365 Days of writing, 2026 – 248/249

Days 248 and 249 – Writing exercise

…

When I woke I knew I was going to be on a world of pain. Whatever the head of operations was thinking when he sent Maria in as backup obviously forgot the last time he made the same mistake.

It got us both captured, simply because she wasn’t capable of remembering basic details of her cover story.

We all had bad days, but she seemed to have more than most.  And I don’t know why operations thought that she could help me.

Not in that last delicate stage.

And it was there.  The trade was being made, everyone had got over their jitters, and then Boris had to ask, why I’ll never know, where she said she came from, a question he had asked earlier with an answer that satisfied him, Bratislava.

The second time she hesitated, and that was the moment I realised she must have made it up and couldn’t remember the lie, saying, Vienna.

And two seconds later we had no trade and eight guns on us.  I was surprised we were not executed there and then.

Instead I was in a dungeon, certainly underground, damp and dank.  And cold enough to make me shiver, though I think my current situation had something to do with it as well.

At least I was not tied up, which in itself was a worry.  I didn’t think Boris was underestimating my capabilities, because he didn’t seem the sort of adversary that would.  He’d managed to survive a long time on the murky world of betrayal.

This had been our chance.

It was quite dark, and I could barely see anything, other than a shard of light coming from under the door at the top of the stairs.  The floor space, or what I could discern of it, was almost entirely taken up by boxes stacked on boxes, and random items of furniture.

I was sitting in an old lounge chair, one of three.  And when I looked harder, I could see Maria asleep in another, a short distance from me.

I suppressed the urge to strangle her.

It was not the first time we had been in this situation.  Last time, we had simply been abandoned, with a ticking time bomb.

Literally.

Who knew one of her many talents was disarming bombs?

It didn’t make up for getting us put in the building in the first place.

She stirred, but didn’t wake.

Perhaps my anger was misdirected.  I should strangle the operations officer who sent her to me after I had specifically said I would not work with her again, and that this mission needed only one person to see it through.

Or perhaps I should be disappointed in the Director, who told me that it would not happen a second time.  Which led to the supposition; were they trying to get rid of me?

I heard a thump upstairs, followed by muffled voices and shuffling feet.  Had someone come to look for us after missing the check-in after the deal was completed?

Surely operations wouldn’t compound the problem by sending an operative to rescue us.

The door at the top of the stairs rattled, then I heard the distinct sound of a key turning in the lock.  It opened and a body was shoved through the gap, sliding down the stairs to the landing.  Before the dust had settled, the door closed again.

How many other bodies were lying around down here?.

I got up, then fell back in the chair, my head suddenly spinning out of control.  I’d obviously been drugged before being thrown or carried down.

The second time I was more cautious and slowly stood up.  Less spinning, but still coming in waves, until after a few minutes it abated, and I could stand.

Another few minutes before I could get up the stairs and check the pulse of the new arrival. 

None.

I guess my hand being covered in blood told me he or she was dead.  It was hard to tell anything in the gloom.  I went back down and took the extra few steps towards Maria.

I felt for a pulse but it was not necessary.  A hand on my arm told me she was awake.  She probably had been the whole time.

“Who is he?” She asked.

“If it is a he, no idea.  And dead.”

“Why are we still alive?”

“We are of value to Boris.”

She took a moment to think about that, and perhaps how she was going to explain how this all went sideways.

“I’m sorry.”

I thought about that for a second.  “Not as sorry as you’re going to be if we get out of this.”

Perhaps I was overreacting but I was still angry.

She sighed.  “It was necessary.”

Of course.  Enough time had passed for her to formulate a story, one that I might believe.

“That’s what you said the last time.”

She let my hand go. “Be that as it may, you pissed someone off and they sent me. Believe me, if I had a choice…” She sighed again, realising it wouldn’t matter what she said. “It wasn’t my idea. I told them that if you saw me again, you’d shoot me yourself.”

I had made a similar threat to the director and the head of operations, and I thought they got the message.  I was wrong.

Or worse, this was how they removed troublesome operatives who had problems with working in a team.  Especially after they sent me to the training camp to try and eradicate the lone wolf tendency.

That’s what they called it.  The lone wolf tendency.

I flopped back in the chair and closed my eyes. I was still feeling scathing from the aftereffects of the drugs, and the disappointment of a botched operation. “Why was it necessary this time? And why was it necessary to send you, of all people?”

“They needed a distraction.”

They?  Why would they need a distraction?  Then I remembered a drinking session with one of the instructors, in a small inn near the training grounds, the day I discovered he was nursing old wounds.

Wounds that few people were aware of.

And the lamentable story of operations that were wheels within wheels, operations that operatives were given a part to play but not given the whole story, operations that came apart because the left hand didn’t know what the right hand was doing.

We had to learn to compartmentalise and adapt.  That sometimes we would come up against our own people playing a role, or that we would be working around the edges of a much larger operation.  Sometimes we would be told enough; sometimes we would not.

My last operation I was not fully briefed and found myself being removed before it interfered in another much more important operation.  To me, it seemed like bad planning.

Wheels within wheels.

This suddenly felt like one of those operations.

“What else is going on here?”  Obviously they needed my exchange shut down.  Why?

“You know better than to ask me.  I know less than you. And like you I just do as I am told.”

“Last time it nearly got us killed.”  Much the same as this time.

“That wasn’t the expected outcome, well, not mine anyway.  You’ll be happy to learn that earned me a ticket to the lone wolf tendency programme.  I prefer to work alone, and I get the feeling they’re punishing me.”

I wasn’t quite at the point where I would come to that conclusion, but it was a theory with merit.  It would explain the extended hiatus ordered by the new director a year ago, rumoured to be part of a government oversight committee request for reorganisation and more transparency.

In covert intelligence operations?

We had to work in a vacuum, with little oversight and absolutely no transparency.  The former director, the man who recruited me, believed in results, not pandering to oversight committees.

The door above us rattled again.  I looked up as a key was inserted in the lock.  I turned to tell her to disappear, but she had already.  Silently.

The door opened and light flooded the room.  I was standing in the middle of what might be called a halo of light.

All i could see was a shadowy outline at the top of the stairs.

“Where’s the girl?”

“What girl?”

“The one you were talking to.”

“That was my imaginary friend. When I woke up I was alone. And then my new friend arrived. I was looking at the body, “but he’s not talking.”

He aimed his gun and fired off a round. I heard it hit the seat did just been sitting in.

“Where is she?”

I shrugged.  “If there was someone here, then they’ve gone, because when I woke up, there was no one here.  Come down, check for yourself.”

“Or I can just shoot you.”

“And then I would have no value.  You tell me how I can help you, and I’ll do my best to get it.”

“I want to know where the girl is?”

“You and me both.  I have more reason to strangle her than you, believe me.”

He came down a few steps and stopped on the landing.  I caught the movement of a shadow behind the stairs, and then nothing.  He had to come down a few more steps before she could attack.

If that was her plan.

The closer I got, the more clearly I could see him, but it was not anyone I recognised, and was not one of the men I’d been dealing with for the exchange.

Had we been taken to a different place?  It didn’t explain why we were still alive.  Boris was not the sort to keep people who crossed him alive.

“Where’s Boris? He and I still have business to conduct.”

“He is gone.  Business done.  You are lucky.  You are both worth a great deal of money, the girl more than you.  Now, enough small talk.  Where is she?”

I shrugged.  “There is no girl down here.  I looked.  Nothing but boxes, old newspapers, and furniture.  And that man you killed.  Who was he?”

“Your pathetic rescue mission.”

He took another two steps, and then crouched to peer through the stairs behind him.  The next moment he was falling backwards down the stairs, the gun going off twice, both deafening.  I grabbed the gun and yanked it out of his hand as it fired again and I could just feel the bullet graze my arm.

One kick took the fight out of him, just as another shadow appeared in the doorway.  I had to move quickly just before a volley of shots rang out.

It took almost too long to get the gun in my hand and fire back, and I was only able to get a shot off because he hadn’t moved.

If he had the outcome would have been a lot worse.  He fired again, but those were random shots, as he tumbled headfirst down the stairs and, falling on the body on the landing, dislodged it and together they landed on the floor at my feet.

I spent another bullet making sure he wouldn’t come back to life at an awkward moment.

Maria came out from behind the stairs and wrenched the gun out of the hand of the second gunman. 

“You hesitated.  Could’ve been the difference.”

She simply glared at me like I was a novice.

I shook my head.  No point explaining glaring lights and drug aftereffects to her.  Like the instructors said, there were no excuses, just dead people who missed their moment.

“You first.”  I decided to see if she baulked.

She didn’t.  The steps now clear we went up and then took up a position either side of the door.  If this was a babysitting operation, there would be only two.  If it was something else, there would be more.

She peered out; I did likewise.  There was no one in the passage.

A few minutes later we established there was no one else in the building.

There were cell phones and vehicle keys on the table, along with half eaten food and drink.  Our rescuer must have interrupted them.

Maria picked up one of the phones.  “No security.  The guy made a call to a burner about five minutes ago.  I looked at the other.  Equally insecure.  It had three numbers in its call log.

There was a text, with our photos and instructions to wait until called.  That call had been while outer captors had come to visit. 

“We should leave,” I said.

We both heard screeching tyres of several vehicles. 

“Too late.  CCTV.  Just noticed it,” she said.  “No trust in the world any more.”

The next few seconds bracing ourselves, and then machine gun fire.  Somebody decided they didn’t like us.  That lasted a minute, then stopped.  Glass, brick and wood settled and dust filled the air, thick enough to hide an onslaught.

That was the distraction so that another team could get around the back so they could attack on two fronts.

The phone in my hand rang.

Maria looked annoyed.

I answered it.  Boris’ voice.  “You apparently have angered your masters and they’ve put a price on both your heads.”

That was a shock.

“When?”

“As of the moment you broke out of the cellar.  I was not the one holding you, but I’d be foolish not to take up the contract.”

“Thanks.”

“I propose a deal though.  You get to walk away if you’ve got a half million.  I’ll tell them you’re dead, or at least as dead as I want you to be, and you have to disappear.”

‘You want to play dead, live another day?”

“How much?

“Quarter million.”

“How dead is dead?”

“No going back?”

“They’re our people out there?”

“Apparently.  Boris is offering us a way out.”

Another 30-second spray this time from the front and the back.  More dust and disintegrating building materials.  It wouldn’t be long before they came in and finished the job.

The shooting stopped.  She said, “Take it.  We’ll sort out the details later.”

“Done,” I said into the phone, just as movement came from the front, the full front on assault.

…

People do not get put on a hit list for no reason.

That reason sometimes can be very obscure.

Boris didn’t know what the reason was, only that it was an opportunity to make money.  Ideology was far less of a motivation than becoming fabulously wealthy and Boris was well on the way.

He was, by self-confession, a businessman, and he had no feelings one way of the other about whether we lived or died.

And in doing business, he had no qualms about us coming after him after the dust had settled simply because he had a code of ethics.  Twisted perhaps, but we discovered quite to our surprise he was a man of his word.

Better than some people we knew, or perhaps more appropriately. Who were more acquaintances, people we didn’t really know at all.

That quarter million bought us safety, an Academy Award-winning make-up artist who made us the best-looking corpses ever, and a ticket to a run-down, badly in need of repairs cottage somewhere in Tuscany.

We spent a lot of time covered in a different sort of building rubble, almost unrecognisable as out former selves and much liked by all those around us, although like anyone where someone new and strange moves in, they were initially wary.

Did we miss being agents pretending we were saving the world?  Yes and no.

Did we find out why we were had a hit order on us? Accidentally.

I was in London about a year later.  There was, by this time, no one who would recognise the old me, i had changed that much. 

It was at a random cafe, and I saw a man named Giles, a relative of the Director- nepotism at its worst.  He was an arrogant fool who honestly believed as the Director’s son-in-law, he had the same authority.

I cam out with a coffee in a take away cup and decided did but at his table.  It was rather crowded.

“Alan Giles, isn’t it?”

His head snapped up from the paper he was reading.

“Who are you?”

“We did Uni together.  Cambridge.  You won’t remember me, but I was that extra in the table, the one everyone ignored unutilised they needed help with assignments and exams.”

“Name?’

“You won’t remember.  No one else has.”

“Not surprising.  Go away.”

It was like he was talking to a stray dog.

“You finished up in Department F.  With your uncle.  You were always banging on about how he needed someone ofvyourvextraordinary deductive powers. Police or something.  You get that job?”

He would either tell me to mind my own business, or instead talk about himself, failing to understand the Official Secrets Act was there for a reason.

He looked at me like I was stupid.

“I run the department, have done for ages.  Did a clean out, got rid of all the dinosaurs Uncle Peter kept on.”

“Fired them?”

“God no.  You don’t fire them.  That comes back and bites you later on.  No.  We found a more permanent solution.  Well, I did.  He was going to simply put them out to pasture.”

“Poor people.”

He shook his heard.  “You don’t know the half of it.”  He caught sight of someone behind me and folded his paper. “Got to go.  Please don’t annoy me again, or there will be consequences.”

I got up just as a woman arrived.  I recognised her. Alison, the Director’s personal assistant. “Who are you?”, then stopped for a second, giving me a curious look.

I’d only met her twice.

“Do I know you, you seem familiar.”

“No.  You couldn’t.  I was at University with Alan.  He was an inspiration to all other average students.”  I tried not to dip it on to much sarcasm, but I guess I failed.

“Be off with you,” he said. 

I shrugged.  “Nice meeting you again, Alan.”

It was.  It answered a long-standing question.  Who set the dogs on us?

…

When I got back home, Maria was in the middle of making her version of fettuccine carbonara, a dish I had to say was one of my favourites.

“Get it all done?” She asked.

A slight rearrangement of our banking.  And a small unforeseen side job.

She looked up, that trademark flour coating on her clothes and smudge on her forehead.   It was hard to say if she was a better spy than a cook or vice versa.

“What needed to be done, yes.”

It had given me a few days to ponder the new life we had, and how much it meant to be alive, when if truth be known, we should not be.  It was hard to have to disappear and not put your head up.

And not be living that vicarious lifestyle.

Just before I left we had a heartfelt discussion about what we had then versus what we had now.  I think both us needed something else, but neither of us felt we could trust any agency again.

And while we had a perceived target on our backs…

Except now…

She noticed the change in my demeanour.  It was very hard to hide.

“What?  Something happened, didn’t it?”

“It was a right place right time moment. The sort you only get once in a lifetime.

I left it there for a minute.

She was holding a wooden spoon and at the end of that minute looked like she was going through throw it at me. “What?”

“I ran into Giles.”

“The Director’s nephew?  Slimy Giles?”

He held special significance for three of the female recruits.  On a visit to the training facility he thought he could use his position, inviting them to dinner with benefits.  It didn’t quite work out the way he would have liked.

Two were washed out; the third was standing opposite me.

“He picked the same cafe I did.  He had no idea who I was, other than he believed he went to uni with me.  I was asking him about the job, and he told me he was on a special commission to permanently remove the dinosaurs.  His words.  He sanctioned the operation that included a dozen good agents.”

“Tell me you returned the favour?”

I nodded.

“Good.”  She sighed.  “That target was off our backs.  He was always going to be the stumbling block if we got bored with this life.”

“Are you bored?”

“No.  Had we not been thrown together like this, and got the opportunity to discover a completely different life? I’m pretty sure I’d be dead now, going out in a blaze of glory. But sometimes I wake up and wonder if there was something else I could be doing. Every now and then.”

Boris had left a burner phone, and an offer that if we ever wanted a job, he might be able to help.  She hadn’t mentioned it, but I could feel it was in her thoughts.

“Well, Boris…”

She smiled.  I knew that smile, the cat that ate the canary.

“Speaking of Boris…”

…

©  Charles Heath  2026

365 Days of writing, 2026 – 247

Day 247 – Fear of the blank page

…

Naked Truths: How to Overcome the Fear of the Blank Page (Without Actually Imagining Your Readers Undressed)

We’ve all heard the classic public speaking advice: “If you’re nervous, just picture the audience in their underwear.”

The logic goes that by reducing a room full of judging, critical humans down to their skivvies, they instantly lose their intimidating aura. Suddenly, you aren’t presenting to a board of directors or a room full of peers; you’re talking to a bunch of regular folks in polka-dot boxers and lace bralettes.

It’s silly, slightly absurd, and wildly ineffective for most people (mostly because picturing your boss in tighty-whities usually causes more anxiety, not less).

However, the psychology behind the trick is solid. It’s about reframing the power dynamic. It’s about stripping away the manufactured pressure of a situation to reveal the simple, human reality underneath.

So, how do we translate this concept to the writer’s ultimate nemesis: the fear of the blank page?

When facing a pristine, glowing white document, writers don’t usually fear the paper. They fear judgment. They fear failure. They fear that what they write won’t be smart, profound, or polished enough.

If you want to conquer the blank page, you need to strip it of its power. Here is how to apply the “underwear rule” to your writing process and finally start typing.


1. Realize the Page Isn’t a Masterpiece Waiting to Happen (It’s Laundry)

When a blank page feels intimidating, it’s usually because we’ve put it on a pedestal. We treat the cursor like a spotlight and the first sentence like a literary legacy.

The Translation: Strip the page of its dignity.

Accept right now that your first draft is going to be messy, awkward, and poorly fitted—much like wearing mismatched underwear on laundry day. A blank page isn’t a marble slab waiting for a Michelangelo; it’s a dumping ground for half-formed thoughts. Give yourself permission to write absolute garbage. You cannot edit a blank page, but you can fix a terribly written paragraph.

2. Picture Your Reader as a Friend (Or Just a Person)

When we write, we often imagine an intimidating, anonymous crowd reading our work with crossed arms and red pens. We write for “The Internet,” “The Critics,” or “My High School English Teacher.”

The Translation: Strip your audience of their intimidating title.

Instead of imagining a faceless mob of critics, picture one specific, friendly person. Write an email to your best friend explaining the concept. Talk to your sibling. When you shift your mental audience from “The Public” to “One Individual,” the stakes instantly lower. You stop trying to sound like a textbook and start sounding like a human being.

3. Change What You’re Wearing (Digital Disguises)

Sometimes the environment contributes to the intimidation factor. Staring at a blinking cursor in a professional, stark-white word processor like Microsoft Word or Google Docs feels like sitting in the principal’s office.

The Translation: Change the aesthetic.

Just like dressing down changes your confidence, changing your writing environment can strip away the pressure.

  • Use a distraction-free writing app with a dark mode (like Typora, Scrivener, or Ulysses) so the page isn’t glaring at you.
  • Write your first draft in Comic Sans or a goofy font—it’s scientifically impossible to take a sentence seriously when it’s written in Comic Sans, which instantly kills your inner perfectionist.
  • Write the first version by hand in a cheap notebook where mistakes don’t carry the finality of a digital delete key.

4. Write the “Unpublishable” Intro

The hardest part of any journey is the first step, and the hardest part of any article or story is the first sentence. We agonize over hooks, desperately trying to start with a bang.

The Translation: Start with a terrible warm-up.

Give yourself a rule: The first three sentences are not allowed to be good. Write intentionally bad sentences to break the ice.

  • “I have no idea what I’m writing about right now, but my coffee is cold.”
  • “This is going to be a really stupid article about writing.”

Once you break the silence of the page—even with nonsense—the spell is broken. You’ve crossed the threshold. Now you can delete the garbage intro and get to the real work.


The Bottom Line

The fear of the blank page is just performance anxiety in disguise.

Just like public speaking, writing triggers our deepest insecurities about being seen and judged. But the next time you freeze up in front of a flashing cursor, remember the core lesson of the “underwear” trick: The things intimidating you only have power because you gave it to them.

Strip the page of its perfectionism. Strip the audience of their judgment. Stop waiting for the muse to show up in a three-piece suit, and start writing in your sweatpants.

…

365 Days of writing, 2026 – 247

Day 247 – Fear of the blank page

…

Naked Truths: How to Overcome the Fear of the Blank Page (Without Actually Imagining Your Readers Undressed)

We’ve all heard the classic public speaking advice: “If you’re nervous, just picture the audience in their underwear.”

The logic goes that by reducing a room full of judging, critical humans down to their skivvies, they instantly lose their intimidating aura. Suddenly, you aren’t presenting to a board of directors or a room full of peers; you’re talking to a bunch of regular folks in polka-dot boxers and lace bralettes.

It’s silly, slightly absurd, and wildly ineffective for most people (mostly because picturing your boss in tighty-whities usually causes more anxiety, not less).

However, the psychology behind the trick is solid. It’s about reframing the power dynamic. It’s about stripping away the manufactured pressure of a situation to reveal the simple, human reality underneath.

So, how do we translate this concept to the writer’s ultimate nemesis: the fear of the blank page?

When facing a pristine, glowing white document, writers don’t usually fear the paper. They fear judgment. They fear failure. They fear that what they write won’t be smart, profound, or polished enough.

If you want to conquer the blank page, you need to strip it of its power. Here is how to apply the “underwear rule” to your writing process and finally start typing.


1. Realize the Page Isn’t a Masterpiece Waiting to Happen (It’s Laundry)

When a blank page feels intimidating, it’s usually because we’ve put it on a pedestal. We treat the cursor like a spotlight and the first sentence like a literary legacy.

The Translation: Strip the page of its dignity.

Accept right now that your first draft is going to be messy, awkward, and poorly fitted—much like wearing mismatched underwear on laundry day. A blank page isn’t a marble slab waiting for a Michelangelo; it’s a dumping ground for half-formed thoughts. Give yourself permission to write absolute garbage. You cannot edit a blank page, but you can fix a terribly written paragraph.

2. Picture Your Reader as a Friend (Or Just a Person)

When we write, we often imagine an intimidating, anonymous crowd reading our work with crossed arms and red pens. We write for “The Internet,” “The Critics,” or “My High School English Teacher.”

The Translation: Strip your audience of their intimidating title.

Instead of imagining a faceless mob of critics, picture one specific, friendly person. Write an email to your best friend explaining the concept. Talk to your sibling. When you shift your mental audience from “The Public” to “One Individual,” the stakes instantly lower. You stop trying to sound like a textbook and start sounding like a human being.

3. Change What You’re Wearing (Digital Disguises)

Sometimes the environment contributes to the intimidation factor. Staring at a blinking cursor in a professional, stark-white word processor like Microsoft Word or Google Docs feels like sitting in the principal’s office.

The Translation: Change the aesthetic.

Just like dressing down changes your confidence, changing your writing environment can strip away the pressure.

  • Use a distraction-free writing app with a dark mode (like Typora, Scrivener, or Ulysses) so the page isn’t glaring at you.
  • Write your first draft in Comic Sans or a goofy font—it’s scientifically impossible to take a sentence seriously when it’s written in Comic Sans, which instantly kills your inner perfectionist.
  • Write the first version by hand in a cheap notebook where mistakes don’t carry the finality of a digital delete key.

4. Write the “Unpublishable” Intro

The hardest part of any journey is the first step, and the hardest part of any article or story is the first sentence. We agonize over hooks, desperately trying to start with a bang.

The Translation: Start with a terrible warm-up.

Give yourself a rule: The first three sentences are not allowed to be good. Write intentionally bad sentences to break the ice.

  • “I have no idea what I’m writing about right now, but my coffee is cold.”
  • “This is going to be a really stupid article about writing.”

Once you break the silence of the page—even with nonsense—the spell is broken. You’ve crossed the threshold. Now you can delete the garbage intro and get to the real work.


The Bottom Line

The fear of the blank page is just performance anxiety in disguise.

Just like public speaking, writing triggers our deepest insecurities about being seen and judged. But the next time you freeze up in front of a flashing cursor, remember the core lesson of the “underwear” trick: The things intimidating you only have power because you gave it to them.

Strip the page of its perfectionism. Strip the audience of their judgment. Stop waiting for the muse to show up in a three-piece suit, and start writing in your sweatpants.

…

365 Days of Writing, 2026 – 246

Day 246 – Are modern novels boring?

…

Are Modern Novels Boring? (And How Do We Avoid the Literary Abyss)

Scroll through Goodreads, wander the aisles of a major bookstore, or tune into BookTok, and you’ll find a paradoxical landscape. We are currently living through a golden age of publishing volume. Yet, a nagging, heresy-sounding question is echoing among avid readers, critics, and writers alike:

Are modern novels… kind of boring?

It’s a controversial take. After all, thousands of brilliantly crafted, highly praised books hit the shelves every year. So why does a pervasive sense of literary fatigue seem to have gripped the reading public? Why do so many contemporary books feel like they were written by an algorithm, polished by a focus group, and designed to be consumed like fast food rather than savoured like a fine wine?

Let’s dive into the state of contemporary fiction, explore why modern novels sometimes feel like an uninspired trudge, and discover how readers can navigate past the noise to avoid the terrifying “literary abyss.”


Part 1: Why Do Modern Novels Feel Boring?

To be clear, “boring” doesn’t necessarily mean slow. In fact, many modern novels move at a breakneck pace. Rather, the boredom stems from a sense of sameness, predictability, and a retreat from genuine artistic risk.

Here are the primary culprits turning contemporary fiction into a snooze-fest:

1. The Domestication of the Plot (The “Cozy” Trap)

In an effort to remain hyper-relatable and emotionally safe, a massive slice of modern literary fiction has retreated into the mundane. We are flooded with novels about contemporary people sitting in apartments, navigating micro-aggressions, having esoteric conversations about modern dating, and agonising over career pivots.

While everyday life can be profound, too many modern novels mistake triviality for depth. When every book is a quiet, low-stakes character study about upper-middle-class ennui, the genre begins to smell of stale coffee and self-absorption.

2. The Algorithmic Homogenization of Style

Publishing is a business, and businesses hate losing money. In the age of algorithmic marketing, publishing houses increasingly lean toward formulas that have worked before.

This has birthed a distinct “contemporary literary voice”: clean, hyper-accessible, emotionally explicit, and largely devoid of stylistic idiosyncrasies. Authors are often encouraged to write in a cinematic, easily translatable style that makes adaptation for Netflix or HBO effortless. Gone are the eccentric prose styles of the past; in their place is a bland, standardised English designed not to offend anyone’s palate.

3. “Show, Don’t Tell” Has Become “Explain Everything”

Good writing historically trusted the reader to read between the lines. Modern fiction, however, is terrified of ambiguity.

Influenced perhaps by the digital age’s demand for instant clarity, contemporary novels often hold the reader’s hand a little too tightly. Themes are spelled out explicitly in the dialogue. Characters give TED Talks to explain their internal psychology. When a book does all the emotional heavy lifting for you, the act of reading ceases to be a dynamic collaboration and becomes a passive lecture.

4. The Moralization of Art

Literature has always explored morality, but a growing trend in modern fiction is the demand that characters (and by extension, authors) pass strict contemporary ideological purity tests.

When novels become moral instruction manuals rather than explorations of human complexity, they lose their spark. Great literature thrives in the grey areas, the hypocrisies, and the moral ugliness of humanity. When every character has to be a pristine avatar of virtue—or an unambiguously cartoonish villain—the narrative tension evaporates.


Part 2: How to Spot a “Boring” Book Before You Buy

If you want to protect your reading time from the abyss of blandness, you need a radar system. Be wary of books that feature these red flags:

  • The Over-caffeinated Blurb: If the back cover features quotes comparing the author to Joan Didion, Sally Rooney, and Ottessa Moshfegh all at once, you are likely looking at a manufactured trend, not an authentic voice.
  • The High-Concept Gimmick: A book whose entire value proposition is a quirky premise (“What if an AI ran a coffee shop in a post-apocalyptic IKEA?”) but lacks stylistic prose or psychological depth.
  • The Trauma-Drop: Books that rely on an early, shocking revelation of trauma to generate forced emotional stakes, while the rest of the prose coasts on cruise control.

Part 3: How Do We Avoid the Literary Abyss?

If you are suffering from reading fatigue, do not give up on reading altogether. You simply need to change your navigation strategy. Here is how you can step back from the brink of the literary abyss and fall in love with reading again.

1. Read Widely Across Time

There is an entire cemetery of brilliant literature out there waiting to be exhumed. If modern fiction feels flat, step back. Read the 19th-century Russians for sheer psychological depth; read the mid-century modernists for stylistic fireworks; read genre fiction from the 1970s and 80s that prioritised pure, unadulterated storytelling.

A healthy reading diet resembles a balanced ecosystem: mix the old with the new.

2. Seek Out Small Presses and Indie Publishers

While the Big Five publishers are increasingly risk-averse, independent presses (like Graywolf, Coffee House Press, New Directions, and Europa Editions) are taking massive artistic gambles.

Indie publishers are the lifeblood of contemporary literary innovation. They are printing translations of international authors, genre-bending experiments, and unapologetic prose that traditional houses won’t touch because they aren’t “marketable enough.”

3. Embrace Translation

American and British fiction often suffer from a specific cultural insularity. By looking outward and reading translated literature, you instantly escape the stylistic homogeneity of the Anglosphere.

Writers from South Korea, Argentina, Norway, Japan, and France bring entirely different philosophical frameworks, cultural rhythms, and narrative structures to the page. Reading translated works is the literary equivalent of taking off virtual reality goggles and seeing the real world for the first time.

4. Support Books That Take Risks

When you find an author who refuses to play it safe—someone who uses weird punctuation, writes unlikeable characters, tackles bizarre subjects, or structures a plot like a labyrinth—support them. Buy their books, recommend them to friends, and let publishers know that readers still reward audacity.


Conclusion: The Horizon is Still Bright

Are modern novels boring? Many of them are, yes. But boredom is simply a symptom of a bloated marketplace prioritising commercial safety over artistic peril.

The literary abyss is real, but it is entirely avoidable. By raising our standards, looking beyond the bestseller lists, and championing books with teeth, grit, and originality, we can push past the noise.

Great, vital, mind-altering books are still being written—we just have to be a little braver in how we look for them.

…

The story behind the story – Echoes from the Past

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

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

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

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

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

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

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

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

Originally, it was not set anywhere in particular.

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

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

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

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

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

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

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

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

And, of course, I wanted a happy ending.

Except for the bad guys.

…

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

365 Days of Writing, 2026 – 246

Day 246 – Are modern novels boring?

…

Are Modern Novels Boring? (And How Do We Avoid the Literary Abyss)

Scroll through Goodreads, wander the aisles of a major bookstore, or tune into BookTok, and you’ll find a paradoxical landscape. We are currently living through a golden age of publishing volume. Yet, a nagging, heresy-sounding question is echoing among avid readers, critics, and writers alike:

Are modern novels… kind of boring?

It’s a controversial take. After all, thousands of brilliantly crafted, highly praised books hit the shelves every year. So why does a pervasive sense of literary fatigue seem to have gripped the reading public? Why do so many contemporary books feel like they were written by an algorithm, polished by a focus group, and designed to be consumed like fast food rather than savored like a fine wine?

Let’s dive into the state of contemporary fiction, explore why modern novels sometimes feel like an uninspired trudge, and discover how readers can navigate past the noise to avoid the terrifying “literary abyss.”


Part 1: Why Do Modern Novels Feel Boring?

To be clear, “boring” doesn’t necessarily mean slow. In fact, many modern novels move at a breakneck pace. Rather, the boredom stems from a sense of sameness, predictability, and a retreat from genuine artistic risk.

Here are the primary culprits turning contemporary fiction into a snooze-fest:

1. The Domestication of the Plot (The “Cozy” Trap)

In an effort to remain hyper-relatable and emotionally safe, a massive slice of modern literary fiction has retreated into the mundane. We are flooded with novels about contemporary people sitting in apartments, navigating micro-aggressions, having esoteric conversations about modern dating, and agonizing over career pivots.

While everyday life can be profound, too many modern novels mistake triviality for depth. When every book is a quiet, low-stakes character study about upper-middle-class ennui, the genre begins to smell of stale coffee and self-absorption.

2. The Algorithmic Homogenization of Style

Publishing is a business, and businesses hate losing money. In the age of algorithmic marketing, publishing houses increasingly lean toward formulas that have worked before.

This has birthed a distinct “contemporary literary voice”: clean, hyper-accessible, emotionally explicit, and largely devoid of stylistic idiosyncrasies. Authors are often encouraged to write in a cinematic, easily translatable style that makes adaptation for Netflix or HBO effortless. Gone are the eccentric prose styles of the past; in their place is a bland, standardized English designed not to offend anyone’s palate.

3. “Show, Don’t Tell” Has Become “Explain Everything”

Good writing historically trusted the reader to read between the lines. Modern fiction, however, is terrified of ambiguity.

Influenced perhaps by the digital age’s demand for instant clarity, contemporary novels often hold the reader’s hand a little too tightly. Themes are spelled out explicitly in the dialogue. Characters give TED Talks to explain their internal psychology. When a book does all the emotional heavy lifting for you, the act of reading ceases to be a dynamic collaboration and becomes a passive lecture.

4. The Moralization of Art

Literature has always explored morality, but a growing trend in modern fiction is the demand that characters (and by extension, authors) pass strict contemporary ideological purity tests.

When novels become moral instruction manuals rather than explorations of human complexity, they lose their spark. Great literature thrives in the gray areas, the hypocrisies, and the moral ugliness of humanity. When every character has to be a pristine avatar of virtue—or an unambiguously cartoonish villain—the narrative tension evaporates.


Part 2: How to Spot a “Boring” Book Before You Buy

If you want to protect your reading time from the abyss of blandness, you need a radar system. Be wary of books that feature these red flags:

  • The Over-caffeinated Blurb: If the back cover features quotes comparing the author to Joan Didion, Sally Rooney, and Ottessa Moshfegh all at once, you are likely looking at a manufactured trend, not an authentic voice.
  • The High-Concept Gimmick: A book whose entire value proposition is a quirky premise (“What if an AI ran a coffee shop in a post-apocalyptic IKEA?”) but lacks stylistic prose or psychological depth.
  • The Trauma-Drop: Books that rely on an early, shocking revelation of trauma to generate forced emotional stakes, while the rest of the prose coasts on cruise control.

Part 3: How Do We Avoid the Literary Abyss?

If you are suffering from reading fatigue, do not give up on reading altogether. You simply need to change your navigation strategy. Here is how you can step back from the brink of the literary abyss and fall in love with reading again.

1. Read Widely Across Time

There is an entire cemetery of brilliant literature out there waiting to be exhumed. If modern fiction feels flat, step back. Read the 19th-century Russians for sheer psychological depth; read the mid-century modernists for stylistic fireworks; read genre fiction from the 1970s and 80s that prioritized pure, unadulterated storytelling.

A healthy reading diet resembles a balanced ecosystem: mix the old with the new.

2. Seek Out Small Presses and Indie Publishers

While the Big Five publishers are increasingly risk-averse, independent presses (like Graywolf, Coffee House Press, New Directions, and Europa Editions) are taking massive artistic gambles.

Indie publishers are the lifeblood of contemporary literary innovation. They are printing translations of international authors, genre-bending experiments, and unapologetic prose that traditional houses won’t touch because they aren’t “marketable enough.”

3. Embrace Translation

American and British fiction often suffer from a specific cultural insularity. By looking outward and reading translated literature, you instantly escape the stylistic homogeneity of the Anglosphere.

Writers from South Korea, Argentina, Norway, Japan, and France bring entirely different philosophical frameworks, cultural rhythms, and narrative structures to the page. Reading translated works is the literary equivalent of taking off virtual reality goggles and seeing the real world for the first time.

4. Support Books That Take Risks

When you find an author who refuses to play it safe—someone who uses weird punctuation, writes unlikeable characters, tackles bizarre subjects, or structures a plot like a labyrinth—support them. Buy their books, recommend them to friends, and let publishers know that readers still reward audacity.


Conclusion: The Horizon is Still Bright

Are modern novels boring? Many of them are, yes. But boredom is simply a symptom of a bloated marketplace prioritizing commercial safety over artistic peril.

The literary abyss is real, but it is entirely avoidable. By raising our standards, looking beyond the bestseller lists, and championing books with teeth, grit, and originality, we can push past the noise.

Great, vital, mind-altering books are still being written—we just have to be a little braver in how we look for them.

…

365 Days of Writing, 2026 – 245

Day 245 – Vivid Descriptions

…

What Dashiell Hammett’s The Maltese Falcon Teaches Us About Plotting and Vivid Description

When we talk about the titans of American crime fiction, one name towers above the rest: Dashiell Hammett. Before Raymond Chandler gave us poetic metaphors, and long before modern thriller writers cluttered pages with convoluted twists, Hammett stripped the genre down to its bone and sinew.

At the centre of his legacy is The Maltese Falcon (1930). Beyond its status as the quintessential noir novel, The Maltese Falcon is a masterclass in two distinct literary arts: exemplary plotting and vivid, objective description.

If you are a writer looking to sharpen your craft, or simply a lover of brilliant storytelling, Hammett’s seminal work offers invaluable lessons. Let’s dive into the anatomy of The Maltese Falcon and explore what we can learn from the man who revolutionised modern fiction.


1. The Power of the Objective Eye (Vivid Description Through Action)

Many aspiring writers believe that “vivid description” means loading a paragraph with purple prose, elaborate metaphors, and sweeping adjectives. Hammett proves the exact opposite.

As a former operative for the Pinkerton National Detective Agency, Hammett wrote what he knew. His descriptions are rooted in strict realism. He doesn’t tell us how a character feels; he shows us how they move, how they dress, and how they react to their environment.

The Iconic Introduction of Sam Spade

Look at how Hammett introduces his protagonist, private investigator Sam Spade, in the opening pages:

“Spade’s blondish gray hair was cut short, made his head-top look like a rose-bush with the blossoms clipped off. Eyes-yellow-gray—were small and wary. His chin prominent and hard… He sat reading a newspaper with a hard-boiled unconcern.”

Notice what’s missing? There is no deep internal monologue explaining Spade’s moral ambiguity. Instead, Hammett uses concrete, sharp imagery—”hard,” “wary,” “blossoms clipped off”—to paint a picture that lets the reader’s imagination do the heavy lifting.

What We Can Learn:

  • Show, Don’t Preach: Let your characters’ physical traits and micro-actions reveal their inner psychology.
  • Precision Over Poetry: Choose nouns and verbs that pack a punch. Instead of saying a room was messy, describe the exact placement of the half-empty highball glass and the unread mail.
  • Behavior as Characterization: Hammett understood that in high-stakes environments, people reveal themselves through posture, tics, and glances, not soliloquies.

2. The Architecture of Exemplary Plotting

A common trap in genre fiction is the “plot maze”—where authors add twists just to confuse the reader, resulting in a narrative that collapses under its own weight. The Maltese Falcon avoids this by treating its plot like a piece of precision machinery. Every scene moves the ball forward, and every character has a distinct, driving motivation.

The plot kicks off when Brigid O’Shaughnessy (disguised as “Miss Wonderley”) walks into Spade’s office with a lie. From that moment, a chain reaction of greed is set in motion, drawing in a colourful rogues’ gallery: Kasper Cairo, Joel Cairo, and the ominous Kasper Gutman (the “Fat Man”).

They are all hunting the elusive, jewel-encrusted black bird. But the falcon itself is famously a MacGuffin—an object that drives the plot forward while ultimately holding no intrinsic value.

What We Can Learn:

  • Character-Driven Plotting: Hammett doesn’t force his characters to do unnatural things just to make a plot twist work. The plot is an inevitable collision course driven by greedy, desperate people all chasing the same prize.
  • Master the MacGuffin: Give your characters a focal point of desire, but remember that the pursuit of the object is always more interesting than the object itself. The tension comes from the shifting alliances and betrayals among the hunters.
  • Tight Causality: In a well-plotted story, Scene A must lead directly to Scene B, connected by either “therefore” or “but”—never “and then.” Hammett ensures that every lie told and every body dropped has immediate consequences for Sam Spade.

3. The Enigma of the Protagonist (Ambiguity is Magnetic)

Traditional heroes up to that point were often clear-cut champions of good. Sam Spade shattered that mold. He is sleeping with his late partner’s wife, he is mercenary about his fees, and at the end of the novel, he turns the woman he loves (and desires) over to the police because, as he tells her, “I’m not going to play the sap for you.”

Hammett teaches us that a protagonist doesn’t need to be likable to be compelling. They need to have a code. Spade’s code isn’t about traditional morality; it’s about professional pride and survival in a corrupt world.

What We Can Learn:

  • Embrace Moral Grey Areas: Flawed protagonists are infinitely more relatable and realistic than paragons of virtue.
  • Define Your Character’s Code: Even if your character is a scoundrel, they must have lines they refuse to cross. This creates internal tension and reader loyalty.

Final Takeaway: Read Hammett Like a Blueprint

Dashiell Hammett didn’t just write pulp detective stories; he wrote literature that exposed the anxieties of modern life through the lens of crime.

By studying The Maltese Falcon, writers can learn how to strip away narrative fat. Through vivid, objective descriptions, you can ground your readers in reality, and through rigorous, cause-and-effect plotting, you can keep them turning the pages late into the night.

The falcon may have been a fake, but the lessons Dashiell Hammett left behind are the real deal.


Are you a fan of classic noir? What is your favorite Dashiell Hammett novel? Let us know in the comments below!

…

First Dig Two Graves

A sequel to “The Devil You Don’t”

…

Revenge is a dish best served cold – or preferably so when everything goes right

Of course, it rarely does, as Alistair, Zoe’s handler, discovers to his peril. Enter a wildcard, John, and whatever Alistair’s plan for dealing with Zoe was dies with him.

It leaves Zoe in completely unfamiliar territory.

…

John’s idyllic romance with a woman who is utterly out of his comfort zone is on borrowed time. She is still trying to reconcile her ambivalence after being so indifferent for so long.

They agree to take a break, during which she disappears. John, thinking she has left without saying goodbye, refuses to accept the inevitable and calls on an old friend for help in finding her.

After the mayhem and being briefly reunited, she recognises an inevitable truth: there is a price to pay for taking out Alistair; she must leave and find them first, and he would be wise to keep a low profile.

But keeping a low profile just isn’t possible, and enlisting another friend, a private detective and his sister, a deft computer hacker, they track her to the border between Austria and Hungary.

What John doesn’t realise is that another enemy is tracking him to find her too. It could have been a grand tour of Europe. Instead, it becomes a race against time before enemies old and new converge for what will be an inevitable showdown.

365 Days of Writing, 2026 – 245

Day 245 – Vivid Descriptions

…

What Dashiell Hammett’s The Maltese Falcon Teaches Us About Plotting and Vivid Description

When we talk about the titans of American crime fiction, one name towers above the rest: Dashiell Hammett. Before Raymond Chandler gave us poetic metaphors, and long before modern thriller writers cluttered pages with convoluted twists, Hammett stripped the genre down to its bone and sinew.

At the center of his legacy is The Maltese Falcon (1930). Beyond its status as the quintessential noir novel, The Maltese Falcon is a masterclass in two distinct literary arts: exemplary plotting and vivid, objective description.

If you are a writer looking to sharpen your craft, or simply a lover of brilliant storytelling, Hammett’s seminal work offers invaluable lessons. Let’s dive into the anatomy of The Maltese Falcon and explore what we can learn from the man who revolutionised modern fiction.


1. The Power of the Objective Eye (Vivid Description Through Action)

Many aspiring writers believe that “vivid description” means loading a paragraph with purple prose, elaborate metaphors, and sweeping adjectives. Hammett proves the exact opposite.

As a former operative for the Pinkerton National Detective Agency, Hammett wrote what he knew. His descriptions are rooted in strict realism. He doesn’t tell us how a character feels; he shows us how they move, how they dress, and how they react to their environment.

The Iconic Introduction of Sam Spade

Look at how Hammett introduces his protagonist, private investigator Sam Spade, in the opening pages:

“Spade’s blondish gray hair was cut short, made his head-top look like a rose-bush with the blossoms clipped off. Eyes-yellow-gray—were small and wary. His chin prominent and hard… He sat reading a newspaper with a hard-boiled unconcern.”

Notice what’s missing? There is no deep internal monologue explaining Spade’s moral ambiguity. Instead, Hammett uses concrete, sharp imagery—”hard,” “wary,” “blossoms clipped off”—to paint a picture that lets the reader’s imagination do the heavy lifting.

What We Can Learn:

  • Show, Don’t Preach: Let your characters’ physical traits and micro-actions reveal their inner psychology.
  • Precision Over Poetry: Choose nouns and verbs that pack a punch. Instead of saying a room was messy, describe the exact placement of the half-empty highball glass and the unread mail.
  • Behavior as Characterization: Hammett understood that in high-stakes environments, people reveal themselves through posture, tics, and glances, not soliloquies.

2. The Architecture of Exemplary Plotting

A common trap in genre fiction is the “plot maze”—where authors add twists just to confuse the reader, resulting in a narrative that collapses under its own weight. The Maltese Falcon avoids this by treating its plot like a piece of precision machinery. Every scene moves the ball forward, and every character has a distinct, driving motivation.

The plot kicks off when Brigid O’Shaughnessy (disguised as “Miss Wonderley”) walks into Spade’s office with a lie. From that moment, a chain reaction of greed is set in motion, drawing in a colourful rogues’ gallery: Kasper Cairo, Joel Cairo, and the ominous Kasper Gutman (the “Fat Man”).

They are all hunting the elusive, jewel-encrusted black bird. But the falcon itself is famously a MacGuffin—an object that drives the plot forward while ultimately holding no intrinsic value.

What We Can Learn:

  • Character-Driven Plotting: Hammett doesn’t force his characters to do unnatural things just to make a plot twist work. The plot is an inevitable collision course driven by greedy, desperate people all chasing the same prize.
  • Master the MacGuffin: Give your characters a focal point of desire, but remember that the pursuit of the object is always more interesting than the object itself. The tension comes from the shifting alliances and betrayals among the hunters.
  • Tight Causality: In a well-plotted story, Scene A must lead directly to Scene B, connected by either “therefore” or “but”—never “and then.” Hammett ensures that every lie told and every body dropped has immediate consequences for Sam Spade.

3. The Enigma of the Protagonist (Ambiguity is Magnetic)

Traditional heroes up to that point were often clear-cut champions of good. Sam Spade shattered that mold. He is sleeping with his late partner’s wife, he is mercenary about his fees, and at the end of the novel, he turns the woman he loves (and desires) over to the police because, as he tells her, “I’m not going to play the sap for you.”

Hammett teaches us that a protagonist doesn’t need to be likable to be compelling. They need to have a code. Spade’s code isn’t about traditional morality; it’s about professional pride and survival in a corrupt world.

What We Can Learn:

  • Embrace Moral Grey Areas: Flawed protagonists are infinitely more relatable and realistic than paragons of virtue.
  • Define Your Character’s Code: Even if your character is a scoundrel, they must have lines they refuse to cross. This creates internal tension and reader loyalty.

Final Takeaway: Read Hammett Like a Blueprint

Dashiell Hammett didn’t just write pulp detective stories; he wrote literature that exposed the anxieties of modern life through the lens of crime.

By studying The Maltese Falcon, writers can learn how to strip away narrative fat. Through vivid, objective descriptions, you can ground your readers in reality, and through rigorous, cause-and-effect plotting, you can keep them turning the pages late into the night.

The falcon may have been a fake, but the lessons Dashiell Hammett left behind are the real deal.


Are you a fan of classic noir? What is your favorite Dashiell Hammett novel? Let us know in the comments below!

…

Another excerpt from ‘Betrayal’; a work in progress

…

My next destination in the quest was the hotel we believed Anne Merriweather had stayed at.

I was, in a sense, flying blind because we had no concrete evidence she had been there, and the message she had left behind didn’t quite name the hotel or where Vladimir was going to take her.

Mindful of the fact that someone might have been following me, I checked to see if the person I’d assumed had followed me to Elizabeth’s apartment was still in place, but I couldn’t see him. Next, I made a mental note of seven different candidates and committed them to memory.

Then I set off to the hotel, hailing a taxi. There was the possibility that the cab driver was one of them, but perhaps I was slightly more paranoid than I should be. I’d been watching the queue, and there were two others before me.

The journey took about an hour, during which time I kept an eye out the back to see if anyone had been following us. If anyone was, I couldn’t see them.

I had the cab drop me off a block from the hotel and then spent the next hour doing a complete circuit of the block the hotel was on, checking the front and rear entrances, the cameras in place, and the siting of the driveway into the underground carpark. There was a camera over the entrance, and one we hadn’t checked for footage. I sent a text message to Fritz to look into it.

The hotel lobby was large and busy, which was exactly what you’d want if you wanted to come and go without standing out. It would be different later at night, but I could see her arriving about mid-afternoon, and anonymous among the clientele the hotel attracted.

I spent an hour sitting in various positions in the lobby simply observing. I had already ascertained where the elevator lobby for the rooms was, and the elevator down to the car park. Fortunately, it was not ‘guarded’, but there was a steady stream of concierge staff coming and going to the lower levels, and, just from time to time, guests.

Then, when there was a commotion at the front door, what seemed to be a collision of guests and free-wheeling bags, I saw one of the seven potential taggers sitting by the front door. Waiting for me to leave? Or were they wondering why I was spending so much time there?

Taking advantage of that confusion, I picked my moment to head for the elevators that went down to the car park, pressed the down button, and waited.

There was no car on the ground level, so I had to wait, watching, like several others, the guests untangling themselves at the entrance, and keeping an eye on my potential surveillance, still absorbed in the confusion.

The doors to the left car opened, and a concierge stepped out, gave me a quick look, then headed back to his desk. I stepped into the car, pressed the first level down, the level I expected cars to arrive on, and waited what seemed like a long time for the doors to close.

As they did, I was expecting to see a hand poke through the gap, a latecomer. Nothing happened, and I put it down to a television moment.

There were three basement levels, and for a moment, I let my imagination run wild and considered the possibility that there were more levels. Of course, there was no indication on the control panel that there were any other floors, and I’d yet to see anything like it in reality.

With a shake of my head to return to reality, the car arrived, the doors opened, and I stepped out.

A car pulled up, and the driver stepped out, went around to the rear of his car, and pulled out a case. I half expected him to throw me the keys, but the instant glance he gave me told him he was not the concierge, and instead he brushed past me like I wasn’t there.

He bashed the up button several times impatiently and cursed when the doors didn’t open immediately. Not a happy man.

Another car drove past on its way down to a lower level.

I looked up and saw the CCTV camera, pointing towards the entrance, visible in the distance. A gate that lifted up was just about back in position, then clunked when it finally closed. The footage from the camera would not prove much, even if it had been working, because it didn’t cover the lift lobby, only what was in the direction of the car entrance.

The doors to the other elevator car opened, and a man in a suit stepped out.

“Can I help you, sir? You seem lost.”

Security, or something else. “It seems that way. I went to the elevator lobby, got in, and it went down rather than up. I must have been in the wrong place.”

“Lost it is, then, sir.” I could hear the contempt for Americans in his tone. “If you will accompany me, please.”

He put out a hand ready to guide me back into the elevator. I was only too happy to oblige him. There had been a sign near the button panel that said the basement levels were only to be accessed by the guests.

Once inside, he turned a key and pressed the lobby button. The doors closed, and we went up. He stood, facing the door, not speaking. A few seconds later, he was ushering me out to the lobby.

“Now, sir, if you are a guest…”

“Actually, I’m looking for one. She called me and said she would be staying in this hotel and to come down and visit her. I was trying to get to the sixth floor.”

“Good. Let’s go over to the desk and see what we can do for you.”

I followed him over to the reception desk, where he signalled one of the clerks, a young woman who looked and acted very efficiently, and told her of my request, but then remained to oversee the proceeding.

“Name of guest, sir?”

“Merriweather, Anne. I’m her brother, Alexander.” I reached into my coat pocket and pulled out my passport to prove that I was who I said I was. She glanced cursorily at it.

She typed the name into the computer, and then we waited a few seconds while it considered what to output. Then, she said, “That lady is not in the hotel, sir.”

Time to put on my best-confused look. “But she said she would be staying here for the week. I made a special trip to come here to see her.”

Another puzzled look from the clerk, then, “When did she call you?”

An interesting question to ask, and it set off a warning bell in my head. I couldn’t say today, it would have to be the day she was supposedly taken.

“Last Saturday, about four in the afternoon.”

Another look at the screen, then, “It appears she checked out Sunday morning. I’m afraid you have made a trip in vain.”

Indeed, I had. “Was she staying with anyone?”

I just managed to see the warning pass from the suited man to the clerk. I thought he had shown an interest when I mentioned the name, and now I had confirmation. He knew something about her disappearance. The trouble was, he wasn’t going to volunteer any information because he was more than just hotel security.

“No.”

“Odd,” I muttered. “I thought she told me she was staying with a man named Vladimir something or other. I’m not too good at pronouncing those Russian names. Are you sure?”

She didn’t look back at the screen. “Yes.”

“OK, now one thing I do know about staying in hotels is that you are required to ask guests with foreign passports their next destination, just in case they need to be found. Did she say where she was going next?” It was a long shot, but I thought I’d ask.

“Moscow. As I understand it, she lives in Moscow. That was the only address she gave us.”

I smiled. “Thank you. I know where that is. I probably should have gone there first.”

She didn’t answer; she didn’t have to, her expression did that perfectly.

The suited man spoke again, looking at the clerk. “Thank you.” He swivelled back to me. “I’m sorry we can’t help you.”

“No. You have more than you can know.”

“What was your name again, sir, just in case you still cannot find her?”

“Alexander Merriweather. Her brother. And if she is still missing, I will be posting a very large reward. At the moment, you can best contact me via the American Embassy.”

Money is always a great motivator, and that thoughtful expression on his face suggested he gave a moment’s thought to it.

I left him with that offer and left. If anything, the people who were holding her would know she had a brother, that her brother was looking for her, and equally that brother had money.

…

© Charles Heath – 2018-2025