John Pennington’s life is in the doldrums. Looking for new opportunities and prevaricating about getting married, the only joy on the horizon was an upcoming visit to his grandmother in Sorrento, Italy.
Suddenly, he is left at the check-in counter with a message on his phone telling him the marriage is off, and the relationship is over.
If only he hadn’t promised a friend he would do a favour for him in Rome.
At the first stop, Geneva, he has a chance encounter with Zoe, an intriguing woman who captures his imagination from the moment she boards the Savoire, and his life ventures into uncharted territory in more ways than one.
That ‘favour’ for his friend suddenly becomes a life-changing event, and when Zoe, the woman who he knows is too good to be true, reappears, danger and death follow.
Shot at, lied to, seduced, and drawn into a world where nothing is what it seems, John is dragged into an adrenaline-charged undertaking, where he may have been wiser to stay with the ‘devil you know’ rather than opt for the ‘devil you don’t’.
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.
…
A dark room, a dark woman, and a dark desire.
A very, very bad combination.
But in a moment where my brain must have switched off for at least ten seconds, I kissed her back, and that was a fatal mistake.
I closed my eyes and went with it. Until one or other or both of us decided this was not the time or the place.
And then she said something that really worried me.
“I’m sorry.”
She unbolted the door, opened it and we stepped out. Instantly the temperature dropped forty degrees.
And sanity returned.
I tried getting my mind back onto realistic matters, like leaving. “Do you think they might be waiting, just in case there is someone here, like us?”
“Then we have to go another way.”
“There is only one way, the way we came. It was a dead-end where the torture room is, and, apparently, where there’s a safe.”
“WE’RE not staying to find out, maybe another day. It’s time to leave before they possibly come back. There’s a back way in here.”
I followed her out of the room, up two offices, and then into what would be the middle office. It looked like a reception area, with dusty seats along the wall, under peeling wallpaper. At the back there was another door, shut. She opened it, and it led to a passage.
“The cells.”
“Like a jail?”
“Like rooms for the shoplifters awaiting their punishment.”
She stopped at a doorway and looked in. I saw her physically shudder, before moving on.
“Bad memories?” I asked.
“It might not have happened if I’d acted my age, but you know what it’s like. When you’re sixteen, you want to be twenty-one, and when you’re twenty-one, you want to be sixteen again. Trouble is, you can’t get back what you’ve lost.”
I wondered briefly if that something was innocence. Some people seemed to think I still had mine, but I wasn’t so sure.
The passage didn’t go very far before it turned right, and then to the top of another staircase. We went down, and then to the left again. From what I could remember, we were on the other side of the mall.
There was another door, and we went through it, and out into the mall itself. It was the second level, near the center where the garden was, and moments later we were at the railing looking down to the ground floor.
And a faint glow of light, moving around as if it was being carried by someone moving slowly towards the pond.
And voices.
“Look, Alex, there’s no one here. We’ve just done a circuit of this creepy place and found no one and nothing else to show there is anyone here.”
“I can feel it.
“That’s the coke you had, Alex. Turns you paranoid. Let’s get the hell out of here, before the guards get back.”
We moved back from the edge just in time as a stronger beam of light swept past just where we had been standing.
She had held my hand as we moved backward, and I could feel a tremor in it.
After another sweep of the beam, he said, “I swear someone’s here.”
“It’s a ghost. There are supposed to be a few. Ask your father. He’s responsible for at least three of them.”
“There’s no such thing as ghosts.”
“That’s your opinion.”
“Just shut up and let’s go, before I shoot you myself, and then you can talk to your friends.”
We waited ten minutes until there was a boom, the sound of a door slamming shut. They had left by the front entrance where there was a large, heavier door, beside the large main entrance.
“Time for us to go too, Smidge.”
Even so, she didn’t let my hand go, not until we got back to her car.
And when we were back, safely inside her room, she asked me to stay. She said nothing on the way back. The bravado she had shown was just that, and the last encounter, at the mall center had shaken her.
Perhaps I would stay until her nerves had settled.
If only it was as easy to write one line of a song as it is to write a sentence, a paragraph, or a page of a book. Of course, if you were to ask a songwriter the same question, he or she would probably twist it around, and not without reason.
The bottom line in all scenarios, whether writing a story, writing a song, or writing a letter, at times it feels like it is like climbing a mountain.
It’s why we have waste paper bins, and imaginary shooting practice sessions. By the way, I don’t get very many scrunched paper balls in.
Curiously, we seem to categorize almost insurmountable problems in terms of climbing mountains. Of course, I’ve yet to attempt to climb the north face of Mount Everest, but I suspect I’ll have to do a lot of practice to do so.
Maybe that’s what I need to do as a writer. Practice, not climbing mountains.
Mountains have always been part of the metaphor for overcoming obstacles. So, metaphorically, to overcome this ‘obstacle’, we can choose to climb over it, blow it up, or tunnel through it.
But the salient point is the same in all cases, obstacles, metaphorical or not, are not insurmountable, they just need time to find a solution.
So, in my case, there are two items to note when it comes to mountains, the first, I prefer to go through a tunnel, and the second, there’s not a mountain I’ve been up that hasn’t had a magnificent view. Of course, getting to the top has been easy, I just hopped on the tram or the gondola.
After all, isn’t that what they’re there for?
Ok, flippancy aside, I have had to climb a few mountains of my own over the years, and, yes, it’s hard work, and, at times, I’ve wanted to give up.
But, not today. Today is a good day.
And as the title says, ‘There ain’t no mountain high enough!’
Unlock Your Potential: The Power of Joining a Writer’s Group
Writing is often a solitary pursuit. Hunched over a keyboard, staring at a blank page, or lost in the quiet hum of creativity—these moments define the life of a writer. But what if there was a way to transform isolation into inspiration? Enter writers’ clubs, workshops, or writing groups: vibrant communities that offer more than just feedback. They become the bedrock of growth, connection, and resilience for writers at any stage of their journey. Let’s explore the transformative benefits of joining such a group.
1. Constructive Feedback and a Fresh Perspective
One of the most immediate benefits of joining a writing group is the constructive feedback you receive. While self-editing is essential, external perspectives can unveil blind spots. For example, a fellow writer might notice an inconsistency in a character’s motivation or suggest a pacing adjustment you hadn’t considered. Workshops often foster a culture of honesty and kindness, helping you refine your work with specific, actionable insights.
Moreover, reading others’ work exposes you to diverse styles, genres, and techniques. This cross-pollination of ideas can spark creativity and broaden your own writing toolkit.
2. Motivation, Accountability, and Discipline
The writing process can be inconsistent. Deadlines slip, self-doubt creeps in, and distractions abound. A writer’s group provides structure and accountability. Regular meetings, shared writing goals (like word counts or drafting timelines), and peer encouragement create a rhythm that keeps you on track.
Imagine committing to write 500 words a week, knowing your group will check in on your progress. Suddenly, the task feels personal and collaborative. The shared energy of a room (or virtual space) filled with fellow writers can reignite your passion on even the toughest days.
3. Learning and Skill Development
Writing groups often double as learning hubs. Many workshops include writing exercises, mini-lessons on grammar or storytelling techniques, or guest speakers who share industry tips. For instance, a member might lead a session on dialogue writing, or the facilitator could guide a critique focused on character development.
Even informal exchanges—discussing a favourite novel or dissecting a challenging scene—can deepen your understanding of the craft. The more you engage, the sharper your skills become.
4. Networking and Collaboration Opportunities
Connections matter. By joining a writing group, you become part of a network of like-minded individuals. These relationships can lead to collaborations—co-authoring a story, editing each other’s manuscripts, or even finding a publishing agent through introductions.
Additionally, many groups host or share information about contests, publications, or local literary events. For emerging writers, these opportunities can be invaluable for visibility and growth.
5. Emotional Support and Validation
Writing is an emotionally charged endeavour. Rejection letters, “fix-it” feedback, and the pressure to publish can wear you down. A writer’s group offers emotional support, a safe space to vent, celebrate small wins, and process setbacks.
Feeling part of a community combats the isolation many writers face. Sharing your struggles with others who “get it” fosters resilience and reminds you that your voice matters.
6. Access to Resources and Creative Stimulation
Many groups curate resources: writing prompts, book recommendations, or even shared tools like grammar checkers. Some offer access to exclusive workshops or masterclasses. Online groups, in particular, can connect you to global experts and trends in the literary world.
The collaborative brainstorming sessions are gold, too. A tired plot idea revived by a group member’s unexpected twist, or a new genre explored through peer encouragement—these moments keep creativity alive.
7. Building Confidence and Overcoming Self-Doubt
Imposter syndrome is common among writers. Hearing peers praise your work or admit they struggle with similar doubts can be incredibly validating. Over time, the supportive environment of a writing group helps you trust your voice and embrace your unique style.
Additionally, sharing your writing aloud in a group setting helps build confidence in your work—and your ability to receive feedback without defensiveness.
Find Your Tribe: Where to Start
Still unsure? Begin by searching for local writing groups through libraries, community centres, or platforms like Meetup and Eventbrite. If in-person isn’t possible, online writing communities (e.g., Reddit’s r/writing, Scribophile) offer equally rich interactions. For the bold, consider starting your own group!
Final Thoughts
A writer’s group isn’t just a place to “get feedback.” It’s a village of collaborators, cheerleaders, and mentors who help you grow both personally and professionally. By joining such a community, you invest in your craft—and your confidence. So, take the leap. Share your work, lean on others, and watch your writing thrive in ways you never imagined.
What’s your favourite benefit of a writing group? Share your experiences in the comments below!
Ready to connect? Explore local or online writing groups today and unlock the power of collective creativity.
The Bit and Reins of Writing: How to Ride Your Creativity Without Falling in the Ditch
“Writing is like riding a fine steed: Even if it has a noble air, you must control it with the bit and reins. Don’t let it go off the tracks, gallop to its heart’s content, and fall into a ditch somewhere.” — Yan Zhitui
We’ve all been there. You sit down to write, and inspiration strikes like lightning. Your imagination rears up, proud and powerful. Words flow effortlessly, ideas cascade onto the page, and for a moment, you feel like a literary god.
And then, disaster strikes.
You look up an hour later, blinking in confusion. You started writing a blog post about time management, but somehow you are deep into a tangent about the history of hourglasses, debating the philosophy of time, and questioning your life choices. Your magnificent steed has bolted off the path, leaped over the guardrails, and dropped you headfirst into a muddy ditch.
Writing is a wild, beautiful, and exhilarating beast. But as sixth-century scholar Yan Zhitui so brilliantly observed, raw talent and unbridled passion aren’t enough. Without the bit and reins of discipline, structure, and editing, even the noblest piece of writing will crash.
Here is how to master the art of the equestrian writer—how to give your creativity enough room to run, while keeping it safely on the path.
1. Why the “Fine Steed” Needs Freedom First
Before we talk about control, we have to acknowledge the horse. Yan Zhitui calls it a fine steed with a noble air.
In writing terms, this is your raw inspiration, your voice, and your creative flow. If you immediately slap a heavy saddle on a horse and beat it into submission, it won’t move. Likewise, if you stifle your writing with too many rules, outlines, and self-censorship before you even begin, you kill the magic.
The Draft Phase is the Gallop: When you first sit down to write, let the horse run. Turn off your inner critic. Allow yourself to explore unexpected avenues, type out messy paragraphs, and chase the thrill of discovery.
Embrace the Chaos (Temporarily): Great writing often requires a messy first draft. Don’t worry about grammar, formatting, or word count while the adrenaline is pumping. Just let the steed move.
2. Recognising the Ditch: When Freedom Becomes Chaos
The danger of the blank page is no longer just writer’s block; often, it’s writer’s avalanche. We get lost in our own verbosity.
How do you know your creative steed has gone off the tracks and is heading for a ditch? Watch out for these warning signs:
The Rabbit Hole: You are three paragraphs deep into a sub-point that has almost nothing to do with your main headline.
The Bloated Sentence: You’ve used four adjectives where one strong noun would do, simply because it felt poetic in the moment.
The Lost Point: You reach the end of a section and realise you’ve completely forgotten what question you were trying to answer.
If left unchecked, unbridled creativity doesn’t lead to a masterpiece; it leads to reader fatigue and writer burnout.
3. Forging the Bit and Reins: Tools for Control
This is where the real craft of writing begins. Taming the steed doesn’t mean breaking its spirit; it means directing its immense power toward a specific destination.
Here is how you apply the bit and reins to your writing process:
A. The Outline (The Pre-Ride Check)
Before you let the horse run wild, map out where you are going. An outline doesn’t have to be rigid—think of it as the trail map. Knowing your destination (your core thesis) and your major waypoints (your sub-headings) ensures that even if your horse gallops wildly between points, it is still heading in the right direction.
B. The Discipline of Cutting (The Reins)
Stephen King famously advises writers to “kill your darlings.” This is the ultimate pull on the reins. That clever sentence you spent twenty minutes crafting? The one that sounds amazing, but adds nothing to the argument? Pull back. Yank the reins. Cut it. A disciplined writer knows that what is left out of a piece is often just as important as what is left in.
C. The Editing Phase (Riding the Trail Again)
Never let your first draft be your final draft. The first draft is the wild ride; the editing phase is where you groom the horse, fix its footing, and polish its coat. Read through your work with a critical eye. Ask yourself:
Does every paragraph serve the main idea?
Are there any linguistic ditches (confusing metaphors, run-on sentences) I need to steer clear of?
Is the pacing smooth, or does it jerk the reader around?
Conclusion: Master the Ride
Writing is a lifelong balancing act. Lean too far toward absolute control, and your writing becomes stiff, academic, and lifeless. Lean too far toward unbridled freedom, and you’ll end up lost in a swamp of your own making, leaving your readers behind.
Be a master equestrian of your own thoughts. Let your imagination provide the fire, the speed, and the nobility. But always keep your hands firm on the reins, guiding your ideas down the path of clarity, purpose, and impact.
After all, it’s much better to cross the finish line in style than to win a fast race straight into a ditch.
What about you? Do you tend to let your writing run wild, or do you keep a tight grip on the reins? Let us know in the comments below!
It was the first time in almost a week that I made the short walk to the cafe alone. It was early, and the chill of the morning was still in the air. In summer, it was the best time of the day. When Susan came with me, it was usually much later, when the day was much warmer and less tolerable.
On the morning of the third day of her visit, Susan said she was missing the hustle and bustle of London, and by the end of the fourth she said, in not so many words, she was over being away from ‘civilisation’. This was a side of her I had not seen before, and it surprised me.
She hadn’t complained, but it was making her irritable. The Susan that morning was vastly different to the Susan on the first day. So much, I thought, for her wanting to ‘reconnect’, the word she had used as the reason for coming to Greve unannounced.
It was also the first morning I had time to reflect on her visit and what my feelings were towards her. It was the reason I’d come to Greve: to soak up the peace and quiet and think about what I was going to do with the rest of my life.
I sat in my usual corner. Maria, one of two waitresses, came out, stopped, and there was no mistaking the relief in her manner. There was an air of tension between Susan and Maria I didn’t understand, and it seemed to emanate from Susan rather than the other way around. I could understand her attitude if it was towards Alisha, but not Maria. All she did was serve coffee and cake.
When Maria recovered from the momentary surprise, she said, smiling, “You are by yourself?” She gave a quick glance in the direction of my villa, just to be sure.
“I am this morning. I’m afraid the heat, for one who is not used to it, can be quite debilitating. I’m also afraid it has had a bad effect on her manners, for which I apologise. I cannot explain why she has been so rude to you.”
“You do not have to apologise for her, David, but it is of no consequence to me. I have had a lot worse. I think she is simply jealous.”
It had crossed my mind, but there was no reason for her to be. “Why?”
“She is a woman, I am a woman, she thinks because you and I are friends, there is something between us.”
It made sense, even if it was not true. “Perhaps if I explained…”
Maria shook her head. “If there is a hole in the boat, you should not keep bailing but try to plug the hole. My grandfather had many expressions, David. If I may give you one piece of advice, as much as it is none of my business, you need to make your feelings known, and if they are not as they once were, and I think they are not, you need to tell her. Before she goes home.”
Interesting advice. Not only a purveyor of excellent coffee, but Maria was also a psychiatrist who had astutely worked out my dilemma. What was that expression, ‘not just a pretty face’?
“Is she leaving soon?” I asked, thinking Maria knew more about Susan’s movements than I did.
“You would disappoint me if you had not suspected as much. Susan was having coffee and talking to someone in her office on a cell phone. It was an intense conversation. I should not eavesdrop, but she said being here was like being stuck in hell. It is a pity she does not share your love for our little piece of paradise, is it not?”
“It is indeed. And you’re right. She said she didn’t have a phone, but I know she has one. She just doesn’t value the idea of getting away from the office. Perhaps her role doesn’t afford her that luxury.”
And perhaps Alisha was right about Maria, that I should be more careful. She had liked Maria the moment she saw her. We had sat at this very table, the first day I arrived. I would have travelled alone, but Prendergast, my old boss, liked to know where ex-employees of the Department were, and what they were doing.
She sighed. “I am glad I am just a waitress. Your usual coffee and cake?”
“Yes, please.”
Several months had passed since we had rescued Susan from her despotic father; she had recovered faster than we had thought, and settled into her role as the new Lady Featherington, though she preferred not to use that title, but go by the name of Lady Susan Cheney.
I didn’t get to be a Lord, or have any title, not that I was expecting one. What I had expected was that Susan, once she found her footing as head of what seemed to be a commercial empire, would not have time for details like husbands, particularly when our agreement made before the wedding gave either of us the right to end it.
There was a moment when I visited her recovering in the hospital, where I was going to give her the out, but I didn’t, and she had not invoked it. We were still married, just not living together.
This visit was one where she wanted to ‘reconnect’ as she called it, and invite me to come home with her. She saw no reason why we could not resume our relationship, conveniently forgetting she indirectly had me arrested for her murder, charges both her mother and Lucy vigorously pursued, and had the clone not returned to save me, I might still be in jail.
It was not something I would forgive or forget any time soon.
There were other reasons why I was reluctant to stay with her, like forgetting small details, an irregularity in her character I found odd. She looked the same, she sounded the same, she basically acted the same, but my mind was telling me something was not right. It was not the Susan I first met, even allowing for the ordeal she had been subjected to.
But, despite those misgivings, there was no question in my mind that I still loved her, and her clandestine arrival had brought back all those feelings. But as the days passed, I began to get the impression my feelings were one-sided and she was just going through the motions.
Which brought me to the last argument, earlier, where I said if I went with her, it would be business meetings, social obligations, and quite simply her ‘celebrity’ status that would keep us apart. I reminded her that I had said from the outset I didn’t like the idea of being in the spotlight, and when I reiterated it, she simply brushed it off as just part of the job, adding rather strangely that I always looked good in a suit. The flippancy of that comment was the last straw, and I left before I said something I would regret.
I knew I was not a priority. Maybe somewhere inside me, I had wanted to be a priority, and I was disappointed when I was not.
And finally, there was Alisha. Susan, at the height of the argument, had intimated she believed I had an affair with her, but that elephant was always in the room whenever Alisha was around. It was no surprise when I learned Susan had asked Prendergast to reassign her to other duties.
At least I knew what my feelings for Alisha were, and there were times when I had to remember she was persona non grata. Perhaps that was why Susan had her banished, but, again, a small detail; jealousy was not one of Susan’s traits when I first knew her.
Perhaps it was time to set Susan free.
When I swung around to look in the direction of the lane where my villa was, I saw Susan. She was formally dressed, not in her ‘tourist’ clothes, which she had bought from one of the local clothing stores. We had fun that day, shopping for clothes, a chore I’d always hated. It had been followed by a leisurely lunch, lots of wine and soul searching.
It was the reason why I sat in this corner; old habits die hard. I could see trouble coming from all directions, not that Susan was trouble or at least I hoped not, but it allowed me the time to watch her walking towards the cafe in what appeared to be short, angry steps; perhaps the culmination of the heat wave and our last argument.
She glared at me as she sat, dropping her bag beside her on the ground, where I could see the cell phone sitting on top. She followed my glance down, and then she looked unrepentant back at me.
Maria came back at the exact moment she was going to speak. I noticed Maria hesitate for a second when she saw Susan, then put her smile in place to deliver my coffee.
Neither spoke nor looked at each other. I said, “Susan will have what I’m having, thanks.”
Maria nodded and left.
“Now,” I said, leaning back in my seat, “I’m sure there’s a perfectly good explanation as to why you didn’t tell me about the phone, but that first time you disappeared, I’d guessed you needed to keep in touch with your business interests. I thought it somewhat unwisethat you should come out when the board of one of your companies was trying to remove you, because of what was it, an unexplained absence? All you had to do was tell me there were problems and you needed to remain at home to resolve them.”
My comment elicited a sideways look, with a touch of surprise.
“It was unfortunate timing on their behalf, and I didn’t want you to think everything else was more important than us. There were issues before I came, and I thought the people at home would be able to manage without me for at least a week, but I was wrong.”
“Why come at all. A phone call would have sufficed.”
“I had to see you, talk to you. At least we have had a chance to do that. I’m sorry about yesterday. I once told you I would not become my mother, but I’m afraid I sounded just like her. I misjudged just how much this role would affect me, and truly, I’m sorry.”
An apology was the last thing I expected.
“You have a lot of work to do catching up after being away, and of course, in replacing your mother and gaining the requisite respect as the new Lady Featherington. I think it would be for the best if I were not another distraction. We have plenty of time to reacquaint ourselves when you get past all these teething issues.”
“You’re not coming with me?” She sounded disappointed.
“I think it would be for the best if I didn’t.”
“Why?”
“It should come as no surprise to you that I’ve been keeping an eye on your progress. You are so much better doing your job without me. I told your mother once that when the time came I would not like the responsibilities of being your husband. Now that I have seen what it could possibly entail, I like it even less. You might also want to reconsider our arrangement, after all, we only had a marriage of convenience, and now that those obligations have been fulfilled, we both have the option of terminating it. I won’t make things difficult for you if that’s what you want.”
It was yet another anomaly, I thought; she should look distressed, and I would raise the matter of that arrangement. Perhaps she had forgotten the finer points. I, on the other hand, had always known we would not last forever. The perplexed expression, to me, was a sign she might have forgotten.
Then, her expression changed. “Is that what you want?”
“I wasn’t madly in love with you when we made that arrangement, so it was easy to agree to your terms, but inexplicably, since then, my feelings for you changed, and I would be sad if we parted ways. But the truth is, I can’t see how this is going to work.”
“In saying that, do you think I don’t care for you?”
That was exactly what I was thinking, but I wasn’t going to voice that opinion out loud. “You spent a lot of time finding new ways to make my life miserable, Susan. You and that wretched friend of yours, Lucy. While your attitude improved after we were married, that was because you were going to use me when you went to see your father, and then almost let me go to prison for your murder.”
“I had nothing to do with that, other than to leave, and I didn’t agree with Lucy that you should be made responsible for my disappearance. I cannot be held responsible for the actions of my mother. She hated you; Lucy didn’t understand you, and Millie told me I was stupid for not loving you in return, and she was right. Why do you think I gave you such a hard time? You made it impossible not to fall in love with you, and it nearly changed my mind about everything I’d been planning so meticulously. But perhaps there was a more subliminal reason why I did because after I left, I wanted to believe, if anything went wrong, you would come and find me.”
“How could you possibly know that I’d even consider doing something like that, given what you knew about me?”
“Prendergast made a passing comment when my mother asked him about you; he told us you were very good at finding people and even better at fixing problems.”
“And yet here we are, one argument away from ending it.”
I could see Maria hovering, waiting for the right moment to deliver her coffee, then go back and find Gianna, the café owner, instead. Gianna was more abrupt and, for that reason, was rarely seen serving the customers. Today, she was particularly cantankerous, banging the cake dish on the table and frowning at Susan before returning to her kitchen. Gianna didn’t like Susan either.
Behind me, I heard a car stop, and when she looked up, I knew it was for her. She had arrived with nothing, and she was leaving with nothing.
She stood. “Last chance.”
“Forever?”
She hesitated and then shook away the look of annoyance on her face. “Of course not. I wanted you to come back with me so we could continue working on our relationship. I agree there are problems, but it’s nothing we can’t resolve if we try.”
I had been trying. “It’s too soon for both of us, Susan. I need to be able to trust you, and given the circumstances, and all that water under the bridge, I’m not sure if I can yet.”
She frowned at me. “As you wish.” She took an envelope out of her bag and put it on the table. “When you are ready, it’s an open ticket home. Please make it sooner rather than later. Despite what you think of me, I have missed you, and I have no intention of ending it between us.”
That said, she glared at me for a minute, shook her head, then walked to the car. I watched her get in and the car drive slowly away.
Would you give up everything to be with the one you love?
…
Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?
For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself. It takes him to a small village by the sea, a place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.
Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledgedthat something had happened the moment they first met.
Plans were made, plans were revised, and hopes were shattered.
A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone. To keep him alive, she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.
But can love conquer all?
It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realises is the love of his life.
The cover, at the moment, looks like this:
Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?
For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself. It takes him to a small village by the sea, s place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.
Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledge that something happened the moment they first met.
Plans were made, plans were revised, and hopes were shattered.
A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone. To keep him alive she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.
But can love conquer all?
It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realizes is the love of his life.
The Bit and Reins of Writing: How to Ride Your Creativity Without Falling in the Ditch
“Writing is like riding a fine steed: Even if it has a noble air, you must control it with the bit and reins. Don’t let it go off the tracks, gallop to its heart’s content, and fall into a ditch somewhere.” — Yan Zhitui
We’ve all been there. You sit down to write, and inspiration strikes like lightning. Your imagination rears up, proud and powerful. Words flow effortlessly, ideas cascade onto the page, and for a moment, you feel like a literary god.
And then, disaster strikes.
You look up an hour later, blinking in confusion. You started writing a blog post about time management, but somehow you are deep into a tangent about the history of hourglasses, debating the philosophy of time, and questioning your life choices. Your magnificent steed has bolted off the path, leaped over the guardrails, and dropped you headfirst into a muddy ditch.
Writing is a wild, beautiful, and exhilarating beast. But as sixth-century scholar Yan Zhitui so brilliantly observed, raw talent and unbridled passion aren’t enough. Without the bit and reins of discipline, structure, and editing, even the noblest piece of writing will crash.
Here is how to master the art of the equestrian writer—how to give your creativity enough room to run, while keeping it safely on the path.
1. Why the “Fine Steed” Needs Freedom First
Before we talk about control, we have to acknowledge the horse. Yan Zhitui calls it a fine steed with a noble air.
In writing terms, this is your raw inspiration, your voice, and your creative flow. If you immediately slap a heavy saddle on a horse and beat it into submission, it won’t move. Likewise, if you stifle your writing with too many rules, outlines, and self-censorship before you even begin, you kill the magic.
The Draft Phase is the Gallop: When you first sit down to write, let the horse run. Turn off your inner critic. Allow yourself to explore unexpected avenues, type out messy paragraphs, and chase the thrill of discovery.
Embrace the Chaos (Temporarily): Great writing often requires a messy first draft. Don’t worry about grammar, formatting, or word count while the adrenaline is pumping. Just let the steed move.
2. Recognising the Ditch: When Freedom Becomes Chaos
The danger of the blank page is no longer just writer’s block; often, it’s writer’s avalanche. We get lost in our own verbosity.
How do you know your creative steed has gone off the tracks and is heading for a ditch? Watch out for these warning signs:
The Rabbit Hole: You are three paragraphs deep into a sub-point that has almost nothing to do with your main headline.
The Bloated Sentence: You’ve used four adjectives where one strong noun would do, simply because it felt poetic in the moment.
The Lost Point: You reach the end of a section and realise you’ve completely forgotten what question you were trying to answer.
If left unchecked, unbridled creativity doesn’t lead to a masterpiece; it leads to reader fatigue and writer burnout.
3. Forging the Bit and Reins: Tools for Control
This is where the real craft of writing begins. Taming the steed doesn’t mean breaking its spirit; it means directing its immense power toward a specific destination.
Here is how you apply the bit and reins to your writing process:
A. The Outline (The Pre-Ride Check)
Before you let the horse run wild, map out where you are going. An outline doesn’t have to be rigid—think of it as the trail map. Knowing your destination (your core thesis) and your major waypoints (your sub-headings) ensures that even if your horse gallops wildly between points, it is still heading in the right direction.
B. The Discipline of Cutting (The Reins)
Stephen King famously advises writers to “kill your darlings.” This is the ultimate pull on the reins. That clever sentence you spent twenty minutes crafting? The one that sounds amazing, but adds nothing to the argument? Pull back. Yank the reins. Cut it. A disciplined writer knows that what is left out of a piece is often just as important as what is left in.
C. The Editing Phase (Riding the Trail Again)
Never let your first draft be your final draft. The first draft is the wild ride; the editing phase is where you groom the horse, fix its footing, and polish its coat. Read through your work with a critical eye. Ask yourself:
Does every paragraph serve the main idea?
Are there any linguistic ditches (confusing metaphors, run-on sentences) I need to steer clear of?
Is the pacing smooth, or does it jerk the reader around?
Conclusion: Master the Ride
Writing is a lifelong balancing act. Lean too far toward absolute control, and your writing becomes stiff, academic, and lifeless. Lean too far toward unbridled freedom, and you’ll end up lost in a swamp of your own making, leaving your readers behind.
Be a master equestrian of your own thoughts. Let your imagination provide the fire, the speed, and the nobility. But always keep your hands firm on the reins, guiding your ideas down the path of clarity, purpose, and impact.
After all, it’s much better to cross the finish line in style than to win a fast race straight into a ditch.
What about you? Do you tend to let your writing run wild, or do you keep a tight grip on the reins? Let us know in the comments below!
Investigations of crimes don’t always go according to plan, nor does the perpetrator get found or punished.
That was particularly true in my case. The murderer was incredibly careful in not leaving any evidence behind, to the extent that the police could not rule out whether it was a male or a female.
At one stage, the police thought I had murdered my own wife, though how I could be on a train at the time of the murder was beyond me. I had witnesses and a cast-iron alibi.
The officer in charge was Detective First Grade Gabrielle Walters. She came to me on the day after the murder seeking answers to the usual questions like, when was the last time you saw your wife, did you argue, the neighbours reckon there were heated discussions the day before.
Routine was the word she used.
Her fellow detective was a surly piece of work whose intention was to get answers or, more likely, a confession by any or all means possible. I could sense the raging violence within him. Fortunately, common sense prevailed.
Over the course of the next few weeks, once I’d been cleared of committing the crime, Gabrielle made a point of keeping me informed of the progress.
After three months, the updates were more sporadic, and when, for lack of progress, it became a cold case, communication ceased.
But it was not the last time I saw Gabrielle.
The shock of finding Vanessa was more devastating than the fact that she was now gone, and those images lived on in the same nightmare that came to visit me every night when I closed my eyes.
For months, I was barely functioning, to the extent that I had all but lost my job and quite a few friends, particularly those who were more attached to Vanessa rather than me.
They didn’t understand how it could affect me so much, and since it had not happened to them, my tart replies of ‘you wouldn’t understand’ were met with equally short retorts. Some questioned my sanity, even, for a time, so did I.
No one, it seemed, could understand what it was like, no one except Gabrielle.
She was by her own admission, damaged goods, having been the victim of a similar incident, a boyfriend who turned out to be an awfully bad boy. Her story varied only in that she had been made to witness his execution. Her nightmare, in reliving that moment in time, was how she was still alive and, to this day, had no idea why she’d been spared.
It was a story she told me one night, some months after the investigation had been scaled down. I was still looking for the bottom of a bottle and an emotional mess. Perhaps it struck a resonance with her; she’d been there and managed to come out the other side.
What happened became our secret, a once-only night together that meant a great deal to me, and by mutual agreement, it was not spoken of again. It was as if she knew exactly what was required to set me on the path to recovery.
And it had.
Since then, we saw each other about once a month in a cafe. I had been surprised to hear from her again shortly after that eventful night when she called to set it up, ostensibly for her to provide me with any updates on the case, but perhaps we had, after that unspoken night, formed a closer bond than either of us wanted to admit.
We generally talked for hours over wine, then dinner and coffee. It took a while for me to realise that all she had was her work; personal relationships were nigh on impossible in a job that left little or no spare time for anything else.
She’d always said that if I had any questions or problems about the case, or if there was anything that might come to me that might be relevant, even after all this time, all I had to do was call her.
I wondered if this text message was in that category. I was certain it would interest the police, and I had no doubt they could trace the message’s origin, but there was that tiny degree of doubt about whether or not I could trust her to tell me what the message meant.
I reached for the phone, then put it back down again. I’d think about it and decide tomorrow.
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…
…
Carlo had returned, as promised, just over an hour later, and over the map, he showed where the explosives had been placed, under the tank, and where the men were camped.
They were set to go off in the early morning, giving them several hours before they had to assemble for the assault. According to Carlo, the explosives would neutralise the tank and immobilise about 30 of the enemy.
That was only one problem.
The other was the men that the new commandant had sent out of the castle to presumably hunt down Atherton and whatever resistance was left. They were noisy and failed to see Carlo following them, listening to their conversation.
It was obvious they were not trained for stealth.
The first mission was to take those men out of the equation.
Then there was a third problem, the last of the resistance in the castle, those left behind by Fernando, had taken all the prisoners out of the castle and executed them.
Carlo had then killed those men and left them with the bodies of the murdered defectors, and, unlike his German counterparts, he had undertaken it swiftly and silently.
Our force of eight moved quietly in the direction Carlo last saw the soldiers heading, he assumed towards the underground wine cellar where Martina had taken me after I had been captured.
We managed to hide Chiara in a spot where the enemy if they came to the church, would not find her. The plan was to find them before they got to or left the cellar.
Of course, like any plan, it could always be guaranteed to go wrong.
The last time I went from the cellar to the church, it had been by an old truck, and by my estimation, it would take us about half an hour by foot. It might, by the time we got there, and found them missing, make us late for the main event.
I looked at my watch about a dozen times on that trek, fretting about time which for some odd reason seemed to be passing faster than usual.
Then, Carlo was waving his hands, a signal I assumed was to tell us to stop. We were not far from the cellar. I recognised the landmark used to find it. We formed up in a line just inside the thicket line, a bunch of overgrown bushes providing excellent cover.
Beyond that, we could see intermittent flashes of light from torches. The soldiers were making no attempt to hide their presence.
Blinky was beside me. “What the hell are they playing at?”
“Perhaps they thought if they made a bold attack we’d wilt under the surprise.”
“Or just shoot them. Why are we waiting?”
“Carlo is ascertaining their position.”
“You trust this Carlo. He could be leading us into a trap up at the castle.”
I was surprised he’d taken this long to express his reservations. “Don’t be surprised if he kills everyone in the German squad himself. His home was in that castle. It was his life. They killed his friends. He is not forgiving.”
Jack chose that moment to return from wherever he’d gone soon after we reached the thicket. He had come with me from the church, and I wondered if he knew just how dangerous it could be. He flopped down beside me, waiting.
“What’s with the dog?”
“We found each other at an ambush. Been with me ever since. I have no idea if he’s German, or Italian, or if he understands English. But there’s no questioning his loyalty, he helped me take down Jackerby.
“Well, just as long as I don’t trip over him in the fray of battle.”
We watched the German soldiers who remained on sentry duty when I thought the entrance to the cellar was, and I assumed the others were down in the cellar.
It was what Carlo said was the case when he returned.
Ten in the cellar, two on guard, though I would not call what they were doing sentry duty. They were smoking and talking, guns leaning up against a tree.
Easy shots for our sniper who at this moment had both in his sights.
Carlo kneeled beside me and said, “Cover your ears, pass it on.”
I did, and thirty seconds later there was a huge explosion followed by a storm of soil particles falling on his. The sniper, in the instance following the boom, shot the two sentries.
German forces were eliminated.
The only issue was the castle was now alerted to our presence, so our arrival at the castle was going to be a little more difficult.
Thrills, Spills, and just a dash of Romance 