This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

It’s time to delve into the past that Zoe tries so hard not to remember because the memories are painful.

It was a time before she became the emotionless killer she was now, and the people who had turned her into one.

Friends, lovers, teachers, mentors, but, in the end, all people who wanted her for one thing or another because they were selfish.

Alistair’s mother, Olga, was one, the woman who first had the job of training her, the first to recognize while gifted, she would be trouble.

She had been recommended to her by a man called Yuri, the first of many to take advantage of an innocent girl who didn’t know any better.

Once trained, she was placed with Alistair, and he too, wanted her for himself, until he found her replacement, a man who wrongly thought she was so emotionless she would be happy to share him with others.

It was a mistake he wouldn’t be making again.

It was Yuri she discovered who had been in contact with the kidnappers in Marsailles, and perhaps inadvertently inserting himself into her quest for those seeking to kill her. He would know who it was seeking her, and who the name Romanov referred to.

After ensuring John was safe, she contacted him.

There’s a conversation, and he agrees to meet her, reluctantly, as being seen with a fugitive might harm his reputation.

It’s going to be an interesting conversation and reunion.

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

Yesterday there was a moment where I went back over the plot, and whilst that exercise was a success in a way, it also got me thinking, like always, I couldn’t sleep, thinking about how the timeline was working, but the narrative wasn’t.

Yes, I made the fatal mistake of considering editing in the middle of a writing marathon.

What brought this self-destructive mood on? A movie. No relevance at all to my story, but it was a study in interactions between disparate people, which is what I have going on between John and Zoe.

It works in the first story because they are thrown together and everything is new and crazy.

In the second, the premise is that the novelty of the thing they had is wearing off.

Zoe needs to stay occupied and doing something other than all she’s ever known is not exactly on her to-do list.

Of course, that’s all put on hold because she is now a target because of the death of Alistair, and it’s a problem she has to take care of. Alone.

I realize now there needs to be some discussion around this, and the way the story starts does not set the scene.

Similarly, there should be more definition of the relationship as it stands, or not as the case may be, and reasons why John decides to go after her, if only to get the truth because he believes she is using the people seeking revenge as an excuse to keep him at arm’s length.

And, from her perspective, it’s not so much she doesn’t want to be with him, it’s because she doesn’t want him to end up dead, given the sort of people she was up against. Not being able to articulate her feelings, as it’s not something she really knew how to do, there’s bound to be some confusion.

Inevitably he is going to find her, and when they do, the reasons why they are together are clear, but there are still many reasons why he shouldn’t be there. Her life is not the sort of life he would want, by choice, and it’s not going to improve, so where is this thing going to take them?

I haven’t thought it through, so I’m going to take some time out to sort it out. I’m 47,000 odd words into the narrative, so I have a day, two at the most to review, and perhaps rewrite to get the missing perspective I’m looking for

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

I’ve been looking back at what’s been written, something you shouldn’t do when trying to get 50,000 words written in 30 days, but I’m ahead of the count, and a little checking is needed, just to make sure everything is running smoothly.

Not that any book written on the fly like this runs smoothly.

There are three themes to this story:

1 – Worthington, now head of the Intelligence agency, seeking revenge for Zoe killing his brother by mistake, a mistake that he caused

2 – Alistair’s mother deploys a collection of agents, some being Zoe’s colleagues once, to assassinate the woman who assassinated her son

3 – John’s ever-growing fear that Zoe is tired of him, and, after she leaves, even though she promised to come back, he doesn’t want to wait to find out he’s been dumped.

4 – Sebastian is always lurking in the background, ostensibly to recruit her as an assassin, but really because he’s jealous of John’s good fortune.

Our two intrepid heroes go off to save her in Marseilles where she learns of the identity of who is ostensibly looking for her and sets her off on a lone hunt for him.

We then deploy two new characters, Rupert and Isobel, who along with John will create a private detective agency, that John uses to locate Zoe by any and all means.

Isobel soon finds out that searching for Zoe on the internet brings risks, both at home and abroad, bringing her in contact with another hacker who seems to know where Zoe’s past is hiding. But can they be trusted?

John heads off to Vienna, after being supplied a file on Zoe, full of information he had not known about her. What he learns in Vienna leads him to Bratislava, when a photo identifying where she suddenly arrives on his phone.

John locates her, and she realizes he is being used as bait, and they leave, but not before the hit team almost completes their mission, and leave behind a trail of bodies as they get away, but not without injury.

John gets the answers he is seeking, that if he wants a life of looking over his shoulder, by all means, tag along. She is quite pleased to see him, not so much that he brought ‘friends’ but she might yet get to train him.

Sebastian, feeling left out, grills Isobel and Rupert, and gets sidelined by Worthington because anywhere Sebastian goes, trouble follows, and then convinces Isobel that John is in over his head and needs their help.

He’s not wrong because Worthington has dispatched another hit team to the main railway stations in Vienna where John and Zoe are looking to escape, only another shootout occurs as they once again escape when all the station’s exits are not covered.

The story has now reached a point where everyone is converging on Vienna.

Along with another person who John knows, and will least expect to arrive on his doorstep.

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

Yesterday there was a moment where I went back over the plot, and whilst that exercise was a success in a way, it also got me thinking, like always, I couldn’t sleep, thinking about how the timeline was working, but the narrative wasn’t.

Yes, I made the fatal mistake of considering editing in the middle of a writing marathon.

What brought this self-destructive mood on? A movie. No relevance at all to my story, but it was a study in interactions between disparate people, which is what I have going on between John and Zoe.

It works in the first story because they are thrown together and everything is new and crazy.

In the second, the premise is that the novelty of the thing they had is wearing off.

Zoe needs to stay occupied and doing something other than all she’s ever known is not exactly on her to-do list.

Of course, that’s all put on hold because she is now a target because of the death of Alistair, and it’s a problem she has to take care of. Alone.

I realize now there needs to be some discussion around this, and the way the story starts does not set the scene.

Similarly, there should be more definition of the relationship as it stands, or not as the case may be, and reasons why John decides to go after her, if only to get the truth because he believes she is using the people seeking revenge as an excuse to keep him at arm’s length.

And, from her perspective, it’s not so much she doesn’t want to be with him, it’s because she doesn’t want him to end up dead, given the sort of people she was up against. Not being able to articulate her feelings, as it’s not something she really knew how to do, there’s bound to be some confusion.

Inevitably he is going to find her, and when they do, the reasons why they are together are clear, but there are still many reasons why he shouldn’t be there. Her life is not the sort of life he would want, by choice, and it’s not going to improve, so where is this thing going to take them?

I haven’t thought it through, so I’m going to take some time out to sort it out. I’m 47,000 odd words into the narrative, so I have a day, two at the most to review, and perhaps rewrite to get the missing perspective I’m looking for

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

Yesterday there was a moment where I went back over the plot, and whilst that exercise was a success in a way, it also got me thinking, like always, I couldn’t sleep, thinking about how the timeline was working, but the narrative wasn’t.

Yes, I made the fatal mistake of considering editing in the middle of a writing marathon.

What brought this self-destructive mood on? A movie. No relevance at all to my story, but it was a study in interactions between disparate people, which is what I have going on between John and Zoe.

It works in the first story because they are thrown together and everything is new and crazy.

In the second, the premise is that the novelty of the thing they had is wearing off.

Zoe needs to stay occupied and doing something other than all she’s ever known is not exactly on her to-do list.

Of course, that’s all put on hold because she is now a target because of the death of Alistair, and it’s a problem she has to take care of. Alone.

I realize now there needs to be some discussion around this, and the way the story starts does not set the scene.

Similarly, there should be more definition of the relationship as it stands, or not as the case may be, and reasons why John decides to go after her, if only to get the truth because he believes she is using the people seeking revenge as an excuse to keep him at arm’s length.

And, from her perspective, it’s not so much she doesn’t want to be with him, it’s because she doesn’t want him to end up dead, given the sort of people she was up against. Not being able to articulate her feelings, as it’s not something she really knew how to do, there’s bound to be some confusion.

Inevitably he is going to find her, and when they do, the reasons why they are together are clear, but there are still many reasons why he shouldn’t be there. Her life is not the sort of life he would want, by choice, and it’s not going to improve, so where is this thing going to take them?

I haven’t thought it through, so I’m going to take some time out to sort it out. I’m 47,000 odd words into the narrative, so I have a day, two at the most to review, and perhaps rewrite to get the missing perspective I’m looking for

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

I’ve been looking back at what’s been written, something you shouldn’t do when trying to get 50,000 words written in 30 days, but I’m ahead of the count, and a little checking is needed, just to make sure everything is running smoothly.

Not that any book written on the fly like this runs smoothly.

There are three themes to this story:

1 – Worthington, now head of the Intelligence agency, seeking revenge for Zoe killing his brother by mistake, a mistake that he caused

2 – Alistair’s mother deploys a collection of agents, some being Zoe’s colleagues once, to assassinate the woman who assassinated her son

3 – John’s ever-growing fear that Zoe is tired of him, and, after she leaves, even though she promised to come back, he doesn’t want to wait to find out he’s been dumped.

4 – Sebastian is always lurking in the background, ostensibly to recruit her as an assassin, but really because he’s jealous of John’s good fortune.

Our two intrepid heroes go off to save her in Marseilles where she learns of the identity of who is ostensibly looking for her and sets her off on a lone hunt for him.

We then deploy two new characters, Rupert and Isobel, who along with John will create a private detective agency, that John uses to locate Zoe by any and all means.

Isobel soon finds out that searching for Zoe on the internet brings risks, both at home and abroad, bringing her in contact with another hacker who seems to know where Zoe’s past is hiding. But can they be trusted?

John heads off to Vienna, after being supplied a file on Zoe, full of information he had not known about her. What he learns in Vienna leads him to Bratislava, when a photo identifying where she suddenly arrives on his phone.

John locates her, and she realizes he is being used as bait, and they leave, but not before the hit team almost completes their mission, and leave behind a trail of bodies as they get away, but not without injury.

John gets the answers he is seeking, that if he wants a life of looking over his shoulder, by all means, tag along. She is quite pleased to see him, not so much that he brought ‘friends’ but she might yet get to train him.

Sebastian, feeling left out, grills Isobel and Rupert, and gets sidelined by Worthington because anywhere Sebastian goes, trouble follows, and then convinces Isobel that John is in over his head and needs their help.

He’s not wrong because Worthington has dispatched another hit team to the main railway stations in Vienna where John and Zoe are looking to escape, only another shootout occurs as they once again escape when all the station’s exits are not covered.

The story has now reached a point where everyone is converging on Vienna.

Along with another person who John knows, and will least expect to arrive on his doorstep.

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

Today, we’re back in Vienna, with Zoe planning their escape. We’re off to the railway station and catching the train. Unfortunately, Worthington is able to track them and knows exactly where they are, and where to direct his hit squad.

And you guessed it, mayhem is about to erupt in the station. But, as Zoe knows all too well, chaos can be her best friend, and they escape.

Sebastian knows something is afoot with Worthington, because all of a sudden, he has disappeared.

That’s good for Sebastian in one sense, he can go ahead with the interrogations of Isobel and Rupert in his quest to find out where John, and ultimately Zoe, is.

But the thing is, they are disinclined to be helpful in any way shape or form, and Isobel in particular, tells him to bring on the torturers.

Weird maybe, but Sebastian knows she’s probably getting a kick out of it.

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

Today, we’re back in Vienna, with Zoe planning their escape. We’re off to the railway station and catching the train. Unfortunately, Worthington is able to track them and knows exactly where they are, and where to direct his hit squad.

And you guessed it, mayhem is about to erupt in the station. But, as Zoe knows all too well, chaos can be her best friend, and they escape.

Sebastian knows something is afoot with Worthington, because all of a sudden, he has disappeared.

That’s good for Sebastian in one sense, he can go ahead with the interrogations of Isobel and Rupert in his quest to find out where John, and ultimately Zoe, is.

But the thing is, they are disinclined to be helpful in any way shape or form, and Isobel in particular, tells him to bring on the torturers.

Weird maybe, but Sebastian knows she’s probably getting a kick out of it.

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

I’ve been looking back at what’s been written, something you shouldn’t do when trying to get 50,000 words written in 30 days, but I’m ahead of the count, and a little checking is needed, just to make sure everything is running smoothly.

Not that any book written on the fly like this runs smoothly.

There are three themes to this story:

1 – Worthington, now head of the Intelligence agency, seeking revenge for Zoe killing his brother by mistake, a mistake that he caused

2 – Alistair’s mother deploys a collection of agents, some being Zoe’s colleagues once, to assassinate the woman who assassinated her son

3 – John’s ever-growing fear that Zoe is tired of him, and, after she leaves, even though she promised to come back, he doesn’t want to wait to find out he’s been dumped.

4 – Sebastian is always lurking in the background, ostensibly to recruit her as an assassin, but really because he’s jealous of John’s good fortune.

Our two intrepid heroes go off to save her in Marseilles where she learns of the identity of who is ostensibly looking for her and sets her off on a lone hunt for him.

We then deploy two new characters, Rupert and Isobel, who along with John will create a private detective agency, that John uses to locate Zoe by any and all means.

Isobel soon finds out that searching for Zoe on the internet brings risks, both at home and abroad, bringing her in contact with another hacker who seems to know where Zoe’s past is hiding. But can they be trusted?

John heads off to Vienna, after being supplied a file on Zoe, full of information he had not known about her. What he learns in Vienna leads him to Bratislava, when a photo identifying where she suddenly arrives on his phone.

John locates her, and she realizes he is being used as bait, and they leave, but not before the hit team almost completes their mission, and leave behind a trail of bodies as they get away, but not without injury.

John gets the answers he is seeking, that if he wants a life of looking over his shoulder, by all means, tag along. She is quite pleased to see him, not so much that he brought ‘friends’ but she might yet get to train him.

Sebastian, feeling left out, grills Isobel and Rupert, and gets sidelined by Worthington because anywhere Sebastian goes, trouble follows, and then convinces Isobel that John is in over his head and needs their help.

He’s not wrong because Worthington has dispatched another hit team to the main railway stations in Vienna where John and Zoe are looking to escape, only another shootout occurs as they once again escape when all the station’s exits are not covered.

The story has now reached a point where everyone is converging on Vienna.

Along with another person who John knows, and will least expect to arrive on his doorstep.

…

This book has been sitting in the ‘to-be-done’ tray, so this month it is going to get the final revision.

…

I’ve been looking back at what’s been written, something you shouldn’t do when trying to get 50,000 words written in 30 days, but I’m ahead of the count, and a little checking is needed, just to make sure everything is running smoothly.

Not that any book written on the fly like this runs smoothly.

There are three themes to this story:

1 – Worthington, now head of the Intelligence agency, seeking revenge for Zoe killing his brother by mistake, a mistake that he caused

2 – Alistair’s mother deploys a collection of agents, some being Zoe’s colleagues once, to assassinate the woman who assassinated her son

3 – John’s ever-growing fear that Zoe is tired of him, and, after she leaves, even though she promised to come back, he doesn’t want to wait to find out he’s been dumped.

4 – Sebastian is always lurking in the background, ostensibly to recruit her as an assassin, but really because he’s jealous of John’s good fortune.

Our two intrepid heroes go off to save her in Marseilles where she learns of the identity of who is ostensibly looking for her and sets her off on a lone hunt for him.

We then deploy two new characters, Rupert and Isobel, who along with John will create a private detective agency, that John uses to locate Zoe by any and all means.

Isobel soon finds out that searching for Zoe on the internet brings risks, both at home and abroad, bringing her in contact with another hacker who seems to know where Zoe’s past is hiding. But can they be trusted?

John heads off to Vienna, after being supplied a file on Zoe, full of information he had not known about her. What he learns in Vienna leads him to Bratislava, when a photo identifying where she suddenly arrives on his phone.

John locates her, and she realizes he is being used as bait, and they leave, but not before the hit team almost completes their mission, and leave behind a trail of bodies as they get away, but not without injury.

John gets the answers he is seeking, that if he wants a life of looking over his shoulder, by all means, tag along. She is quite pleased to see him, not so much that he brought ‘friends’ but she might yet get to train him.

Sebastian, feeling left out, grills Isobel and Rupert, and gets sidelined by Worthington because anywhere Sebastian goes, trouble follows, and then convinces Isobel that John is in over his head and needs their help.

He’s not wrong because Worthington has dispatched another hit team to the main railway stations in Vienna where John and Zoe are looking to escape, only another shootout occurs as they once again escape when all the station’s exits are not covered.

The story has now reached a point where everyone is converging on Vienna.

Along with another person who John knows, and will least expect to arrive on his doorstep.

…