Writing a book in 365 days – 260

Day 260

Turning your real-life experiences into a story, and then with a great deal of luck, into a legendary film.

From Your Life to the Legendary Silver Screen: The Audacious Quest for Cinematic Immortality

We’ve all seen them – those incredible films that resonate deep within our souls, stories so potent and true, you just know they must have sprung from the messy, magnificent wellspring of real life. Think “Schindler’s List,” “127 Hours,” “The Pursuit of Happyness,” “Erin Brockovich.” These aren’t just great movies; they’re cultural touchstones, etched into our collective consciousness.

And who hasn’t, at some point, looked at a pivotal moment in their own life – a harrowing challenge, an unlikely triumph, a profound transformation – and thought, “Now that would make an amazing movie.”

The leap from your personal experience to a legendary film is, let’s be honest, vast. It’s akin to catching lightning in a bottle, then harnessing its power to illuminate the world. It requires a potent blend of authenticity, craft, perseverance, and indeed, a great deal of luck. But understanding the steps, the possible path, can turn a fleeting thought into a focused ambition.

Here’s how one might embark on this audacious, often miraculous, journey:


Step 1: Harvesting Your Truth – The Origin Story

Before you even think about a script, you must dive deep into your own experience. This isn’t just recounting events; it’s excavating the emotional core.

  • Identify the Core Conflict & Transformation: What was the central struggle? Who were you before, and who did you become after? Legendary stories thrive on profound change.
  • Pinpoint the Universal: While your experience is unique, what universal themes does it touch upon? Love, loss, injustice, courage, resilience, redemption? These are the hooks that connect your singular story to a global audience.
  • Embrace Authenticity, Not Just Facts: Don’t be afraid to explore the messy, uncomfortable, or unsung aspects. Truth, in its rawest form, is compelling.
  • The “Why Now?”: Why is this story important right now? What message does it carry for contemporary society?

This isn’t just memory; it’s meaningful introspection.


Step 2: Crafting the Narrative – From Raw Emotion to Gripping Story

Your life isn’t a film script; it’s a sprawling, unedited saga. The next crucial step is to shape that reality into a compelling narrative arc.

  • Outline the Narrative Beats: Think like a storyteller. What’s the inciting incident? The rising action? The climax? The falling action? The resolution? Even if it didn’t happen perfectly in real life, you need to find this structure.
  • Identify Your Protagonist (You, or an Alter-Ego): What are their desires, flaws, strengths? How do they drive the story forward?
  • Build Your Supporting Cast: Who are the key players in your life’s drama? What roles do they play in your journey?
  • Write It Down (Seriously, Write It): Start as a memoir, a detailed story, or even a treatment. Get the essence of the story, its characters, and its emotional journey down on paper in prose form. This is your foundation.

This is where “storytelling” begins its magic, often requiring you to condense, combine, or even slightly fictionalize elements to serve the larger truth.


Step 3: Translating to the Screen – The Art of the Screenplay

This is where the specialized craft truly begins. A screenplay is a blueprint, a visual language.

  • Learn Screenwriting Fundamentals: Read screenplays of films you admire. Understand structure (three-act, sequences), formatting, dialogue, and “show, don’t tell.”
  • Visualize Everything: How does your story look on screen? What are the key images, sounds, and moments that convey emotion without dialogue?
  • Find Your Voice: Even with technical rules, your unique perspective should shine through.
  • Consider Collaboration: Unless you are an experienced screenwriter, you might need to find a professional screenwriter who can adapt your story into a compelling script. This often means selling them the rights to your life story, or collaborating closely. Be prepared for changes – the film version won’t be a literal transcription of your life.

This stage transforms your story from a personal account into a potential cinematic experience.


Step 4: The Industry Gauntlet – Pitching, Persistence, and People

Even a brilliant script needs to find its way into the right hands. This is where the “luck” factor amplifies, but you can certainly increase your odds.

  • Seek Feedback & Refine: Share your script with trusted readers, writers’ groups, or professional consultants. Be open to critique and revise, revise, revise.
  • Build Your Network: Attend film festivals, writing conferences, and industry events. Connect with other emerging writers, producers, and directors.
  • Enter Contests & Fellowships: Prestigious screenwriting competitions (like The Nicholl Fellowships, Austin Film Festival) can open doors and get your script noticed by agents and producers.
  • Find Representation: A literary agent or manager can be crucial for getting your script read by studios and production companies. This often requires a strong script and some initial buzz.
  • The Pitch: Be ready to articulate your story’s essence, its universal appeal, and its marketability in a concise, compelling way.

This phase is a marathon of networking, rejection, and the occasional glimmer of hope.


Step 5: The Alchemy of Production – From Script to Silver Screen

If your script catches fire, it enters the labyrinthine world of development and production.

  • Optioning & Development Deals: A production company or studio might “option” your script, buying the exclusive right to develop it for a period. This is where the project gets a producer, perhaps a director attached, and financing is sought.
  • Creative Evolution (and Compromise): Be prepared for your story to be shaped by many hands – directors, actors, studio executives. Your initial vision might evolve significantly. This is a collaborative art form.
  • Casting the Dream: The right cast can elevate a good story to greatness, bringing characters to life in unexpected ways.
  • Filming & Post-Production: The arduous process of shooting, editing, scoring, and visual effects comes next.

This is where your story truly transforms, gaining flesh, blood, and a voice beyond your own.


Step 6: The Spark of Legend – Beyond Your Control

Achieving “legendary” status is the ultimate, and most unpredictable, outcome.

  • Critical Acclaim & Audience Resonance: A film needs to connect deeply with both critics and audiences, earning rave reviews and robust box office (though not always).
  • Cultural Impact: Does the film spark conversations? Does it influence other art? Does it stand the test of time, becoming a reference point for future generations?
  • The Right Moment: Sometimes, a story simply arrives at the perfect cultural moment, addressing unspoken needs or reflecting pressing issues. This is pure serendipity.
  • Awards & Recognition: While not the sole arbiter of “legendary,” major awards (Oscars, Golden Globes) certainly amplify a film’s reach and cemented its place in history.

This is the realm of magic, where your personal truth, skillfully told, transcends entertainment and becomes a lasting cultural artifact.


The path from your unique life experience to a legendary film is steep, winding, and littered with “almosts.” Many incredible stories remain untold, or stop short of the silver screen. But the very act of distilling your truth, crafting it into a compelling narrative, and daring to share it with the world is a profound journey in itself.

So, listen to the whisper of your own story. What profound truth is waiting to be unearthed? What cinematic masterpiece might be hiding within the chapters of your life? The first step, always, is simply to begin.

Writing a book in 365 days – 259

Day 259

Writing Exercise

That was it, she realised, the dress was torn and there was nothing to be done.

It made no sense to her why Brenda Cartwright and her group of mean girls would want to wreck any chance of her appearing at the Prom because she had no date, and she wasn’t going to stay long. The dress, well, she had found it at a shop where there were a few old dresses, and she had used her dressmaking skills to improve it.

It hardly competed with Brenda or any of them. They had rich parents.

It was a slow walk from the front door to the bus stop outside the school. She had arrived late anyway and was the last to arrive. Oddly, Brenda had been waiting for her.

Again, why?

About ten minutes passed, while she debated with herself whether she would call her brother or her father. Her mother didn’t drive at night. Perhaps best if she didn’t. Her brother would go in and probably get arrested for assaulting Brenda. Her father would also make a ‘scene’ and be told to leave. No point in either of them coming.

Then a stretch limousine pulled up at the bus stop. The driver got out and opened the passenger’s door. She hadn’t seen the cart before, and she was intrigued.

“Milly? What aren’t you inside with the others?”

“Jason. The Mayor’s son. I used to attend the school but left mid-year to attend another one. Or perhaps it was because he was accused of beating up Roger Richardson, the school bully. And best friends with Brenda.

“Had a run-in with Brenda.” She showed him the rip in the dress and that it was irreparable.

“She hasn’t changed then?” He sat down beside her.

She ignored that and asked, “Why are you here. You left.”

“I did. But someone sent me a message to say it would be to my advantage if I turned up. How could I turn down such an offer? Perhaps it was you?”

“Me? No. Don’t care much. Last year and all, college awaits.”

“Still want to go?”

She looked him up and down. “In this?” The dress was ruined.

“I think we can do something about that. There’s a box in the car. You can change into it; no one will see you, and Jenkins will stay outside and ensure your privacy. I’ll wait here.”

“No tricks?”

“Definitely.”

It was a difficult choice. She didn’t really trust anyone, but it seemed too good to be true. Just a quick look then. How could he possibly know what side she was, anyway?

“Alright. No peeking.”

“You have my word.”

She gave Jenkins a long, hard stare, then peered through the windows but couldn’t see in. She shrugged and got in the back. She shut the door and looked over the other side at the box.

A dress box with red ribbon.

She took off the lid, and there was the most exquisite white dress she had ever seen. A very expensive dress.

Then, with a sigh and a shrug, she changed into it. If they were peeking, they would only see her in her underwear. which was rather old-fashioned.

10 minutes after getting in, she got out, stood and smoothed out the invisible wrinkles, and found that it fitted perfectly.

“How did you know my size?”

“Your fairy Godmother told me.”

“How long have you had it? You could not have got something like this in the last hour or so, so what is this all about?”

“It was simply an idea I had a while back. I was going to ask you to the prom, but I didn’t get around to it, and then my father dragged me out of school. I was always coming back, and was on my way to see you at home, but again it was too late. I saw what Brenda did, and then just waited, trying to work up the courage.”

“All you had to do was ask. No one did.”

“If only I had the courage.”

“Well, now you have to ask me.”

He took a deep breath and then said, “Millicent Thayer, would you go to the prom with me?”

She smiled. “Of course I would. if only to see Brenda’s face. She’s going to have a pink fit.”

It might be more than that. I had told her the last time I’d seen her that if I ever returned, her family and she, particularly, were going to be in a great deal of trouble. It had taken an army of private investigators, but I’d finally got proof she was responsible for what happened to my sister, and the reason why we left.

Two state police cars went past, on their way to the school.

That was my cue.

“Then let’s see what a pink fit looks like.”

©  Charles Heath  2025


Writing a book in 365 days – 259

Day 259

Writing Exercise

That was it, she realised, the dress was torn and there was nothing to be done.

It made no sense to her why Brenda Cartwright and her group of mean girls would want to wreck any chance of her appearing at the Prom because she had no date, and she wasn’t going to stay long. The dress, well, she had found it at a shop where there were a few old dresses, and she had used her dressmaking skills to improve it.

It hardly competed with Brenda or any of them. They had rich parents.

It was a slow walk from the front door to the bus stop outside the school. She had arrived late anyway and was the last to arrive. Oddly, Brenda had been waiting for her.

Again, why?

About ten minutes passed, while she debated with herself whether she would call her brother or her father. Her mother didn’t drive at night. Perhaps best if she didn’t. Her brother would go in and probably get arrested for assaulting Brenda. Her father would also make a ‘scene’ and be told to leave. No point in either of them coming.

Then a stretch limousine pulled up at the bus stop. The driver got out and opened the passenger’s door. She hadn’t seen the cart before, and she was intrigued.

“Milly? What aren’t you inside with the others?”

“Jason. The Mayor’s son. I used to attend the school but left mid-year to attend another one. Or perhaps it was because he was accused of beating up Roger Richardson, the school bully. And best friends with Brenda.

“Had a run-in with Brenda.” She showed him the rip in the dress and that it was irreparable.

“She hasn’t changed then?” He sat down beside her.

She ignored that and asked, “Why are you here. You left.”

“I did. But someone sent me a message to say it would be to my advantage if I turned up. How could I turn down such an offer? Perhaps it was you?”

“Me? No. Don’t care much. Last year and all, college awaits.”

“Still want to go?”

She looked him up and down. “In this?” The dress was ruined.

“I think we can do something about that. There’s a box in the car. You can change into it; no one will see you, and Jenkins will stay outside and ensure your privacy. I’ll wait here.”

“No tricks?”

“Definitely.”

It was a difficult choice. She didn’t really trust anyone, but it seemed too good to be true. Just a quick look then. How could he possibly know what side she was, anyway?

“Alright. No peeking.”

“You have my word.”

She gave Jenkins a long, hard stare, then peered through the windows but couldn’t see in. She shrugged and got in the back. She shut the door and looked over the other side at the box.

A dress box with red ribbon.

She took off the lid, and there was the most exquisite white dress she had ever seen. A very expensive dress.

Then, with a sigh and a shrug, she changed into it. If they were peeking, they would only see her in her underwear. which was rather old-fashioned.

10 minutes after getting in, she got out, stood and smoothed out the invisible wrinkles, and found that it fitted perfectly.

“How did you know my size?”

“Your fairy Godmother told me.”

“How long have you had it? You could not have got something like this in the last hour or so, so what is this all about?”

“It was simply an idea I had a while back. I was going to ask you to the prom, but I didn’t get around to it, and then my father dragged me out of school. I was always coming back, and was on my way to see you at home, but again it was too late. I saw what Brenda did, and then just waited, trying to work up the courage.”

“All you had to do was ask. No one did.”

“If only I had the courage.”

“Well, now you have to ask me.”

He took a deep breath and then said, “Millicent Thayer, would you go to the prom with me?”

She smiled. “Of course I would. if only to see Brenda’s face. She’s going to have a pink fit.”

It might be more than that. I had told her the last time I’d seen her that if I ever returned, her family and she, particularly, were going to be in a great deal of trouble. It had taken an army of private investigators, but I’d finally got proof she was responsible for what happened to my sister, and the reason why we left.

Two state police cars went past, on their way to the school.

That was my cue.

“Then let’s see what a pink fit looks like.”

©  Charles Heath  2025


Writing a book in 365 days – 258

Day 258

The use of real people as characters.

The Muse Next Door: Weaving Real Life into Your Fiction (Pros & Cons)

As writers, we’re constantly searching for inspiration. Sometimes it strikes like lightning, a fully formed idea bursting forth. More often, though, our wellspring of creativity is much closer than we think: it’s the rich, messy, beautiful tapestry of real life itself.

The question then becomes: how much of that life – the people we know, the experiences we’ve had – should we actually weave into our stories? It’s a powerful tool, but like any powerful tool, it comes with a user manual that highlights both its immense benefits and its potential pitfalls.

Let’s explore the pros and cons of drawing directly from real people and personal experiences for your characters and plots.

The Allure of Authenticity: The Pros

There’s a reason so many authors look to their own lives and the people around them. The benefits are substantial:

  1. Authenticity and Relatability: Real life has a texture that’s hard to invent. When you base a character on someone you know, or a plot on an event you’ve lived through, you bring an immediate sense of truth and lived experience to the page. Readers are incredibly astute; they can often feel when a character or situation rings true, and this fosters a deeper connection.
  2. Rich Detail and Nuance: Ever tried to describe a facial twitch or an odd habit from scratch? It’s tough. But if you’re picturing your eccentric Aunt Carol, those details come naturally. Real people are complex, contradictory, and full of fascinating quirks that can make your fictional characters leap off the page in a way pure invention sometimes struggles to achieve.
  3. Emotional Resonance: When you write about an experience you’ve had, or channel the emotions you’ve witnessed in someone else, that raw feeling seeps into your words. This can create powerful, moving scenes that deeply affect your readers because the emotion is rooted in a genuine place.
  4. Overcoming Writer’s Block: Stuck on character motivation? Can’t figure out how a scene should unfold? Sometimes, recalling how a real person reacted in a similar situation, or remembering the actual sequence of events, can provide the perfect springboard to get your story moving again.
  5. A Wellspring of Conflict: Life is full of conflict – big and small. The annoying neighbor, the family squabble, the quiet tension in a relationship. These everyday conflicts, when amplified or subtly altered, can form the backbone of incredibly compelling plots.

The Treacherous Territory: The Cons

While the well of reality is deep, it’s also fraught with potential dangers.

  1. Ethical & Privacy Concerns: This is the biggest hurdle. When you base characters on real people, you risk:
    • Hurting Feelings: Friends, family, or even acquaintances might recognize themselves – or parts of themselves – and feel exposed, misrepresented, or betrayed.
    • Legal Repercussions: While less common for fiction, if you depict someone in a negative, identifiable way that could be proven false and damaging, you could face libel or defamation charges. (Though usually, fiction is protected if it’s not directly claiming to be fact).
    • Breaching Trust: Once you start writing about people you know, they might become wary of sharing personal details with you in the future.
  2. Creative Constraints: Sticking too close to reality can actually limit your creativity.
    • Lack of Arc: Real people don’t always have satisfying story arcs. Their lives are often meandering, and if you simply copy, your character might feel directionless or flat in a fictional context.
    • Predictability: If you’re too faithful to a real person, your character might act exactly as that person would, making their choices and the plot predictable for both you and your readers.
  3. Personal Bias and Emotional Baggage: You can’t write about people you know or experiences you’ve had with true objectivity.
    • Vengeful Writing: It’s tempting to use fiction to “settle scores” or air grievances, but this usually results in one-dimensional characters and a preachy, unengaging narrative.
    • Emotional Overwhelm: Writing about highly personal or traumatic experiences can be emotionally draining and difficult, sometimes re-traumatizing the writer.
  4. Lack of Transformation: The goal of fiction isn’t to create a perfect mirror of reality, but to transform it into something meaningful. Simply transplanting a person or an event often misses the opportunity for deeper exploration, metaphor, or thematic development.
  5. “Who’s That?” Dilemma: For those close to you, reading your work can become a game of “spot the real person,” detracting from their immersion in the story you’re trying to tell.

The Art of Transformation: Making it Work

So, how do you harness the power of real life without falling into its traps? The key is transformation, not transcription.

  1. Mix and Match: Don’t base a character on just one person. Take the biting wit of your colleague, the fashion sense of your cousin, and the deep-seated insecurity of your old high school teacher, and blend them into a completely new entity.
  2. Exaggerate and Subvert: Take a real trait and dial it up to eleven, or flip it on its head. Did your uncle always tell tall tales? What if your character is pathologically honest to a fault?
  3. Change Circumstances: Put familiar people in unfamiliar situations. What would your overly cautious friend do if suddenly faced with an impossible life-or-death choice?
  4. Shift Perspectives: If you’re drawing from a personal experience, try writing it from the perspective of another person involved, or even an outside observer. This creates distance and allows for more objective storytelling.
  5. Focus on the Universal: Instead of replicating a specific argument you had, identify the universal themes within it: miscommunication, pride, fear. Then, build a fictional scenario around those themes.
  6. Ask “What If?”: This is your greatest tool. “What if that person I know, with that specific trait, found themselves in this completely different, fictional situation?”

Conclusion

Our lives are the richest source material we possess. The people we meet, the places we go, and the emotions we feel are the raw ingredients of compelling stories. But like a skilled chef, a writer must know how to select, prepare, and transform those ingredients into something entirely new – a dish that nourishes the reader, stands on its own merits, and respects the origins without being bound by them.

So, open your eyes to the muse next door, but always wield your pen with thought, creativity, and a healthy dose of ethical consideration.

Writing a book in 365 days – 258

Day 258

The use of real people as characters.

The Muse Next Door: Weaving Real Life into Your Fiction (Pros & Cons)

As writers, we’re constantly searching for inspiration. Sometimes it strikes like lightning, a fully formed idea bursting forth. More often, though, our wellspring of creativity is much closer than we think: it’s the rich, messy, beautiful tapestry of real life itself.

The question then becomes: how much of that life – the people we know, the experiences we’ve had – should we actually weave into our stories? It’s a powerful tool, but like any powerful tool, it comes with a user manual that highlights both its immense benefits and its potential pitfalls.

Let’s explore the pros and cons of drawing directly from real people and personal experiences for your characters and plots.

The Allure of Authenticity: The Pros

There’s a reason so many authors look to their own lives and the people around them. The benefits are substantial:

  1. Authenticity and Relatability: Real life has a texture that’s hard to invent. When you base a character on someone you know, or a plot on an event you’ve lived through, you bring an immediate sense of truth and lived experience to the page. Readers are incredibly astute; they can often feel when a character or situation rings true, and this fosters a deeper connection.
  2. Rich Detail and Nuance: Ever tried to describe a facial twitch or an odd habit from scratch? It’s tough. But if you’re picturing your eccentric Aunt Carol, those details come naturally. Real people are complex, contradictory, and full of fascinating quirks that can make your fictional characters leap off the page in a way pure invention sometimes struggles to achieve.
  3. Emotional Resonance: When you write about an experience you’ve had, or channel the emotions you’ve witnessed in someone else, that raw feeling seeps into your words. This can create powerful, moving scenes that deeply affect your readers because the emotion is rooted in a genuine place.
  4. Overcoming Writer’s Block: Stuck on character motivation? Can’t figure out how a scene should unfold? Sometimes, recalling how a real person reacted in a similar situation, or remembering the actual sequence of events, can provide the perfect springboard to get your story moving again.
  5. A Wellspring of Conflict: Life is full of conflict – big and small. The annoying neighbor, the family squabble, the quiet tension in a relationship. These everyday conflicts, when amplified or subtly altered, can form the backbone of incredibly compelling plots.

The Treacherous Territory: The Cons

While the well of reality is deep, it’s also fraught with potential dangers.

  1. Ethical & Privacy Concerns: This is the biggest hurdle. When you base characters on real people, you risk:
    • Hurting Feelings: Friends, family, or even acquaintances might recognize themselves – or parts of themselves – and feel exposed, misrepresented, or betrayed.
    • Legal Repercussions: While less common for fiction, if you depict someone in a negative, identifiable way that could be proven false and damaging, you could face libel or defamation charges. (Though usually, fiction is protected if it’s not directly claiming to be fact).
    • Breaching Trust: Once you start writing about people you know, they might become wary of sharing personal details with you in the future.
  2. Creative Constraints: Sticking too close to reality can actually limit your creativity.
    • Lack of Arc: Real people don’t always have satisfying story arcs. Their lives are often meandering, and if you simply copy, your character might feel directionless or flat in a fictional context.
    • Predictability: If you’re too faithful to a real person, your character might act exactly as that person would, making their choices and the plot predictable for both you and your readers.
  3. Personal Bias and Emotional Baggage: You can’t write about people you know or experiences you’ve had with true objectivity.
    • Vengeful Writing: It’s tempting to use fiction to “settle scores” or air grievances, but this usually results in one-dimensional characters and a preachy, unengaging narrative.
    • Emotional Overwhelm: Writing about highly personal or traumatic experiences can be emotionally draining and difficult, sometimes re-traumatizing the writer.
  4. Lack of Transformation: The goal of fiction isn’t to create a perfect mirror of reality, but to transform it into something meaningful. Simply transplanting a person or an event often misses the opportunity for deeper exploration, metaphor, or thematic development.
  5. “Who’s That?” Dilemma: For those close to you, reading your work can become a game of “spot the real person,” detracting from their immersion in the story you’re trying to tell.

The Art of Transformation: Making it Work

So, how do you harness the power of real life without falling into its traps? The key is transformation, not transcription.

  1. Mix and Match: Don’t base a character on just one person. Take the biting wit of your colleague, the fashion sense of your cousin, and the deep-seated insecurity of your old high school teacher, and blend them into a completely new entity.
  2. Exaggerate and Subvert: Take a real trait and dial it up to eleven, or flip it on its head. Did your uncle always tell tall tales? What if your character is pathologically honest to a fault?
  3. Change Circumstances: Put familiar people in unfamiliar situations. What would your overly cautious friend do if suddenly faced with an impossible life-or-death choice?
  4. Shift Perspectives: If you’re drawing from a personal experience, try writing it from the perspective of another person involved, or even an outside observer. This creates distance and allows for more objective storytelling.
  5. Focus on the Universal: Instead of replicating a specific argument you had, identify the universal themes within it: miscommunication, pride, fear. Then, build a fictional scenario around those themes.
  6. Ask “What If?”: This is your greatest tool. “What if that person I know, with that specific trait, found themselves in this completely different, fictional situation?”

Conclusion

Our lives are the richest source material we possess. The people we meet, the places we go, and the emotions we feel are the raw ingredients of compelling stories. But like a skilled chef, a writer must know how to select, prepare, and transform those ingredients into something entirely new – a dish that nourishes the reader, stands on its own merits, and respects the origins without being bound by them.

So, open your eyes to the muse next door, but always wield your pen with thought, creativity, and a healthy dose of ethical consideration.

Writing a book in 365 days – 256/257

Days 256 and 257

Writing exercise

“The only thing standing between them and disaster was…”

Under the harsh studio lights, and the glare of a specially selected audience who had been firing questions at me for at least half an hour, and longer than I was told to expect, I felt a runnel of sweat run down the side of my face and into the gap between my neck and the collar of the shirt.

I was told that the audience wanted to know exactly how we had pulled off a miracle. The moderator had told the story, and a story it was, because I hardly recognised it as what had actually happened. It was not the story that had been approved. I had been given twenty minutes’ notice, the story had changed, given a script to read, and then I protested that it was nothing like what had happened.

I was told the truth was too unpalatable, and the audience would not like it.

Of course not. No one did. But someone had to cut the head off the snake, and the team I was assigned to had that job. We were one of ten. Everyone had a job to do that was vital to the end result. Ours was not that important; six of the eight members died, and the other living member declined to come on the show. I now knew why.

“Should I repeat the question?” The moderator was exuding calm, but I could see that she was getting impatient.

She had survived the purge, the person who had been the previous regime’s media spokesperson, who, not three months before, was standing up at press conferences trying to explain away the various nefarious events in what had been described as ‘simple speak’, so called because us citizens were basically ‘simple’.

I was very aware of the contribution this person had made, despite the lies and grovelling, telling everyone that she was a victim, much the same as all of us. A victim married to a high-up official in the previous regime, who lived in a mansion, ate the best food, and had holidays at the finest international resorts. We knew exactly who she was.

“Before this circus began, you asked me if I thought being a murderer was the best way to achieve a change of government.”

“I beg your pardon?”

“Emmaline Wharton. That is your real name, isn’t it?”

“No. I don’t know who this Emmaline Wharton is, but it isn’t me.”

There was a screen behind us, one that displayed the name of the show, and her most recent name, “Janice Saunders.” She had reverted to one of her pre-marriage names, considering that reminding people she was married to a tyrant wasn’t good for her new public image.

During the introduction monologue, a series of photographs showed the groups, the planning, and various shots taken during the operation in which I had participated. I had no idea until now when those photographs were shown that we had an embedded media representative along; he was certainly not introduced to us, and we would have declined because of the danger.

Uppermost in my mind was how he survived when six of us didn’t.

When I mentioned her name, the screen changed, and a photograph of the moderator, much younger but easily recognisable, was flashed on the screen. When she heard several gasps from the audience, she looked around.

“That’s…”

“Not you? Since you’ve been telling lies for nearly six years now, it’s no surprise that you can’t stop. When you specifically asked for one of the two remaining survivors of our operation to come on this show, you knew the other chap wouldn’t, which left me. I refused, but you had insisted. Why?”

I gave her my curious expression. I should have been angry, but after I thought about it, I decided it would be an interesting exercise. She had not been home with her husband when the designated team had arrived to take him into custody. There was just a single suitcase at the door, and no one else in the house, leading to the conclusion that she had been tipped off and had made her getaway earlier.

Imagine our surprise when she turned up at headquarters and proclaimed she had been working for us all the time. Yes, someone had, but we had believed that person had been found and killed a few days before the takeover. She had the credentials and materials to prove it was her, and no one, having seen the spy in their midst, only her communications, had taken her at her word.

I didn’t believe it for one moment. I knew she was the one responsible for the death of six very good people and the attempt on the other person’s life. It took me three months to convince them she was a traitor, still working for her previous masters in exile, the ones who had also been tipped off and escaped.

“Your story of bravery under extreme circumstances needs to be rejoiced.”

She said it so glibly. I was astonished by how quickly her tune had changed, from a puppet for an evil regime, to the voice of the people in the new.

“Even though it was me who killed your husband?”

Yes, there was just a flicker of recognition, that look behind those hooded eyes, of pure hatred.

“Because he was evil, yes. He forced me to say all those things, you know my story.”

“Your story is just that, Emmaline. A story. Just to be clear, my government wants to take you into custody. For some crazy reason, they believe you’ll give up the location of the fifteen members of the previous government who escaped. You and I both know that will never happen.”

On both sides of the stage, several members of the police had moved into position to prevent her escape.

“You’re wrong. I am not that person. I am the one who helped you; all of you make the change happen.”

The calm facade was starting to crumble.

“OK,” I said, “If that is the case, tell me your real name, the name of the spy within their midst.”

“No one knew my real name. It was one of the requirements I insisted on before joining your organisation. No way I could be tracked, because if you did, they would find out.”

“I know your real name. It’s not Emmaline Wharton, though that was one of about twenty you used when younger. You had a criminal record that read like a James Patterson thriller. So, once again, what is the real name of our spy?”

She was now in full-blown panic. If she did know the name, then it would be proof that she had been at the poor girl’s interrogation. We had only recently found her remains outside the prison block in an unmarked grave under freshly laid concrete, along with thirty others.

“Emily McGovern. They will find me and kill me. I need protection from them.”

I shook my head. An anonymous tip had been received a week before the takeover, that the creature sitting next to me had been the one to put a bullet in the real Emily’s head when she hadn’t given them anything about the upcoming takeover.

An eye for an eye.

A shot rang out, and I watched her die. It didn’t make me feel any better, but at last my sister, Emily, had got her justice.

©  Charles Heath  2025

Writing a book in 365 days – 256/257

Days 256 and 257

Writing exercise

“The only thing standing between them and disaster was…”

Under the harsh studio lights, and the glare of a specially selected audience who had been firing questions at me for at least half an hour, and longer than I was told to expect, I felt a runnel of sweat run down the side of my face and into the gap between my neck and the collar of the shirt.

I was told that the audience wanted to know exactly how we had pulled off a miracle. The moderator had told the story, and a story it was, because I hardly recognised it as what had actually happened. It was not the story that had been approved. I had been given twenty minutes’ notice, the story had changed, given a script to read, and then I protested that it was nothing like what had happened.

I was told the truth was too unpalatable, and the audience would not like it.

Of course not. No one did. But someone had to cut the head off the snake, and the team I was assigned to had that job. We were one of ten. Everyone had a job to do that was vital to the end result. Ours was not that important; six of the eight members died, and the other living member declined to come on the show. I now knew why.

“Should I repeat the question?” The moderator was exuding calm, but I could see that she was getting impatient.

She had survived the purge, the person who had been the previous regime’s media spokesperson, who, not three months before, was standing up at press conferences trying to explain away the various nefarious events in what had been described as ‘simple speak’, so called because us citizens were basically ‘simple’.

I was very aware of the contribution this person had made, despite the lies and grovelling, telling everyone that she was a victim, much the same as all of us. A victim married to a high-up official in the previous regime, who lived in a mansion, ate the best food, and had holidays at the finest international resorts. We knew exactly who she was.

“Before this circus began, you asked me if I thought being a murderer was the best way to achieve a change of government.”

“I beg your pardon?”

“Emmaline Wharton. That is your real name, isn’t it?”

“No. I don’t know who this Emmaline Wharton is, but it isn’t me.”

There was a screen behind us, one that displayed the name of the show, and her most recent name, “Janice Saunders.” She had reverted to one of her pre-marriage names, considering that reminding people she was married to a tyrant wasn’t good for her new public image.

During the introduction monologue, a series of photographs showed the groups, the planning, and various shots taken during the operation in which I had participated. I had no idea until now when those photographs were shown that we had an embedded media representative along; he was certainly not introduced to us, and we would have declined because of the danger.

Uppermost in my mind was how he survived when six of us didn’t.

When I mentioned her name, the screen changed, and a photograph of the moderator, much younger but easily recognisable, was flashed on the screen. When she heard several gasps from the audience, she looked around.

“That’s…”

“Not you? Since you’ve been telling lies for nearly six years now, it’s no surprise that you can’t stop. When you specifically asked for one of the two remaining survivors of our operation to come on this show, you knew the other chap wouldn’t, which left me. I refused, but you had insisted. Why?”

I gave her my curious expression. I should have been angry, but after I thought about it, I decided it would be an interesting exercise. She had not been home with her husband when the designated team had arrived to take him into custody. There was just a single suitcase at the door, and no one else in the house, leading to the conclusion that she had been tipped off and had made her getaway earlier.

Imagine our surprise when she turned up at headquarters and proclaimed she had been working for us all the time. Yes, someone had, but we had believed that person had been found and killed a few days before the takeover. She had the credentials and materials to prove it was her, and no one, having seen the spy in their midst, only her communications, had taken her at her word.

I didn’t believe it for one moment. I knew she was the one responsible for the death of six very good people and the attempt on the other person’s life. It took me three months to convince them she was a traitor, still working for her previous masters in exile, the ones who had also been tipped off and escaped.

“Your story of bravery under extreme circumstances needs to be rejoiced.”

She said it so glibly. I was astonished by how quickly her tune had changed, from a puppet for an evil regime, to the voice of the people in the new.

“Even though it was me who killed your husband?”

Yes, there was just a flicker of recognition, that look behind those hooded eyes, of pure hatred.

“Because he was evil, yes. He forced me to say all those things, you know my story.”

“Your story is just that, Emmaline. A story. Just to be clear, my government wants to take you into custody. For some crazy reason, they believe you’ll give up the location of the fifteen members of the previous government who escaped. You and I both know that will never happen.”

On both sides of the stage, several members of the police had moved into position to prevent her escape.

“You’re wrong. I am not that person. I am the one who helped you; all of you make the change happen.”

The calm facade was starting to crumble.

“OK,” I said, “If that is the case, tell me your real name, the name of the spy within their midst.”

“No one knew my real name. It was one of the requirements I insisted on before joining your organisation. No way I could be tracked, because if you did, they would find out.”

“I know your real name. It’s not Emmaline Wharton, though that was one of about twenty you used when younger. You had a criminal record that read like a James Patterson thriller. So, once again, what is the real name of our spy?”

She was now in full-blown panic. If she did know the name, then it would be proof that she had been at the poor girl’s interrogation. We had only recently found her remains outside the prison block in an unmarked grave under freshly laid concrete, along with thirty others.

“Emily McGovern. They will find me and kill me. I need protection from them.”

I shook my head. An anonymous tip had been received a week before the takeover, that the creature sitting next to me had been the one to put a bullet in the real Emily’s head when she hadn’t given them anything about the upcoming takeover.

An eye for an eye.

A shot rang out, and I watched her die. It didn’t make me feel any better, but at last my sister, Emily, had got her justice.

©  Charles Heath  2025

Writing a book in 365 days – 350 – new

Day 350 – Writing exercise

He had never liked the desert, or anywhere hot, if he was telling the truth.

It started out a joke and ended up as the reason for defunding my project, but irrespective of the reason given, it was not unexpected because of the lack of progress, and cost overruns.

And the fact that I had suffered a minor breakdown, having laboured day and night, in very hot, dusty, trying conditions for longer than I expected.

Of course, the fact that I had assured the Management team that I would be available 24/7, and was forced to go on indefinite sick leave, was probably the final nail in the coffin.

That, and the fact that I had participated in an interview where I had confessed, in a moment of reflection, that I preferred to live in the cooler climate of the mountains than in the middle of the desert, the place where I had been running a major investigation into underground rivers.

Or, as my hard-working and cynical assistant project manager had put it, they didn’t want a woman taking my place, and worse, they didn’t want anyone to know they had run out of funding.

In the end none of it matered.  They shut down the site.

Melanie, Acting Project Manager, resident cynic, and all-around conspiracy theorist, had dropped in on her way home, or as she put it, a welcome deviation before returning to a ‘rat hole’ at her sister’s residence while in transit between jobs.

I had just left the hospital, and arrived at my ‘Shangrila’ the day before.  She had just wrapped up the operation in Mexico.  She looked as exhausted as I still felt.

When Melanie watched the replay of the post-project interview, curious to see what had been said, she realised one very important point.  “You were led. The interviewer had a definite plan to lead you down a particular path, and then took a run with it.”

“I was tired and wanted to get it over with.”

“You didn’t ask for the slate of questions ahead of time?”

“I did and was given a folder.  There was nothing about climate preferences, or the possibility of exhaustion, in them.”

“There you are.  It was nothing less than a set-up, clearly designed to derail your project.”

Melanie always suspected the organisation that funded the projects to be exactly the sort of people they portrayed to the outside world, and she had been very vocal at the first meeting, and several since, citing the world needed water, not geo-thermal energy.

In the beginning, it had been a hard sell.  Until suddenly they changed their minds from a hard no to a three year deal.

That was until the two board members who agreed with her had retired in the last six months.

“If they hadn’t retired, we wouldn’t be here.”

Actually, we would.  We had not found irrefutable evidence that there was water under the impenetrable rock.  It was somewhere near there, I just wasn’t sure exactly where, and drilling bores wasn’t cheap.

I had been assured they’d come back to it later.

Meanwhile…

I was on administrative leave.  Melanie was supposed to go to Peru, or Chile.  Instead she stayed with me.

Melanie had also suspected the Project Management organisation of having ulterior motives.  I had also heard the rumours that somewhere of the projects had two purposes.

The most recent, an archaeological dig turned into a search for oil, in a place where the local government had been prevented from prospecting.

Our project had the security team ‘enhanced’ because of ‘perceived’ threats to our safety, which, in the end, didn’t materialise.

Just before the funding dried up.

It was not as if they didn’t have a reason.  Suddenly, we found it difficult to bore through the hard rock to get down to the suspected cavern where an underground river ran from the Arctic to the north to the equator.

We had found what was believed to be the entrance in northern Scandinavia, but not the outlet, other than ancient evidence of water feeding a flourishing Aztec city, not just dry dusty ruins.   It had been paradise.

And as much as I would like to also give my archaeological skills a run, that hadn’t been our focus.  We just had to work around the archealogical aspects of the site.

Even so, I had a feeling someone was poking around the ruins, with people going missing, and strange noises at night.

Melanie was adamant that the ghosts of the city’s once-inhabitants were rising up to protect their final resting place from us invaders.

It became the subject of a conversation one morning, after about a week, the amount of time it took for Melanie doing nothing to start getting bored.

She had just latched onto the archaeological aspects of the site, just arriving at a conclusion I had considered a possibility, but unlikely given the local government’s stand on exploration of the ruins.

“It’s an unjustified cost to bore through impassable rock, especially when we cannot prove an outcome.”

“What if it wasn’t and they’re just telling you that?”

I looked at her over the conference table with surprise.  Melanie was my guru for superstitions and conspiracy theories, and was often closer to the bone than most.

She had said once after a few too many margaritas that the site we were working at had been an old Aztec temple and place of worship and sacrifice, and more than one ghost had been seen at night.

I thought I had seen one myself, but I didn’t believe in such things.  But I did suspect that there might be an element of truth in another myth she had uncovered, that somewhere within the boundaries of the site was a reputed entrance to a network of caverns and tunnels, where artifacts had been hidden from the Spanish conquerors, and which several items had been found nearby.

It would make more sense to think we had been shut down so that another cladescine expedition was being funded to locate the entrance, or determine whether there was any truth to the supposition of gold and or artifacts were hidden there.  That would make more money than finding underground watercourses.

“Then what are you telling me?”

“Those extra security staff sent to save us from the revolting masses would know one end of a gun from the other.  Did they look like mercenaries?”

After a few more margaritas she confessed her ideal man was that Hollywood stereotype mercenary, a stereotype that was not supported by the members of of security team, or the additional people sent.

“Not really, but do we really know that security people have a ‘type’?”

“Girls who look like they just came from a fashion show in Milan.  You remember Joanne and Louisa?”

I don’t think anyone could forget them.  She had a point, but by that time, I was almost overcome by exhaustion.

“You think they were archaeology students?”

“Isn’t that how digs work?  One or two experts and a dozen students are working towards their degrees.  You went through that process.”

I had, though, not been so lucky to find a dig so rich in history.  “We were strictly forbidden from any archealogical exploration.”

“And Management knew you’d assure them that nothing like that was going on.  They relied on your reputation, one of the main reasons the local government allowed the project.  That you’d run it and you’d find water.  Especially if you found water.  When I stopped at the office of the mayor to give him the keys, half a dozen of the newbies, including the girls, were still there.  They were supposed to be on a plane a week ago.”

“They don’t have permission to conduct archaeological exploration of the ruins.”

“Who needs permission to do anything, other than us good guys.  We’ve been running a distraction.  I think they’ve discovered the tunnels and caverns.  And they, more than anything else, might lead us to the water.  We were looking in the wrong place.  I think the city was built on top of the water outlet, and the Aztecs destroyed it themselves to spite the Spanish”

“But we were not in the business of treasure hunting.”

Or were we?

“Why don’t we go and find out?”

Melanie and I had worked together for nearly ten years and had know each other since university as struggling engineers.  My first choice of archaeology became my second choice out of practicality.

Melanie was fun, we had a brief fling, but it was at a time where serious stuff like study, then work, tore us apart.  Now we had gravitated back into each other’s orbit, and in the latest downtime it was a sign she preferred to stay with me than go home to her sister.

The bolt hole of a room filled with years of accumulated junk may have been a better reason to stay, but after three days of sleeping on the couch, she came out, took my hand, and told me we were finally too old to be making the same mistakes.

It was one of those things where you just knew instinctively that you should be together.  We finished each other’s sentences.  We knew what the other was thinking, but that thought was not expressed out loud.  It was scary sometimes.

Like sitting on the plane heading towards Mexico City, and seeing two of the Management team that had been at the meeting that shut us down.

It had been her idea to disguise ourselves, not with fake hair and props, but by getting her friend, a stylist who worked in a Salon, to give us both a makeover.

Even I didn’t recognise myself in the mirror.  And Melanie, well, I don’t think I ever looked at her other than as that sloppy eighteen-year-old who cared less for fashion and style than I did.

And we didn’t even have to try and act like we were on our honeymoon.

Off the plane and into secret agent mode, which felt strange trying to act like someone your not, was a little comical.

We followed the two ‘targets’ from the plane, to immigration, to the baggage hall and through customs, to outside the terminal building, where they were collected in a white van, the vehicle that delivered the new security team members a few months before, and their leader, who got out to greet them and stow their luggage.

“I was right.  Sneaky devils.”  Melanie might have had a complete makeover but her underlying personality was still there. 

What had seemed a lark back in the retreat where we were safe and cosy now took on a more serious aspect.  The idea of getting proof … of what, wasn’t exactly clear now … gave me second thoughts.

There was definitely something going on, but it might be legitimate, and we were just blowing smoke.

“How do you know any of this is suspect?  I mean, they could be here for something else?”

She looked me up and down.  “Where there’s smoke, there’s fire.  Besides, I asked Monty to bump into the Mayor’s assistant, you know, the one he’s keen on, and ask her if anything is afoot.”

Of course, Melanie had a network of spies. 

“She wouldn’t tell him anything.”

“After a few Margaritas, she’s worse than I am.  You really need to get out more.”

Perhaps I did, though trying to imagine Melanie as this whole other different person was a surprise.

“And…”

“It’s not what she said, it’s how she said it.  I think that there’s an undercover operation going on, like there was while we were there.  I suspect, given what Monte tells me, they closed our operation too quickly, on the basis of a discovery that was premature.  They found the entrance to a tunnel that had been covered over to look like a roof collapse, and everyone jumped the gun.”

“No tunnel?”

“Nothing but an empty cavern.”

“Someone else stole the treasure before them.”

“Doubtful.  They found bones.  One of the intrepid students said it was a place for rituals, like sacrifices to the gods.”

“They did that in temples on top of hills.  They’d more likely be the remains of captured Spanish invaders.”

She shrugged.  “Whatever they’re doing, time is running out.  Maybe they’ll ask us to come back and run interference for them.”

“Would you?”

“They know I wouldn’t.  It’s why they were sending me to Peru.  Purgatory.”

A battered van that had seen better days screeched to a halt in front of us, and I saw Monty through the grimy side window.  The last time I saw the van, he was taking me to the hospital.

He gave Melanie a hug, with far more affection than I expected for friends, and felt a tinge of jealousy.  I would have to get used to her affectionate and easy manner with everyone.

Then he shook my hand.  “You still look terrible.”

“Thanks.  I thought you were going to modernise?”

He had spoken about getting a new Toyota.

“Why mess with perfection?  It gets from point A to point B without a hiccup.”  He opened the side door, and we got in, then closed it with a bang.

Seconds later, we were on our way to the hotel, whatever cloak-and-dagger hotel Melanie had picked.  It was not going to be a five-star or even four-star.

We were, she said, flying under the radar.  I had expected to be given a new fake passport after the makeover. 

I found it hard to believe anyone would care what we did; now we were no longer working on any project.  I was still on Administrative leave, whatever that was.

“So, what’s happening.

“That is a long story and I think it’s better if I show you.  Settle in at the hotel, and I’ll come and get you at 8pm.  You will be … amused.”

Amused, then, it will be.

I spent the better part of an hour trying not to think about Melanie in a clingy black jumpsuit.

Our instructions were to dress in black, head to foot, for camouflage.  I didn’t look half as good as she did, and I had to readjust my thoughts.  It had been so long since I’d been that close to a woman, and I hadn’t really expected that I would feel this way.

I got the impression that she liked being admired, again, part of her persona that I would have to get a grip on.  I can’t be jealous of everyone and everything.

In the jalopy, my new name for Monty’s vehicle, he wasn’t telling us much, except…

After the site was closed down, an old man, a descendant of the Aztecs, he thought came to see him.

First it was to thank him for getting it done.

Second, he said he was the last of the custodians of the city, and having no one to pass it on to, asked Monty if he would.

Monty was curious as to what it entailed.

Making sure no one discovered the true power of the city.  It was dismantled when the invaders got too close.  For the elders, it meant they had to kill the city so the invaders would go away.

Of course, he agreed, if only to find out what this power was.

The man took him to a certain part of the city, some distance from where it was considered to be the southern wall line, the original city with four walls and four gates, all of which had only traces remaining.  The city was considered only within the walls.

The spot they were headed was out of view of the city, and, he was told, for a reason.

He ended with the fact that he had seen what the man wanted him to see, but decided to wait until we had returned.  It was what he had been told what there, well, he wanted the rights to the movie because this was going to be an instalment of Indiana Jones.

I was beginning to think he was completely mad.

It was a dark night with a cloudy sky and intermittent moonlight.  On the drive here, it had been reasonably light.  Near the bushes after parking, it was very dark, and Monty had been using a pen light to minimise exposure.

Monty parked the car in a spot that was practically concealed on three fronts.  It was clear the man who showed him had been there before, once recently.

From the parking spot, it was a short walk towards a copse of thick bushes that, for some reason, seemed to be growing very well when everything beyond twenty metres was dead or dying.

We watched Monty carefully pick his way through the copse, following equally as carefully.  The bushes were prickly and the thorns sharp.

With several scratches we made to the middle, where an area of the ground was covered in sand.

Monty went to the other side of the clearing and looked on the ground for several minutes before he put his foot into a bush.  That’s what it looked like.  Then, several seconds later the sand started sinking, then moving slowly sideways exposing and opening and steps going down.

Monty had brought a backpack and distributed three torches.

“I’ll go first.”

I noticed he also had a gun.  I’d never seen him with a gun before.

We went down.  And down.  And down.  There seemed to be a lot of steps built into the walls of a hole that had been dug out of the rock that we apparently drilled through.

Until we reached a large, very deep hole that seemed to go down into the depths of the earth.  At the top, there was a wooden structure that looked like the top of an elevator, though that was impossible.

On the side, more steps, heading down.

And in the background, a very faint but familiar sound.  Running water.

“So, this person knew all along we were looking for water in the wrong place?”

Monty nodded.  “He’s a guardian.  I’m surprised he told me, but he seemed to think I had a hand in sending you lot away.  He asked me to be the next guardian.”

“He has no interest in reviving the city?”

“The city is in ruins.  Nothing can revive it.”

“Is there anything of value?”

“If there is, he didn’t tell me about it.”

It was not that difficult to see what had been used in this well.  A system of buckets taking the water from below up to an intermediate reservoir, then redirected to the city, and elsewhere.

The real treasure here was the water.

“Now you know, what are you going to do?” Melanie gave me one of those sideways looks of hers, the one that said, There’s a right and a wrong decision.  We found the waterways, but it didn’t end here.  That was somewhere else, and I could plot it.

They shut the project down, and as far as I could see, it might as well stay shut.  I didn’t think they’d find any treasure, and even if they did, they wouldn’t tell anyone.

I looked at Monty.  “You want to become this guardian character?”

“If Juanita will have me.  What are you going to do?”

“I told them I want to find the endpoint.  This is not the end.  I’ll be going further south, Chile, Peru, Argentina, or find something else to do.  Maybe I’ll write a book about the Aztecs.”

“Good choice.  That old man I was telling you about.  He takes his job seriously.  Those treasure hunters, they’re on borrowed time.  I told him you’d do the right thing.”

“And if we hadn’t?”

“I told him you would do the right thing.  You didn’t make a liar out of me.  Now, let’s go eat.  All this stumbling around in the dark has made me hungry.”