Tag: Books

Writing about writing a book – Research

Day 23 – Air America

Cargo of Shadows: Unpacking the CIA’s Air America and the Vietnam War’s Dark Underbelly

The Vietnam War, a conflict already steeped in tragedy and controversy, has spawned countless legends and dark whispers. Among the most enduring is the story of Air America – a seemingly innocent civilian airline operating in Southeast Asia, but widely believed to be a clandestine arm of the CIA, flying not just supplies, but also engaging in drug trafficking, weapon running, and other “shady operations.”

So, how likely is it that the CIA had a thing called Air America running in the Vietnam War, shifting drugs and weapons, and running shady operations? Let’s unpack the layers of secrecy and come to a conclusion that’s more nuanced than a simple yes or no.

What Was Air America, Officially?

From 1950 to 1976, Air America was a U.S. proprietary airline, owned and operated by the CIA. Its official mission was to provide air support for covert operations in Southeast Asia, particularly Laos, which was caught in a brutal “Secret War” between the Royal Lao Government and the communist Pathet Lao, supported by North Vietnam.

Given that Laos was officially neutral, direct U.S. military involvement was prohibited. Enter Air America. Operating out of bases like Udorn in Thailand and Long Tieng in Laos, its pilots, often ex-military, flew everything from fixed-wing transports like C-47s and C-123s to helicopters like the Bell 204/205 (Huey).

Their supposed tasks were benign: resupplying remote outposts, ferrying personnel, evacuating refugees, and delivering humanitarian aid. But beneath this veneer of legitimacy lay a far more complex and morally ambiguous reality.

The “Secret War” and Plausible Deniability

The need for Air America stemmed directly from the CIA’s efforts to fight communism in Indochina without direct military intervention. The agency armed and advised indigenous forces, most notably the Hmong ethnic minority led by General Vang Pao, who became key allies against the Pathet Lao.

These were guerrilla fighters operating in incredibly difficult, mountainous terrain. Regular supply lines were impossible. Air America became their lifeline, delivering weapons, ammunition, food, and other necessities to sustain the fight. This aspect – running weapons and essential supplies to proxy forces – is not just likely; it is a documented and undeniable fact of Air America’s mission. That was its primary, stated (within covert circles) purpose.

The Allegations: Drugs and Shady Operations

Now, to the darker allegations:

  1. Drug Trafficking (Opium & Heroin): This is where the story gets truly controversial. The highlands of Laos were part of the “Golden Triangle,” a prime opium-producing region. Many of the Hmong, the CIA’s primary allies, were traditional opium growers. As their communities were disrupted by war, and as they fought on the CIA’s behalf, their need for income became desperate.
    • The Allegation: Air America aircraft, it is widely claimed, were used to transport raw opium and even refined heroin from remote poppy fields to larger airfields for distribution. Some accounts suggest the CIA actively facilitated this trade, either directly profiting or, more plausibly, “turning a blind eye” or even assisting the drug trade of their allies to fund their war effort and secure their loyalty.
    • The Evidence: While no smoking-gun document has ever explicitly shown the CIA itself directly running a drug syndicate for profit, numerous credible historical accounts, particularly Alfred W. McCoy’s seminal book “The Politics of Heroin: CIA Complicity in Global Drug Trafficking,” present substantial circumstantial evidence and eyewitness testimonies. McCoy argues that the CIA’s actions created an environment where drug trafficking flourished, and that Air America aircraft were indeed used to move drugs, sometimes out of necessity for their allies, sometimes as a means of payment, and sometimes simply because they were the only available transport. The U.S. State Department even acknowledged that Lao government generals, who were U.S. allies, were involved in the drug trade.
    • Likelihood: It is highly probable that Air America aircraft, wittingly or unwittingly by some of its personnel, transported opium and heroin for its allies. It is also highly probable that the CIA, at a minimum, tolerated or ignored the drug trade of its Hmong and Lao allies, understanding it was a vital source of income for them to continue fighting. Whether the CIA itself directly profited from this trade is less clear and less substantiated, but its indirect complicity in facilitating it, or at least enabling it by controlling the only air transport network, is very difficult to dispute.
  2. Shady Operations: This is a broad category, but given the nature of a covert airline operating in a secret war, it’s almost a given.
    • Personnel Insertion/Extraction: Dropping off or picking up intelligence operatives, special forces (often disguised as civilians), and allied commanders in hostile territory.
    • Intelligence Gathering: Reconnaissance flights, monitoring enemy movements.
    • Black Operations: While less commonly documented in detail, the infrastructure of Air America certainly provided the means for clandestine actions, sabotage, or psychological warfare if needed.
    • Likelihood: Undoubtedly true. These “shady operations” are exactly what a covert intelligence agency’s proprietary airline is designed for. The entire existence of Air America was a “shady operation” in itself, designed to obscure U.S. involvement.

Conclusion: How Likely?

Let’s break it down:

  • Running Air America as a CIA front airline: 100% likely. This is an officially acknowledged historical fact.
  • Shifting weapons and essential supplies to proxy forces: 100% likely. This was the core mission and was extensively documented.
  • Running other “shady operations” (covert personnel transport, intelligence gathering, etc.): Extremely likely, bordering on certainty. This is standard operating procedure for a covert airline.
  • Shifting drugs (opium/heroin) for profit or as a critical part of their allies’ financing: Highly probable. While direct CIA profit is debated, the evidence strongly suggests Air America’s network was used to facilitate drug transport for its allies, and the CIA was, at minimum, complicit through tolerance or indirect assistance, seeing it as a necessary evil to maintain the war effort.

The story of Air America is a stark reminder of the moral compromises and complex realities of covert warfare. In the shadows of neutrality, an airline became an indispensable tool for a secret war, its legacy forever entwined with both heroism and the dark underbelly of the Golden Triangle’s illicit trade. It’s a testament to how far nations will go, and what lines they will blur, in the pursuit of geopolitical objectives.

Writing a book in 365 days – 300

Day 300

A slice of life, or a slice of imagination?

…

The Feast of the Impossible: Why We Don’t Want a Slice of Life, But a Slice of the Imagination

There is a culinary term often used in creative circles: the “slice of life.” It refers to narratives that capture the ordinary, the mundane, the painfully relatable reality of human existence. It’s the story of the difficult commute, the awkward first date, the slow, inevitable march of rent payments and domestic chores.

And while critics and readers praise these narratives for their mirror-like accuracy, a growing chorus of us—the dreamers, the schemers, the creators—have started to push the plate away.

We are perfectly familiar with reality. We live in it every day. Why, then, should we dedicate our precious leisure time to consuming its reheated leftovers?

We are not interested in a slice of life; what we want is a slice of the imagination.

The Tyranny of the Mundane

The argument against the strict “slice of life” isn’t an argument against authenticity; it’s an argument against limitation.

Reality, for all its occasional beauty, is often characterised by bureaucratic ennui, disappointing physics, and a predictable set of social rules. The slice of life, at its most restrictive, holds us hostage to these limitations. It dictates that things must be believable, that characters must struggle with only the problems we currently possess, and that the scope of human experience must fit within the current legal code and the known laws of thermodynamics.

When we turn to art, literature, or media, we are not looking for confirmation that the world is exactly as depressing and limited as we suspected. We are looking for a lift.

We seek the moment of transcendence—the moment that allows us to step outside the constraints of our five senses and the 24-hour news cycle. The slice of life provides comfort in shared familiarity; the slice of the imagination offers freedom in glorious impossibility.

The True Taste of Imagination

What exactly is this “slice of the imagination”?

It is the narrative that begins not where the road ends, but where the road should have begun if we had been allowed to choose the construction materials ourselves.

It is the hidden history whispered by an exiled queen on a planet visible only through a telescope carved from ice. It is the intricate workings of a clockwork city powered by collective dreams. It is the raw, untamed emotion of a character whose heartbreak causes the actual atmosphere to fracture.

Imagination gives us narratives designed not to confirm the limits of our world, but to test the limits of our humanity under impossible pressures.

Why Imagination Is More Authentic Than Reality

Despite popular misconception, investing in the imaginative is often a deeper, more rigorous exploration of truth than merely documenting the real.

  • It isolates the core idea: If you want to explore the nature of sacrifice, you can write a story about a parent giving up a promotion for their child (a slice of life). Or, you can write about a space traveller forced to stop the flow of time at the exact moment their daughter smiles, knowing they will be trapped alone in that instant forever (a slice of imagination). The latter, while impossible, isolates and intensifies the emotional truth of sacrifice far more effectively.
  • It offers universal empathy: A narrative depicting the specific political struggles of 1980s Eastern Europe might struggle to resonate with a modern teenager in Sydney. However, a story about an oppressed people fighting a magically-enforced totalitarian regime (Fantasy) or resisting a hive-mind alien force (Sci-Fi) speaks directly to the universal human impulse for freedom, regardless of the historical moment.
  • It is the blueprint for the future: Every innovation, every breakthrough, every architectural marvel that defines our modern existence began as a “slice of the imagination.” The aeroplane, the smartphone, the idea of universal healthcare—all were once impossible concepts derided by those content with the current “slice of life.” To celebrate the imagination is to celebrate potential itself.

The Imperative of Invention

To choose imagination is not to choose childish escapism; it is to choose necessary fuel. We need stories built out of invented metal and arcane logic because they train our minds to accept the possibility of a world radically different from the one we inhabit.

The imagination is the muscle we use to solve problems we haven’t encountered yet.

It is the necessary ingredient for those who refuse to accept the status quo—the engineers, the artists, the social reformers, and the writers who believe that if Reality is flawed, the only ethical response is to invent something better.

So, the next time you sit down to read, watch, or create, allow yourself to look past the documentary style and the accurate mirroring of your weekly routine. Demand complexity. Demand strangeness. Demand dragons, ships that sail between dimensions, and philosophical conundrums posed by sentient black holes.

Take the slice of the imagination. It’s a messy, glorious, impossible meal, and it’s the only one that truly nourishes the soul.

What is the most important “impossible” story that changed your perspective on the world? Share your favourite slice of the imagination in the comments below!

Writing a book in 365 days – 300

Day 300

A slice of life, or a slice of imagination?

…

The Feast of the Impossible: Why We Don’t Want a Slice of Life, But a Slice of the Imagination

There is a culinary term often used in creative circles: the “slice of life.” It refers to narratives that capture the ordinary, the mundane, the painfully relatable reality of human existence. It’s the story of the difficult commute, the awkward first date, the slow, inevitable march of rent payments and domestic chores.

And while critics and readers praise these narratives for their mirror-like accuracy, a growing chorus of us—the dreamers, the schemers, the creators—have started to push the plate away.

We are perfectly familiar with reality. We live in it every day. Why, then, should we dedicate our precious leisure time to consuming its reheated leftovers?

We are not interested in a slice of life; what we want is a slice of the imagination.

The Tyranny of the Mundane

The argument against the strict “slice of life” isn’t an argument against authenticity; it’s an argument against limitation.

Reality, for all its occasional beauty, is often characterised by bureaucratic ennui, disappointing physics, and a predictable set of social rules. The slice of life, at its most restrictive, holds us hostage to these limitations. It dictates that things must be believable, that characters must struggle with only the problems we currently possess, and that the scope of human experience must fit within the current legal code and the known laws of thermodynamics.

When we turn to art, literature, or media, we are not looking for confirmation that the world is exactly as depressing and limited as we suspected. We are looking for a lift.

We seek the moment of transcendence—the moment that allows us to step outside the constraints of our five senses and the 24-hour news cycle. The slice of life provides comfort in shared familiarity; the slice of the imagination offers freedom in glorious impossibility.

The True Taste of Imagination

What exactly is this “slice of the imagination”?

It is the narrative that begins not where the road ends, but where the road should have begun if we had been allowed to choose the construction materials ourselves.

It is the hidden history whispered by an exiled queen on a planet visible only through a telescope carved from ice. It is the intricate workings of a clockwork city powered by collective dreams. It is the raw, untamed emotion of a character whose heartbreak causes the actual atmosphere to fracture.

Imagination gives us narratives designed not to confirm the limits of our world, but to test the limits of our humanity under impossible pressures.

Why Imagination Is More Authentic Than Reality

Despite popular misconception, investing in the imaginative is often a deeper, more rigorous exploration of truth than merely documenting the real.

  • It isolates the core idea: If you want to explore the nature of sacrifice, you can write a story about a parent giving up a promotion for their child (a slice of life). Or, you can write about a space traveller forced to stop the flow of time at the exact moment their daughter smiles, knowing they will be trapped alone in that instant forever (a slice of imagination). The latter, while impossible, isolates and intensifies the emotional truth of sacrifice far more effectively.
  • It offers universal empathy: A narrative depicting the specific political struggles of 1980s Eastern Europe might struggle to resonate with a modern teenager in Sydney. However, a story about an oppressed people fighting a magically-enforced totalitarian regime (Fantasy) or resisting a hive-mind alien force (Sci-Fi) speaks directly to the universal human impulse for freedom, regardless of the historical moment.
  • It is the blueprint for the future: Every innovation, every breakthrough, every architectural marvel that defines our modern existence began as a “slice of the imagination.” The aeroplane, the smartphone, the idea of universal healthcare—all were once impossible concepts derided by those content with the current “slice of life.” To celebrate the imagination is to celebrate potential itself.

The Imperative of Invention

To choose imagination is not to choose childish escapism; it is to choose necessary fuel. We need stories built out of invented metal and arcane logic because they train our minds to accept the possibility of a world radically different from the one we inhabit.

The imagination is the muscle we use to solve problems we haven’t encountered yet.

It is the necessary ingredient for those who refuse to accept the status quo—the engineers, the artists, the social reformers, and the writers who believe that if Reality is flawed, the only ethical response is to invent something better.

So, the next time you sit down to read, watch, or create, allow yourself to look past the documentary style and the accurate mirroring of your weekly routine. Demand complexity. Demand strangeness. Demand dragons, ships that sail between dimensions, and philosophical conundrums posed by sentient black holes.

Take the slice of the imagination. It’s a messy, glorious, impossible meal, and it’s the only one that truly nourishes the soul.

What is the most important “impossible” story that changed your perspective on the world? Share your favourite slice of the imagination 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.

NANOWRIMO – November 2025 – Day 12

…

The Third Son of a Duke

…

We pass through Naples, go to visit a museum where Margaret, one of the group, manages to take our protagonist aside for a conversation, the passengers see Mt Vesuvius spewing a little smoke and ash as they enter the harbour, see a few warships, then move on to Toulon, where there are warships.

There’s a dance, and it seems everyone is accomplished to a degree, that old 18th-century notions that women can play the piano, dance at balls, and sit around doing needlepoint hang in the air as pre-requisites for a good wife.

Until the modern dances come out and change the atmosphere.  Am I trying too hard to transition the world into a different one, from old ideas to a new world?

There is a war hanging over everything as it is early 1914, and signs of it are everywhere.

Port Said, the entrance to the Suez Canal, and the start of the hot weather.  Going ashore is for getting hot-weather clothes.  Until they leave Colombo in Ceylon, it’s going to be hot and steamy, where staying in cabins overnight is going to be difficult, and passengers find their way to the decks to spend the night in the cool air.

It’s slow going down the Canal until they get to Suez to take on a pilot to navigate the Red Sea.  A few days before passing through the Gulf of Aden, this time not stopping in Aden for coal and onwards to Colombo.

I will throw in a dining engagement with the captain in first class, just to have some fun with the people out protagonist would usually be travelling with, but hates to be associated with. 

…

2110 words, for a total of 17490 words.

Writing about writing a book – Research

Day 23 – Psychological Warfare

The Summer of Love and the Psychology of War: Did Australia Train Its Soldiers to Hate?

The 1960s stand in stark historical contrast. On one hand, it was the era of the counter-culture, defined by the rallying cry of ‘peace and love.’ On the other hand, it was the brutal age of the Vietnam War, and for Australia, it was the era of conscription, where thousands of young men were pulled from their civilian lives and thrust into the machinery of combat.

This juxtaposition raises a profound question about the ethics and psychology of military training: If society preached peace, and conscripts were barely out of their teens, how did the Australian military prepare them psychologically for the act of killing?

The central, challenging question is this: Did the Australian government or the Defence Department leverage psychologists to devise systematic ways to deliberately instil a hatred of the enemy, making the ultimate act of combat—taking a life—easier?

The Barrier to Killing: Overcoming the Instinct for Peace

The belief that humans kill easily is a myth. Extensive psychological research, particularly notable work done by military historian Lieutenant Colonel Dave Grossman (author of On Killing), confirms that the vast majority of soldiers in historical conflicts actively resisted firing their weapons directly at the enemy.

The act of taking a human life runs counter to nearly all natural human social programming. For young Australian recruits in the 1960s—many drafted, living in a world listening to protest songs and demanding disarmament—this psychological barrier would have been immensely high.

The military’s challenge was not just to teach marksmanship, but to fundamentally rewire human moral and social instincts. This is where psychology, whether formally acknowledged or merely applied through rote training techniques, becomes crucial.

Hatred vs. Dehumanisation: The Military Psychology Playbook

While it’s difficult to find specific, declassified documents from the 1960s outlining “Operation Instil Hatred,” we know that modern military training across Western nations has long relied on psychological techniques to overcome combat inhibition.

The goal wasn’t always raw, emotional hatred—which can be unstable and distract the soldier—but rather efficient dehumanisation and conditioning.

1. Classical Conditioning and Repetition

The most immediate change soldiers faced was conditioning. Drill sergeants use relentless repetition, noise, and sleep deprivation to break down the civilian identity and replace it with a collective, obedient military identity.

In the 1960s, a major shift occurred in small-arms training. Rather than training soldiers to fire at static, circular targets, training transitioned to using human-shaped silhouettes that “fell down” when hit. This seemingly small change used operant conditioning to reward the action of shooting a human-like figure, dramatically reducing the psychological barrier to firing in actual combat. The enemy becomes a target, not a person.

2. The Power of Group Identity

Hatred for the enemy is often less effective than intense love and loyalty for the comrade. Training focuses on forging an unbreakable bond within the unit. When a soldier fires their weapon, they are often doing it less for political ideology and more to protect the person standing next to them.

Psychologists would certainly advise—or military training intuitively discovered—that fostering unit cohesion (the “us vs. them” mentality) is the strongest motivator in combat. The enemy is therefore characterised as the ultimate threat to the safety and survival of the cohesive unit.

3. The Absence of Individuality

In training environments, the enemy is rarely referred to by a human name or given complex motivations. Whether the enemy was a ‘Communist aggressor’ or simply the ‘digger’ standing opposite during a sparring match, they were stripped of individual humanity. This simplification makes the ethical boundary easier to cross.

It is highly likely that Australian Defence psychologists, or those advising the high command, recognised the necessity of these tactics. They may not have explicitly codified them under the banner of “instilling hatred,” but the practical application of military training achieves the same end: overcoming the inherent moral resistance to killing.

The Legacy of the Conscript

The young man of the 1960s, who went from listening to The Beatles to carrying an SLR rifle, was a product of intense psychological manipulation necessary for effective modern warfare.

If the Australian military used psychologists to find ways to make killing easier, they were not unique; they were simply engaging in the necessary, if ethically murky, requirements of running a modern fighting force. The goal was practical: to ensure that when facing life-or-death situations, the natural human urge to retreat or freeze was overridden by immediate, trained reaction.

The method was efficient; the result was often the same as if hatred had been explicitly taught. By dehumanising the objective (the ‘target’) and elevating the emotional bond with the unit (the ‘comrade’), the military ensured that the peace-and-love generation could, when duty called, pull the trigger.

The true legacy of this training lies with the veterans. For many, that psychological conditioning—designed to be effective and immediate—was incredibly difficult to undo upon returning home, contributing to the lifelong struggle of integrating the combat experience with the values of the society they were drafted to protect.

Writing a book in 365 days – 298/299

Days 298 and 299

Writing exercise – Using the most elaborate lie you have ever told, sell it to the reader

…

It was the sort of stuff spy novels had in abundance.

But it was my imagination, fueled by scores of those very same stories all rolled into one, that I used to explain why I was missing from school to classmates who thought I was the most boring and uninteresting person they had ever known.

I knew what they’d say, so I was going to take them on a journey, and in my childish mind, I was going to make it as believable as I could.

Of course, what a child imagines to be true and what actually is are two very different things.

But, like everything that ever happened to me, it didn’t start out as an opportunity to do the right thing; it was at the end of some very stinging barbs from Alistair Goodall, my tormentor and school bully.

…

I glared at him with all the hatred I could muster, which, considering he was a foot taller and about 50 pounds heavier than I, was really a waste of time.

He had just told everyone within hearing range that my absence had simply been because I was too scared to come to school, because he had threatened to beat me up.

It was true, but I wasn’t going to let that be my defining moment. Instead, I blurted out, “The whole family had to go into hiding because of things my father knew, and his life was in danger.”

Yes, we had gone away, but it was to another country, where my mother’s parents lived, and they had been killed in an accident. It was quite sudden; my mother and sister had gone first, and then my father and I followed. He had difficulty getting away, and it had been a last-minute decision.

He had to come back, and despite my pleas to leave me with my mother, he dragged me back, oblivious to the predicament I was in with Alistair Goodall.

Goodall looked at me incredulously at first, then with a smile. “Good try, squirt. You almost had me believing it. Your dad an informer? My dad’s a cop, so I’ll ask him, but we both know what he’s going to say.” He took a step closer. I braced for impact.

But then, realising I was digging a bigger hole, one that I might not get out of, “Your dad wouldn’t have a clue about witness protection. It wouldn’t be witness protection if everyone knew about it. This is stuff beyond his pay grade.”

I remembered a TV show I had seen while away, about witness protection, and how it was supposed to be secret, but the witness was sold out by the bad guy’s man in the police force.

“My dad’s very important,” he said, his voice raised an octave, a sure sign he was losing this war of words.

“Then if you went home and started asking questions about witnesses who are supposed to be in protection, then he would lose his job, or worse, go to jail for blabbing secrets.”

“Your blabbing secrets.”

“You’re threatening to beat me up if I don’t tell you where I’ve been. Just threatening me into telling you is gonna get you into a heap of trouble. I suggest you let it go, and we keep this between us. Or can’t you keep secrets?”

“I can too.”

The whine in his voice told me that I had bested him, but for how long was a moot question. He was not going to keep this a secret.

…

The school term ended in an uneasy truce between Alistair and me, and the whole school broke for the summer holidays. It meant I could escape Alistair’s persecution, at least for a few weeks, time enough for the rest of the family to return, and a semblance of normalcy to return.

I had just about put the great lie out of my mind when Alistair turned up outside my house with a smug smile. That idea of keeping secrets was not one of his strong points.

“You’re really for it, now, squirt. My dad knows nothing about this crap story of yours. In fact, he copped a serve at work, and he’s coming around to put the pair of you straight.”

Damn. Why could the miserable twisted arse just let it go?

“You wanna be anywhere but here when he gets here.”

He walked off laughing, thinking he’d bought me a whole new world of pain.

My father was home for a week, which was a shame, because he was never home, always busy, too busy to be bothered with any of us. It would have been better if he hadn’t, or my mother was here, which she was not, still delayed in her return.

I spent a good hour trying to think of how I was going to get out of this one, but whatever I did, there was no chance I was not going to get a beating for this. Goodall was a copper, and although my father said he was a bully and a terrible excuse for a local plod, as he called him, he was still the law. Previous infractions I had been accused of were all true, and it had got me into trouble and a warning; there had better not be a next time.

This was the next time, and it was a doozy.

There was only one path I could go down.

My father was in his study when I went to look for him. He was always working on something, with books and charts all over the desk. I never asked, and he never volunteered what his job was, but I would have to ask one day.

I knocked on the door and waited a minute or two before he asked me to come in.

“Did I hear you talking to someone before?”

“Alistair Goodall, bully son of the local copper. As bad as his father, he uses him as a shield. I’d complain about him, but you keep saying I have to man up. There’s no manning up against the likes of him.”

I had considered whinging about the kid, but I knew my father wouldn’t accept that as trying hard enough to find my own solution, and it was useless telling him there wasn’t one.

He looked at. “Your mother said you were being bullied. Why didn’t you come and see me?”

“You’re never home, and you reckon I have to sort it out myself. Bit hard when he’s taller and heavier than I am. And I don’t think you’d appreciate me hitting him with a baseball bat.”

“Drastic but effective, no doubt, but not worth the jail time. Why are you telling me this?”

He wanted to know why I was away recently. I couldn’t tell him; he threatened to beat me up, so I made up a lie. The truth was too lame for a moron like him.”

“What lie?”

I told him and watched the already dark features go a lot darker.

“And you expected he wouldn’t take it to his father for confirmation?”

“Plods don’t get told anything, of course, he wouldn’t know, and even if it was true, no one from up the chain would share that with a fool like Goodall. Even I know that much.”

“How do you know all this stuff?”

“Reading. I’ve read a lot of books, seen films and TV shows. I know a lot of it is make-believe, but there have to be elements of it that are true. The point is that I told Alistair that it was a secret and asked him to keep it. I mean, in real circumstances, we would be trusting him, which you would think from all the bluster that he could. If it had been a test, he failed spectacularly. As for his father, sure, he would understand the nature of witness protection and the necessity for secrecy, so blabbing it to his superiors was wrong on so many levels. I’m sure they would have said they knew nothing about it, even if they did.”

My father thought about that for a minute, perhaps looking to point out the flaws in the logic, but I couldn’t see any.

“I don’t like Goodall. Got on my wrong side when he first became a Sergeant. Too smug by half, and, as you say, a bully who uses his position. You were wrong to lie. Now, go upstairs. I’ll deal with Goodall.”

…

I was sitting behind the wall at the top of the stairs, waiting for Goodall to come. I wondered if he would bring the toad Alistair with him.

The pounding on the door almost made my heart stop. My father took his time to answer the door, and then, “Sergeant Goodall, what do we owe the honour of this visit?” It was the most pleasant tone I’d ever heard my father use, to anyone.

“Mr. Laramie…” Goodall senior only had one level of speaking, loud and confrontational.

“Sergeant Goodall, there are two things I expect from any visitor who comes to my door: that the visitor address me in a civil tone, and not make their cases on my doorstep. Now, if you give me your word you will be civil, I will invite you in.”

He must have nodded because I heard footsteps and the door closed. His office was on the ground floor, up the passage. I would be able to hear them if the door to the office wasn’t closed.

“Now, Sergeant Goodall, what exactly is the problem?”

“Your son is telling preposterous lies.”

“You son is a bully, and my son fears going to school because of him. I think you should be attending to your son’s proclivities rather tan worry about what my son says. Most kids his age speak utter gibberish at the best of times.”

A moments silence before, “It;s not the fact it;s lies its the nature of the lie.”

“Oh. The fact that we were away. Well, there’s something else you should be admonishing that wretch of a child of yours for. My son told him the truth. and gave him a warning that it was not to be put about, in fact, as I understand it, he told your son that it was to be kept secret, and because he believed your son, being the son of a respectable policeman who understands the nature of these sorts of secrets, could keep it. The fact that he couldn’t keep that simple secret disappointed my son, disappointed me, and disappointed the people who arranged our sojourn, while some very nasty people were put away. They are, at the very least, extremely disappointed that you were poking around in matters that were way above your pay grade. If my son comes home any time in the new year complaining about your son, I will forget about being magnanimous this one time, in the hope you can address the issues you have; if he comes home with a complaint, all bets are off. Do I make myself clear?”

“He was not lying?”

“He was trying to avoid being beaten up by a thug, Goodall. He trusted your boy, and he let him down badly. This matter should not be discussed, here or anywhere, and I expect by the time you pass through my front door, the matter of our sojourn will be forgotten, and the problem with your child will be on the way to being resolved. Now, if that’s all….”

A few seconds later, I heard Goodall being bundled out the door, and it closed firmly behind him.

…

My father took a risk, but it paid off.

By the end of the summer holidays, Goodall had moved on to another station and taken his wretched son with him.

Goodall wasn’t the only bully at that school, but I learned a new way to deal with them, one that didn’t include elaborate lies. Those I saved for the stories I started writing.

…

©  Charles Heath  2025

Writing a book in 365 days – 298/299

Days 298 and 299

Writing exercise – Using the most elaborate lie you have ever told, sell it to the reader

…

It was the sort of stuff spy novels had in abundance.

But it was my imagination, fueled by scores of those very same stories all rolled into one, that I used to explain why I was missing from school to classmates who thought I was the most boring and uninteresting person they had ever known.

I knew what they’d say, so I was going to take them on a journey, and in my childish mind, I was going to make it as believable as I could.

Of course, what a child imagines to be true and what actually is are two very different things.

But, like everything that ever happened to me, it didn’t start out as an opportunity to do the right thing; it was at the end of some very stinging barbs from Alistair Goodall, my tormentor and school bully.

…

I glared at him with all the hatred I could muster, which, considering he was a foot taller and about 50 pounds heavier than I, was really a waste of time.

He had just told everyone within hearing range that my absence had simply been because I was too scared to come to school, because he had threatened to beat me up.

It was true, but I wasn’t going to let that be my defining moment. Instead, I blurted out, “The whole family had to go into hiding because of things my father knew, and his life was in danger.”

Yes, we had gone away, but it was to another country, where my mother’s parents lived, and they had been killed in an accident. It was quite sudden; my mother and sister had gone first, and then my father and I followed. He had difficulty getting away, and it had been a last-minute decision.

He had to come back, and despite my pleas to leave me with my mother, he dragged me back, oblivious to the predicament I was in with Alistair Goodall.

Goodall looked at me incredulously at first, then with a smile. “Good try, squirt. You almost had me believing it. Your dad an informer? My dad’s a cop, so I’ll ask him, but we both know what he’s going to say.” He took a step closer. I braced for impact.

But then, realising I was digging a bigger hole, one that I might not get out of, “Your dad wouldn’t have a clue about witness protection. It wouldn’t be witness protection if everyone knew about it. This is stuff beyond his pay grade.”

I remembered a TV show I had seen while away, about witness protection, and how it was supposed to be secret, but the witness was sold out by the bad guy’s man in the police force.

“My dad’s very important,” he said, his voice raised an octave, a sure sign he was losing this war of words.

“Then if you went home and started asking questions about witnesses who are supposed to be in protection, then he would lose his job, or worse, go to jail for blabbing secrets.”

“Your blabbing secrets.”

“You’re threatening to beat me up if I don’t tell you where I’ve been. Just threatening me into telling you is gonna get you into a heap of trouble. I suggest you let it go, and we keep this between us. Or can’t you keep secrets?”

“I can too.”

The whine in his voice told me that I had bested him, but for how long was a moot question. He was not going to keep this a secret.

…

The school term ended in an uneasy truce between Alistair and me, and the whole school broke for the summer holidays. It meant I could escape Alistair’s persecution, at least for a few weeks, time enough for the rest of the family to return, and a semblance of normalcy to return.

I had just about put the great lie out of my mind when Alistair turned up outside my house with a smug smile. That idea of keeping secrets was not one of his strong points.

“You’re really for it, now, squirt. My dad knows nothing about this crap story of yours. In fact, he copped a serve at work, and he’s coming around to put the pair of you straight.”

Damn. Why could the miserable twisted arse just let it go?

“You wanna be anywhere but here when he gets here.”

He walked off laughing, thinking he’d bought me a whole new world of pain.

My father was home for a week, which was a shame, because he was never home, always busy, too busy to be bothered with any of us. It would have been better if he hadn’t, or my mother was here, which she was not, still delayed in her return.

I spent a good hour trying to think of how I was going to get out of this one, but whatever I did, there was no chance I was not going to get a beating for this. Goodall was a copper, and although my father said he was a bully and a terrible excuse for a local plod, as he called him, he was still the law. Previous infractions I had been accused of were all true, and it had got me into trouble and a warning; there had better not be a next time.

This was the next time, and it was a doozy.

There was only one path I could go down.

My father was in his study when I went to look for him. He was always working on something, with books and charts all over the desk. I never asked, and he never volunteered what his job was, but I would have to ask one day.

I knocked on the door and waited a minute or two before he asked me to come in.

“Did I hear you talking to someone before?”

“Alistair Goodall, bully son of the local copper. As bad as his father, he uses him as a shield. I’d complain about him, but you keep saying I have to man up. There’s no manning up against the likes of him.”

I had considered whinging about the kid, but I knew my father wouldn’t accept that as trying hard enough to find my own solution, and it was useless telling him there wasn’t one.

He looked at. “Your mother said you were being bullied. Why didn’t you come and see me?”

“You’re never home, and you reckon I have to sort it out myself. Bit hard when he’s taller and heavier than I am. And I don’t think you’d appreciate me hitting him with a baseball bat.”

“Drastic but effective, no doubt, but not worth the jail time. Why are you telling me this?”

He wanted to know why I was away recently. I couldn’t tell him; he threatened to beat me up, so I made up a lie. The truth was too lame for a moron like him.”

“What lie?”

I told him and watched the already dark features go a lot darker.

“And you expected he wouldn’t take it to his father for confirmation?”

“Plods don’t get told anything, of course, he wouldn’t know, and even if it was true, no one from up the chain would share that with a fool like Goodall. Even I know that much.”

“How do you know all this stuff?”

“Reading. I’ve read a lot of books, seen films and TV shows. I know a lot of it is make-believe, but there have to be elements of it that are true. The point is that I told Alistair that it was a secret and asked him to keep it. I mean, in real circumstances, we would be trusting him, which you would think from all the bluster that he could. If it had been a test, he failed spectacularly. As for his father, sure, he would understand the nature of witness protection and the necessity for secrecy, so blabbing it to his superiors was wrong on so many levels. I’m sure they would have said they knew nothing about it, even if they did.”

My father thought about that for a minute, perhaps looking to point out the flaws in the logic, but I couldn’t see any.

“I don’t like Goodall. Got on my wrong side when he first became a Sergeant. Too smug by half, and, as you say, a bully who uses his position. You were wrong to lie. Now, go upstairs. I’ll deal with Goodall.”

…

I was sitting behind the wall at the top of the stairs, waiting for Goodall to come. I wondered if he would bring the toad Alistair with him.

The pounding on the door almost made my heart stop. My father took his time to answer the door, and then, “Sergeant Goodall, what do we owe the honour of this visit?” It was the most pleasant tone I’d ever heard my father use, to anyone.

“Mr. Laramie…” Goodall senior only had one level of speaking, loud and confrontational.

“Sergeant Goodall, there are two things I expect from any visitor who comes to my door: that the visitor address me in a civil tone, and not make their cases on my doorstep. Now, if you give me your word you will be civil, I will invite you in.”

He must have nodded because I heard footsteps and the door closed. His office was on the ground floor, up the passage. I would be able to hear them if the door to the office wasn’t closed.

“Now, Sergeant Goodall, what exactly is the problem?”

“Your son is telling preposterous lies.”

“You son is a bully, and my son fears going to school because of him. I think you should be attending to your son’s proclivities rather tan worry about what my son says. Most kids his age speak utter gibberish at the best of times.”

A moments silence before, “It;s not the fact it;s lies its the nature of the lie.”

“Oh. The fact that we were away. Well, there’s something else you should be admonishing that wretch of a child of yours for. My son told him the truth. and gave him a warning that it was not to be put about, in fact, as I understand it, he told your son that it was to be kept secret, and because he believed your son, being the son of a respectable policeman who understands the nature of these sorts of secrets, could keep it. The fact that he couldn’t keep that simple secret disappointed my son, disappointed me, and disappointed the people who arranged our sojourn, while some very nasty people were put away. They are, at the very least, extremely disappointed that you were poking around in matters that were way above your pay grade. If my son comes home any time in the new year complaining about your son, I will forget about being magnanimous this one time, in the hope you can address the issues you have; if he comes home with a complaint, all bets are off. Do I make myself clear?”

“He was not lying?”

“He was trying to avoid being beaten up by a thug, Goodall. He trusted your boy, and he let him down badly. This matter should not be discussed, here or anywhere, and I expect by the time you pass through my front door, the matter of our sojourn will be forgotten, and the problem with your child will be on the way to being resolved. Now, if that’s all….”

A few seconds later, I heard Goodall being bundled out the door, and it closed firmly behind him.

…

My father took a risk, but it paid off.

By the end of the summer holidays, Goodall had moved on to another station and taken his wretched son with him.

Goodall wasn’t the only bully at that school, but I learned a new way to deal with them, one that didn’t include elaborate lies. Those I saved for the stories I started writing.

…

©  Charles Heath  2025

NANOWRIMO – November 2025 – Day 11

…

The Third Son of a Duke

…

So we are getting the back stories for a few of the passengers, a group forms, of which our protagonists are part of; my grandmother is there, but only as a floating member. I have given her a role that gels with the protagonist as a friend, though more aloof than the others.  As the son of a Duke, and therefore of aristocratic bearing, he and my grandmother will act as chaperones for the other girls who attach themselves to the group that gathers in the lounge.

He will prefer her as a companion while the likes of Louise tend to make a more romantic impact.  But, as one might expect of the time, he is uncertain of his arrangement with the arranged marriage, so he cannot commit to anything other than a respectable friendship, which he makes quite plain from the outset.

He is not looking for romance.  Others might be.

I also have a look at the reasons why so many disaffected young women are leaving England for a new life in Australia, far from the poverty, and worse, class distinction, the lack of opportunities for women, and the lack of acceptable husbands, not that they are looking.  There are also aspects of societal expectation that a woman doesn’t work and is meant to have children and look after their husbands.

This is a period where the unwritten rule of what society believes is a woman’s place in society is taking a beating, and women want more from their lives.  After all, suffragettes are fighting for electoral equality; at least in Australia, these girls will have a vote. 

…

1455 words, for a total of 16835 words.

Writing a book in 365 days – My Story 45

More about my story – What about a sequel?

…

Beyond ‘The End’: When Your First Novel Whispers ‘Sequel!’

They say everyone has one novel in them. That singular, definitive story waiting to be told. And if you’re deep in the trenches of writing that very first book – or perhaps just emerging, blinking, from the final draft – you know the magnitude of that achievement. It’s a mountain climbed, a world birthed, a dream realised.

But what if, as you type those triumphant final words, your story doesn’t feel quite… finished? What if your characters still have unresolved arcs, your world still hums with unexplored corners, and a new conflict is already brewing on the distant horizon?

This is the siren call of the sequel, the whisper of a series, beckoning you beyond “The End.” And the question isn’t if it will happen, but how you decide when your definitive first novel should become the definitive first step in a much larger journey.

The Organic Unfurling: When Ideas Spark Early

Sometimes, the seed of a series is planted before you even write chapter one. You might be world-building, and realise your magic system is too complex for a single adventure. Or you create a cast of characters so rich, you know their individual journeys can’t possibly culminate in one book.

This is the beauty of organic discovery. As you plot, you might hit a snag and realise a subplot isn’t fitting, but it would make a fantastic central conflict for a future story. Or you leave a minor mystery unsolved, not out of oversight, but with the deliberate thought: “That’s for book two.”

Key signs it might be more than a standalone (even early on):

  • Vast World-Building: Your setting feels like a continent, not just a town. There are untouched cultures, unvisited lands, or deep historical layers begging exploration.
  • Complex Character Arcs: Your protagonist’s journey is profound, but you can see clear paths for growth beyond this initial conflict. Or a compelling secondary character deserves their own spotlight.
  • Lingering Questions/Plot Threads: You’ve wrapped up the central conflict of Book 1, but there are larger societal issues, ancient prophecies, or personal vendettas that naturally spill over.

The Post-Draft Revelation: When Your Story Demands More

Often, the realization hits after you’ve finished the first draft – or even after a round of revisions. You might be reading through, feeling proud, and suddenly a new idea sparks. “What if X happened next?” “How would Y react to Z now?”

This is a beautiful moment, because it means you’ve built something robust enough to inspire more. Your subconscious is telling you there’s still creative gold in that particular mine.

How to approach this post-draft revelation:

  1. Does Book 1 Stand Alone? This is crucial. A “definitive first novel” must feel complete in itself. The central conflict should be resolved, and the protagonist should have achieved a significant milestone. Don’t write a cliffhanger just because you might write a sequel. Future books should deepen the experience, not fix the first one.
  2. Brainstorm the Arc: Dedicate a session (or several) to mapping out potential sequels. What’s the new central conflict? How have your characters changed? What new challenges do they face? This isn’t about writing, just exploring.
  3. Check for Crossover Appeal: Does the core premise of your first novel have enough appeal to sustain multiple stories? Are there fresh angles to explore, or would you merely be repeating yourself?
  4. Listen to Your Gut: Does the thought of continuing fill you with excitement or dread? While writing is always hard work, the initial spark for a series should feel invigorating.

Why Stop at One? The Power of “More”

The adage “everyone has one novel in them” is true. But the idea that you should only write one is a self-imposed limitation. If your imagination is already conjuring new adventures in the same world, if your characters are clamouring for more development, why stifle that creative energy?

A series allows for:

  • Deeper World Exploration: To truly immerse readers in a rich, complex world.
  • Rich Character Development: To show growth, setbacks, and evolving relationships over a longer timeline.
  • Unfolding Grand Narratives: To tackle epic conflicts or explore complex themes that simply can’t be contained in a single volume.

So, as you nurture that definitive first novel, remember to keep an ear open. Does your story hum with untold tales? Do your characters beckon you towards new horizons? If so, embrace the possibility. Your definitive first novel might just be the definitive first step into a much larger, more thrilling literary journey. Why write one when you have a whole universe waiting to unfurl?