Category: Creative Writing

The cinema of my dreams – I always wanted to write a war story – Episode 34

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…

 

We gathered up what food there was to take with us.  There were no weapons left behind.  Leonardo had assumed correctly we would have used them if they’d been left there.

Carlo had changed slowly into an automaton, and I guess if I could read his mind, I’d know exactly what he was thinking.  Enrico had attached himself to Carlo, and I knew Carlo would look after him.

When I said that the burials would have to wait, Carlo agreed.

We had a short discussion on what we would be doing next, and in the first instance, we would be going back to the other soldiers and the church.  There, with both of our knowledge of the castle, its entrances, secret or otherwise, and the internal passageways which I knew Wallace and the others there were not too familiar with, we would formulate a plan to go in and pick them off one by one.

It seemed a good plan when we first talked about it, but on the way back to the church, and I had time to consider how it would work, it seemed we would only get an advantage once, and we would have to kill or capture as many as we could in the first raid.

Then it was going to be difficult.

Unless Carlo knew of more places we could enter the castle without being seen or heard.

I only knew of three.

And the first post we had to hit, and silence, the radio room.



My war had not been as start or as terrifying as most of those whom I’d known or worked with.  My part was more selective, finding and eliminating spies, informers, and enemy cells on home territory.  

Sometimes that would extend into enemy territory, particularly France where, as one who could speak French fluently, I found myself working with the resistance, using intelligence gathered by a network of spies we had, not only in France but in all parts of enemy territory.  That also meant, sometimes, accompanying weapons and other supplies into enemy territory.

It hadn’t included anything like what I’d just seen back at the underground cavern.

I’d been told, often, about the enemy executing whole villages, and large groups as retaliation for resistance operations that killed German soldiers, and particularly officers, but I’d not seen it first-hand.

Now I had.

I’d been told, along with the others who had been at the training camp way back at the start of the war, that we would inevitably see atrocities.  Those instructors, men who had survived the first war, were speaking from experience.  We were told it would make us angry.  It had.  I had this immediate thought of doing as much damage as I could to the perpetrators of that massacre.

But we had also been told that we had to harness that anger, and use it to drive our actions, bot in a reckless manner, but with a measured calm and with planning.  Blind rage, which had been predicted, would only get us killed.

I had left the cavern at the blind rage stage, but the walk to the church wore some of that off, and I began to piece together the seeds of a plan to get our revenge.  We were only a small group, but even so, we could work more efficiently than those at the castle. 

Leonardo was not going to tell Wallace that he hadn’t captured or killed me in his ambush, but it might make Wallace think that my ability to retaliate would be weakened.  Leonardo would know that Carlo and I were still alive.  He would not know about Blinky and his men.

It would be interesting to see if Wallace would commit any of his men to hunt us down, send Leonardo back out to finish the job, or just wait until Meyer turned up.  His contact in Gaole would know about the castle’s change of allegiance, but he would not know that Martina was not going to be there to greet them when they arrived in the village.

That was several days away.  We would have to be there, but it was going to be dangerous unless we found a way to neutralize the castle.  So far, in my head, we’d neutralized the radio and got as far as the dungeons before meeting enemy resistance.

The same had happened in the next six scenarios, after playing out the last we had arrived back at the church.



Chiara was resting as comfortably as the Sergeant could make her.

He had made a more thorough assessment of her injuries, and aside for the severe beating, she had sustained a few cracked ribs and several broken fingers.  The broken fingers were a surprise.  The sergeant had reset them as best he could.

Other than that, she would recover physically.  Mentally, he said, would be something else.  She was lucky, he said, her torturer was an amateur, and Italian.  Had it been the German Gestapo, she would be dead.

She was lucid and I told her we would make Leonardo pay for what he’d done.  I thought it best not to tell her about what had happened back at the cavern.  She had enough on her conscience without adding the senseless deaths of the villagers.

Then we had a meeting, where I asked Carlo to draw a plan of the castle and the places where we could breach their defenses and give us an element of surprise.

He had one that I hadn’t known about, one that might give us a fighting chance.

© Charles Heath 2020

“One Last Look”, nothing is what it seems

A single event can have enormous consequences.

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

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

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

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

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

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

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

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

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

Here’s the thing…

Every time I close my eyes, I see something different.

I’d like to think the cinema of my dreams is playing a double feature but it’s a bit like a comedy cartoon night on Fox.

But these dreams are nothing to laugh about.

Once again there’s a new installment of an old feature, and we’re back on the treasure hunt.

…

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

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

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

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

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

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

Boggs was the dreamer.

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

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

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

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

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

“Boggs is in his room.”

“How are you this morning?”

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

“Will do.”

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

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

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

I looed up too, but there was nothing there.

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

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

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

“No.  An underground river.”

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

Apparently, they could.

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

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

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

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

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

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

“There’s more.”

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

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

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

They called it progress.

We called it piracy.

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

I hated to state the obvious.

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

© Charles Heath 2020

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

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

…

I find inspiration in the most unlikely places.

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

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

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

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

Four deaths, four mysteries, all homeless.

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

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

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

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

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

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

It’s all in the joining of the dots.

 

What I learned about writing – Ursula K LeGuin writing workshops

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

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

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

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

1. The Primacy of “The Sentence”

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

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

2. Reading as Research

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

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

3. The “Steering” of Narrative Perspective

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

She encouraged participants to experiment with:

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

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

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

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

5. The Accessible Legacy: Steering the Craft

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

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

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

What You Can Take Away Today

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

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

Final Thoughts

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

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

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

365 Days of writing, 2026 – 189

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

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

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

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

1. Structural Symmetry: The Art of the Controlled Narrative

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

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

2. Dialogue as a Character Tool

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

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

3. Plotting: The “Misunderstanding” Engine

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

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

4. The “Slow Burn” Pacing

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

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

Putting it into Practice

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

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

Final Thoughts

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

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

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Top 5 sights on the road less travelled – Cyprus

Unveiling Cyprus: A Journey Along the Road Less Travelled

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

1. Wander Through the Timeless Villages of Omodos

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

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

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

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

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

3. Escape to Karkarash Dam and Its Bucolic Surroundings

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

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

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

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

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

5. Discover Lara Beach: The Hidden Emerald Cove

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

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

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

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

In a word: Stick

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

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

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

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

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

But..

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

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

Too many mystery movies, I know.

Paint will stick to timber or any surface, really.

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

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

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

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

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

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

…

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

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

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

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

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

… and it would have remained buried.

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

Even if it almost costs him his life.  Again.

Top 5 sights on the road less travelled – Corsica

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

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

1. The Désert des Agriates

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

2. The Castagniccia Region (Chestnut Country)

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

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

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

4. The Alta Rocca Region and the Solenzara Natural Pools

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

5. The Niolo Valley and the Col de Vergio

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