover stopped just by the bottom of the ramp, and two men got out, one I assumed was Colonel Chiswick, former British Army, came over to train the local soldiers, and didn’t go home, and the other a Ugandan soldier with Sergeant stripes.  Perhaps this was one of their airfields feeding supplies and troops for border patrol duties.

Monroe went down first, and I followed.

Chiswick came up to me, holding out a hand.  “James, I presume?”  I shook it.

I nodded towards Jill, “And Monroe.”

“Welcome to nowhere in particular.”

In the distance, another three Range Rovers were heading towards the plane and then stopped within easy distance of the ramp to easily facilitate the moving of the camera equipment into the rear.  Drivers of the cars ushered them, taking their packs and putting them in the back.

I saw a meaningful look pass between Jacobi and Chiswick.  They knew each other.  No surprises there.  If Chiswick was running this base, then he’d have to know about Jacobi whom we knew had friends in all the high places on every side of the fence.

Another car pulled up, a jeep.  “For your man to get to the base.  I gather he has his instructions?”

Mobley nodded, threw his pack in the back, and the jeep drove off.

“Nice night,” Chiswick said, finally, “Glad it’s not raining, or it would have been a rather sticky landing.”

“How long before the plane leave?”

“About an hour.  Don’t worry.  Planes come and go here all the time, so no one really cares much.”

The crates, packs and other men were loaded and taken away.  Monroe had a final word to the pilot, now down on the ground and supervising the fuel loading, then joined me in the Colonel’s car.

“You’ll be leaving just before first light.  Best to get away before the villagers stir.  There will be one or two curious souls, but they’re harmless.  The soldiers here have been informed that you are here for a training exercise, nothing unusual as we get squads from all over from time to time.  As I said, your arrival will have caused little interest.”

From the locals.  It was anyone else other than the locals I was worried about. 

“Excellent.”


There was not much else to talk about in the few minutes it took to get to the compound at the back of the so-called terminal buildings.  It consisted of about ten large barracks, an administration building, and what looked to be a mess.

Pale lights were showing from one of the barracks, and seeing the cars parked out the front, I assumed this was where we would stay until we departed.

The Colonel didn’t get out of the car.  “We’ll be leaving at 04:00 tomorrow morning.  Make sure you’re ready to go.”

“You’re coming too?”

“Bamfield asked me.  Wants to make sure you had someone who knows the lie of the land.”

“I thought you’d delegate that to a few of the soldiers.”

“No.  Can’t have them involved in an incursion or there will be trouble.  This is an off the book’s operation.  Looking forward to it, actually.  There are a few people over there I’d like to have a talk to if we get the time.”

I shrugged.  Just one more problem to deal with.  The Colonel didn’t strike me as being a talker, but a man who let actions define who he was.  And just because Bamfield vouched for him didn’t mean he might be not be working on his own retirement fund.

…

© Charles Heath 2019-2022

Writing a book in 365 days – My Story 45

More about my story – What about a sequel?

…

Beyond ‘The End’: When Your First Novel Whispers ‘Sequel!’

They say everyone has one novel in them. That singular, definitive story waiting to be told. And if you’re deep in the trenches of writing that very first book – or perhaps just emerging, blinking, from the final draft – you know the magnitude of that achievement. It’s a mountain climbed, a world birthed, a dream realised.

But what if, as you type those triumphant final words, your story doesn’t feel quite… finished? What if your characters still have unresolved arcs, your world still hums with unexplored corners, and a new conflict is already brewing on the distant horizon?

This is the siren call of the sequel, the whisper of a series, beckoning you beyond “The End.” And the question isn’t if it will happen, but how you decide when your definitive first novel should become the definitive first step in a much larger journey.

The Organic Unfurling: When Ideas Spark Early

Sometimes, the seed of a series is planted before you even write chapter one. You might be world-building, and realise your magic system is too complex for a single adventure. Or you create a cast of characters so rich, you know their individual journeys can’t possibly culminate in one book.

This is the beauty of organic discovery. As you plot, you might hit a snag and realise a subplot isn’t fitting, but it would make a fantastic central conflict for a future story. Or you leave a minor mystery unsolved, not out of oversight, but with the deliberate thought: “That’s for book two.”

Key signs it might be more than a standalone (even early on):

  • Vast World-Building: Your setting feels like a continent, not just a town. There are untouched cultures, unvisited lands, or deep historical layers begging exploration.
  • Complex Character Arcs: Your protagonist’s journey is profound, but you can see clear paths for growth beyond this initial conflict. Or a compelling secondary character deserves their own spotlight.
  • Lingering Questions/Plot Threads: You’ve wrapped up the central conflict of Book 1, but there are larger societal issues, ancient prophecies, or personal vendettas that naturally spill over.

The Post-Draft Revelation: When Your Story Demands More

Often, the realization hits after you’ve finished the first draft – or even after a round of revisions. You might be reading through, feeling proud, and suddenly a new idea sparks. “What if X happened next?” “How would Y react to Z now?”

This is a beautiful moment, because it means you’ve built something robust enough to inspire more. Your subconscious is telling you there’s still creative gold in that particular mine.

How to approach this post-draft revelation:

  1. Does Book 1 Stand Alone? This is crucial. A “definitive first novel” must feel complete in itself. The central conflict should be resolved, and the protagonist should have achieved a significant milestone. Don’t write a cliffhanger just because you might write a sequel. Future books should deepen the experience, not fix the first one.
  2. Brainstorm the Arc: Dedicate a session (or several) to mapping out potential sequels. What’s the new central conflict? How have your characters changed? What new challenges do they face? This isn’t about writing, just exploring.
  3. Check for Crossover Appeal: Does the core premise of your first novel have enough appeal to sustain multiple stories? Are there fresh angles to explore, or would you merely be repeating yourself?
  4. Listen to Your Gut: Does the thought of continuing fill you with excitement or dread? While writing is always hard work, the initial spark for a series should feel invigorating.

Why Stop at One? The Power of “More”

The adage “everyone has one novel in them” is true. But the idea that you should only write one is a self-imposed limitation. If your imagination is already conjuring new adventures in the same world, if your characters are clamouring for more development, why stifle that creative energy?

A series allows for:

  • Deeper World Exploration: To truly immerse readers in a rich, complex world.
  • Rich Character Development: To show growth, setbacks, and evolving relationships over a longer timeline.
  • Unfolding Grand Narratives: To tackle epic conflicts or explore complex themes that simply can’t be contained in a single volume.

So, as you nurture that definitive first novel, remember to keep an ear open. Does your story hum with untold tales? Do your characters beckon you towards new horizons? If so, embrace the possibility. Your definitive first novel might just be the definitive first step into a much larger, more thrilling literary journey. Why write one when you have a whole universe waiting to unfurl?

Top 5 sights on the road less travelled – Madrid

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

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

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

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

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

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

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

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

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

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

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

3. Step into a Tranquil Oasis at the Sorolla Museum

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

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

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

4. Immerse Yourself in a Traditional Vermutería Experience

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

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

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

5. Explore the Opulent World of the Museo Cerralbo

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

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

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

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

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

What I learned about writing – Daydreams can lead to a very interesting story

Nostalgia

Have you ever heard someone say it was better in the old days?

I have.

I’ve been guilty of saying it myself.

But was it?

When I was a child, there was no such thing as Personal Computers or calculators.  Everything came out of books, and maths had to be done in your head or worked out methodically on paper.

Holidays were about joining up with other neighbourhood children and making your own entertainment.  I remember that for a long time, as a child, we didn’t have television.

It was down to the meadows near the creek to pick blackberries, swim in the creek, or raid new housing estates for offcuts of timber to build a cubby house.

Unlike today, with television, video players, movies on demand, personal computers, Game Boys and a plethora of other entertainment choices.

Were we better off back in the old days?

We were in the sun with no idea that sunburn led to cancer and death.  Sunscreen was unheard of, so in that regard, maybe not.

In those same ‘old days’, the only telephones were in the house and were expensive to use.  You could have a coloured phone so long as it was black and made of Bakelite.  Back then, it was the days of telephone boxes, the only way you could make a phone call when away from home

Now every man and his dog has a mobile phone/computer while on the move.  You see people everywhere, mobile phone in hand, staring at the screen, in cafes, on the bus or train, even walking down the street.

And then, when I was a child, I could remember my father saying it was not like the old days for him, so I had to wonder what he meant.

Perhaps it is an oft-used but less understood lament for a time when we remember we were happy and carefree, those days before mortgages, children, maxed-out credit cards, and the children’s mobile phone bills.

And certainly history to be discovered, that we might write a novel of what was an undiscovered time we never knew.

‘Sunday in New York’ – A beta reader’s view

I’m not a fan of romance novels but …

There was something about this one that resonated with me.

This is a novel about a world generally ruled by perception, and how people perceive what they see, what they are told, and what they want to believe.

I’ve been guilty of it myself as I’m sure we all have at one time or another.

For the main characters Harry and Alison there are other issues driving their relationship.

For Alison, it is a loss of self-worth through losing her job and from losing her mother and, in a sense, her sister.

For Harry, it is the fact he has a beautiful and desirable wife, and his belief she is the object of other men’s desires, and one in particular, his immediate superior.

Between observation, the less than honest motives of his friends, a lot of jumping to conclusions based on very little fact, and you have the basis of one very interesting story.

When it all comes to a head, Alison finds herself in a desperate situation, she realises only the truth will save their marriage.

But is it all the truth?

What would we do in similar circumstances?

Rarely does a book have me so enthralled that I could not put it down until I knew the result. They might be considered two people who should have known better, but as is often the case, they had to get past what they both thought was the truth.

And the moral of this story, if it could be said there is one, nothing is ever what it seems.

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Available on Amazon here: amzn.to/2H7ALs8

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Top 5 sights on the road less travelled – Venice

The Unbeaten Path: 5 Hidden Treasures in Venice (That Aren’t St. Mark’s)

Venice. The name alone conjures images of shimmering canals, graceful gondolas, and the architectural masterpiece that is the Doge’s Palace. It is, undeniably, one of the most beautiful cities on earth.

But let’s be honest: the magic can quickly evaporate when you’re battling a thousand other tourists just to get a photo of the Rialto Bridge.

The true, deep magic of Venice—the one that smells of salt-laced air and centuries of history—isn’t found on the main tourist arteries. It’s found in the quiet, echoing calle (streets) and the forgotten, sun-drenched squares of the districts that rarely make the postcard racks.

If you’re ready to trade the packed piazza for unique local discoveries, ditch the map of the standard tourist loop. Here are five essential, off-the-beaten-path things to do in Venice that will give you a taste of the city’s authentic heart.

1. Swap Grand Palaces for the Cemetery Island: Isola di San Michele

While most visitors focus on Murano or Burano, the island of San Michele offers a profound and beautiful experience few tourists seek out. This is the official cemetery island of Venice, and it offers a silence and solitude that is impossible to find on the main islands.

A short vaporetto ride (Line 4.1 or 4.2) across the lagoon transports you to a walled sanctuary where cypress trees stand sentinel over generations of Venetians, including famous residents like Igor Stravinsky and Ezra Pound.

Why it’s worth the detour: The stunning, stark beauty of the Renaissance Chiesa di San Michele in Isola, combined with the meticulously maintained gardens and marble tombs, offers a reflective pause in your itinerary. It truly feels like stepping into a different world—one without shops, crowds, or noise. It’s a poignant reminder of the ebb and flow of Venetian life.

2. Embrace the Bacaro Trail in Dorsoduro

If you want to eat and drink like a Venetian, you must embrace the bacaro culture. A bacaro is a traditional, often hole-in-the-wall Venetian bar specializing in cicchetti (small, tapas-style snacks) and ombra (a small glass of local wine).

While you can find bacari near the main spots, the Dorsoduro district, particularly near Ca’ Foscari University, is where the scene is truly vibrant and local. This area is filled with students and residents, not tour groups.

How to do it right: Forget sitting down for a lengthy, expensive dinner. Between 5 PM and 7 PM, join the locals and hop between a few chosen spots, ordering a couple of cicchetti (perhaps salted cod, polpetta, or marinated artichokes) and an ombra at each.

  • Try: Cantinone Già Schiavi (famous for its wine selection) or Al Squero (offering fantastic views across the canal to the boatyard where gondolas are repaired).

3. Seek Out the Hidden Staircase: Scala Contarini del Bovolo

In a city known for its bridges and canals, architecture often takes a supporting role. However, if you are drawn to hidden architectural gems, the Scala Contarini del Bovolo is a must-see.

Tucked away in a tiny, almost impossible-to-find courtyard near the Rialto, the Palazzo Contarini del Bovolo features an extraordinary exterior spiral staircase. Known as the “staircase of the snail” (bovolo), this Renaissance masterpiece combines Gothic and Byzantine elements, curling up five stories to an open loggia.

The payoff: Climbing the staircase is an adventure in itself, but the true reward is the panoramic view from the top. You get a unique, intimate perspective of Venice’s terracotta rooftops and bell towers without the claustrophobic crowds of St. Mark’s Campanile. Finding it is half the fun—put the address into your phone and be prepared to wander down several dead-end alleys.

4. Explore the Authentic Heart of Cannaregio and the Ghetto

To experience genuine Venetian daily life—the sight of laundry dangling over canals, residents chatting in dialect, and non-chain grocery stores—head north to the Cannaregio district.

This area, which stretches toward the Mestre train station, is largely residential and offers excellent, affordable dining options. More importantly, it is home to the Ghetto Nuovo, the world’s first Jewish Ghetto, established in 1516.

Why it’s special: The Ghetto Nuovo is a place of powerful history and resilient culture. Due to space constraints imposed by the Republic, the buildings here are some of the tallest in Venice, stacked upon medieval foundations. Walk through the quiet central square, observe the five historic synagogues (many offer guided tours), and soak up the unique atmosphere. It’s a perfect way to step back into a complex, vital layer of Venetian history often overlooked by visitors rushing to the main sites.

5. Capture the Pastel Hues of Burano (But Go Early)

Yes, Burano is often listed on the main island tours, but most visitors arrive mid-day when the ferry lines are long, and the narrow canals are choked with people attempting the perfect photograph. To truly experience the magic of the famous rainbow-colored island, you must commit to the early start.

The secret timing: Take one of the first vaporetti out to Burano (via Murano and Torcello). Arriving just as the golden morning light hits the facades allows you to wander the lanes in near solitude. The local fishermen and lace makers are just beginning their day, and the lack of crowds amplifies the whimsical, fairy-tale quality of the architecture.

Tip: Since the island is famous for lacemaking, skip the mass-produced trinkets and seek out a small workshop where you can see the intricate craft being actively practiced.

Don’t Just Visit Venice—Live It

To travel the road less travelled in Venice isn’t about ticking off lesser-known sights; it’s about slow travel. It’s about getting lost, turning down the alley that looks too narrow, and replacing the tourist map with genuine curiosity.

When you allow yourself to wander away from the golden routes, you stop being a hurried observer and start becoming a temporary resident. The Venice you discover in these quiet pockets is richer, deeper, and far more rewarding.