365 Days of Writing, 2026 – 220/221

Days 220 and 221 – Writing Exercise

…

It was always the same answer, as it had been from the day I could ask questions: “Who was Uncle Robert?”

My mother was always the first to speak, as he was one of her mother’s siblings, saying he was the black sheep, the one who went down in a hail of bullets.

If that sounded dubious, the next part cemented that remark: that he had died a hero, saving a bus full of children

It was heroic, and he was my uncle, the original font of all things good about my mother’s family, even though once I grew up and understood the nuances of the English language, I also knew what sarcasm was, and how it applied to him.

My mother and two of my aunts on her side, when thinking they were alone and talking about him, dropped a trail of breadcrumbs that said he was a criminal somewhere in Chicago and if he wasn’t already dead, he should be.

That meant a lot.  And it was curious to us children that we should stop asking terrible questions about a man who no longer existed.

Over succeeding years, I tried, but it wasn’t easy because there was always someone inadvertently mentioning his name.

But as the years passed, and I started digging into the genealogical aspect of our family, a chance discovery of a ‘lost’ aunt on my mother’s side who was living on the other side of the country, Charlotte, told me her brother, my uncle, was not dead but very clearly alive.

And what’s more, she gave me his address.

And as soon as I was old enough to travel on my own, I got on the plane and went to Cincinnati.  It was, I discovered, where all the members of my mother’s family came from.

…

Considering where we lived in Arizona, a not-so-large town in the Southwest, Cincinnati was eye-opening.  To me, it was a big city, but not as big as Tucson or New York, where my older sister had gone, but enough to show there was a whole different world out there when I was ready to greet it.

At this time I just wanted to say hello and confirm that the mystery that had hung around for years was not a mystery at all, and then go home.

Of course things were never that simple.  It might have been simple if I had a plan, but all the plan was; was to get from the airport to the house where my potential uncle lived.

And to find out why he had been shunned, or more likely why he had shunned us.

Until I knocked on the door and a boy who looked exactly like me opened it.

“My God,” was his first comment.  It was followed by, “Well, aren’t you the clever one, then.”

Until that exact moment, I was not sure what I was fishing for, perhaps a slightly complimentary remark.  Charlotte had said the uncle was a bit of a smarty pants.  He’d obviously passed that on to his son.

“Is your father here?”

I knew who my uncle was because Charlotte had shown me his photo, and I had rung ahead to let him know who I was and what part in the family I was related. 

He hadn’t seemed impressed that I existed or that he cared whether he knew me or not, though I did detect a slight curiosity in his tone.

He asked only one question.   Was I visiting him of my own volition or had my mother told me to come?  I said that it was a result of my ancestry search that I’d discovered him, and I’d not told my mother anything about this visit.

I had assumed that telling my mother where I was going would set her off, after running a test scenario that just had his name on the tip of my tongue.  Something bad must have happened a long time ago, and it was so bad they stopped talking.

Perhaps I would have to mend some bridges.  After the meeting, of course, and if we dismissed the idea of killing our contemporaries to keep a secret.

There was a story to be had, and once I stepped over that threshold, I was determined to get it, or at the very least, the truth.

I didn’t feel too sanguine, though, just outside the front door, and in a moment of realising that it was quite possible I would not get over the first hurdle. 

I was looking at the uncle’s son’s not-backing-down expression, so I had to consider that first effort might all come to nothing, but perseverance was the ticket to this mission, not failure. 

Until another of my aunts, one I didn’t readily recognise, came down the stairs just inside the doorway.  She stopped on the last step, then put a hand on the boy’s shoulder.

Was she about to send me on my way?  She gave me an up-and-down look.  “You don’t look like your mother.”

“You don’t look like my mother, and you are supposed to be a sister.”

“Obviously your mother didn’t teach you about insolence.  You should go back to where you came from.”

“They don’t know I’m here, and I didn’t tell them.  I didn’t come to see you; I came to see my uncle.  Is he here or is he playing hide and seek?”

“You can leave now.”  She said.

A man came down the stairs and brushed past her.  There was no doubting who he was.

“You’re as feisty as your mother.  Jack, isn’t it?”

“It is.”

He came out the door and closed it behind him.  “Let’s walk.  I wouldn’t worry too much about them.  Annabel is your mother’s twin sister, the one she doesn’t talk about.  It will no doubt answer that question you have about the boy looking like you.”

“I wasn’t going to ask.”

“You were.  What made you think there was a long-lost uncle?”

“The way my mother talks about a part of her life that seems like a made-up story.  How many siblings were there?”

“Fourteen.  Same father, two different women, sisters.  Your grandfather married Elsie first and had eight children, including your mother and Annabel, the last two of the eight, and after they were born Elsie died from afterbirth complications, then he married Agnes, Elsie’s younger sister, and had six more of which I was the first.  Your mother and Amnabel were blamed for her death; each blamed the other, and then the family fractured.”

…

We ended up in a cafe and the story took three cups of coffee.

The grandparents, the marriages, the family fractures, the children, and loss.  Perhaps I was too young to understand the nuances of family, other than my father’s edit that family was supposed to be everything, a hard tenet to follow given how my mother was the complete antithesis of it.

It was why I only assumed there were eight siblings: my mother and her older brothers and sisters, the evil sister Annabel, not knowing Annabel was her twin, and this other bunch of people that I thought belonged to another branch of the family.

My mother never assimilated with her father, and I knew that her mother was dead, but she never seemed to mention her with any fondness. 

No surprise.  She had never got to meet her at the point where she could bond with her or remember her.  She only had a stepmother, though she never mentioned her.  In fact, she rarely mentioned her life before marrying my father, and he seemed quite at home not mentioning her parents either.

The only people both my siblings and I knew were the grandparents on my father’s side.

Now I had a more detailed understanding of mt mothers whole family, and some of the reasons why she never mentioned them.

I could understand why Annabel hated me; she hated her twin, who had been born in a house that treated them badly.  I could not imagine what it would be like to be blamed by everyone for the death of their mother.

Even when it was not their fault, as my uncle had gone out of his way to find the truth and try for years to repair the fractures.

By the time I got back on the plane to go home, two days later, and after sitting at the table with my other six aunts and uncles, I was not sure whether I should be pleased or disappointed I’d found out the family secret.

…

When I walked in the door, back home, and feeling exhausted from the long trip, I wasn’t expecting to walk into a minefield.

My mother was standing in the hallway, arms crossed, and looking black as thunder.

Melanie.  The sister who could never keep a secret.  I had to tell someone in case there was a problem while I was away.

I guess if there was a chance to score points, she would take it.

“You went to Cincinnati?”

It was a statement, not a question.

My father, or anyone else who was around, had seen the storm brewing and left to find a safe haven.

“I did.  Part of this deep desire to see something of this great country I live in.  Maybe next month I’ll go to Texas.”  Better to be flippant.

“So Cincinnati was just a spot like pinning the tail on the donkey?”

“No.  It seemed significant, like you mentioning it with loathing.  I wanted to find out if it was as bad as you seem to think it is.”

“You have no idea what I think.”

“Actually, I think I might have some idea.  I met your twin sister, the evil Annabel.  I get it, by the way.  Sisters can be shitty to one another, and I imagine that can only intensify with a twin.  It’s amusing to discover she had exactly the same loathing of you, which makes it quite funny.”

“It’s not.”

“It is.  After all the times you told me I had to be nice to my siblings, you went and did the exact opposite.  Did Dad know you were one of fourteen?”

“I told him my father was in a mental home and my mother was dead.  I’d like it to stay that way.”

“Why?”

“Because it was better that way.”  The black clouds were passing, and the edge had gone out of her tone.  She was still angry but not as much.

“You spoke to Anthony?”

“You knew he was still in Cincinnati?”

“Of course.  He is my stepbrother, perhaps the only one worth talking to, and the only one who took the time to find the truth.”

“And you knew Annabel was staying with him?”

“You went to the home we were brought up in.  She was never going to leave him, married or otherwise.  You would have met your doppelganger Eric, too.”  She shrugged.  “She dated your father for the whole of high school, got pregnant, which, given the type of girl she was, surprised no one.  It’s why he looks like you; he’s your father’s illegitimate child.  He invited her to the prom, and she got sick, and told me to go with him instead so another girl wouldn’t steal him from her.”

I could see how that would work.  “Except…”

“He preferred me.  One night it took.  The Prom.  She was a bitch at the best of times.  I wasn’t.  You can only put up with that stuff for so long.  But there was the pregnancy and the obligation.  Our parents expected him to do the right thing.  He didn’t.”

I could see now why Annabel hated her.  Bad choices and expectations.

She continued, “To make things easier for her, I left home, came here, told him he had to marry her, but he said he’d made his bed, asked me to marry him.  I said no.  He eventually married her, the child was born, and then they divorced.  She cheated on him, not surprising.  A year later, your father came here, asked me again, and I said yes.  She hated me ever since.  The guy she ended up with was better for her, but you could never tell her anything.  She blew that marriage up too, by the way.”

I had some experience in breaking up with a first love.  The next was never the same, even after you got over that broken heart, which I didn’t think I had.

“I’m sure there’s a moral in this story somewhere.  If anything, given my family, perhaps it’s better not to get married, or if you do, stick to one wife, and not have eight, six or fourteen kids.  And not marry a twin.”

I thought i saw the beginnings of a smile.  I could have been mistaken.

“What are you going to do with this newfound knowledge?”

“Talk to the aunts and uncles I know about the aunts and uncles they quite clearly knew about but never spoke about because of you.”

“Not me exactly.  Out of deference to me.  They regretted blaming us for our mother’s death, because at that age everything was more intense and easily explained in a child’s head, aside from our father hammering it in because of his own misery.

It was what it was.  I should have handled it better, but I didn’t.  Perhaps in some small way, you doing what you just did might be the first step along a long path back.  If you want, invite Anthony to come and visit you.  See what he says.”

I knew what he would say, but I wasn’t going to tell her.

I’d let that be a surprise.

…

©  Charles Heath  2026

What I learned about writing – The Unwritten Prologue

The Unwritten Prologue: How Natural-Born Writers Knew Their Story Begun

Every great writer’s journey has a beginning, often buried in the imagination long before they held a pencil. These are the natural-born writers—those who were storytellers at their core before they could write a single word. They didn’t wait for spelling lessons or grammar rules; their stories flowed in the language of play, whispers of narrative, and the cadence of their own dreams. How did they know, and how did they craft their art without ink or paper? Let’s explore the enchanted first chapters of these visionary creators.


The Pre-Writing Stage: Stories Before Writing

Long before literacy, natural writers are oral storytellers. They might have been the child inventing tales for stuffed animals, reenacting myths with wooden swords, or narrating their day to an invisible audience. Their imagination is a stage, and the world their audience. Even without words, they convey emotion through sound, gesture, and rhythm. Think of a toddler saying, “She took the cookie and ran like a princess” to a doll. That’s not just play—it’s storytelling in its rawest form.

Similarly, a love for language often emerges early. These writers-in-the-making are the ones “reading” picture books repeatedly, experimenting with invented words, or collecting poetry in their minds. They’re attuned to the music of language, humming stories to themselves before they can write them.


Signs of a Natural-Born Writer

  1. Compulsive Storytelling: They create worlds in play, crafting elaborate scenarios with toys or friends.
  2. Early Fascination with Letters and Sounds: They recognise letters before starting school, perhaps scribbling “I don’t know what this letter is, but it’s magic!”
  3. Imaginative Interpretations of Reality: They reimagine everyday events as adventures, turning a walk to the park into a quest.
  4. Emotional Resonance with Stories: They weep for characters in bedtime tales, proving they deeply connect with narrative.

From Oral to Written: How They Paved the Way

Natural-born writers often transition from oral to written storytelling with relentless curiosity. J.K. Rowling, for instance, has spoken about inventing stories as a child to amuse herself and her brother. Dr. Seuss’s rhymes as a child (and his iconic use of sound) hint at a writer born not just to write, but to make language sing.

Before formal training, these writers might:

  • Tell stories to family, refining their tales through feedback.
  • Use drawings or symbols, creating “books” with pictures and cryptic text.
  • Mime scenes, acting out dialogue as their own script.
  • Memorise and adapt fables, internalising the structure of storytelling.

Even without words, they’re practising the essence of writing: character, conflict, and craft. As Maya Angelou once said, “The writer’s biggest problem is always, to say something; to say it fresh; to say it in a way that it’s never been said before.” Natural writers are solving this puzzle long before they put pen to paper.


Case Study: Tolkien and the Power of Myth

J.R.R. Tolkien’s passion for languages and mythology began in childhood. Before he wrote The Hobbit, he crafted his own languages and sagas, scribbling in notebooks with imagined alphabets. His parents called him “a reader and a teller of tales from a very early age.” Without the ability to write fully, he likely told stories orally, nurturing the mythologies that later defined modern fantasy.


The Legacy of the Unwritten

Natural-born writers learn that storytelling is a muscle—grow it before you can spell narrative. Their journey teaches us that being a writer isn’t about talent alone, but about telling the story that only you can tell, regardless of tools. A child speaking to a toy, a teen journaling in code, or an adult crafting tales in their head—these are all valid forms of the writer’s craft.


To the Young (and Young at Heart) Writers

If you’ve ever built a castle in the clouds or whispered secrets to your teddy bear, embrace it. You are already a writer. Your letters may not be formed, your grammar unlearned, but your voice is real. As you grow, let those early stories guide you. The greats started with nothing more than a dream and a desire to share it.

So, tell your tale. Even if it’s just to the moon. Even if it’s all in your head. You’re already writing.


What story do you carry in your heart before it’s written down? Let it out. The world needs to hear it.

365 Days of writing, 2026 – Beyond the second novel

Creating a dynasty

…

Crafting Epic Bloodlines: How to Use Real Genealogy to Build a Multi-Generation Book Series

How to Build a Book Dynasty Series Using Real Genealogy Meta Description: Writing a multi-generation book series? Discover how studying real family trees and genealogy can help you plot realistic time intervals, family dynamics, and historical ties.

When you set out to write a book series that spans generations—whether it’s a sweeping historical epic, a multigenerational sci-fi saga, or a sprawling fantasy family curse—you aren’t just plotting a story. You are playing the role of God, historian, and architect rolled into one.

You have to create a dynasty.

And building a believable, breathing dynasty is harder than it looks. It’s easy to fall into the trap of treating descendants like interchangeable action figures, or worse, messing up the timeline so drastically that a grandmother and granddaughter end up looking like college roommates.

So, how do you fix this? Where do you find the blueprint for generational momentum?

The secret weapon hiding in plain sight is genealogy. By studying real family trees—especially your own ancestry—you can unlock the secret rhythms of time, inheritance, and human connection that will make your fictional dynasty feel startlingly real.

Here is how to use real genealogy as a masterclass in world-building for your next multi-novel series.


1. Stealing Time: Mapping Realistic Intervals

One of the biggest pitfalls in writing a multi-generational series is temporal whiplash. Authors often guess how time passes between generations, leading to biological impossibilities or unnatural pacing.

Real genealogy solves this by providing hard, empirical data on human biology and historical timelines.

  • The Math of Motherhood: Historically, women didn’t have children evenly spaced every ten years; generations often clustered tightly or stretched wide depending on war, famine, and economics. Look at your own family tree. Notice the average age at which women had their first child, and when the last child was born.
  • The “Generation Gap”: In the 19th century, a new generation might arrive every 20 to 25 years because people married and started families much younger. In modern times, that stretch often pushes past 30. Aligning your fictional timeline with realistic biological intervals prevents your characters from aging too fast—or suspiciously slow.
  • Leapfrogging Eras: Genealogy teaches you about overlap. Did a grandfather live long enough to meet his grandson, or did he pass away a decade before the child was even born? That gap creates built-in narrative tension: characters shaped by the ghosts of ancestors they never physically met.

2. Uncovering the Ties That Bind (and Break)

Real families are messy. When you look back at census records, immigration papers, and old wills, you start to see patterns of human behaviour that no plotting manual can teach you.

When building your fictional dynasty, ask yourself what historical forces are pulling your ancestors—and by extension, your characters—together or tearing them apart:

  • The Economics of Inheritance: Look at old property deeds or probate records. Who got the land? Who got cut out? Financial pressure is the engine of family drama. In your series, how does the passing of an estate change the power dynamics between siblings in Book 2 versus Book 4?
  • Forced Migration and Diaspora: Did your ancestors move across countries or continents? What triggered it? Was it a potato famine, a gold rush, or a shifting border? Use these real-world catalysts to drive your characters across your fictional map. A dynasty isn’t born in a vacuum; it is shaped by geography and displacement.
  • The Black Sheep and Forgotten Branches: Every family tree has a branch that simply disappears from the records—someone who ran away to sea, changed their last name, or was disowned. These historical mysteries are goldmines for fiction. In a multi-novel series, a “lost” ancestor from Book 1 can become the inciting incident or the mysterious benefactor in Book 5.

3. Genetics, Culture, and the “Ghost” of the Ancestor

In a long-running book series, characters need to feel like they belong to the same lineage, even if they never share a page together. Genealogy gives you the tools to weave cultural and genetic DNA through your cast.

  • Recurring Naming Conventions: Look at real family trees, and you’ll notice names recycling every generation—the eldest son is always a Thomas, or middle daughters are named after grandmothers. Doing this in fiction creates an immediate subconscious link for the reader. When Book 3 features a fierce, rebellious character named Elinor II, the reader instantly remembers the original Elinor from the founding novel.
  • Generational Trauma and Triumph: Real-world genealogy often reveals overarching themes. One branch of the family might consistently marry into military families, while another works the land for centuries. Use these ancestral echoes in your writing. If the founding patriarch was a liar and a cheat, how does that “stain” manifest in the great-great-granddaughter three books down the line? Is she desperately trying to overcompensate, or is it in her blood?

How to Start Your Research (Even If You Aren’t Writing Historical Fiction)

You might be thinking: “My series is high fantasy with dragons; how does my great-grandfather’s immigration record help me?”

The setting changes, but the human element does not.

  1. Build a Fictional Family Tree First: Before you write a single chapter of Book 1, map out four or five generations of your dynasty. Use genealogy software (like Ancestry, Scrivener’s corkboard, or even a giant piece of butcher paper) to track births, deaths, marriages, and major life events.
  2. Consult Your Own Past: Pull up your own family tree or talk to older relatives. Ask them about the family lore. What was the biggest scandal? Who lost the family fortune? Who was the black sheep? Truth is almost always stranger—and more creatively inspiring—than fiction.
  3. Impose Historical Pressure Points: Just as real families had to navigate wars, depressions, and industrial revolutions, your fictional families must navigate the magical equivalents: the breaking of a covenant, a shifting pantheon, an economic collapse driven by new technology, or a plague.

The Payoff: A Dynasty That Feels Alive

When readers invest in a multi-novel series, they want to feel the weight of history. They want to see how the choices made by a desperate ancestor in a dusty prologue ripple forward to alter the fate of a panicked descendant in the explosive finale.

By turning to genealogy—by studying how real people lived, loved, migrated, and died across the spans of time—you stop guessing. You start building a bloodline that feels heavy, authentic, and utterly unforgettable.

Now, open up your family tree, look at the gaps in the timeline, and start writing your epic.

…

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 – Beyond the second novel

Creating a dynasty

…

Crafting Epic Bloodlines: How to Use Real Genealogy to Build a Multi-Generation Book Series

How to Build a Book Dynasty Series Using Real Genealogy Meta Description: Writing a multi-generation book series? Discover how studying real family trees and genealogy can help you plot realistic time intervals, family dynamics, and historical ties.

When you set out to write a book series that spans generations—whether it’s a sweeping historical epic, a multigenerational sci-fi saga, or a sprawling fantasy family curse—you aren’t just plotting a story. You are playing the role of God, historian, and architect rolled into one.

You have to create a dynasty.

And building a believable, breathing dynasty is harder than it looks. It’s easy to fall into the trap of treating descendants like interchangeable action figures, or worse, messing up the timeline so drastically that a grandmother and granddaughter end up looking like college roommates.

So, how do you fix this? Where do you find the blueprint for generational momentum?

The secret weapon hiding in plain sight is genealogy. By studying real family trees—especially your own ancestry—you can unlock the secret rhythms of time, inheritance, and human connection that will make your fictional dynasty feel startlingly real.

Here is how to use real genealogy as a masterclass in world-building for your next multi-novel series.


1. Stealing Time: Mapping Realistic Intervals

One of the biggest pitfalls in writing a multi-generational series is temporal whiplash. Authors often guess how time passes between generations, leading to biological impossibilities or unnatural pacing.

Real genealogy solves this by providing hard, empirical data on human biology and historical timelines.

  • The Math of Motherhood: Historically, women didn’t have children evenly spaced every ten years; generations often clustered tightly or stretched wide depending on war, famine, and economics. Look at your own family tree. Notice the average age at which women had their first child, and when the last child was born.
  • The “Generation Gap”: In the 19th century, a new generation might arrive every 20 to 25 years because people married and started families much younger. In modern times, that stretch often pushes past 30. Aligning your fictional timeline with realistic biological intervals prevents your characters from aging too fast—or suspiciously slow.
  • Leapfrogging Eras: Genealogy teaches you about overlap. Did a grandfather live long enough to meet his grandson, or did he pass away a decade before the child was even born? That gap creates built-in narrative tension: characters shaped by the ghosts of ancestors they never physically met.

2. Uncovering the Ties That Bind (and Break)

Real families are messy. When you look back at census records, immigration papers, and old wills, you start to see patterns of human behaviour that no plotting manual can teach you.

When building your fictional dynasty, ask yourself what historical forces are pulling your ancestors—and by extension, your characters—together or tearing them apart:

  • The Economics of Inheritance: Look at old property deeds or probate records. Who got the land? Who got cut out? Financial pressure is the engine of family drama. In your series, how does the passing of an estate change the power dynamics between siblings in Book 2 versus Book 4?
  • Forced Migration and Diaspora: Did your ancestors move across countries or continents? What triggered it? Was it a potato famine, a gold rush, or a shifting border? Use these real-world catalysts to drive your characters across your fictional map. A dynasty isn’t born in a vacuum; it is shaped by geography and displacement.
  • The Black Sheep and Forgotten Branches: Every family tree has a branch that simply disappears from the records—someone who ran away to sea, changed their last name, or was disowned. These historical mysteries are goldmines for fiction. In a multi-novel series, a “lost” ancestor from Book 1 can become the inciting incident or the mysterious benefactor in Book 5.

3. Genetics, Culture, and the “Ghost” of the Ancestor

In a long-running book series, characters need to feel like they belong to the same lineage, even if they never share a page together. Genealogy gives you the tools to weave cultural and genetic DNA through your cast.

  • Recurring Naming Conventions: Look at real family trees, and you’ll notice names recycling every generation—the eldest son is always a Thomas, or middle daughters are named after grandmothers. Doing this in fiction creates an immediate subconscious link for the reader. When Book 3 features a fierce, rebellious character named Elinor II, the reader instantly remembers the original Elinor from the founding novel.
  • Generational Trauma and Triumph: Real-world genealogy often reveals overarching themes. One branch of the family might consistently marry into military families, while another works the land for centuries. Use these ancestral echoes in your writing. If the founding patriarch was a liar and a cheat, how does that “stain” manifest in the great-great-granddaughter three books down the line? Is she desperately trying to overcompensate, or is it in her blood?

How to Start Your Research (Even If You Aren’t Writing Historical Fiction)

You might be thinking: “My series is high fantasy with dragons; how does my great-grandfather’s immigration record help me?”

The setting changes, but the human element does not.

  1. Build a Fictional Family Tree First: Before you write a single chapter of Book 1, map out four or five generations of your dynasty. Use genealogy software (like Ancestry, Scrivener’s corkboard, or even a giant piece of butcher paper) to track births, deaths, marriages, and major life events.
  2. Consult Your Own Past: Pull up your own family tree or talk to older relatives. Ask them about the family lore. What was the biggest scandal? Who lost the family fortune? Who was the black sheep? Truth is almost always stranger—and more creatively inspiring—than fiction.
  3. Impose Historical Pressure Points: Just as real families had to navigate wars, depressions, and industrial revolutions, your fictional families must navigate the magical equivalents: the breaking of a covenant, a shifting pantheon, an economic collapse driven by new technology, or a plague.

The Payoff: A Dynasty That Feels Alive

When readers invest in a multi-novel series, they want to feel the weight of history. They want to see how the choices made by a desperate ancestor in a dusty prologue ripple forward to alter the fate of a panicked descendant in the explosive finale.

By turning to genealogy—by studying how real people lived, loved, migrated, and died across the spans of time—you stop guessing. You start building a bloodline that feels heavy, authentic, and utterly unforgettable.

Now, open up your family tree, look at the gaps in the timeline, and start writing your epic.

…

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

What I learned about writing – The Doyen of Noir

What Raymond Chandler’s Life, Style, and Philip Marlowe Teach Us About Storytelling

…

When you think of classic American crime fiction, the name that instantly flickers to mind is Raymond Chandler – the heavyweight champion of hard‑boiled noir whose razor‑sharp prose still feels fresh after more than eighty years. Chandler didn’t just write detective stories; he invented a literary atmosphere that turned a gritty, rain‑slick Los Angeles into a character in its own right and gave us the unforgettable gumshoe Philip Marlowe.

But behind the sleek dialogues and smoky tavern scenes lay a life riddled with missteps, self‑destruction, and surprising twists. By digging into Chandler’s history, his flaws, and his unmistakable style, we can extract timeless lessons for writers, marketers, and anyone who wants to make an impact with words.


1. A Rocky Road to the Pen

MilestoneWhat HappenedWhy It Matters
Early Years (1888‑1912)Born in Chicago, moved to Colorado, a peripatetic childhood. Lost his mother at 12 and was sent to live with relatives in England.Early displacement instilled a sense of alienation that later seeped into his urban landscapes.
Oil‑Field Engineer (1912‑1932)Spent two decades drilling in Texas and Mexico, clashing with corporate bureaucracy and the harsh desert.The “outsider‑against‑system” mindset is a core theme in his novels.
World War I ServiceServed in the U.S. Army, briefly, then returned to the oil business.Experience with hierarchy and authority fed his scepticism of power.
The Downward Spiral (1932‑1934)The Great Depression wrecked the oil market; Chandler’s marriage collapsed. He turned to alcohol, gambling, and a series of odd jobs.The personal chaos sharpened his eye for the darker side of human nature—fuel for the noir aesthetic.
Breakthrough with The Big Sleep (1939)At 49, Chandler finally published his first novel, introducing Marlowe.Proved it’s never too late to start a successful second career.

Takeaway: Chandler’s path to literary fame wasn’t a straight line. It was a series of failures, relocations, and personal battles that forced him to confront his own darkness. For creators, this teaches that authentic storytelling often springs from lived adversity—the harder the journey, the richer the material.


2. The Signature Chandler Style

a. The “Hard‑Boiled” Voice

  • Economy of Language: Chandler favoured short, punchy sentences that carried weight.
    Example: “She was a cheap, cheap girl, and the cheapness rubbed off on the rest of us.”
  • Wry Similes & Metaphors: He turned ordinary observations into unforgettable images.
    Example: “He looked as if he’d been run over by a train and then dragged through a sandstorm.”
  • Moral Ambiguity: The lines between good and evil are blurred; even the hero has flaws.

b. Los Angeles as a Character

  • Concrete Details: From neon signs to desert highways, Chandler painted the city with a painter’s precision.
  • Atmospheric Consistency: Rain, fog, and darkness aren’t just weather—they’re mood setters that echo the protagonist’s inner turmoil.

c. Dialogue That Cuts

  • Witty Banter: Conversations feel like chess matches—each line a strategic move.
  • Understatement: Frequently, what isn’t said speaks louder than the spoken word.

Takeaway: Chandler’s style is a masterclass in restraint. He shows us that brevity, vivid imagery, and a strong sense of place can create a world that feels larger than the sum of its pages.


3. Philip Marlowe: The Archetype That Still Resonates

TraitHow Chandler Crafted ItModern Echo
World‑Weary CynicMarlowe narrates with a mix of sarcasm and weary empathy.Anti‑heroes in film/TV (e.g., Breaking Bad, The Wire).
Moral CompassDespite his jaded outlook, Marlowe adheres to an internal code of honour.Brands that position themselves as “honest rebels” (e.g., Patagonia).
Lone WolfHe operates alone, sceptical of institutions.Freelance creatives, solopreneurs, and “maker” culture.
Sharp Observational SkillsHe notices the smallest details—a stray cigarette, a shaky handshake.Data‑driven marketers who derive insight from micro‑behaviors.

Marlowe’s lasting appeal lies in his human contradictions: tough yet tender, cynical yet idealistic. He’s a reminder that complex, flawed protagonists are far more compelling than flawless heroes.


4. What We Can Learn From Chandler’s Legacy

1. Embrace Your “Not‑So‑Great” Past

  • Your setbacks are a goldmine for narrative tension. Chandler turned his own bitterness into a voice that resonated with millions.
  • Practical tip: Keep a “failure journal.” Record moments that felt humiliating or painful; later, mine them for raw material.

2. Cultivate a Distinct Atmosphere

  • Whether you’re writing a novel or drafting a brand story, the setting is a silent storyteller.
  • Practical tip: Before writing, create a sensory map: list five smells, three sounds, and two visual motifs that define your world.

3. Write With the Economy of a Detective’s Pistol

  • Every word should earn its place. Trim the fluff, sharpen the similes, and let subtext do the heavy lifting.
  • Exercise: Take a paragraph you love and rewrite it using 30% fewer words without losing meaning.

4. Give Your Hero a Moral Compass, Even If It’s Bent

  • Audiences crave characters who stand for something, even if that something is a personal code that defies society.
  • Implementation: Define your protagonist’s “one rule they’ll never break” and let it guide every decision.

5. Let Dialogue Do the Detective Work

  • Bad dialogue is a dead giveaway of lazy writing. Let characters reveal plot, personality, and tension through how they speak—not just what they say.
  • Practice: Write a scene where two characters talk about a crime without mentioning the word “crime” at all.

5. Bringing It All Home: Your Own Noir Blueprint

StepActionOutcome
1. Harvest Personal GritList three moments of personal failure.Source of authentic conflict.
2. Choose a “City”Identify a physical or metaphorical setting that mirrors your theme.Creates immersive atmosphere.
3. Define the Hero’s CodeWrite a one‑sentence creed for your protagonist.Anchors moral ambiguity.
4. Draft with a “Marlowe Lens”Write every scene as if you’re a detective observing details.Boosts vividness and tension.
5. Polish for PunchCut words, sharpen similes, test dialogue for subtext.Delivers Chandler‑style impact.

Final Thoughts

Raymond Chandler’s journey from oil‑field engineer to the reigning monarch of noir proves that a writer’s personal turbulence can become a powerhouse of creativity. His blend of hard‑boiled prose, atmospheric detail, and a morally complex hero continues to shape everything from modern crime thrillers to brand narratives that crave authenticity.

If you can channel Chandler’s willingness to stare into his own darkness, harness it into a distinctive voice, and give your audience a world they can see, smell, and feel, you’ll not just write a story—you’ll craft an experience that endures.

Take a page from the master: own your scars, paint your city, and let your protagonist walk the line between the shadows and the light. The result? A story that, like Chandler’s, never truly fades.

365 Days of Writing, 2026 – 219

Day 219 – Writers must read

…

Study the Competition So You Can Beat Them: The Ultimate Guide to Competitive Intelligence

In the world of business, going in blind is a recipe for failure. Whether you are launching a startup, running an established e-commerce store, or creating content, you cannot operate in a vacuum.

If your goal is to grow your market share, increase conversions, and ultimately win, you need to know who you are up against. As the ancient military strategist Sun Tzu wrote in The Art of War: “If you know the enemy and know yourself, you need not fear the result of a hundred battles.”

In modern business, we call this competitive intelligence.

Studying your competition isn’t about copying what they do—in fact, that’s a surefire way to blend in instead of stand out. Instead, it’s about analysing their strengths, exploiting their weaknesses, and finding the gaps in the market that they are leaving wide open.

Here is a step-by-step masterclass on how to study your competition so you can beat them at their own game.


Step 1: Identify Who Your Real Competitors Are

Before you can study your rivals, you need to know who they actually are. Many business owners make the mistake of only looking at direct competitors. To get a true edge, you need to look at three distinct categories:

  1. Direct Competitors: These are businesses offering the same product or service to the same target audience. (e.g., Coca-Cola and Pepsi).
  2. Indirect Competitors: These offer different products or services, but they solve the same customer problem. (e.g., If you sell movie tickets, your indirect competitor might be a streaming service like Netflix).
  3. Aspirational/Future Competitors: These are the industry leaders or disruptors who might not be targeting you today, but whose business models you want to emulate or eventually overtake.

Action Item: Make a list of your top 5 direct competitors and top 3 indirect competitors. These will be the focus of your analysis.


Step 2: Reverse-Engineer Their Digital Presence

Once you know who you are tracking, it’s time to put on your detective hat. The internet makes it easier than ever to audit your competitors’ strategies. Here is where you should look:

1. Analyse Their Website and User Experience (UX)

Go through your competitor’s website as if you were a customer.

  • How easy is it to navigate?
  • What is their value proposition? (What do they claim makes them special right on their homepage?)
  • What does their checkout or conversion funnel look like? Where do they friction points exist?

2. Audit Their SEO and Content Strategy

Organic traffic is gold. Use tools like Ahrefs, SEMrush, or Ubersuggest to see what your competitors are doing right in search engines:

  • What keywords are they ranking for?
  • Which of their blog posts or landing pages get the most organic traffic?
  • Where are they getting their backlinks from?

3. Monitor Their Social Media and Paid Ads

Look at how they communicate with their audience.

  • Organic Social: Which platforms are they most active on? What kind of content gets the most engagement (videos, carousels, memes, case studies)?
  • Paid Ads: Use tools like the Meta Ad Library and the Google Ads Transparency Centre to see what ads your competitors are currently running. What offers are they promoting? What angles are they using in their ad copy?

Step 3: Read Their Customer Reviews (The Goldmine)

This is perhaps the most powerful—and underutilised—tactic in competitive intelligence. Your competitors’ customer reviews are a roadmap to their weaknesses.

Go to platforms like Trustpilot, G2, Amazon, Google Business Profile, and Yelp, and look specifically at the 1-star, 2-star, and 3-star reviews of your competitors.

Ask yourself:

  • What are customers constantly complaining about? (e.g., “Poor customer service,” “Shipping takes too long,” “The software is too buggy”).
  • What did they wish the product did that it currently doesn’t?

How to use this to win: Take the exact complaints your competitors’ customers have and make them your core selling propositions. If your competitor’s customers hate their slow support, build your brand around 24/7, lightning-fast customer service.


Step 4: Conduct a SWOT Analysis

Now that you’ve gathered data on your competitors’ products, marketing, and customer feedback, it’s time to synthesise it. Create a SWOT Analysis for your top competitors, mapping out their:

  • Strengths: What are they exceptionally good at? (e.g., massive budget, strong brand recognition).
  • Weaknesses: Where do they fall short? (e.g., poor mobile UX, lack of personalisation).
  • Opportunities: What market trends are they ignoring that you can capitalise on?
  • Threats: What external factors could hurt them (and potentially affect you)?

By comparing their SWOT analysis to your own, you will clearly see your “Unique Value Proposition” (UVP)—the exact reason why a customer should choose you over them.


Step 5: Innovate, Don’t Imitate

The biggest trap in studying your competition is falling into the copycat syndrome.

If you simply mimic what your competitors are doing, you will always be one step behind. They set the rules of the game, and you are just following them.

Instead, use competitive intelligence to differentiate.

  • If everyone in your industry uses a formal, corporate tone, try being conversational, witty, and human.
  • If your competitors sell complex, bloated software, build a solution that is hyper-minimalist and user-friendly.
  • If they focus solely on features, focus on the transformation and emotional outcome your customer experiences.

Final Thoughts: Competitive Intelligence is a Continuous Process

Studying your competition is not a one-time task you check off your to-do list. Markets shift, algorithms change, and new startups emerge every single day.

Make competitive analysis a habit. Set aside an hour every month to check in on your top rivals, review their new ad campaigns, and see how their customer sentiment is shifting.

When you truly understand the battlefield, you stop reacting to what your competitors do—and start forcing them to react to you.

…

365 Days of Writing, 2026 – 219

Day 219 – Writers must read

…

Study the Competition So You Can Beat Them: The Ultimate Guide to Competitive Intelligence

In the world of business, going in blind is a recipe for failure. Whether you are launching a startup, running an established e-commerce store, or creating content, you cannot operate in a vacuum.

If your goal is to grow your market share, increase conversions, and ultimately win, you need to know who you are up against. As the ancient military strategist Sun Tzu wrote in The Art of War: “If you know the enemy and know yourself, you need not fear the result of a hundred battles.”

In modern business, we call this competitive intelligence.

Studying your competition isn’t about copying what they do—in fact, that’s a surefire way to blend in instead of stand out. Instead, it’s about analyzing their strengths, exploiting their weaknesses, and finding the gaps in the market that they are leaving wide open.

Here is a step-by-step masterclass on how to study your competition so you can beat them at their own game.


Step 1: Identify Who Your Real Competitors Are

Before you can study your rivals, you need to know who they actually are. Many business owners make the mistake of only looking at direct competitors. To get a true edge, you need to look at three distinct categories:

  1. Direct Competitors: These are businesses offering the same product or service to the same target audience. (e.g., Coca-Cola and Pepsi).
  2. Indirect Competitors: These offer different products or services, but they solve the same customer problem. (e.g., If you sell movie tickets, your indirect competitor might be a streaming service like Netflix).
  3. Aspirational/Future Competitors: These are the industry leaders or disruptors who might not be targeting you today, but whose business models you want to emulate or eventually overtake.

Action Item: Make a list of your top 5 direct competitors and top 3 indirect competitors. These will be the focus of your analysis.


Step 2: Reverse-Engineer Their Digital Presence

Once you know who you are tracking, it’s time to put on your detective hat. The internet makes it easier than ever to audit your competitors’ strategies. Here is where you should look:

1. Analyze Their Website and User Experience (UX)

Go through your competitor’s website as if you were a customer.

  • How easy is it to navigate?
  • What is their value proposition? (What do they claim makes them special right on their homepage?)
  • What does their checkout or conversion funnel look like? Where do they friction points exist?

2. Audit Their SEO and Content Strategy

Organic traffic is gold. Use tools like Ahrefs, SEMrush, or Ubersuggest to see what your competitors are doing right in search engines:

  • What keywords are they ranking for?
  • Which of their blog posts or landing pages get the most organic traffic?
  • Where are they getting their backlinks from?

3. Monitor Their Social Media and Paid Ads

Look at how they communicate with their audience.

  • Organic Social: Which platforms are they most active on? What kind of content gets the most engagement (videos, carousels, memes, case studies)?
  • Paid Ads: Use tools like the Meta Ad Library and the Google Ads Transparency Center to see what ads your competitors are currently running. What offers are they promoting? What angles are they using in their ad copy?

Step 3: Read Their Customer Reviews (The Goldmine)

This is perhaps the most powerful—and underutilized—tactic in competitive intelligence. Your competitors’ customer reviews are a roadmap to their weaknesses.

Go to platforms like Trustpilot, G2, Amazon, Google Business Profile, and Yelp, and look specifically at the 1-star, 2-star, and 3-star reviews of your competitors.

Ask yourself:

  • What are customers constantly complaining about? (e.g., “Poor customer service,” “Shipping takes too long,” “The software is too buggy”).
  • What did they wish the product did that it currently doesn’t?

How to use this to win: Take the exact complaints your competitors’ customers have and make them your core selling propositions. If your competitor’s customers hate their slow support, build your brand around 24/7, lightning-fast customer service.


Step 4: Conduct a SWOT Analysis

Now that you’ve gathered data on your competitors’ products, marketing, and customer feedback, it’s time to synthesize it. Create a SWOT Analysis for your top competitors, mapping out their:

  • Strengths: What are they exceptionally good at? (e.g., massive budget, strong brand recognition).
  • Weaknesses: Where do they fall short? (e.g., poor mobile UX, lack of personalization).
  • Opportunities: What market trends are they ignoring that you can capitalize on?
  • Threats: What external factors could hurt them (and potentially affect you)?

By comparing their SWOT analysis to your own, you will clearly see your “Unique Value Proposition” (UVP)—the exact reason why a customer should choose you over them.


Step 5: Innovate, Don’t Imitate

The biggest trap in studying your competition is falling into the copycat syndrome.

If you simply mimic what your competitors are doing, you will always be one step behind. They set the rules of the game, and you are just following them.

Instead, use competitive intelligence to differentiate.

  • If everyone in your industry uses a formal, corporate tone, try being conversational, witty, and human.
  • If your competitors sell complex, bloated software, build a solution that is hyper-minimalist and user-friendly.
  • If they focus solely on features, focus on the transformation and emotional outcome your customer experiences.

Final Thoughts: Competitive Intelligence is a Continuous Process

Studying your competition is not a one-time task you check off your to-do list. Markets shift, algorithms change, and new startups emerge every single day.

Make competitive analysis a habit. Set aside an hour every month to check in on your top rivals, review their new ad campaigns, and see how their customer sentiment is shifting.

When you truly understand the battlefield, you stop reacting to what your competitors do—and start forcing them to react to you.

…

PI Walthenson’s second case – A case of finding the ‘Flying Dutchman’.

Known only to a few, there is a legend that a ship named the ‘Flying Dutchman’ left Nazi Germany in the last weeks of the war and set sail for America, escorted by U-boats, under a different name. Aboard was a trove of treasure and gold worth a ‘king’s ransom’.

It was said that it had been sent to a group of American Nazis to create the Fourth Reich at an appropriate time. Over the years, many expeditions off the coast had searched, but found no trace of the vessel or the treasure.

In other words, it was just a legend created to boost tourism.

…

Fast forward to 2024. Our intrepid private detective, Harry Walthenson, overhears a conversation at Grand Central Station. It was the oddness of the message that caught his attention. An investigation turned up nothing out of the ordinary, and he thinks no more about it.

Then Harry is kidnapped, interrogated, and asked questions over and over about a date and a place, why he went there, and when he could not give satisfactory answers, he was beaten half to death and left for dead on a rubbish heap. He was lucky that it was a living space for homeless men; otherwise, he would have died.

In the aftermath, he once again gives it no more thought.

…

After resolving his first case successfully, there’s no rest. Harry’s angry mother comes to his office and demands that he find out where his father has gone. She believes he has run off with a mistress, not for the first time.

Perhaps it was not the wisest decision she has made, because Harry promises to investigate, and adds that she might not like what he finds.

He soon discovered he does not like what he finds, that his father’s friends, a cabal formed at University, have two who are his mother’s current lovers, and another, a criminal blackmailing his father.

Felicity, now his partner, working on a different case, and trying to get answers, uncovers a crime family involved in guarding a disused warehouse on the docks, where she believes Harry had been taken for interrogation, and subsequently dumped nearby to die.

Why are they up to? What is so important that the empty warehouse needs guarding? Who is employing them?

Harry, following up on the death of the blackmailer, traces his death back to an enforcer employed by his grandfather. His mother’s grandfather was a pre-war industrialist who made his fortune in war munitions and shipbuilding.

He was also a member of the American Nazi party.

When Harry also discovers a logbook belonging to a so-called wartime Liberty ship the “Paul Revere” in brackets ‘Freiheitskämpfer’, hidden by his father, and written in a code that is not readily identifiable.

It is no longer a matter of a father who has run off with his mistress; it is a very frightened man in fear of his life, running from a group who will stop at nothing to get the logbook back. And when Harry discovers a family connection to the group, it becomes a race against time to decode the log and find his father before his grandfather does.

…

Coming soon: Harry Walthenson’s new adventure – A case of finding the ‘Flying Dutchman’