“Sunday in New York”, a romantic adventure that’s not a walk in the park!

“Sunday in New York” is ultimately a story about trust, and what happens when a marriage is stretched to its limits.

When Harry Steele attends a lunch with his manager, Barclay, to discuss a promotion that any junior executive would accept in a heartbeat, it is the fact that his wife, Alison, who previously professed her reservations about Barclay, also agreed to attend that casts a small element of doubt in his mind.

From that moment, his life, in the company, in deciding what to do, his marriage, his very life, spirals out of control.

There is no one big factor that can prove Harry’s worst fears, that his marriage is over, just several small, interconnecting events, when piled on top of each other, point to a cataclysmic end to everything he had believed in.

Trust is lost firstly in his best friend and mentor, Andy, who only hints at impending disaster, Sasha, a woman whom he saved, and who appears to have motives of her own, and then in his wife, Alison, as he discovers piece by piece, damning evidence that she is about to leave him for another man.

Can we trust what we see with our eyes or trust what we hear?

Haven’t we all jumped to conclusions at least once in our lives?

Can Alison, a woman whose self-belief and confidence are about to be put to the ultimate test, find a way of proving their relationship is as strong as it has ever been?

As they say in the classics, read on!

Purchase:

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The cinema of my dreams – I always wanted to write a war story – Episode 39

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…

Leonardo was a fool, not that any of those who followed him would say that to his face, but all of them knew it and accepted that he made the best leader.

The reason for that, they all knew if anything went wrong, then the leader would be the first to be held accountable.

They all also knew that what Leonardo had done to Martina and Chiara, and the cold-blooded murder of the villagers, justifying it by saying they were collaborators, was also wrong, and had refused to take part in it.

Leonardo just thought they didn’t have the stomach to do what was necessary, failing to realize he was committing a crime, war or not.

Alberto, arguably the next man to take over the resistance group if anything happened to Leonardo, was nominally second in command and was there because he had the respect of the men, far more than their current leader.

He was the one who suspected there was something wrong at the castle, that the British soldiers there were not quite doing what they said they were there for.  He had seen, even directed, Germans seeking sanctuary in England in exchange for information, come, but not go.  Not like they did in the beginning.

And that man called Atherton, the one who arrived just before the paratroopers, he was British, and they had captured him.  The talk was that he was a German collaborator, but Alberto wasn’t convinced.

But, not having the full allegiance of all the resistance fighters, he could not say anything or try to organize the men to be more careful in their approach to those at the castle.  Leonardo still held sway with them. 

For now.

.

The Italians had their own section of the cells in the dungeons where they stayed, Leonardo, deeming it not safe in the village.  Alberto agreed because he had made several forays down there, only to discover that Leonardo would be shot on sight if he showed his face there again.  Some resistance they made, he thought, where they didn’t have the confidence of their own people.

Leonardo was up supping with the devil, as Alberto had been known to say, put of Leonardo’s earshot, and several of the men were resting.  The others, more loyal to Leonardo were in the cellar cell drinking their way through the wine stock and were most likely drunk and passed out.

Alberto didn’t care for the vintage, a subject that he was well versed in because before the war he had worked for the family of winemakers.  The wines stored, he had recognized when they’d first discovered them, as being of inferior quality, and had been left there rather than throwing it away.  Leonardo would not have known the difference.

“Something is not right.”  A voice from the corner, belonging to a man named Bolini, broke his reverie.  The truth was, he was tired and wished it were all done with.

“What makes you say that?” He asked.

“Killing the villagers.  What did they do wrong, other than just trying to survive?  It’s what we’re all trying to do.  It’s not our war.”

“You know what it’s like, stuck in the middle.  It’s a bit like the in-laws.  You don’t want them, but you’re stuck with them.”

“In-laws.  Don’t get me started.”  The other, a man named Christo, weighed in.  

“You do realize we may be held accountable for what happened back at the village,” Bolini had obviously been thinking about the repercussions.

“We brought the only witnesses here, and they sure as hell aren’t going to last long.  Not after what Leonardo did to them.”

“That’s possible, but we all know what happened.”

“But there are others outside who also know what happened, and if we want to keep out of trouble, we are going to have to take care of them,” Bolini said.

Alberto hadn’t quite got through considering the ramifications of what Fernando just did, and the fact they’d helped him.  Bolini was right, even if they hadn’t been as reckless, they were still going to be tarred with the same brush.

And Atherton was still out there.

The trouble with trying to clean up a mess is that eventually there’s a bigger mess to deal with.  Maybe it was time to get rid of Fernando.

The man called Wallace, the one who seemed to be in charge, came around the corner and stopped when he saw Alberto.

“Where’s your leader?”

Alberto pointed his head in the direction of the wine cellar.

Wallace shook his head, knowing what that meant.  “Tell him he’s got another pickup.  Two hours in the village.  A family, with two children.  Tell him to sober up, and if he doesn’t in time, you have my permission to shoot him.”

Surely the man wasn’t serious.

“Well, what are you sitting around for?  Get moving.”

Wallace cast a disapproving glance over the three, shook his head again, and left.

© Charles Heath 2020-2021

“Echoes From The Past”, the past doesn’t necessarily stay there


What happens when your past finally catches up with you?

Christmas is just around the corner, a time to be with family. For Will Mason, an orphan since he was fourteen, it is a time for reflection on what his life could have been, and what it could be.

Until a chance encounter brings back to life the reasons for his twenty years of self-imposed exile from a life only normal people could have. From that moment, Will’s life slowly starts to unravel, and it’s obvious to him that it’s time to move on.

This time, however, there is more at stake.

Will has broken his number one rule: don’t get involved.

With his nemesis, Eddie Jamieson, suddenly within reach, and a blossoming relationship with an office colleague, Maria, about to change everything, Will has to make a choice. Quietly leave, or finally, make a stand.

But as Will soon discovers, when other people are involved, there are going to be terrible consequences no matter what choice he makes.

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The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 40

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.

 

The passage heading towards the marina was littered with fallen rocks, timber beams, and roofing material. Much of the damage was in this wing, where the marina had started falling apart.

It was a problem with the foundations. A long and costly investigation had found that the marina’s foundations had been inadequately built on a shifting base, made worse by the seasonal water flow.

It was interesting to learn that the event that caused the start of the problems had not occurred in a hundred years, but had been noted in an early newspaper report, and only that it was a phenomenon, 

No one at the time had any interest in building there, and it was understood when the navy built its marina, there was no mention of anything untoward happening that would preclude the construction.

And, over the life of the project, nothing had happened. It was why, when the mall was being touted, no one really knew anything about flooding because it hadn’t happened in living memory.  That only came later, after the damage was done.

We reached the end of the passageway and found the stairs leading up to the walkway around the marina was closed off. Someone had pulled a board away and we could peer through the crack.

There was daylight beyond, and we could see the large cracks in the staircase, and along the walls either side.  There were two sets of stairs up both at the end of a mall passageway, and, in between, there were steps down into the carpark.  To one side of that was an elevator lobby, but the elevators would not be working.

But, just out of curiosity, I pressed the button.  The light came on, but nothing happened, and, a second later, it went out again.

I looked up, but Boggs had not moved from the top of the stairs.

These steps were not blocked by a barricade, but there would be some difficulty stepping over masonry that had fallen from the roof, which now had a gaping crack and a few pieces of concrete missing.  I could see the steel reinforcing and it was rusting.

A few years, all of it would eventually come down.

“You sure this is safe,” I asked.

“Been here a few times.  I reckon it hasn’t changed much in years.”

He was looking at the map again, and I peered over his shoulder.  The stairs were there but looking down we could only see as far as the landing.  There were cracked and broken tiles everywhere, and the handrail had been bent severely out of shape by a boulder now wedged in the rail.

Boggs put the map in his back pocket and said, “Follow me.”  He started walking slowly down the stairs, flashing his cell phone light ahead so we could see if there were any hazards.

At the landing, we looked further down the stairs, and these were cleaner.  Also, the wall which kept the marina out had a crack in it, and it was damp which meant water was seeping in.  The smell was of mold, and I wondered if that could be good for our health.

I followed him down to the first level of the carpark.  In the distance, looking back towards the front entrance of the mall, way in the distance was the slatted entrance gates, light seeping in through the cracks. 

Between us and those gates were several cars, crushed by a huge concrete beam that had fallen on them.  I remembered, then, that there had been a husband and wife in one of the cars at the time and they’d been killed.  Their children had been luckier, the youngest had to go to the restroom, and that minute delay had saved them.

Still, it would not be good seeing your parents killed in front of your eyes.

“This place is giving me the creeps,” I said and shuddered. 

They said there were ghosts, and I now believed them.

“What are we looking for?: I asked.

“Evidence of the underground river.”

“That would be long gone by now, since they built this lot over it, and some of it falling into it.”

“We shall see.” 

He then went down the next flight of steps to the bottom carpark, and I followed.  There was less debris on this level, but it was much darker down here, and with only Boggs’ cell phone light, we couldn’t see much else.

“That’s strange,” Boggs said, having taken a dozen or so steps to the right.

“What is?”  I wondered what his definition of the word strange was.

“There’s supposed to be an open section here where the wall fell away, pushed by the water flow last time it flooded.  The report said that a section here wasn’t anchored properly with formwork, hence the ease in which it was moved.”

I looked at the wall.  It seemed to be still intact to me.

Boggs pulled out a pocketknife and tapped it against the surface.

The false concrete chipped and fell away, and a closer inspection showed stippled plaster over plywood, very damp plywood.  Boggs extracted a knife and worked on the wall, clearing a foot square, the damp plaster easily peeling away.

A false wall, one that no one would think twice about if they were not looking for it.

Boggs then scraped sideways until the blade hit metal, then he scraped around it until a gate-type bolt was exposed.  It didn’t have a lock.  It was rusted shut, so Boggs found a rock and hit it a few times, shaking it loose.  He opened it, then tugged on it.

Was he expecting a door to open?

“Give us some help here.”

We both pulled on it, and it gave way, showering us in plaster pieces.  At least we weren’t smothered in dust.

As it opened, light flooded in, almost blinding me.

I let Boggs open it the rest of the way while my eyes adjusted.

Then I tentatively looked out.

From where we were standing, we could see the two levels of the marina walkway, broken away at this end above the doorway, and a big hole in the side wall of what was the marina pool.  We could see, and smell the seawater, and beyond, the ocean.

Looking down, there was a sheer drop of about 30 feet, and under us, there was an opening.  At that 30 feet was flowing water, and through the water, I thought I could see clothes.

“Is that a body down there?”

It looked like one.

“No.  Don’t think so.  Someone probably threw a clothed dummy down there for fun, once when this was open.  I’d say it was closed up to make the place safer. Anyway, we’ll soon find out.  We’re going down to have a look.”

© Charles Heath 2020

The 2am Rant: A blank look means you’re in another world

I can see how it is that a writer’s life can be a lonely one.  That’s why, I guess, so many writers have an animal as a pet, someone to talk to, or just feel as though you are not alone in this quest.

I’m often sitting in front of the computer screen, or in a large lounge chair with my trusty tablet computer, writing the words, or staring into space!

Sometimes the words don’t make any sense, sometimes the thoughts leading to those words don’t make any sense.

Sometimes the most sensible person in the room is the cat.

I’m sure his thoughts are not vague or scrambled, or wrestling with the ploys of several stories on the go, getting locations right, getting characters to think and do their thing with a fair degree of continuity.

The cat’s world is one of which chair to lie on, where is that elusive mouse be it real or otherwise, and is this fool going to feed me, and please, please, don’t let it be the lasagna.  I am not that cat!

Unlike other professions, there is no 9 to 5, no overtime, no point where you can switch off and move into leisure time.  Not while you are writing that next masterpiece.  It’s a steady sometimes frustrating slog where you can’t just walk away, have a great time, and come back and pick up where you left off.

Stories have to be written from beginning to end, not a bit here and a bit there.

It’s a bit like running a marathon.  You are in a zone, the first few miles are the hardest, the middle is just getting the rhythm and breathing under control, and then you hope you get to the end because it can seem that you’ve been going forever and the end is never in sight.

But, when you reach the end, oh, isn’t the feeling one of pure joy and relief.

And, yes, perhaps you’ve just created another masterpiece!

What I learned about writing – A simple joke can become inspiration

Spinning Shadows into Sparkle: The Zany Art of Conspiracy Comedy

Isn’t it fascinating how our minds gravitate towards patterns in the chaos? How the whispered “what if” can quickly blossom into a sprawling, intricate web of secret societies, hidden agendas, and dark forces pulling the strings? The appeal of a good conspiracy is undeniable, tapping into our deepest fears and our innate desire for meaning, even if that meaning points to malevolent forces.

But what if those shadowy figures wear mismatched socks? What if their nefarious plot hinges on the strategic deployment of artisanal pickles? What if the hero unearthing the truth is less a grizzled detective and more a bewildered barista?

This, my friends, is the magical alchemy we’re talking about: taking the genuine chill of darkness and paranoia, threading a dense tapestry of conspiracy, and then weaving through it with a generous dose of tongue-in-cheek humour and a plot so zany it practically winks at you. It’s a delicate dance, a narrative tightrope walk, but when executed well, it creates some of the most memorable and beloved stories out there.

So, how do we try to achieve this glorious narrative concoction?


1. Acknowledging the Shadow: The Foundation of Fear

You can’t have effective satire without a genuine understanding of what you’re satirising. The first step in threading dense conspiracies with humour is to start with the darkness. The paranoia needs to feel real, at least initially. The stakes should, at some level, be genuinely high.

  • How we do it: We establish an underlying threat that feels substantial. The shadowy organisation is powerful. Their goals are unsettling. Without that genuine undercurrent of dread, the humour lands flat. It’s the contrast with this genuine darkness that makes the absurdity sing. Imagine a secret society plotting global domination – that’s the serious core.

2. The Intricate Web: Conspiracies You Can (Almost) Believe

A “dense conspiracy” isn’t just a list of random bad things happening. It’s an interconnected narrative, a puzzle where every piece seems to fit, even if the grand picture is utterly bonkers.

  • How we do it: We layer the clues, introduce a cast of characters with mysterious motives, and connect the dots between the utterly mundane and the outrageously sinister. Perhaps a global drought is linked to a mega-corp’s new line of flavoured seltzer. Maybe the disappearance of garden gnomes is a precursor to an alien invasion. The logic, however flawed, must be internally consistent within its own absurd framework. The more intricate the web, the more satisfying its eventual, often ridiculous, unravelling. It makes the audience feel smart for “figuring it out,” even if what they’ve figured out is that pigeons are the true global overlords.

3. The Knowing Wink: Tongue-in-Cheek Humour

This isn’t slapstick for its own sake (though a little never hurt!). “Tongue-in-cheek” implies a shared understanding, a subtle nod to the audience that “we know this is ridiculous, and that’s the point.”

  • How we do it:
    • Character-driven absurdity: A villain who meticulously plans world domination but forgets their lunch. A reluctant hero whose biggest concern is finding strong coffee. The deadpan delivery of utterly insane dialogue.
    • Situational irony: The world-ending device being housed in a municipal library’s lost-and-found. The most devastating secret being revealed on a children’s TV show.
    • Subversion of tropes: Taking every classic conspiracy theory cliché (the all-seeing eye, the secret handshake, the cryptic message) and twisting it just enough to make it funny without losing its essence.
    • Self-awareness: The narrative often winks at its own ridiculousness, but never breaks character entirely. It’s about finding the humour within the grand conspiracy, not just overlaying it.

4. Embracing the Bizarre: The Zany Plot

This is where the gloves come off and imagination truly runs wild. If the conspiracy is the skeleton, the zany plot is the vibrant, unpredictable flesh.

  • How we do it: We throw out conventional narrative structures and embrace escalating absurdity. Where a secret society’s ultimate weapon might be a mind-control disco ball, or the key to decoding ancient alien texts involves mastering the art of interpretive dance. The plot twists aren’t just unexpected; they’re wildly, joyfully ludicrous. The solutions to the grand mystery are often simpler (or infinitely more complicated) than anyone could have imagined. Think unexpected car chases involving unicycles, secret lair entrances hidden behind a perpetually broken vending machine, or a climax involving a very confused squirrel.

5. The Secret Sauce: Balance and Juxtaposition

Ultimately, the magic lies in the blend. It’s a constant push and pull between the serious and the silly, the ominous and the outright absurd.

  • How we do it:
    • Pacing: We know when to lean into the genuine tension and dread for a moment, making the audience genuinely concerned, before puncturing that tension with a perfectly timed gag.
    • Contrast: A serious, menacing monologue from a villain, immediately followed by the revelation that they’re wearing bunny slippers. A crucial clue found written on a napkin from a questionable fast-food joint.
    • Anchoring Characters: Often, one or two characters serve as the audience’s anchor, reacting to the madness around them with relatable bewilderment or exasperated cynicism, which amplifies the humour.

Creating a narrative that blends darkness and paranoia with dense conspiracies, tongue-in-cheek humour, and a zany plot isn’t just writing; it’s an art form. It’s about acknowledging the very real anxieties that fuel conspiracy theories, then bravely, playfully, and subversively laughing in their face. It’s about building a world that feels both terrifyingly familiar and delightfully insane. And when it works, it’s an unforgettable journey into the heart of madness, where you’re never quite sure whether to gasp in fear or double over with laughter.

What are your favorite examples of stories that nail this unique blend? Let us know in the comments below!

365 Days of Writing, 2026 – 194

Day 194 – Characters and their conversations

Beyond the Final Word: Why Character Intentions Drive the Best Conversations in Fiction

“Dialogue should be a series of pitched battles in which the characters are trying to get what they want.”

Every fiction writer eventually encounters a scene where two characters are talking, yet the pages feel utterly lifeless. The exchange is grammatically correct, it moves the plot forward, and it delivers the necessary information. And yet, it bores the reader to tears.

Why? Because the characters are simply arriving at what they want to say, rather than wrestling with the turbulent, messy journey of how they get there.

To master the art of subtext and realistic human interaction, we can look to one of the 20th century’s most brilliant stylists. The celebrated Anglo-Irish novelist and short-story writer Elizabeth Bowen had profound insights into the architecture of conversation. Bowen understood that in great fiction, dialogue is rarely about the destination; it is about the struggle of intention.

In this post, we’ll explore why characters should focus more on what they intend to say rather than the tidy sentences they finally arrive at, drawing inspiration from Elizabeth Bowen’s literary philosophy.


The Elizabeth Bowen Perspective: Conversation as a Secret War

Elizabeth Bowen viewed the surface of life—and polite conversation especially—as a delicate, often deceptive crust over boiling depths. To Bowen, dialogue was never just an exchange of data. It was a social dance, a power struggle, a form of concealment, and an act of psychological warfare all at once.

In her critical writings and through the immaculate prose of novels like The Death of the Heart and The House in Paris, Bowen demonstrated that people rarely say exactly what they mean. Instead, they circle their desires. They hint, they deflect, they use small talk as a shield, and they weaponise silence.

When characters’ conversation is overly streamlined—when they immediately arrive at crisp, articulate summaries of their feelings—the psychological realism evaporates. Real people are hampered by pride, fear, social conditioning, and a lack of self-awareness.

Bowen’s characters speak not to deliver exposition, but to assert themselves against a hostile or indifferent world. The magic happens in the gap between what is intended and what is actually uttered.


What Happens When Characters “Arrive” Too Fast?

Let’s look at the two approaches: dialogue driven by arrival versus dialogue driven by intention.

The Trap of the “Arrival” Dialogue

When a writer focuses on what a character arrives at saying, the dialogue often falls into the trap of “on-the-nose” writing or pure exposition.

  • Example (Arrival):Mark: “I am leaving you because you never pay attention to my emotional needs, Sarah.” Sarah: “That’s not fair. I’ve been stressed about my mother’s illness, but if you’re going to be selfish, maybe we should break up.”

Why it fails: It’s efficient, but it feels robotic. Real human beings in the middle of a breakup rarely diagnose their relationship with the clinical precision of a marriage counsellor in the first three seconds. They are defending their egos, deflecting blame, and masking panic.

The Power of “Intention” Dialogue

When characters are driven by what they intend to say—the subtextual desire to wound, to plead, to hide, or to conquer—the conversation becomes a living, breathing thing.

  • Example (Intention):Mark slammed the refrigerator door harder than necessary, rattling the jars inside. “You leave that wet towel on the counter every single day.” Sarah didn’t look up from her phone. “Some of us have actual responsibilities outside of interior decorating, Mark.” Mark: “Right. Responsibilities. Must be nice.”

Why it works: Mark intends to say, “I feel neglected and invisible in this house,” but that requires vulnerability. Instead, he arrives at a petty complaint about a towel. Sarah intends to say, “Don’t make me feel guilty; I am drowning under pressure,” but she arrives at a counter-attack. The tension comes from the reader feeling the heavy, unspoken weight of their true intentions beneath the trivial words.


3 Ways to Apply Bowen’s Wisdom to Your Writing

If you want to shift your character conversations away from neat arrivals and toward messy, intention-driven power struggles, try these three techniques:

1. Give Every Character a Hidden Agenda

Before writing a scene, ask yourself: What does this character want from the other person by the end of this conversation?

  • Do they want validation?
  • Do they want to hide a secret?
  • Do they want to provoke a reaction without taking the blame for starting a fight?

When characters have an active internal agenda, their dialogue will naturally become evasive, tactical, and charged with subtext.

2. Interrupt the Thought Process

In real life, we edit ourselves mid-sentence. We start to say one thing, realise how it sounds, and pivot sharply.

  • Let your characters trail off.
  • Let them change subjects abruptly when they feel vulnerable.
  • Use action beats (gestures, glances, fidgeting) to show the friction between their brain and their mouth.

As Elizabeth Bowen showed us, the most telling moments in a conversation are often the things left unsaid, or the sentences that fracture before they can be completed.

3. Let Misunderstandings Breed Conflict

When characters are aiming for an intention rather than a neat conclusion, they will inevitably miss each other’s points. Character A is speaking from a place of fear; Character B is interpreting it as an attack.

This friction creates authentic dramatic irony. The reader understands the tragic or comedic mismatch between what the characters intend to communicate and how their words are actually landing.


Conclusion: Embrace the Mess

Great dialogue is never a straight line. It is a zigzag path of sidesteps, false starts, defensive maneuvers, and buried longings.

By following Elizabeth Bowen’s implicit advice—prioritising the volatile, underlying intentions of your characters over the neat, polished sentences they eventually arrive at—you will breathe authentic life into your scenes. Stop letting your characters say exactly what they mean right away. Let them struggle to say it, let them fail, and watch your fiction transform into something unforgettable.


What are your favourite examples of subtext-heavy dialogue in literature? How do you handle character intentions in your own writing? Let us know in the comments below!

Top 5 sights on the road less travelled – Sofia

Discovering the Hidden Gems of Sofia: 5 Off-the-Beaten-Path Experiences

Sofia, the vibrant capital of Bulgaria, is a city that seamlessly blends ancient history, cultural richness, and modern charm. While many tourists flock to the city’s iconic landmarks like the Alexander Nevsky Cathedral and the Ivan Vazov National Theatre, there’s a treasure trove of lesser-known experiences waiting to be uncovered. In this blog post, we’ll take you on a journey to explore the top five alternative things to do in Sofia, venturing off the beaten path to reveal the city’s best-kept secrets.

1. Explore the Sofia Central Market (Halite) for a Taste of Local Life

Tucked away in the heart of the city, the Sofia Central Market is a bustling hub of activity that’s often overlooked by tourists. This historic marketplace has been in operation since 1909 and offers a fascinating glimpse into local life. Wander through the stalls, sampling traditional Bulgarian delicacies like banitsa, shopska salad, and lukanka, while soaking up the lively atmosphere. From fresh produce to handicrafts, the market is a treasure trove of authentic Bulgarian culture.

2. Visit the Museum of Socialist Art for a Unique Glimpse into Bulgaria’s Past

Located in a quiet neighbourhood, the Museum of Socialist Art is a quirky and fascinating museum that showcases a collection of artworks from Bulgaria’s socialist era. With over 70 artifacts, including sculptures, paintings, and mosaics, the museum provides a thought-provoking insight into the country’s complex history. The museum’s outdoor sculpture park is particularly noteworthy, featuring an impressive array of monumental socialist-realist artworks.

3. Take a Stroll through the Borisova Gradina Park and Lake

Escape the hustle and bustle of city life with a leisurely walk through the beautiful Borisova Gradina Park, one of Sofia’s largest and most scenic green spaces. The park is home to several lakes, walking trails, and plenty of picnic spots, making it an ideal spot to relax and unwind. Rent a boat and enjoy a serene ride on the lake, or visit the park’s charming restaurants and cafes to sample some delicious Bulgarian cuisine.

4. Discover Street Art in the Oborishte Neighbourhood

Sofia’s Oborishte neighbourhood is a hotspot for street art, with vibrant murals and graffiti adorning the walls of buildings and fences. Take a self-guided walking tour to explore the area’s eclectic mix of urban art, which reflects the city’s modern, creative spirit. From quirky portraits to thought-provoking social commentary, the street art in Oborishte is a must-see for anyone interested in contemporary culture.

5. Attend a Performance at the Sofia Opera and Ballet

While the Ivan Vazov National Theatre is well-known, the Sofia Opera and Ballet is another cultural gem that’s often overlooked by tourists. With a rich history dating back to 1890, the opera house hosts a diverse range of performances, from classical operas to contemporary ballet productions. Even if you’re not an opera or ballet enthusiast, the stunning architecture and ornate interior of the building make it worth a visit.

In conclusion, Sofia is a city that rewards exploration and curiosity. By venturing off the beaten path, you’ll discover a treasure trove of unique experiences, from bustling markets and quirky museums to scenic parks and vibrant street art. Whether you’re a history buff, a foodie, or an art lover, Sofia has something to offer, and with this guide, you’ll be well on your way to uncovering the city’s best-kept secrets. So why not take the road less travelled and discover the real Sofia?

In a word: Dry

We all know what this means, without moisture, in other words, not wet.

It could also mean dull factually, as in reading some non-fiction books, and quite often those prescribed as mandatory reading at school.

You could also have a dry sense of humour, where you have to be on your game to understand, or get, the humour.

It could also describe boredom by saying that it’s like watching paint dry.

For those who like a bit of a tipple, the last place you want to go is a dry bar, where no alcohol is served.

Perhaps this should be mandatory for weddings and funerals, places where feelings often run very high and do not need the stimulus of half a dozen double Scotches.

And speaking of alcohol and cider in particular, you can have it sweet, dry, or draft. Many people prefer dry, sometimes the drier the better, especially wine, and oddly martinis.

Aside from whether they are shaken or stirred.

But the most fascinating version of dry is dry cleaning. Just how can you ‘dry’ clean clothes?

Would that be what they call an oxymoron?

‘What Sets Us Apart’ – A beta reader’s view

There’s something to be said for a story that starts like a James Bond movie, throwing you straight in the deep end, a perfect way of getting to know the main character, David, or is that Alistair?

A retired spy, well, not so much a spy as a retired errand boy, David’s rather wry description of his talents, and a woman that most men would give their left arm for, not exactly the ideal couple, but there is a spark in a meeting that may or may not have been a setup.

But as the story progressed, the question I kept asking myself was why he’d bother.

And, page after unrelenting page, you find out.

Susan is exactly the sort of woman to pique his interest.  Then, inexplicably, she disappears.  That might have been the end of it, but Prendergast, that shadowy enigma, David’s ex-boss who loves playing games with real people, gives him an ultimatum: find her or come back to work.

Nothing like an offer that’s a double-edged sword!

A dragon for a mother, a sister he didn’t know about, Susan’s BFF who is not what she seems or a friend indeed, and Susan’s father, who, up till David meets her, couldn’t be less interested, his nemesis proves to be the impossible dream, and he’s always just that one step behind.

When the rollercoaster finally came to a halt, and I could start breathing again, it was an ending that was completely unexpected.

I’ve been told there’s a sequel in the works.

Bring it on!

The book can be purchased here:  http://amzn.to/2Eryfth