Tag: Writing

The story behind the story – Echoes from the Past

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

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

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

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

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

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

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

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

Originally, it was not set anywhere in particular.

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

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

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

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

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

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

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

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

And, of course, I wanted a happy ending.

Except for the bad guys.

…

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

What I learned about writing – The use of flashbacks

The Flashback Dilemma: Craft Tool or Narrative Crutch?

Ah, the flashback. That sudden warp in the narrative, pulling us from the present action into a scene from the past. For some readers, it’s a thrilling unravelling of mystery and character. For others, it’s a jarring interruption, a moment to sigh and wonder if the story will ever get back on track.

So, is the use of flashbacks good writing or bad writing? The short answer, like with most literary devices, is: it depends entirely on how it’s executed.

A flashback, by its very nature, is a pause in the forward momentum of your story. This pause can be a powerful strategic move, deepening the reader’s understanding and enriching the narrative tapestry. Or, it can be a clumsy misstep that derails the plot and tests your reader’s patience.

Let’s break down the difference between a lazily written and a well-constructed flashback.

The Pitfalls of a Lazily Written Flashback

A lazy flashback is often a symptom of one of two things: a writer struggling to convey information, or a writer avoiding present conflict.

  1. The Information Dump: This is perhaps the most common offender. The writer needs to inform the reader about a character’s past, a world detail, or a previous event, but instead of weaving it organically into the current narrative, they simply stop the action and insert a lengthy, undigested chunk of backstory.
    • How it feels to the reader: “Why am I being told this now? Does this really matter? Can we get back to what was happening?” It breaks immersion and feels like exposition masquerading as a scene.
    • Example: A character is about to face a dragon, and suddenly, we get three pages detailing their entire childhood trauma with kittens, completely unrelated to dragons or their immediate fear.
  2. Avoiding Present Conflict: Sometimes a writer introduces a flashback not because it’s crucial to the immediate scene, but because they’re unsure how to resolve or advance the current plot point. It’s a way to hit the “pause” button on a difficult scene.
    • How it feels to the reader: Frustrating. It feels like the story is treading water, or deliberately holding back for no good reason. The tension dissipates.
  3. Lacks a Clear Trigger or Purpose: A lazy flashback often appears out of nowhere, without a clear sensory trigger (a smell, a song, a phrase) or a strong narrative reason tied to the present moment. It just… happens.
  4. Telling, Not Showing: These flashbacks often recount events rather than immersing the reader in them. They summarise, rather than allow the reader to experience the past as if it were happening now.

The Art of a Well-Constructed Flashback

A well-constructed flashback is a precision tool, used sparingly and with surgical intent. It doesn’t halt the story; it deepens it, providing vital context that reshapes the reader’s understanding of the present.

Here’s what makes a flashback effective:

  1. Purpose-Driven and Relevant: Every successful flashback serves a clear, immediate purpose for the current narrative.
    • Context: It provides a crucial piece of information that makes the current events, character motivations, or mystery suddenly click into place.
    • Character Development: It reveals the origins of a character’s present fears, desires, strengths, or flaws, adding layers to their personality. Instead of telling us a character is brave, we see a past event that forged that bravery.
    • Mystery/Suspense: It offers a tantalising clue, a half-remembered moment that hints at a larger secret, building tension and propelling the reader forward to discover more.
    • Dramatic Irony: The reader gains knowledge that the present-day characters don’t have, intensifying the stakes.
  2. Seamless Integration and Clear Transitions: An excellent flashback is often triggered organically. A scent, a sound, a familiar face, a particular phrase – something in the present moment pulls the character (and the reader) back to the past. The transition should be clear, too, whether through distinct paragraph breaks, italics, or a narrative device.
  3. Concise and Focused: Like any good scene, a flashback should only include what’s absolutely necessary. It’s not an excuse for extraneous detail. It’s a snapshot, not a whole album.
  4. Impact on the Present: The most crucial element: a good flashback changes the reader’s perception of the present story. When the flashback ends, the reader should return to the main narrative with new information, a deeper emotional connection, or a shifted perspective that makes the current events more resonant. It should propel the story forward, not bog it down.
  5. Engaging as a Scene: Treat your flashback like any other critical scene. It should have its own mini-arc, vivid details, sensory descriptions, and emotional resonance. It shouldn’t feel like a summary.

Conclusion: A Tool for the Master, Not the Apprentice

Flashbacks are neither inherently good nor bad writing. They are a powerful, but dangerous, narrative device. In the hands of a skilled writer, they can unlock profound understanding, build unbearable tension, and imbue characters with incredible depth. In the hands of a novice, they can be a clunky, confusing obstacle.

Before you insert a flashback, ask yourself:

  • Why now? Why can’t this information be revealed through dialogue, internal thought, or action in the present?
  • What vital purpose does this serve for the current story?
  • Will it clarify or confuse?
  • Will it deepen character or merely delay plot?

If you can answer these questions with conviction, then by all means, employ the flashback. Just ensure it’s a finely crafted key, not a blunt instrument, to unlock the true potential of your story.

What are your thoughts on flashbacks? Do you have a favourite example of a story that uses them masterfully, or one that fumbled the ball? Share your insights in the comments below!

365 Days of Writing, 2026 – 196

Day 196 – Solving writing problems

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The Ultimate Writing Hack? Why Carl Reiner’s “Driving and Talking” Method Works (And How to Use It)

Picture this: Legend of comedy Carl Reiner is behind the wheel, cruising down the highway, carrying on a hilarious, animated conversation with… absolutely no one.

To a passing driver, he might look like he’s lost his marbles. But to the creative genius behind The Dick Van Dyke Show and The 2000 Year Old Man, he was hard at work. Reiner famously relied on a peculiar yet powerful writing technique to solve his thorniest narrative problems: driving around and talking out loud to himself.

It sounds eccentric. But is it actually a viable method for tackling writer’s block, structuring plots, and developing dialogue? And more importantly—will it work for you?

Let’s pull back the hood on this unconventional writing strategy, explore the science behind why it works, and look at how you can apply it to your own writing process.

The Carl Reiner Method: How a Legend Solved Story Problems

Carl Reiner wasn’t just a writer; he was a master of comedic timing and narrative pacing. But even comedy legends hit walls. When a scene felt flat, a joke lacked punch, or a plot point refused to click, Reiner didn’t just stare blankly at a blinking cursor. He got in his car.

In the car, free from the physical constraints of a desk and the glaring pressure of a blank page, Reiner would talk to himself. He would pitch lines, argue both sides of an argument, act out character reactions, and narrate action sequences out loud. By the time he got back home, the problem was usually solved.

He wasn’t alone in this. Countless creators, from novelists to screenwriters, swear by the power of vocalisation. But why is a method usually reserved for eccentric commuters actually a goldmine for productivity?

The Science of Out-Loud Thinking: Why Talking to Yourself Cures Writer’s Block

It turns out that talking to yourself in a moving vehicle isn’t just a quirky habit—it’s a neurological cheat code. Here is why the Reiner method is so effective:

1. It Engages the Auditory Loop

When we write, our internal monologue moves fast—often too fast. We skip over logic gaps because our brains instinctively fill in what we mean to say, rather than what is actually on the page.

When you speak your ideas out loud, you force your brain to process them through the auditory loop. Hearing your words in real-time allows you to immediately catch clunky dialogue, pacing issues, and tonal inconsistencies. If a sentence makes you stumble while saying it aloud, your reader is going to stumble over it, too.

2. The Cognitive Offloading of Driving

Why do our best ideas happen in the shower, on a walk, or behind the wheel? Psychologists call this cognitive offloading.

Driving is a largely procedural task that requires just enough low-level brainpower to keep your hands on the wheel and your eyes on the road. This occupies the part of your brain prone to overthinking and anxiety (the default mode network), leaving your subconscious mind free to make wild, creative connections.

3. Activating Performance and Persona

Writing can feel sterile. Sitting at a keyboard is a sedentary, introverted act.

Speaking aloud, however, is a performance. When you talk out loud as your characters, you step into their shoes. You feel the cadence of their speech, the heat of their anger, or the charm of their wit. It shifts your brain from “analyst mode” to “storyteller mode.”

Will It Work for You? (Pros and Cons)

While this method worked wonders for Carl Reiner, every writer’s brain is wired differently. Let’s weigh the benefits and potential drawbacks.

The Pros:

  • Instant Dialogue Polish: Hearing words spoken aloud is the ultimate litmus test for natural-sounding dialogue.
  • Beats Writer’s Block: Movement and vocalisation break the hypnotic, paralysing trance of staring at a blank screen.
  • Multitasking Creativity: You are turning “dead time” (commuting, running errands) into productive ideation time.

The Cons:

  • Distraction Risks: Safety first! If talking through a complex plot point causes you to miss your exit or run a red light, pull over.
  • Transcription Friction: Unlike typing, you can’t easily capture spontaneous brilliance unless you have a voice recorder running (more on that later).
  • Self-Consciousness: If you live in a dense urban area or drive a convertible, you might feel a bit silly yelling at your dashboard.

How to Adapt the Reiner Method for Your Writing Routine

You don’t need to lease a luxury sedan to reap the benefits of Carl Reiner’s favourite writing hack. Here is how you can integrate the “drive and talk” method into your workflow—safely and effectively:

1. Use the “Voice Memo” Safety Net

Never try to rely on memory alone. Before you put the car in drive, open a voice-recording app on your phone (or use a dedicated dictaphone) and mount it securely. Treat your car like a mobile podcast studio. Ramble, argue, pitch, and brainstorm freely, knowing it’s all being captured.

2. Go with a Prompt or Problem

Don’t just get in the car and hope for inspiration. Define your mission before you turn the ignition. For example: “How do I get Character A from the diner to the crime scene without it feeling forced?” or “Let’s workshop the argument between the spouses in Chapter 4.” Give your subconscious a specific target.

3. Roleplay Both Sides

Reiner was famous for playing multiple parts. If you are struggling with a scene between two characters, play both of them. Switch your pitch, adopt different accents, and let them have a verbal sparring match. You’ll often find that the characters will organically steer the scene in a direction you hadn’t planned—and that direction is usually the right one.

4. No Car? No Problem (The “Walk and Talk”)

If you don’t drive, don’t worry. The principle remains the same: movement plus vocalisation. Pop in some wireless earbuds, turn on your voice recorder app, and go for a brisk walk around your neighbourhood. (Bonus: Walking outdoors is also scientifically proven to boost creative output).

The Verdict: Give Your Writing a Voice

Carl Reiner proved that great comedy—and great writing in general—isn’t always born in absolute silence. Sometimes, it’s forged at 45 miles per hour, fueled by caffeine, road signs, and a writer talking animatedly to themselves.

If you are feeling stuck on a plot hole or your dialogue is feeling wooden, stop staring at the screen. Step away from the desk, grab your voice recorder, and take a drive. Your inner Carl Reiner is waiting to take the wheel.

Have you ever tried talking out loud to solve a creative problem? Let us know your favourite unconventional writing hacks in the comments below!

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Top 5 sights on the road less travelled – San Marino

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

Tucked away in the Apennine Mountains, San Marino is a tiny, independent republic that’s often overlooked by travellers flocking to more popular Italian destinations. However, this charming microstate has a wealth of secrets waiting to be uncovered by intrepid explorers. While many visitors flock to the capital city’s historic centre and the iconic Three Towers, there’s a world of adventure and discovery to be had on the road less travelled. In this blog post, we’ll delve into the top five alternative things to do in San Marino, taking you off the beaten path and into the heart of this enchanting country.

1. Explore the scenic trails of Monte Titano

San Marino’s rugged landscape is perfect for hiking and trekking, with numerous trails that crisscross the country. One of the most breathtaking routes is the Sentiero delle Panoremi, which winds its way around the base of Monte Titano, the country’s highest peak. This moderately challenging hike offers stunning views of the surrounding countryside, as well as the chance to spot local wildlife, such as deer and wild boar. For a more leisurely stroll, try the Sentiero della Rocca, which takes you through a picturesque valley and offers breathtaking vistas of the valley below.

2. Visit the quirky Museum of Curiosities

Tucked away in a quiet alleyway in the capital city, the Museum of Curiosities (Museo delle Cere) is a bizarre and fascinating attraction that’s sure to delight. This quirky museum is home to a vast collection of wax sculptures, including historical figures, mythical creatures, and even a few San Marino legends. With its eclectic mix of art, history, and humour, the Museum of Curiosities is a must-visit for anyone looking to experience the unique culture of San Marino.

3. Sample local wines at a family-run vineyard

San Marino is renowned for its excellent wines, particularly its white wines, which are made from the Verdicchio grape. To experience the best of San Marino’s viticulture, head to a family-run vineyard, such as the Azienda Agricola Sassina or the Cantina di San Marino. Here, you can take a guided tour of the vineyards, learn about the wine-making process, and sample some of the region’s finest vintages. Many vineyards also offer delicious local cuisine, including cheese, cured meats, and homemade pasta.

4. Discover the medieval charm of Fiorentino

Just a short drive from the capital city, the medieval town of Fiorentino is a hidden gem waiting to be discovered. This picturesque village is filled with narrow cobblestone streets, quaint piazzas, and historic buildings, including a stunning 14th-century church. Visitors can explore the town’s charming centre, visit the local museum, and enjoy a leisurely lunch at one of the town’s family-run trattorias. For a truly immersive experience, try visiting Fiorentino during one of its many festivals, such as the Festa della Madonna della Pietà in September.

5. Take a scenic drive along the Strada del Castello

For a truly unique perspective on San Marino, take a drive along the Strada del Castello, a scenic road that winds its way along the country’s rugged coastline. This stunning route offers breathtaking views of the Adriatic Sea, as well as the chance to explore some of San Marino’s most picturesque towns and villages. Along the way, be sure to stop at the Castello di Fiorentino, a medieval fortress that offers panoramic views of the surrounding countryside. For a thrilling experience, try driving the Strada del Castello at sunset, when the sky is painted with hues of pink and gold.

In conclusion, San Marino is a country that’s full of surprises, from its stunning natural beauty to its quirky cultural attractions. By venturing off the beaten path, you can discover a world of hidden gems and unique experiences that will leave you with unforgettable memories of this enchanting microstate. So why not take the road less travelled and explore the secrets of San Marino? You never know what wonders you might discover.

Top 5 sights on the road less travelled – Ankara

Off the Beaten Path: Top 5 Alternative Things to Do in Ankara

Ankara, the capital city of Turkey, is often overshadowed by its more popular counterpart, Istanbul. However, this vibrant city has a rich history, cultural significance, and a plethora of exciting activities to offer. While many tourists flock to the Anıtkabir, the Museum of Anatolian Civilisations, and the Kocatepe Mosque, there’s more to Ankara than meets the eye. In this blog post, we’ll delve into the top 5 alternative things to do in Ankara, taking you on a road less travelled.

1. Explore the Hamamönü District

Tucked away in the heart of the city, the Hamamönü District is a charming neighbourhood that showcases Ankara’s Ottoman heritage. This historic district is filled with beautifully restored 19th-century Ottoman houses, quaint shops, and traditional Turkish cafes. Visitors can wander through the narrow streets, admire the architecture, and experience the local culture. Don’t miss the opportunity to try some traditional Turkish delight and coffee at one of the many cafes in the area.

2. Visit the Ankara Castle

Perched atop a hill in the Ulus district, the Ankara Castle offers breathtaking panoramic views of the city. This ancient fortress dates back to the 7th century and has been occupied by various civilisations, including the Romans, Byzantines, and Ottomans. While the castle itself is impressive, the surrounding neighbourhood is also worth exploring, with its narrow streets, historic mosques, and traditional shops.

3. Discover the Turkish Aerospace Museum

For aviation enthusiasts and families alike, the Turkish Aerospace Museum is a hidden gem. Located near the Etimesgut Air Base, this museum showcases a vast collection of aircraft, including historic planes, helicopters, and even a spaceship. With interactive exhibits and a play area for kids, this museum is an excellent alternative to the more traditional attractions in Ankara.

4. Wander through the Gençlik Park

The Gençlik Park, which translates to “Youth Park,” is a tranquil oasis in the heart of the city. This beautiful park offers a peaceful escape from the hustle and bustle of Ankara, with its lush greenery, walking trails, and picturesque lake. Visitors can rent a boat and enjoy a relaxing ride, or simply sit back and enjoy the scenery. The park also hosts various events and festivals throughout the year, making it a great place to experience local culture.

5. Explore the Söğütözü District’s Street Art

Ankara’s Söğütözü District is a hub for street artists, with vibrant murals and graffiti adorning the walls of buildings. This up-and-coming neighbourhood is a great place to explore, boasting an eclectic mix of boutiques, cafes, and restaurants. Visitors can take a self-guided walking tour to discover the unique street art, which reflects the city’s modern and artistic side. Be sure to check out the iconic “Ankara” mural, which has become a popular spot for Instagram-worthy photos.

In conclusion, Ankara is a city that offers much more than the usual tourist attractions. By venturing off the beaten path, visitors can experience the authentic culture, history, and beauty of this vibrant city. Whether you’re interested in history, art, nature, or simply exploring a new neighbourhood, Ankara has something to offer. So, take a road less travelled and discover the hidden gems of Ankara – you won’t be disappointed!

365 Days of Writing, 2026 – 196

Day 196 – Solving writing problems

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The Ultimate Writing Hack? Why Carl Reiner’s “Driving and Talking” Method Works (And How to Use It)

Picture this: Legend of comedy Carl Reiner is behind the wheel, cruising down the highway, carrying on a hilarious, animated conversation with… absolutely no one.

To a passing driver, he might look like he’s lost his marbles. But to the creative genius behind The Dick Van Dyke Show and The 2000 Year Old Man, he was hard at work. Reiner famously relied on a peculiar yet powerful writing technique to solve his thorniest narrative problems: driving around and talking out loud to himself.

It sounds eccentric. But is it actually a viable method for tackling writer’s block, structuring plots, and developing dialogue? And more importantly—will it work for you?

Let’s pull back the hood on this unconventional writing strategy, explore the science behind why it works, and look at how you can apply it to your own writing process.

The Carl Reiner Method: How a Legend Solved Story Problems

Carl Reiner wasn’t just a writer; he was a master of comedic timing and narrative pacing. But even comedy legends hit walls. When a scene felt flat, a joke lacked punch, or a plot point refused to click, Reiner didn’t just stare blankly at a blinking cursor. He got in his car.

In the car, free from the physical constraints of a desk and the glaring pressure of a blank page, Reiner would talk to himself. He would pitch lines, argue both sides of an argument, act out character reactions, and narrate action sequences out loud. By the time he got back home, the problem was usually solved.

He wasn’t alone in this. Countless creators, from novelists to screenwriters, swear by the power of vocalisation. But why is a method usually reserved for eccentric commuters actually a goldmine for productivity?

The Science of Out-Loud Thinking: Why Talking to Yourself Cures Writer’s Block

It turns out that talking to yourself in a moving vehicle isn’t just a quirky habit—it’s a neurological cheat code. Here is why the Reiner method is so effective:

1. It Engages the Auditory Loop

When we write, our internal monologue moves fast—often too fast. We skip over logic gaps because our brains instinctively fill in what we mean to say, rather than what is actually on the page.

When you speak your ideas out loud, you force your brain to process them through the auditory loop. Hearing your words in real-time allows you to immediately catch clunky dialogue, pacing issues, and tonal inconsistencies. If a sentence makes you stumble while saying it aloud, your reader is going to stumble over it, too.

2. The Cognitive Offloading of Driving

Why do our best ideas happen in the shower, on a walk, or behind the wheel? Psychologists call this cognitive offloading.

Driving is a largely procedural task that requires just enough low-level brainpower to keep your hands on the wheel and your eyes on the road. This occupies the part of your brain prone to overthinking and anxiety (the default mode network), leaving your subconscious mind free to make wild, creative connections.

3. Activating Performance and Persona

Writing can feel sterile. Sitting at a keyboard is a sedentary, introverted act.

Speaking aloud, however, is a performance. When you talk out loud as your characters, you step into their shoes. You feel the cadence of their speech, the heat of their anger, or the charm of their wit. It shifts your brain from “analyst mode” to “storyteller mode.”

Will It Work for You? (Pros and Cons)

While this method worked wonders for Carl Reiner, every writer’s brain is wired differently. Let’s weigh the benefits and potential drawbacks.

The Pros:

  • Instant Dialogue Polish: Hearing words spoken aloud is the ultimate litmus test for natural-sounding dialogue.
  • Beats Writer’s Block: Movement and vocalisation break the hypnotic, paralysing trance of staring at a blank screen.
  • Multitasking Creativity: You are turning “dead time” (commuting, running errands) into productive ideation time.

The Cons:

  • Distraction Risks: Safety first! If talking through a complex plot point causes you to miss your exit or run a red light, pull over.
  • Transcription Friction: Unlike typing, you can’t easily capture spontaneous brilliance unless you have a voice recorder running (more on that later).
  • Self-Consciousness: If you live in a dense urban area or drive a convertible, you might feel a bit silly yelling at your dashboard.

How to Adapt the Reiner Method for Your Writing Routine

You don’t need to lease a luxury sedan to reap the benefits of Carl Reiner’s favourite writing hack. Here is how you can integrate the “drive and talk” method into your workflow—safely and effectively:

1. Use the “Voice Memo” Safety Net

Never try to rely on memory alone. Before you put the car in drive, open a voice-recording app on your phone (or use a dedicated dictaphone) and mount it securely. Treat your car like a mobile podcast studio. Ramble, argue, pitch, and brainstorm freely, knowing it’s all being captured.

2. Go with a Prompt or Problem

Don’t just get in the car and hope for inspiration. Define your mission before you turn the ignition. For example: “How do I get Character A from the diner to the crime scene without it feeling forced?” or “Let’s workshop the argument between the spouses in Chapter 4.” Give your subconscious a specific target.

3. Roleplay Both Sides

Reiner was famous for playing multiple parts. If you are struggling with a scene between two characters, play both of them. Switch your pitch, adopt different accents, and let them have a verbal sparring match. You’ll often find that the characters will organically steer the scene in a direction you hadn’t planned—and that direction is usually the right one.

4. No Car? No Problem (The “Walk and Talk”)

If you don’t drive, don’t worry. The principle remains the same: movement plus vocalisation. Pop in some wireless earbuds, turn on your voice recorder app, and go for a brisk walk around your neighbourhood. (Bonus: Walking outdoors is also scientifically proven to boost creative output).

The Verdict: Give Your Writing a Voice

Carl Reiner proved that great comedy—and great writing in general—isn’t always born in absolute silence. Sometimes, it’s forged at 45 miles per hour, fueled by caffeine, road signs, and a writer talking animatedly to themselves.

If you are feeling stuck on a plot hole or your dialogue is feeling wooden, stop staring at the screen. Step away from the desk, grab your voice recorder, and take a drive. Your inner Carl Reiner is waiting to take the wheel.

Have you ever tried talking out loud to solve a creative problem? Let us know your favourite unconventional writing hacks in the comments below!

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First Dig Two Graves

A sequel to “The Devil You Don’t”

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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.

What I learned about writing – What we give up to write

The Unnecessary Sacrifices: What We Really Give Up To Pursue Our Trade

The narrative of the struggling artisan is deeply ingrained in our culture. The solitary writer fueled by instant coffee, the entrepreneur sleeping on their office floor, the painter eating cold beans for dinner—we romanticise the idea that true devotion requires extreme hardship.

We constantly ask ourselves: What must I tell myself I can do without in order to ply my trade?

This line of questioning often leads us to scrutinise the basic necessities of life. Do we cut food? Do we wear patched clothes? Do we forgo self-care?

The truth, however, is far more subtle and far more strategic. If your trade is a marathon, sacrificing your fuel (physical, intellectual, or emotional) is not devotion—it’s self-sabotage. To thrive, we must learn the difference between necessary austerity and counterproductive deprivation.

Here is a professional perspective on what is truly shed when we commit to our craft, and what must absolutely be protected.

1. Shedding the Myth of Monetary Deprivation

The common wisdom suggests we must sacrifice the big three: food, clothes, and looking good.

If we are being honest, very few successful professionals or skilled tradespeople literally starve themselves or wear rags. What we sacrifice isn’t the necessity itself, but the performative consumption surrounding it.

Food: Quality Over Spectacle

We don’t give up food; we give up time-consuming dining experiences and expensive ingredients that don’t increase our productivity.

The sacrifice is the elaborate lunch hour, the $15 artisanal coffee every morning, or the weekend spent trying complicated new recipes. We trade the gourmet for the pragmatic, optimising our diet for consistent energy and focus. The decision isn’t “Should I eat?” it’s “Does this meal purchase me another hour of high-quality work?”

Clothes and Appearance: Utility Over Status

The sacrifice here is not looking presentable; it is the need to impress onlookers and the time spent shopping for trends.

The dedicated professional often adopts a uniform—a set of clothes that are comfortable, reliable, and require zero decision-making energy in the morning (the classic example of Steve Jobs’ turtlenecks or Mark Zuckerberg’s grey t-shirts). This is a strategic sacrifice of bandwidth. We give up the mental effort of fashion tracking and external validation so that our finite focus can be diverted entirely to the work itself.

2. Protecting the Intellectual Engine

The most dangerous question posed by the hustle culture mindset is whether we must give up books and writing to survive.

For the modern professional—be they a coder, a writer, a consultant, or a marketer—these are not luxuries; they are fundamental operating costs.

If your trade requires cognitive skill, problem-solving, or communication, sacrificing these inputs is akin to a carpenter giving up their hammer.

Books and Reading: Fueling the Engine

We cannot afford to stop learning. When we are deep in the trenches of a trade, reading books—whether they are technical manuals, industry reports, or even great fiction—is the only way to fill the well of knowledge needed to stay competitive.

The real sacrifice is often mindless entertainment: binge-watching television that contributes nothing to our professional growth, or endlessly scrolling validated social media feeds. We trade passive consumption for active learning.

Writing: Sharpening the Tool

Whether you write code, marketing copy, or detailed client briefs, writing is how we clarify thought, document processes, and communicate value. Giving up personal writing, journaling, or even drafting non-work-related essays inhibits our ability to structure complex ideas.

The sacrifice is not the act of writing; it is the expectation of perfectionism in every draft. We sacrifice the time spent trying to make the first sentence flawless so that we can get the crucial idea down quickly and move forward.

3. The True Sacrifices: Time, Comfort, and Bandwidth

When we are truly committed to a trade, the things that disappear are not our fundamental needs, but the luxurious buffers we previously relied upon. These are the real opportunity costs:

1. The Buffer of Time

The biggest sacrifice is spontaneity and unstructured time.

If you are serious about your craft, your schedule becomes deliberately rigid. You sacrifice the freedom to say “yes” to every last-minute social invitation, because that time has already been allocated to deep work, administration, or necessary rest. This is often misunderstood as anti-social behaviour, but it is actually the strategic protection of your workflow.

2. The Comfort of Stability

The trade requires a willingness to live closer to the edge of failure. You sacrifice the comfort of guaranteed outcomes.

Every new project, every pitch, every innovative attempt carries a genuine risk of falling short. This trade demands emotional resilience and the sacrifice of the secure, predictable path for one that offers significant growth but zero guarantees.

3. The Need for External Validation

Finally, we sacrifice the energy spent chasing approval.

When you are intensely focused on the quality of your output, you stop trying to manage the fickle opinions of others. This is where the sacrifice of “looking good” truly comes into play—not physically, but professionally. We stop sacrificing genuine progress for the sake of public performance.

The Wise Exchange

The commitment to a trade is not a vow of destitution; it is a vow of strategic alignment.

The professional does not ask, “What must I suffer through?” but rather, “What non-essential things are draining the time, energy, and resources I need to excel?”

Stop sacrificing your intellectual fuel (books, learning) and your physical fuel (health, decent food). Instead, identify and eliminate the silent drains: the distraction, the excessive consumerism, the need for immediate gratification, and the fear of saying “no.”

Ply your trade, but do so from a position of strength, not starvation. Sacrifice wisely, or risk burning out before the real work ever begins.

365 Days of Writing, 2026 – 195

Day 195 – Writing exercise

…

It was hard, very hard, to stand at the altar and find the words that could adequately describe how much he missed Catherine, or explain in simple words how much she had meant to him.

These days relationships and marriages were throwaway items, something you jump into and out of as easily as getting on and off a boat.

It was a dilemma that had been haunting him since the priest had told him he should prepare some words to remember her in a way everyone would understand.

The thing was, not everyone did.  Certainly not her brother and two sisters. Certainly not her parents; they simply didn’t understand who she was and didn’t try.  They had three other children to bend to their will.

Certainly not my parents, of similar practical ilk as hers, and didn’t understand my choice.  My younger sister did; they were friends, soul mates for life, and her sudden death had affected her as much as it had me.

But to find words that made her relatable?  That was going to take a collaborative effort, simply because she was ‘artistic’.

There were various ways of interpreting artistic, most ending up on a scrapheap of misunderstandings that usually generated into misguided insults.

When I first met her I did the same.  I had not yet broken free of what she called the shackles of formalism.  It was a polite way of saying I was trying to conform to my parents’ ideal person.

Hard working, university educated as a doctor or lawyer, certainly a professional, and ideally working in the family business.  My father was a lawyer; his father was; my brothers were.  Then, my mother was a doctor, and my sister was meant to be, but she, like myself, fell off that wagon before it was too late, and we became autonomous.

My parents blamed Catherine for that.

But that took a while.  I had yet to meet her and go through the hardest year of my life.

…

I was studying law at the same university my great-grandparents and my brothers attended.  We Berkeley’s were well known, even famous, given that Berkeley’s featured everywhere in the walls and the fabric of university lore.

I, like my brothers, had very big shoes to fill, and when you are a so-so student not gifted with instant recall and a photographic memory, law really is a struggle.

Catherine was there doing art history or archaeology or some esoteric degree that to me seemed more fun than gritty learning.  She stood out because of her manner, the way she dressed, and the fact that every day she was like a ray of sunshine.

The first time I met her was in the library.  I was trying to study for a difficult exam that I had to pass, or I would be spending my summer holidays locked in a tutorial instead of going on the family holiday in Capri.

I knew I wasn’t going to make it.

That day I was searching for a law volume, and she was up a ladder and dropped a book on my head.  She said it slipped out of her hand.

It hit me in just the spot where it briefly knocked me out cold.  A book.  I couldn’t believe it.

Anyway, when I woke up, I was in a medical room lying on a cot with a doctor looking concerned, and Catherine, though I didn’t know her name then, hovering at the end of the cot, hoping, she said later, she hadn’t killed me.

The doctor asked me if I knew where I was, loosely translated to ‘at the university ‘, and what day it was, ‘the worst day of my life ‘, and what happened to me, ‘God was answering my prayer to kill me now before I failed the exam and went straight to hell’.

I think there were tears because my head really hurt, so he recommended painkillers and bed rest.  The nurse was very unsympathetic.  Catherine was contrite.

She sat down beside the cot and held my hand.

I’d seen her many times, always from afar.  I was not in her classes nor did I have a reason to be in her friend group.  Why she had stayed was unexplainable.  I had survived; her obligation was over.  I didn’t blame her for anything.  It could have happened to anyone.

She opened with, “I’m so sorry. Things like that just happen to me.”

“Dripping books of heads?”

“Books, spilling drinks and food, bumping into things.  People say I’m in a different world.”

“Are you?”

She smiled.  “Most of the time I see the world differently.  It’s the same as everyone else.  I just see only the good things.”

“How?”

“Take your accident.  It brought us together.  That’s a good thing.  Unless you’re an axe murderer.”

“They don’t let me bring my axe to school.”

She gave me a strange look, then smiled again.  “You have a sense of humour.  That will never work if you’re going to be a lawyer.”

“How do you know…”

“You look like your brother Aloysius.  I hope you’re not like him.  He keeps asking me out, but it’s only to settle a bet.  He’s basically horrible.  I’m sorry, but that’s how I see him.”

She was right, of course; he was.  And I knew about him and his university friends.  They had no respect for women, a trait handed down from their father.  Mine too, but that part missed me.  He called me ambivalent, a traitor as wild as my red hair.

He stopped short of saying I wasn’t his son, especially when my mother was not around.  Curiously, I never suspected her of having affairs, not like him in his quest to stay relevant and young, a battle he was losing as he got older.

“I hate to say it, but I agree with you.  I’ll be happy to kick his ass if he tries too hard, if you like.  It wouldn’t be the first time.”

“You’d do that for me, even after I tried to kill you.”

“I think it was the law trying to kill me.  It was sending me a message.  You just happened to be nearby.”

“Now you’re being too nice.”  She stood.  “You seem to be alright, so I’ll leave you to contemplate the hidden meaning behind the attack of the book.  Maybe I’ll see you around.”

Probably not.  We moved in completely different circles, and I was not the sort of person that fitted into her friend group.

“Maybe.  I could get delayed amnesia, and forget you.”

“You could, but I am unforgettable.”  That said, she left.

I didn’t expect to see her again, except from afar.  Somehow that made me feel sad.

. .

Some people stay in your mind for a variety of reasons.  Catherine stayed in mine simply because she was different, in a way that made her, as she said, unforgettable.

But toiling with the vicissitudes of the law took my mind off everything as I battled to get my head above water.  Law just wasn’t my thing.

Later that year, when I was seriously contemplating leaving university and going home to face the music, I wandered into the cafe looking for a cup of strong black coffee.

That’s when I saw her again, sitting with two other girls who no doubt were in her classes.  What bothered me was that my brother was talking to her.

Well, not talking to her as such, it looked to me like he was being an ass.  Again.

I stood on the doorway for a fraction too long, causing a hold-up that drew comment and her attention.

Just what I didn’t want.

I was going to leave, but she saw me and waved.  My brother turned to see who she was waving at, and that sealed my fate.

The last thing I wanted to do was confront him.  He was condescending at best and abrasive at worst when I wandered into his line of sight.

It was a shame I had to go to the same school as he did.

Fate sealed, I wandered over.

She was more interested in me than him.  He glared at me, “What are you doing here?”

“Getting coffee, though something stronger would be better.  What are you doing?  Harassing the female students in your usual manner?”

If her plan was to put us against each other, it might just work.  I was in a bad mood, and he was just the person to take it out on.

“Just go away and get whatever it is you came for.”

She looked at me, and I think she could see I was spoiling for a fight.  Maybe she wanted to throw some duel on the fire.

“Your brother is being a pain.”

“No.  My brother wanted to win a bet that he can get you to go out with him.  Put him out of his misery, and as a gentleman he will go away and not bother you again “

I looked at him.  “Not that you know what a gentleman really is.  Perhaps I should have a quiet word to Margaret and tell her you’re still sowing those wild cats Dad keeps banging on about.”

“You should be minding your own business.”

“Your misbehaving is my business.  I’m protecting the family name while you seem to think besmirching it is fine.”

“Go away, Steven.  Or else.”

“Or else what?”

“You don’t want to know.”

He was bigger and meaner than me, a member of the rugby team.  I’d seen what he could do when he took his temper out on Jeffery, our middle brother.

I was no match in size and weight, but he had no finesse.

I looked back at her.  “You want this jackass to leave you alone?”

“He doesn’t understand the word no.”

“Not when money is involved.”  I looked at him.  “You and me, the gym.  I win, you leave alone.”

“And if I win,” he said, grinning.

“You won’t.”

He looked me up and down, evaluating his chances.  They were good.  Probably better than good.

“Done.  6 pm.  You really are that stupid.”

Perhaps I was, but one thing I knew in that moment.  I was going to take my temper and all the bad stuff about law I hated on him.

…

“You really shouldn’t be doing this,” Catherine said.  She had decided to come with me to the gym to watch the epic battle.

She didn’t portray it as two fools fighting over a girl who wanted nothing to do with either of them.  She wanted to believe I was defending her honour.

That might have been the case if it was 1780, or a page out of a Jane Austen novel. 

The truth was I hated him.  He was the favourite; everything came easy for him.  Law studies were easy, rugby was easy, dating any girl he wanted was easy.

I just wanted to wipe that smirk off his face.

In reality, I was going to get pounded into the middle of next week.

And I think she knew that my gesture was just that, one that I hadn’t thought through.  She had already told me I didn’t have to go through with it. 

I said it was about time I stuck up for myself instead of living in his shadow.  This was sibling rivalry, and she was just an excuse I was using to justify my actions.

Yet she did go off after telling me I was being stupid, or that she didn’t appreciate me making a fool of myself on her behalf.  I think I was offended at her lack of faith.

When I got there, about five minutes before the event, there was a crowd of about two hundred.  Friends of his, and people who had learned there was going to be a fight.

A civilised fight.

He was dressed for the occasion, in fact, the whole boxing thing, and it didn’t surprise me he was into sparring.  I had been taking lessons, but the odds of any of it sticking in my brain were slight.

“Go change.  We do this properly.”

I shrugged, then climbed into the ring.  One of the gym staff came over with gloves and a helmet and helped me put both on.

Then he read the riot act, as much to say this was going to be by the book and no underhanded punching and clinging.  There was more, but I wasn’t listening.  I was trying to remember what my instructor had told me.

We took our corners.

The gym instructor stood in the middle.  Someone clanged the bell, and it was on.

I watched him circle, fists pumping like pistons, throwing out exploratory jabs as he circled.  Perhaps he thought it would make me dizzy watching him.

Then he came at me, trying to land a punch on the way past.  I saw the move and moved out of the way, and landed a punch to his upper arm that elicited a grunt.

And an expression changed.  Perhaps I might take a little effort on his part.

More circling, more punches, one of which rattled me, but not unduly so.  I had lowered my guard.

Then he came at me.  Perhaps he thought he had me at a disadvantage.  He landed one, but while he was doing that, he left himself exposed, and I lashed out with all the force I could muster.

Thwack. That’s what it sounded like.  Clean, hard, and right on the money.

He crumpled, collapsing to the floor and then didn’t move.  The gym instructor was beside him checking the damage.

It wasn’t much.  I had caught him flush, and it knocked him out.  A few seconds later he was awake, realised what had happened and tried to get up.  His legs could not support the weight, and he had to stay down.

But the fight was over.

I stood there and looked down at him.  There was a vacant stare behind those eyes of his.  Stunned perhaps at the idea that I could beat him.

“You win,” he said. “No hard feelings.”

Pity.  I wanted to pound him some more. Instead I just shrugged and took off the gloves.  By the time I got out of the ring, my brother was back on his feet.  He would survive.

The crowd had dispersed.

Catherine was still there, sitting on a seat by the wall well away from the ring.

“Did you win?”

“Of course.  What were you expecting?”

“Taking you to hospital in an ambulance.  It seems to me the only time we spend together is me taking you to random medical facilities “

“Well, you don’t have to.  He won’t be annoying you again.”

“What about you?”

“I won’t be annoying you at all.”

“What if I want to be annoyed by you?”

“I wouldn’t believe you.  I’m not your sort.”

“How do you know what my sort is?”

“It would not be a deadly dull law graduate.  You have too much life in you to be dragged backwards by a dour person like me.”

I had no idea how or why this conversation was going, other than it shouldn’t.  We were opposites that in a normal world would never meet.

“OK.  Take me to dinner.  If by the end of it I judge you to be too dour, we’ll call it off.  But what you just did, no one has ever done for me before.  That’s not dour.”

“No.  It was bloody stupid.”

“Calculated, yes; stupid, no.  You knew you could beat him.”

“I knew the odds were in my favour.  But fights like that are unpredictable.  I could have got hurt.”

“Then I would have taken you to hospital and got you patched up.  Then I would tell you how remarkable I think you are.  You should never be the person other people want you to be, but the person you want to.  He’s in there,” she touched my heart, which coincidentally was beating rather faster than normal, “and we’ll find him.”

“Dinner?”

“A posh restaurant.  Impress me.  I can be impressed.”

Then she took my hand in hers, and she stood.

I knew then that she was the one, the only one for me; and that I was never going to be a lawyer

…

I was standing behind the priest who had just delivered a remarkable eulogy, one that encapsulated her life, her manner, and her influence over the world at large.

It was meant to light up what a very sad day was, and it did.  I remembered her, not only from the first day I met her, but through that amazing dinner date at her so-called posh restaurant, to the day I asked her to marry me and she said yes.

What could I say that could ever tell anyone what I had and what I’d lost?

I could not.

But given the chance to get back at my brother, well, there was a wealth of stories right there.

I looked out over the crowd, all sitting and expecting something witty.

“Everyone knew Catherine, and unfortunately for some, Catherine knew them.  I remember her speech at the wedding.  As progressive as we were, she took us all by surprise…

“Some more than others…

Quite a few of those before me were there.  It was the first inkling they got that she was not afraid to speak her mind or trample on egos.

I was not going to remind them, but it led into more humorous memories, and it got the conversation going.  We remembered, we laughed, and how we laughed, until we cried.  She had that effect on each and every one of us.

And yes, as I spoke, I knew she was standing next to me, slipping her hand in mine and squeezing it gently, just to let me know I was not, and never would be, alone.

…

©  Charles Heath  2026

Top 5 sights on the road less travelled – Ankara

Off the Beaten Path: Top 5 Alternative Things to Do in Ankara

Ankara, the capital city of Turkey, is often overshadowed by its more popular counterpart, Istanbul. However, this vibrant city has a rich history, cultural significance, and a plethora of exciting activities to offer. While many tourists flock to the Anıtkabir, the Museum of Anatolian Civilisations, and the Kocatepe Mosque, there’s more to Ankara than meets the eye. In this blog post, we’ll delve into the top 5 alternative things to do in Ankara, taking you on a road less travelled.

1. Explore the Hamamönü District

Tucked away in the heart of the city, the Hamamönü District is a charming neighbourhood that showcases Ankara’s Ottoman heritage. This historic district is filled with beautifully restored 19th-century Ottoman houses, quaint shops, and traditional Turkish cafes. Visitors can wander through the narrow streets, admire the architecture, and experience the local culture. Don’t miss the opportunity to try some traditional Turkish delight and coffee at one of the many cafes in the area.

2. Visit the Ankara Castle

Perched atop a hill in the Ulus district, the Ankara Castle offers breathtaking panoramic views of the city. This ancient fortress dates back to the 7th century and has been occupied by various civilisations, including the Romans, Byzantines, and Ottomans. While the castle itself is impressive, the surrounding neighbourhood is also worth exploring, with its narrow streets, historic mosques, and traditional shops.

3. Discover the Turkish Aerospace Museum

For aviation enthusiasts and families alike, the Turkish Aerospace Museum is a hidden gem. Located near the Etimesgut Air Base, this museum showcases a vast collection of aircraft, including historic planes, helicopters, and even a spaceship. With interactive exhibits and a play area for kids, this museum is an excellent alternative to the more traditional attractions in Ankara.

4. Wander through the Gençlik Park

The Gençlik Park, which translates to “Youth Park,” is a tranquil oasis in the heart of the city. This beautiful park offers a peaceful escape from the hustle and bustle of Ankara, with its lush greenery, walking trails, and picturesque lake. Visitors can rent a boat and enjoy a relaxing ride, or simply sit back and enjoy the scenery. The park also hosts various events and festivals throughout the year, making it a great place to experience local culture.

5. Explore the Söğütözü District’s Street Art

Ankara’s Söğütözü District is a hub for street artists, with vibrant murals and graffiti adorning the walls of buildings. This up-and-coming neighbourhood is a great place to explore, boasting an eclectic mix of boutiques, cafes, and restaurants. Visitors can take a self-guided walking tour to discover the unique street art, which reflects the city’s modern and artistic side. Be sure to check out the iconic “Ankara” mural, which has become a popular spot for Instagram-worthy photos.

In conclusion, Ankara is a city that offers much more than the usual tourist attractions. By venturing off the beaten path, visitors can experience the authentic culture, history, and beauty of this vibrant city. Whether you’re interested in history, art, nature, or simply exploring a new neighbourhood, Ankara has something to offer. So, take a road less travelled and discover the hidden gems of Ankara – you won’t be disappointed!