“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 home late 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

365 Days of Writing, 2026 – 239

Day 239 – Finding those appreciative readers

The Sweet Sound of Appreciation: Why the Indie Writer’s Toughest Battle is Visibility

“There’s nothing like an appreciative word from a satisfied reader.” — Peter Mayle

For anyone who has ever poured their heart, soul, and countless sleepless nights into writing a book, Peter Mayle’s words hit home with piercing accuracy.

There is a unique, almost magical high that comes from hearing someone say, “I couldn’t put your book down,” or “Your characters stayed with me for days after I finished.” That single review, email, or social media comment makes every deleted chapter, every plot hole, and every moment of self-doubt entirely worth it. It’s the fuel that keeps the indie engine running.

Yet, for independent authors, there is a massive, often exhausting caveat to this joy.

As Mayle so eloquently noted, the appreciation is the reward. But the hard part—the mountain that every indie writer must scale—is simply getting that book out into the world so someone can actually read it in the first place.

Let’s talk about the invisible half of the indie publishing journey: the battle for visibility.


The Myth of “If You Build It, They Will Come”

In the traditional publishing model, authors often hand off their manuscript and let massive marketing machines, established distribution networks, and bookstore shelf-space do the heavy lifting.

In the indie world, you are the marketing machine.

When you hit “Publish” on Amazon KDP, IngramSpark, or Draft2Digital, a wave of profound relief washes over you. You did it! The book is live. You share the link on Facebook, tweet about it on X (formerly Twitter), and wait for the deluge of sales.

And then… crickets.

This is the harsh reality check every self-published author faces. The internet is a vast, deafeningly loud ocean, and a newly published indie book is a single drop of water. Without a traditional publishing house’s budget or pre-existing retail partnerships, the book won’t sell itself.

Suddenly, the writer has to pivot from being a creative artist to wearing a dozen unfamiliar hats:

  • The Social Media Manager: Building a brand, posting aesthetic reels, and engaging with a community.
  • The Media Buyer: Figuring out the labyrinthine worlds of Amazon Ads and Facebook Ads without burning a hole in their wallet.
  • The Publicist: Pitching book bloggers, podcast hosts, and reviewers who are already drowning in requests.
  • The Data Analyst: Staring at click-through rates, conversion percentages, and ranking algorithms trying to decode why book sales are fluctuating.

It’s an immense amount of unpaid, non-creative labour that happens after the manuscript is finished.


Why Discoverability is the Ultimate Indie Hurdle

Getting a book “out there” isn’t just about uploading a file to a retailer; it’s about discoverability.

  1. The Sea of Competition: Thousands of books are published every single day. Standing out requires an eye-catching cover, a compelling blurb, professional formatting, and zero grammatical errors. Even with all that, you still have to catch a reader’s eye.
  2. The Review Catch-22: Readers love reviews. They validate a book’s quality before buying. But to get reviews, people have to buy and read the book. Breaking this loop is one of the toughest challenges for a debut or mid-list indie author.
  3. Algorithm Anxiety: Amazon’s algorithm is the gatekeeper most indie authors obsess over. Understanding how to trigger “Also Boughts” and rank well in specific niche categories requires a mix of strategy, timing, and sheer luck.

The Joy Makes the Struggle Worthwhile

With all of these hurdles—the marketing costs, the algorithmic mysteries, the relentless hustle—why do indie authors keep doing it?

Because of what Peter Mayle talked about.

It’s the email from a stranger on the other side of the planet saying your story helped them through a tough week. It’s seeing a five-star review from a reader who “gets” the deeper themes you worked so hard to weave into the narrative.

Indie publishing is hard, gruelling work. It requires thick skin, business acumen, and an unshakeable belief in your own work. But when you finally bridge the gap between your hard drive and a reader’s nightstand, and that appreciative word finally comes in?

There truly is nothing like it.


Are you an indie writer currently fighting the visibility battle? What has been your biggest struggle (and your greatest triumph) in getting your book out into the world? Let’s chat in the comments below!

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

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

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

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

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

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

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

… and it would have remained buried.

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

Even if it almost costs him his life.  Again.

The cinema of my dreams – Was it just another surveillance job – Episode 28

I’m back home and this story has been sitting on a back burner for a few months, waiting for some more to be written.

The trouble is, there are also other stories to write, and I’m not very good at prioritizing.

But, here we are, a few minutes opened up and it didn’t take long to get back into the groove.

Chasing leads, maybe

It was rather an anti-climax to see the cat, Herman, come slinking out of the bedroom, down the passage, and then stop just at the edge of the room to look at the visitors.

He must have been hiding in her room all this time, and when he’d heard the door close, he thought it was safe to come out.

Jan saw him and held out her hand, “Come on, Herman, you’re safe now.”

He didn’t seem to agree and sat down just back of that invisible line in the sand that he wasn’t, yet going to step over.

But he did meow a few times, just to let us know he wasn’t pleased.

“Now that you’ve seen the cat, what were you thinking might be of significance?”

“I don’t know.  The fact he considered the cat his might have been significant in some way.”

Herman was back on his paws and taking tentative steps towards Jan.  Each time he stopped, he looked sideways at me, waiting.  Perhaps he thought I might attack him.  It would be the other way around.

“Doesn’t trust me, does he?”

He took a step back at the sound of my voice.

“Don’t listen to him Herman, you’re safe here with me.”

He looked at her, the same expression on his face he gave me.  Talk about the original poker face.  I doubt anyone could guess what he was thinking.  

A few more steps, then about a yard away he stopped again and sat.  He then spent the next few minutes looking at me.  Was this a test to see who blinked first?  I knew who would win that contest.  Not me.

Jan moved slightly and he jumped, and moved back several steps, looking warily at us both now.

“We’re not going to win him over, are we?”

“Maybe, maybe not.  There are a bowl and some food in the other room.  Put some in the bowl and bring it to me.”

Ah, the way to a cat’s heart is through his stomach.  I think the only thing relevant to that statement was that he was male.  I did as she asked, handed her the bowl, and resumed my position, far enough away for him not to consider me a threat.

He watched me leave the room and return again, and I think he recognized the bowl, and that we were about to trick him into submission.

She put the bowl down next to her and patted the floor.

“It’s your favourite, Herman.”

Yes, head movements, and was he sniffing to see if he could recognize what was in the bowl?  Maybe he was hungry after being hidden away.  Would starvation overcome a fear of strangers?

A minute later we had the answer.  He was hungry and tentatively came over before smelling what was in the bowl before starting to eat.

Jan patted him.

“Works every time,” she said.

Both of us realized at the same time that Herman had a collar, slightly lost in the fur.  And she had the same idea as I did, that the collar might be significant.

She removed it as gently as she could without startling him, and then looked at it, around the outside, and then on the inside, and a sudden change of expression told me she found something.

“VS P4 L324.  What do you think that means?” she asked?

“Whatever it is, it’s a reminder that’s significant to O’Connell, or it is a message to someone if anything happened to him.  I expect that might mean it was a message to you.  You shared the cat so, clearly, he thought at some point in time you would look.”

“If he was expecting me to decipher it, then he must have seen something in me that I can’t.”

“You would work it out in time.  The point is if he hid that in plain sight, believing that if anyone came, they would take no notice of the car, then what else might he have hidden.  Does the cat have a bed?

“Not at his place, he used to sleep at the end of his bed.  But I put out an old blanket.”

How did she know the cat slept on the end of O’Connell’s bed?  I wasn’t going to ask, but if they were more than just friends, perhaps he had confided some details of what he was doing.

“In your room?”

“In the spare room where you found the food.”

I went back to the room found the blanked tossed in a corner, put there by the person who searched her flat no doubt, because I couldn’t see the cat doing it, not unless he was extremely bad-tempered and had super cat powers to move objects multiple times heavier than he was.

I picked it up and immediately had cat hair on my clothes.  Good thing then I wasn’t allergic to cats.

Then, I had a feeling someone was watching me.  I was right, Herman had come back to see what I was doing.

“Just straightening it out for you,” I said.

The death stare didn’t change.  He just stood there looking at me.  Or was he looking through me at something else, like a ghost?  It was slightly unnerving.

I felt around the edges and suddenly, in the middle of one side, where the manufacturer’s label was, it felt like something was under it.  On closer examination, I could see the stitching had been removed for several inches in length and then crudely sewn it back together.  Inside what would be a pouch, I could feel something under the material, and with a little more twisting, I thought it might be a tag.

I’d seen a pair of scissors in the kitchen and came back to get them.  Jan was busy trying to position the wet part of the towel over her head.  After I’d finished with the blanket, I would fetch her some Panadol.

I gently cut the crude stitches and then wriggled the item out.  It was a card with a number on it, 324.  That was all that was printed on the card.  Not what it was, who it belonged to, or what it represented.  I went back into the room where the cat was now sitting on her leg.

“There was a card sewn into the blanket.  It has the number 324 on it.  That would make it…”

“… a check for a post box, or safety deposit box, or a storage locker.”

Not exactly what I was going to say, but close enough.

Then she said, “It’s the same number on the collar.  L324.  Locker 324.  Somewhere defined by VS and P4.”

“Do you have a computer?”

“Not here.  Do you?”

“No.”

“Then I’ll go into the office and use one of theirs.  I assume you can do the same?”

I could, but I wasn’t quite sure what or who would be waiting for me,, now that I knew I couldn’t trust Nobbin.

“To be honest, I don’t think it’s safe for me.  It’s probably better if I don’t, not until I can find out who is who.”

Either of the two, Nobbin or Severin could be on the wrong side, maybe even both of them.  I was surprised that Severin didn’t drag me off when he came for Maury.  Perhaps I was still useful to him in the field as a second string to finding the USB.

I helped her to stand.  

“No time like the present.  I’ll let you know what I find if anything.  Are you going to stay here?” she asked.  

“No.  Severin knows about this place and might come back.  We’re done here.  I’ll make sure the cat gets out.  I don’t think you should come back here unless you have to.”

“Then I’ll see you at the hotel.”

© Charles Heath 2020-2023

An excerpt from “Mistaken Identity” – a work in progress

The odds of any one of us having a doppelganger are quite high. Whether or not you got to meet them or be confronted by them was significantly lower. Except, of course, unless you are a celebrity.

It was a phenomenon remarkable only for the fact that, at times, certain high-profile people, notorious or not, had doubles if only to put off enemies or the general public. Sometimes we see people in the street who look like someone we knew and make the mistake of approaching them like a long-lost friend, only to discover an embarrassed individual desperately trying to get away from what they perceive as a stalker, or worse.

And then sometimes it is a picture that looms up on a TV screen, an almost exact likeness of you. At first, you are fascinated, and then, according to the circumstances and narrative that is attached to that picture, either flattered or horrified.

For me, one turned to the other when I saw an almost likeness of me flash up on the screen when I turned the TV on in my room. What looked to be my photo, with only minor differences, was in the corner of the screen, the newsreader speaking in rapid Italian, so fast I could only translate every second or third word.

But the one word I did recognise was murder. The photo of the man on the screen was the subject of an extensive manhunt. The crime, the murder of a woman in the very same hotel I was staying, and it was being played out live several floors above me. The gist of the story, the woman had been seen with and staying with the man who was my double, and, less than an hour ago, the body had been discovered by a chambermaid.

The killer, the announcer said, was believed to be still in the hotel because the woman had died shortly before she had been discovered.

I watched, at first fascinated by what I was seeing. I guess I should have been horrified, but at that moment it didn’t register that I might be mistaken for that man.

Not until another five minutes had passed, and I was watching the police in full riot gear, with a camera crew following behind, coming up a passage towards a room. Live action of the arrest of the suspected killer, the breathless commentator said.

Then, suddenly, there was a pounding on the door. On the TV screen, plain to see, was the number of my room. I looked through the peephole and saw an army of police officers. It didn’t take much to realise what had happened. The hotel staff identified me as the man in the photograph on the TV and called the police.

Horrified wasn’t what I was feeling right then.

It was fear.

My last memory was the door crashing open, the wood splintering, and men rushing into the room, screaming at me, waving guns, and when I put my hands up to defend myself, I heard a gunshot.

And in one very confused and probably near-death experience, I thought I saw my mother and thought what was she doing in Rome?

I was the archetypal nobody.

I lived in a small flat, I drove a nondescript car, had an average job in a low-profile travel agency, was single, and currently not involved in a relationship, had no children, and, according to my workmates, no life.

They were wrong. I was one of those people who preferred their own company; I had a cat, and travelled whenever I could. And I did have a ‘thing’ for Rosalie, one of the reasons why I stayed at the travel agency. I didn’t expect anything to come of it, but one could always hope.

I was both pleased and excited to be going to the conference. It was my first, and the glimpse I had seen of it had whetted my appetite for more information about the nuances of my profession.

Some would say that a travel agent wasn’t much of a job, but to me, it was every bit as demanding as being an accountant or a lawyer. You were providing a customer with a service, and arguably, more people needed a travel agent than a lawyer. At least that was what I told myself as I watched more and more people start using the internet, and our relevance slowly dissipating.

This conference was about countering that trend.

The trip over had been uneventful. I was met at the airport and taken to the hotel where the conference was being held with several other delegates who had arrived on the same plane. I had mingled with several other delegates at the pre-conference get-together, including one whose name was Maryanne.

She was an unusual young woman, not the sort that I usually met, because she was the one who was usually surrounded by all the boys, the life of the party. In normal circumstances, I would not have introduced myself to her, but she had approached me. Why did I think that may have been significant? All of this ran through my mind, culminating in the last event on the highlight reel, the door bursting open, men rushing into my room, and then one of the policemen opened fire.

I replayed that last scene again, trying to see the face of my assailant, but it was just a sea of men in battle dress, bulletproof vests and helmets, accompanied by screaming and yelling, some of which I identified as “Get on the floor”.

Then came the shot.

Why ask me to get on the floor if all they were going to do was shoot me? I was putting my hands up at the time, in surrender, not reaching for a weapon.

Then I saw the face again, hovering in the background like a ghost. My mother. Only the hair was different, and her clothes, and then the image was going, perhaps a figment of my imagination brought on by pain-killing drugs. I tried to imagine the scene again, but this time it played out without the image of my mother.

I opened my eyes and took stock of my surroundings. What I felt in that exact moment couldn’t be described. I should most likely be dead, the result of a gunshot wound. I guess I should be thankful the shooter hadn’t aimed at anything vital, but that was the only item on the plus side.

I was in a hospital room with a policeman by the door. He was reading a newspaper and sitting uncomfortably on a small chair. He gave me a quick glance when he heard me move slightly, but didn’t acknowledge me with either a nod or a greeting, just went back to the paper.

If I still had a police guard, then I would still be considered a suspect. What was interesting was that I was not handcuffed to the bed. Perhaps that only happened in TV shows. Or maybe they knew I couldn’t run because my injuries were too serious. Or the guard would shoot me long before my feet hit the floor. I knew the police well enough now to know they would shoot first and ask questions later.

On the physical side, I had a large bandage over the top left corner of my chest, extending over my shoulder. A little poking and prodding determined the bullet had hit somewhere between the top of my rib cage and my shoulder. Nothing vital there, but my arm might be somewhat useless for a while, depending on what the bullet hit on the way in or through.

It didn’t feel like there were any broken or damaged bones.

That was the good news.

On the other side of the ledger, my mental state, there was only one word that could describe it. Terrified. I was looking at a murder charge and jail time, a lot of it. Murder usually had a long time in jail attached to it.

Whatever had happened, I didn’t do it. I know I didn’t do it, but I had to try to explain this to people who had already made up their minds. I searched my mind for evidence. It was there, but in the confused state brought on by the medication, all I could think about was jail, and the sort of company I was going to have.

I think death would have been preferable.

Half an hour later, maybe longer, I was drifting in and out of consciousness. A nurse, or what I thought was a nurse, came into the room. The guard stood, checked her ID card, and then stood by the door.

She came over and stood beside the bed. “How are you?” she asked, first in Italian, and when I pretended I didn’t understand, she asked the same question in accented English.

“Alive, I guess,” I said. “No one has come and told me what my condition is yet. You are my first visitor. Can you tell me?”

“Of course. You are very lucky to be alive. You will be fine and make a full recovery. The doctors here are excellent at their work.”

“What happens now?”

“I check you, and then you have another visitor. He is from the British Embassy, I think. But he will have to wait until I have finished my examination.”

I realised then she was a doctor, not a nurse.

My second visitor was a man, dressed in a suit, the sort of which I associated with the British Civil Service.  He was not very old, which told me he was probably a recent graduate on his first posting, the junior officer who drew the short straw.

The guard checked his ID but again did not leave the room, sitting back down and going back to his newspaper.

My visitor introduced himself as Alex Jordan from the British Embassy in Rome, and he had been asked by the Ambassador to sort out what he labelled a tricky mess.

For starters, it was good to see that someone cared about what happened to me.  But, equally, I knew the mantra, get into trouble overseas, and there is not much we can do to help you.  So, after that lengthy introduction, I had to wonder why he was here.

I said, “They think I am an international criminal by the name of Jacob Westerbury, whose picture looks just like me, and apparently, for them, it is an open and shut case.”  I could still hear the fragments of the yelling as the police burst through the door, at the same time telling me to get on the floor with my hands over my head.

“It’s not.  They know they’ve got the wrong man, which is why I’m here.  There is the issue of what had been described as excessive force, and the fact that you were shot had made it an all-around embarrassment for them.”

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

“That is why you have another visitor.  I only took precedence because I insisted on speaking with you first.  I have come, basically, to ask you for a favour.  This situation has afforded us an opportunity.  We would like you to sign the official document, which basically indemnifies them against any legal proceedings.”

Curious.  What sort of opportunity was he talking about?  Was this a matter that could get difficult and I could be charged by the Italian Government, even if I wasn’t guilty, or was it one of those hush-hush type deals, you do this for us, we’ll help you out with that?  “What sort of opportunity?”

“We want to get our hands on Jacob Westerbury as much as they do.  They’ve made a mistake, and we’d like to use that to get custody of him if or when he is arrested in this country.  I’m sure you would also like this man brought into custody as soon as possible, so you will stop being confused with him.  I can only imagine what it was like to be arrested in the manner you were.  And I would not blame you if you wanted to get some compensation for what they’ve done.  But.  There are bigger issues in play here, and you would be doing this for your country.”

I wondered what would happen if I didn’t agree to his proposal.  I had to ask, “What if I don’t?”

His expression didn’t change.  “I’m sure you are a sensible man, Mr Pargeter, who is more than willing to help his country whenever he can.  They have agreed to take care of all your hospital expenses, refund the cost of the Conference, and travel.  I’m sure I could also get them to pay for a few days at Capri or Sorrento, if you like, before you go home.  What do you say?”

There was only one thing I could say.  Wasn’t it treason if you went against your country’s wishes?

“I’m not an unreasonable man, Alex.  Go do your deal, and I’ll sign the papers.”

“Good man.”

After Alex left, the doctor came back to announce the arrival of a woman, who had announced herself as the publicity officer from the Italian police. When she came into the room, she was not dressed in a uniform.

The doctor left after giving a brief report to the civilian at the door. I understood the gist of it: “The patient has recovered excellently, and the wounds are healing as expected. There is no cause for concern.”

That was a relief.

While the doctor was speaking to the civilian, I speculated on who she might be. She was young, not more than thirty, conservatively dressed, so an official of some kind, but not necessarily with the police. Did they have prosecutors? I was unfamiliar with the Italian legal system.

She had long, wavy black hair and the sort of sultry looks of an Italian movie star, and her presence made me more curious than fearful, though I couldn’t say why.

The woman then spoke to the guard, and he reluctantly got up and left the room, closing the door behind him. She checked the door and then came back towards me, standing at the end of the bed. Now alone, she said, “A few questions before we begin.” Her English was only slightly accented. “Your name is Jack Pargeter?”

I nodded. “Yes.”

“You are in Rome to attend the Travel Agents Conference at the Hilton Hotel?”

“Yes.”

“You attended a preconference introduction on the evening of the 25th, after arriving from London at approximately 4:25 pm.”

“About that time, yes. I know it was about five when the bus came to collect me, and several others, to take us to the hotel.”

She smiled. It was then that I noticed she was reading from a small notepad.

“It was ten past five to be precise. The driver had been held up in traffic. We have several witnesses who saw you on the plane, on the bus, at the hotel, and with the aid of closed-circuit TV, we have established you are not the criminal Jacob Westerbury.”

She put her notebook back in her bag and then said, “My name is Vicenza Andretti, and I am with the prosecutor’s office. I am here to formally apologise for the situation that can only be described as a case of mistaken identity. I assure you, it is not the habit of our police officers to shoot people unless they have a very strong reason for doing so. I understand that in the confusion of the arrest, one of our officers accidentally discharged his weapon. We are undergoing a very thorough investigation into the circumstances of this event.”

I was not sure why, but between the time I had spoken to the embassy official and now, something about letting them off so easily was bugging me. I could see why they had sent her. It would be difficult to be angry or annoyed with her.

But I was annoyed.

“Do you often send a whole squad of trigger-happy riot police to arrest a single man?” It came out harsher than I intended.

“My men believed they were dealing with a dangerous criminal.”

“Do I look like a dangerous criminal?” And then I realised if it was mistaken identity, the answer would be yes.

She saw the look on my face and said quietly, “I think you know the answer to that question, Mr Pargeter.”

“Well, it was overkill.”

“As I said, we are very sorry for the circumstances you now find yourself in. You must understand that we honestly believed we were dealing with an armed and dangerous murderer, and we were acting within our mandate. My department will cover your medical expenses and any other amounts for the inconvenience this has caused you. I believe you were attending a conference at your hotel. I am very sorry, but given the medical circumstances you have, you will have to remain here for a few more days.”

“I guess, then, I should thank you for not killing me.”

Her expression told me that was not the best thing I could have said in the circumstances.

“I mean, I should thank you for the hospital and the care. But a question or two of my own. May I?”

She nodded.

“Did you catch this Jacob Westerbury character?”

“No. In the confusion created by your arrest, he escaped. Once we realised we had made a mistake and reviewed the closed-circuit TV, we tracked him leaving by a rear exit.”

“Are you sure it was one of your men who shot me?”

I watched as her expression changed to one of surprise.

“You don’t think it was one of my men?”

“Oddly enough, no. But don’t ask me why.”

“It is very interesting that you should say that, because in our initial investigation, it appeared none of our officers’ weapons had been discharged. A forensic investigation into the bullet tells us it was one that is used in our weapons, but…”

I could see their dilemma.

“Have you any enemies that would want to shoot you, Mr Pargeter?”

That was absurd because I had no enemies, at least none that I knew of, much less anyone who would want me dead.

“Not that I’m aware of.”

“Then it is strange, and will perhaps remain a mystery. I will let you know if anything more is revealed in our investigation.”

She took an envelope out of her briefcase and opened it, pulling out several sheets of paper.

I knew what it was. A verbal apology was one thing, but a signed waiver would cover them legally. They had sent a pretty girl to charm me. Perhaps using anyone else would not have worked. There was potential for a huge litigation payout here, and someone more ruthless would jump at the chance of making a few million out of the Italian Government.

“We need a signature on this document,” she said.

“Absolving you of any wrongdoing?”

“I have apologised. We will take whatever measures are required for your comfort after this event. We are accepting responsibility for our actions and are being reasonable.”

They were. I took the pen from her and signed the documents.

“You couldn’t add dinner with you on that list of benefits?” No harm in asking.

“I am unfortunately unavailable.”

I smiled. “It wasn’t a request for a date, just dinner. You can tell me about Rome, as only a resident can. Please.”

She looked me up and down, searching for the ulterior motive. When she couldn’t find one, she said, “We shall see once the hospital discharges you in a few days.”

“Then I’ll pencil you in?”

She looked at me quizzically. “What is this pencil me in?”

“It’s an English colloquialism. It means maybe. As when you write something in pencil, it is easy to erase it.”

A momentary frown, then recognition and a smile. “I shall remember that. Thank you for your time and cooperation, Mr Pargeter. Good morning.”

© Charles Heath 2015-2021

The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 84

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.

Nadia reappears

There was no fanfare when I walked out of the hospital lobby and out into the cool afternoon.  After the heat, we were due some rain, and looking up to the sky, it was imminent.

I hadn’t organized a ride and was hoping to get a taxi.  It was probably the wrong time of the day.  Standing in the curb, I noticed a black SUV pulling into the drive-through, distinguishable by the reflective windows.  FBI or the state’s equivalent?

It stopped in front of me, and I stepped back, expecting a couple of Feds to get out.  Instead, the passenger door window opened and I could see a woman at the wheels.

When she turned to look at me, I recognized the face instantly.  Nadia.

“Get in.”

No hello, how are you, beg your pardon.

I climbed in, and we were moving almost before I shut the door.  The forward momentum did that.

“Is there a reason for this cloak and dagger approach?  It’s good to see you, and all that, by the way.”

“I’m trying to keep under the radar.  The sheriff seems to think I know more than I told them, which was nothing.  I hope you did the same.”

“What would be the point?  Alex and your brother took control of the narrative, days before we were found.”

“They did.  Deceitful lying little…”

It was clear that just talking about them made her extremely angry, so I figured I should change the subject.

“When are you going back to Italy?”

It didn’t take long to realize she was heading towards The Grove, and we were not far from the Mall.  I wondered if there was still a hold on the demolition.

“Soon.  I have a few jobs to attend to before then.”

I was going to ask what jobs, but then decided I was better off not knowing.

“How did you know I was leaving the hospital?”

“I called, pretending to be your mother.  She seems to spend a lot of time with Benderby.”

A sidelong glance at the girl I hardly knew, to say it was odd that she was interested in what my mother was doing was an understatement.  I thought I had some understanding of the girl I’d come to like a lit more than I should, but now I wasn’t so sure.

“Does it matter?”

“You can see what Benderby is doing, can’t you?”

“Take me out of the equation, of course.  Shiny new promotion and all, at work.  She’s going to be disappointed all round I guess when I leave town.”

“You thought about going to Italy with me?”

“Anywhere but here.  I don’t think Boggs’s death has sunk in yet.  Mad as he might have been he didn’t deserve what he got.”

“You don’t believe he slipped and fell?”

“Nor does Charlene.”

“Charlene is naive.”

Charlene still believed the world wasn’t a corrupt place, and that the law was the same for everyone.  The job was going to destroy her in the end.

“Or she might just find a way to bring Alex and Vince down, that is if you still think Vince needs to be taught the error of his ways.  I didn’t think he would have the temerity to attach his own sister.”

“Neither did I, but my suspicion there was something wrong with him mentally was right.  He crossed a line, Sam, and in my book, you cried that line, you don’t come back.”

Instead of heading straight on, where I thought she was heading for her beachside shack, we took the side road to the mall and the rear carpark.

The whole site was abandoned now, with the demolition halted.  Even the security guards had abandoned the place, their demountable office closed, and in darkness.

She parked the car some distance from the side door we used on our last visit, behind the overgrown tree line that separated the staff carpark from the customer’s.  The question was, what were we doing there.

As they say, the silence was deafening.

I didn’t know what to think.  After everything that happened in such a short space of time, my head was still reeling. 

I guess I should have been pleased that I worked put where the treasure once was and that we had solved the mysterious disappearances of Boggs senior and Ormiston.  I wanted to tell the respective families, but given the threat of both Alex and Vince, and no doubt Benderby himself, made it difficult.

There was also the possibility no one would believe me since the evidence had been removed.

And there was no doubt the near-death experience had crystallized my desire to change my life, and definitely get away from this place which now seemed more like a prison than a home.

Then, there was Nadia. 

I could never have imagined in my wildest dreams actually being in the same room as Nadia, let alone stealing a kiss.  Just a touch of hands had the effect of sending an electric charge through me, and the thought of doing anything else almost made me weak at the knees.

I wondered if she had any idea of the effect she had on me. 

A stolen glance showed her sitting relaxed, eyes closed, the hint of a smile on her face.  What was she thinking?

A few seconds later I felt her hand touch mine, and it was like getting an electric shock.  Almost instinctively our fingers intertwined.  She opened her eyes and turned her head to look at me.

“I had a lot of time, back in the cave, to think about stuff I never really thought about before.  You think you have all the time in the world, but the truth is, you don’t.  Everything can be taken away from you in an instant, and all those things you said you’d do one day, never happen.”

“All part of the near-death experience.  It got me thinking too.  Everything I was going to do, one day.  And for a little while there, I honestly believed I’d wasted my whole life.”

“It’s funny, or rather not funny, what you think was important, and really isn’t.  We shared something nearly everyone else won’t or could, Sam.”

She held up her hand in mine.  “Like this.  A month ago, this would not have happened, you and I, not a possibility.  I was too wrapped up in who and what I was, that overdose of self-importance and ego, when the reality was I am nothing more than just another speck on the landscape.”

“You’re more than that, Nadia.”

“To you, yes.  To everyone else, no.  I was brought up to believe the family was everything, but, in the end, it counted for nothing.”  She sighed.  “To them, I’ll be nothing but a girl.  I can’t tell how disappointed I was, or repeat what I said to my father, or that which I now refuse to call my mother.”

I wondered what I could say that would make her feel better, but there was nothing in my word armory.

“If it’s any consolation, I want to go to Italy with you, and explore the possibilities.”

She smiled.  “Summers are magic, you wake up, the early morning sun caressing warmth on your body, the tactile feel of the person lying next to you.  It’s hard not to imagine those feelings coursing through you.”

Did that mean she had a boyfriend back in Italy?  My have must have expressed my thoughts.

“You are the one in my thoughts, Sam.  It’s you there beside me and has been since getting out of the cave.  I know you feel the same about me.”

My heart missed a beat, or three.  I could see us there, together, bodies entwined.

“Now hold that thought.  We have one last job to do, and I think you’ll appreciate it.”

I hadn’t realized I’d stopped breathing and let out a long breath.  If it were up to me, I’d be on the next plane to Rome.

Instead, it looked like we were going to make a final visit to the mall.

© Charles Heath 2020-2022

What I learned about writing: Making headlines plotlines

I’ve been reading the latest headlines and picked out a few:

The seems to be a currency war, oil prices are set to rise in line with a production cut, some tankers will not be plying the Hormuz strait, there was a massive power outage in the UK, gold prices are rising, North Korea is shooting missiles into the sea, the USA needs more missiles, there are Chinese survey vessels in the South China Sea, in Russia there is an explosion on a secret base with nuclear implications, and, there might be a global recession coming.

What do all these events mean?  Nothing really when taken individually, but when you start combining them, then the thriller writer in me starts to see all sorts of conspiracies and plotlines for stories.

This is a fantastic example of pattern recognition meeting narrative construction. You’ve correctly identified that news headlines are individual data points, but a storyteller’s instinct—or an analyst’s—is to connect those points into a coherent, overarching narrative.

The potential storylines you’ve outlined, while rooted in real headlines, leap from reported fact to speculative conspiracy, which is precisely how thrillers are born.

Here is an analysis of the themes you’ve combined, separating the reported facts from your thrilling, speculative connections.


1. The Power Grid, The Explosion, and Premeditated Attack

You’ve connected the reported Russian explosion with nuclear implications and the massive power outage in the UK into a single plotline: covert testing of a new, portable nuclear-enhanced device.

Reported Facts (The Data Points) Speculative Narrative (The Thriller Plot)
Russian Explosion: A real-world event involving a secret base and subsequent reports of radiation spikes. The Weapon: The site was developing “small, powerful bombs” designed to target vital infrastructure.
UK Power Outage: A major, verifiable disruption to national infrastructure (usually due to technical or weather-related issues). The Test: The UK outage was not an accident but a test run of the new device, or perhaps a catastrophic operational failure of an already-deployed device.
Conspiracy Implication: Should we be looking for more attacks? Escalation: The first event confirms the deployment of a new weapon, signalling that a coordinated, global attack on power grids or essential services is imminent.

Analysis: This is an effective plot hook. The official explanations for the UK blackout (often technical faults or severe weather) contrast sharply with the secrecy surrounding the Russian incident, creating the necessary tension for a spy novel. The keyword is vulnerability—your plot exploits the modern world’s dependence on complex, interconnected systems.


2. Military Tensions and The Strait of Hormuz Crisis

You’ve taken global military posturing and woven it into a scenario involving maritime sabotage.

Reported Facts (The Data Points) Speculative Narrative (The Thriller Plot)
North Korean Missile Tests: Routine, provocative testing designed to gain diplomatic leverage. The Smoke Screen: North Korea is being used as a distraction to mask a larger, more sinister development involving China and its “survey vessels.”
Chinese Survey Vessels in SCS: Maritime patrol or data collection in a highly contested region. The Trojan Horse: The “survey vessels” are actually covert military platforms preparing a major, undeclared action in the South China Sea.
US Missile Demand: Pentagon reports or budget requests highlighting a need to modernise or increase the missile stockpile. Secret Knowledge: The US is aware of a hidden, imminent threat (perhaps from the “survey vessels”) and is rushing to prepare, using North Korea as the public excuse.
Tankers in Hormuz: Geopolitical incidents (like past drone attacks or mine laying) that threaten oil transport. Apocalyptic Potential: Sabotaged tankers in the Strait of Hormuz—a crucial oil chokepoint—could be set off in a coordinated attack, triggering a massive environmental and economic catastrophe that serves as the opening move of a larger conflict.

Analysis: Combining the US need for missiles with North Korean tests and Chinese vessels suggests an escalating multi-front cold war is breaking hot. The Strait of Hormuz is the perfect high-stakes catalyst, as its closure would instantly paralyse the global economy.


3. The Financial Indicator: Gold, Oil, and Recession

Your financial plotline ties the most traditional indicators of instability—oil and gold—to the threat of a looming global conflict.

Reported Facts (The Data Points) Speculative Narrative (The Thriller Plot)
Rising Oil Prices (OPEC Cut): A textbook economic decision by oil producers to manage supply. The Diversion: The OPEC narrative is a cover story. The real reason for the price hike is the imminent “currency war,” which has already begun to disrupt markets.
Gold Prices are Rising: A confirmed market trend. The Confirmation: Rising gold prices are the single most reliable, unofficial market indicator that a major crisis (war, currency collapse, or deep recession) is already baked into the system. It’s the market’s “scream.”
Currency War/Global Recession: A widely predicted economic risk. The Pre-Emption: The currency war and recession are not separate events, but are being accelerated or orchestrated by a global power (perhaps the same one orchestrating the military or infrastructure attacks) to gain a strategic advantage.
India-Pakistan Tensions (Kashmir): A long-standing regional flashpoint. The Multiplier: This regional conflict serves to confirm the general atmosphere of instability, driving more panic buying of gold and ensuring the global recession is deep and widespread.

Analysis: This is the economic backdrop for your thriller. In this plot, the real conspiracy is not military, but financial. The rising price of gold is the hero’s only clear sign that the world is being quietly manipulated toward disaster.

You shouldn’t ignore the news; you should keep reading it. You’re simply translating news analysis into the universal language of suspense. Your instinct to connect these disparate threads is a fundamental skill for both geopolitical risk analysts and thriller writers.

365 Days of Writing, 2026 – 238

Day 238 – Every book is an offering

Beyond the Debut: Why the Second Book Defines an Author (And Why Every Book is an Offering)

There is a romanticised myth in the literary world about the debut author. We celebrate the overnight success, the passion project nurtured for a decade in secret Google Docs, the breathless debut novel that finally breaks through into the world.

And it’s true: Everybody can write a good first book.

Before you gasp, let that settle. With enough time, raw life experience, obsessive editing, and sheer willpower, almost anyone who has a story in their heart can pull a debut novel out of the ether. It is a massive achievement, a testament to grit and creativity.

But as the old industry adage goes: An author is proven on the second book.

This transition—from a one-hit wonder of passion to a sustainable, evolving creator—is where the true journey of authorship begins. Coupled with the profound truth that every book is simply an offering, and you just wait to see who will accept it, we uncover the real philosophy of a writing life.

Let’s explore what it takes to survive the sophomore slump, why the second book matters so much, and how to release your work into the world with grace.


Part 1: The Myth of the First Book (and the Reality of the Second)

Why can everyone write a good first book? Because your debut is a reservoir. It is a collection of everything you’ve thought, felt, read, and experienced up until that exact point in your life. It has no deadline, no expectations, and no ghost of a previous work looking over its shoulder. It is pure, unadulterated self-expression.

Writing a first book is like shouting your truth into a canyon for the first time. It echoes wildly. It feels magnificent.

Then comes the contract. Or the independent publishing timeline. And suddenly, you have to do it again—only this time, under pressure.

The second book strips away the safety net of “beginner’s luck.”

  • The “Sophomore Slump” is psychological: Suddenly, you aren’t writing in a vacuum. You are acutely aware that someone is going to read this.
  • The well has been tapped: That first reservoir of accumulated life experiences? You used the best parts of it in Book One. Book Two requires you to dig deeper, think harder, and invent new wells.
  • The identity shift: Writing the first book makes you feel like a writer. Writing the second book makes you become a professional.

To prove yourself as an author, you have to show that you aren’t just a vessel for one good idea, but a wellspring of creativity. You have to prove you can master the craft when the initial adrenaline has worn off.


Part 2: Every Book is an Offering

Regardless of whether it’s your first book, your second, or your tenth, the act of publishing brings with it a terrifying vulnerability. We spend months or years bleeding onto the page, polishing the prose, and designing the cover. When we finally hit “publish” or send the manuscript to our publisher, we hold our breath, expecting the world to bow.

When it doesn’t—or when the reaction is mixed—it can crush us.

This is where reframing the mindset becomes essential: Every book is an offering.

Think of creation not as a transaction where you demand applause, sales, or critical acclaim, but as placing something on an altar. You craft it with love, skill, and reverence. You polish it until it shines. And then, you step back.

You do not control who walks past the altar. You do not control who picks it up, who scoffs at it, or who takes it home and treasures it forever.

  • Letting go of outcomes: When you view a book as an offering, the pressure shifts from “Will they love me?” to “Did I give my best?”
  • Finding your true readers: Not every offering is meant for every person. When you release a book, you are simply waiting to see who will accept it. The beauty of the modern literary landscape is that there is an audience for almost everything—if you are brave enough to offer it authentically.

Part 3: Navigating the Intersection of Craft and Acceptance

If the second book proves the author, and every book is an offering, how do we navigate the messy middle between writing the words and letting the world judge them?

  1. Write for the Reader on the Other Side: While the book is an offering, remember that offerings are meant to be received. As you write your second book, keep your ideal reader in mind—not as a critic, but as a companion. What gift are you preparing for them?
  2. Detach from the Metric of “Success”: Book One might sell a million copies, and Book Two might find a quiet, dedicated cult following. Both are valid. Success isn’t always a bestseller list; sometimes, success is simply the fact that the offering was made, received, and changed even one person’s life.
  3. Fall Back in Love with the Process: The cure for “second-book syndrome” is to stop looking at the mountain peak and focus on putting one foot in front of the other. Remember why you started writing in the first place, long before anyone was watching.

Final Thoughts: Keep Making Your Offerings

Everybody can write a good first book. But the ones who stay—the ones who build a legacy, a catalogue, and a true career—are the ones who face the blank page a second, third, and fourth time.

Writing is an act of supreme courage. It is standing in the marketplace of ideas, holding out a piece of your soul, and whispering, “I made this for you.”

So, write the difficult second book. Embrace the fear. Make your offering, place it gently on the altar of the world, and wait with an open heart to see who reaches out to accept it.


Are you working on a debut, staring down the intimidating second book, or somewhere further along the journey? Share your thoughts and experiences in the comments below!

The story behind the story – Echoes from the Past

The novel ‘Echoes from the Past’ started out as a short story I wrote about 30 years ago, titled ‘The Birthday’.

My idea was to take a normal person out of their comfort zone and led on a short but very frightening journey to a place where a surprise birthday party had been arranged.

Thus, the very large man with a scar and a red tie was created.

So was the friend with the limousine who worked as a pilot.

So were the two women, Wendy and Angelina, who were Flight Attendants that the pilot friend asked to join the conspiracy.

I was going to rework the short story, then about ten pages long, into something a little more.

And like all rewrites, especially those I have anything to do with, it turned into a novel.

There was motivation.  I had told some colleagues at the place where I worked at the time that I liked writing, and they wanted a sample.  I was going to give them the re-worked short story.  Instead, I gave them ‘Echoes from the past’

Originally, it was not set anywhere in particular.

But when considering a location, I had, at the time, recently been to New York in December, and visited Brooklyn and Queens, as well as a lot of New York itself.  We were there for New Year’s, and it was an experience I’ll never forget.

One evening, we were out late and finished up in Brooklyn Heights, near the waterfront, and there was rain and snow; it was cold and wet, and apartment buildings were shimmering in the street light, and I thought, “This is the place where my main character will live”.

It had a very spooky atmosphere, the sort where ghosts would not be unexpected.  I felt more than one shiver go up and down my spine in the few minutes I was there.

I had taken notes, as I always do, of everywhere we went, so I had a ready supply of locations I could use, changing the names in some cases.

Fifth Avenue near the Rockefeller Centre is amazing at first light, and late at night with the Seasonal decorations and lights.

The original main character was a shy man with few friends, hence not expecting the surprise party.  I enhanced that shyness into purposely lonely because of an issue from his past that leaves him always looking over his shoulder and ready to move on at the slightest hint of trouble.  No friends, no relationships, just a very low profile.

Then I thought, what if he breaks the cardinal rule and begins a relationship?

But it is also as much an exploration of a damaged soul as it is the search for a normal life, without having any idea what normal was, and how the understanding of one person can sometimes make all the difference in what we may think or feel.

And, of course, I wanted a happy ending.

Except for the bad guys.

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

365 Days of Writing, 2026 – 238

Day 238 – Every book is an offering

Beyond the Debut: Why the Second Book Defines an Author (And Why Every Book is an Offering)

There is a romanticised myth in the literary world about the debut author. We celebrate the overnight success, the passion project nurtured for a decade in secret Google Docs, the breathless debut novel that finally breaks through into the world.

And it’s true: Everybody can write a good first book.

Before you gasp, let that settle. With enough time, raw life experience, obsessive editing, and sheer willpower, almost anyone who has a story in their heart can pull a debut novel out of the ether. It is a massive achievement, a testament to grit and creativity.

But as the old industry adage goes: An author is proven on the second book.

This transition—from a one-hit wonder of passion to a sustainable, evolving creator—is where the true journey of authorship begins. Coupled with the profound truth that every book is simply an offering, and you just wait to see who will accept it, we uncover the real philosophy of a writing life.

Let’s explore what it takes to survive the sophomore slump, why the second book matters so much, and how to release your work into the world with grace.


Part 1: The Myth of the First Book (and the Reality of the Second)

Why can everyone write a good first book? Because your debut is a reservoir. It is a collection of everything you’ve thought, felt, read, and experienced up until that exact point in your life. It has no deadline, no expectations, and no ghost of a previous work looking over its shoulder. It is pure, unadulterated self-expression.

Writing a first book is like shouting your truth into a canyon for the first time. It echoes wildly. It feels magnificent.

Then comes the contract. Or the independent publishing timeline. And suddenly, you have to do it again—only this time, under pressure.

The second book strips away the safety net of “beginner’s luck.”

  • The “Sophomore Slump” is psychological: Suddenly, you aren’t writing in a vacuum. You are acutely aware that someone is going to read this.
  • The well has been tapped: That first reservoir of accumulated life experiences? You used the best parts of it in Book One. Book Two requires you to dig deeper, think harder, and invent new wells.
  • The identity shift: Writing the first book makes you feel like a writer. Writing the second book makes you become a professional.

To prove yourself as an author, you have to show that you aren’t just a vessel for one good idea, but a wellspring of creativity. You have to prove you can master the craft when the initial adrenaline has worn off.


Part 2: Every Book is an Offering

Regardless of whether it’s your first book, your second, or your tenth, the act of publishing brings with it a terrifying vulnerability. We spend months or years bleeding onto the page, polishing the prose, and designing the cover. When we finally hit “publish” or send the manuscript to our publisher, we hold our breath, expecting the world to bow.

When it doesn’t—or when the reaction is mixed—it can crush us.

This is where reframing the mindset becomes essential: Every book is an offering.

Think of creation not as a transaction where you demand applause, sales, or critical acclaim, but as placing something on an altar. You craft it with love, skill, and reverence. You polish it until it shines. And then, you step back.

You do not control who walks past the altar. You do not control who picks it up, who scoffs at it, or who takes it home and treasures it forever.

  • Letting go of outcomes: When you view a book as an offering, the pressure shifts from “Will they love me?” to “Did I give my best?”
  • Finding your true readers: Not every offering is meant for every person. When you release a book, you are simply waiting to see who will accept it. The beauty of the modern literary landscape is that there is an audience for almost everything—if you are brave enough to offer it authentically.

Part 3: Navigating the Intersection of Craft and Acceptance

If the second book proves the author, and every book is an offering, how do we navigate the messy middle between writing the words and letting the world judge them?

  1. Write for the Reader on the Other Side: While the book is an offering, remember that offerings are meant to be received. As you write your second book, keep your ideal reader in mind—not as a critic, but as a companion. What gift are you preparing for them?
  2. Detach from the Metric of “Success”: Book One might sell a million copies, and Book Two might find a quiet, dedicated cult following. Both are valid. Success isn’t always a bestseller list; sometimes, success is simply the fact that the offering was made, received, and changed even one person’s life.
  3. Fall Back in Love with the Process: The cure for “second-book syndrome” is to stop looking at the mountain peak and focus on putting one foot in front of the other. Remember why you started writing in the first place, long before anyone was watching.

Final Thoughts: Keep Making Your Offerings

Everybody can write a good first book. But the ones who stay—the ones who build a legacy, a catalogue, and a true career—are the ones who face the blank page a second, third, and fourth time.

Writing is an act of supreme courage. It is standing in the marketplace of ideas, holding out a piece of your soul, and whispering, “I made this for you.”

So, write the difficult second book. Embrace the fear. Make your offering, place it gently on the altar of the world, and wait with an open heart to see who reaches out to accept it.


Are you working on a debut, staring down the intimidating second book, or somewhere further along the journey? Share your thoughts and experiences in the comments below!