365 Days of Writing, 2026 – 241/242

Days 241 and 242 – Writing Exercise

…

It had been a very difficult decision to walk away from what had been my home, and not only my home but that of my brothers and sisters, but my father’s choices, after our mother died, had created an impossible situation.

My father was never the sort of man who never argued or exerted his authority.  He preferred to let his wife, our mother, do everything, and while she was alive and had the best of intentions, everything was fine

Then she got ill and died.  He was like a rudderless ship, drifting in the middle of an empty ocean.  When it became too much, my sister registered him with a group who had all suffered the same malaise.  The loss of a lifelong partner.

That’s where he met Mathilde Watson.

Everything was fine for the first few months.  He got his mojo back, and he’d found another woman who was happy to take charge.

Except …

She was only interested in what she needed for herself and her children, and simply ignored, or made it known in a less-than-subtle manner, made it known that the rest of his family were no longer welcome. 

Within a year, all four of us children by his first marriage had moved out, or more to the point, were forced out, and her three children and her parents had settled in, making themselves at home.

We tried to tell him, but in the end he believed that we were upset that he had found another wife, and didn’t want him to be happy again.  It was pure Mathilde speaking, but in the end, we simply acknowledged that he was not going to change.

Then, that first Christmas we all came back, she had engineered an argument, one I, and the others should have expected, and more to the point, should have known better than to bite, and for myself,  my last words with him were regrettable.  I didn’t stay to hear what the others had said, but our group chat on social media lit up for about a month afterwards

We had all worked hard over subsequent years to repair the damage she had inflicted, but it was too late.

For all of us.

He got ill, and Mathilde deliberately or otherwise managed to make it almost impossible for any of us to see him except at the very end, when we each got a message to come home.

At least all of us had been with him when he died.  Where Mathilde was, no one asked, and we didn’t wait around to find out.

…

Legal offices were usually austere places, where visits were rare, where I had been once to sign a set of documents at the insistence of my father’s legal representative, a man as old as he was, Ferguson.  I didn’t know of ever had another name.

To be honest I was not sure what they were, I trusted the lawyer and what my father told me, that I didn’t needed to know, just that it was ensuring we emremained a family, despite the new arrangements in his life.  I thought it odd at the time, letting us all be forced away by Mathilde.

I just put it down to strange behaviour we had come to expect from him since Mathilde came into his life.

It was not long after I left home for good, probably not my finest hour, but I had been angry,  and Mathilde, his new wife, was an easy target. I said my piece, and never went back.

Whatever it was, I never gave it another thought.

Until…

I was told he had died.  Mathilde hadn’t informed us, and as little as a few days ago, my sister had phoned him to get a report and had been told by one of her sons he was fine, and not to worry.

Clearly he had been dead for a few weeks.

Ferguson was apologetic that he had been asked by the local police to hold off informing the relatives until they had completed a preliminary investigation.

What was first thought to be death by natural causes was now contentiously labelled a potential murder.  His request was twofold: we all had to meet the Detective in charge of the case, and make a statement that would eliminate us from the investigation.

Clearly it had been communicated to my brother and two sisters because for the next hour the phone lines burned with regret, and a single potential accusation.  If he had been murdered, we knew exactly who did it.

Mathilde.

The other reason for our presence: Ferguson had a letter from our father to read as part of the will.  There were some unusual aspects related to his death that had to be worked through, but Mathilde had been asking for clarification of her position.

Unfortunately, I couldn’t control my resentment, saying that I thought that her position would have been straightforward.  She had coerced him into signing everything over to her.  It was the reason why she had created a hostile environment that none of us wanted any part of.

We could all truthfully say we had no opportunity to coerce him, not that we would.  I may have been disappointed with him and his choices, but I had wanted to believe he was happy.

I said as much to Ferguson.  I also said it was hardly worth my while, that his new family would take everything, and I didn’t ever want to see their gloating faces again.

He countered, saying my attendance would be as a favour to him and out of respect for my father.  He had cared about us, despite what had happened.

It was a matter of whether I wanted to believe it, and I chose not to, but, against my better judgement, I agreed to go.  I had to see the Detective anyway.

… 

Before arriving at Ferguson’s office, we each visited the Detective separately.  It had been suggested that we go together, but my younger brother, a junior lawyer himself, said it would look like we were colluding.

My stay was brief; he took my statement of my movements over the last three months, and any contact I’d had with the household and my father.  That was easy.  None.  He seemed surprised until I summed up the environment.  We were simply not welcome, and he had made no effort to change it.

It seemed selfish and rather pathetic that I hadn’t tried harder, but it was what it was.

Then, prior to the meeting, we met at a cafe nearby.  We were all of the same opinion: the new wife and her family would get everything, and we’d get nothing.  In my mind’s eye I could see her coaxing my father’s hand, creating a will in their favour.

We almost unanimously decided to get up, walk out and go home.  Only a simultaneous text message arriving on our cell phones stopped us.

“Important you be there at the meeting.  All will be revealed in good time.”

I shrugged.

“All in,” I asked.

Three nods.  My older sister Jeanne had the last word: “If that bitch pisses me off, I’m going to punch her lights out.”

I didn’t tell her she would have to get in line.

…

The meeting room felt crowded and unruly.

Not a surprise

All of Mathilde’s family were there.  Her, her parents, the three children and their spouses and a dozen kids.  Jeanne said they bred like rabbits.  She seemed to know a lot about Mathilde and her tribe, as she called them.

The adults all had the same expressions, the cats who’d eaten the canary and got away with it.  None of them acknowledged us when we arrived, and we just frowned at them.  There were no seats left at the table, so we gathered over by the windows.

Their children did not offer us their seats out of respect. And a conversation between Mathilde and her eldest son was clearly referencing us in derogatory terms.  The laughter was annoying.

And provocative?  Maybe.  But it wasn’t going to get a rise.

That’s when Ferguson came in.

The noise level didn’t abate, nor did he get the respect he deserved.  That’s when I saw him raise his hand and bring it down on the table with such force it caused the water in the jug to ripple.

It got their attention.

“This reading is for Albert’s four children from his first marriage, his second wife, and her three children.  No one else.  I will wait until this room is cleared before continuing.

“They are family.”  Mathilde sounded and looked offended.

“That may be, but your husband made a specific request about who may attend.  If you want to argue your case, get a lawyer and I’ll see you in court.  Otherwise, clear the room.”

I, for one, wouldn’t take issue with him.  He looked as angry as I felt.

Ferguson 1, Mathilde 0.

Her parents gathered up the children and left as requested.  A sullen silence settled over the room.  We sat at the end of the table, as far away from Mathilde and her children as we could get.

They had never accepted us as family, and all had been openly hostile towards us, mostly when our father was not home.

Mathilde glanced in our direction, then glared at Ferguson.  “What are they doing here?  They’re no longer family.  They abandoned their father, and if anyone is responsible for killing him, they are “

Ferguson glared back.  If she thought she could intimidate him, he was not a tall or heavy man, not like her sons; she was wrong.

He kept the stare going for nearly a minute until she began to squirm, when he fired the question, “Your opinion, if I get your meaning, is that you believe someone killed Albert?”

“I wouldn’t put it past them.”

Jeanne went slightly pink in the face, and I knew from experience that she was a sure sign she was about to explode.  “Not your first rodeo, eh Mathilde, trying to shift the blame.  Or should I call you Margaret?”

“What are you….”  Mathilde was gaining some colour as well.

Jeanne held up her phone.  “Detective Mandon, whom I know you are aware is investigating the suspicious death of my father,” with emphasis on the word ‘my’, “was extremely interested in the documents I gave him relating to another similar case in Ohio.  That’s where you said you came from.”

“Whatever you think you know, you’re wrong; jealousy and spite will get you nowhere.”

Jeanne put her phone down.  “You know his death is suspicious, and you’re deflecting.  Only someone with something to hide would do that.  You should have just sat there and shut up.”

She went to reply when her son, sitting next to her, put out a restraining hand and whispered in her ear.  She shook his hand off, but didn’t speak.

Ferguson looked at the combatants, calculating what it would take if a fight broke out.  Then, “The terms of the will are quite specific. If anyone sitting at this table had anything to do with Albert’s death, there’s nothing for you.”

He looked straight at Mathilde.  “You’ve been far from cooperative with the police.  You have made the claim that you should be compensated because, in your own words, ‘I have spent nearly every hour of every day for the last three months looking after him’.  Two points arise from that: the first, that no one, and especially the four children you are accusing, could have, nor anyone else, got near enough to give him a glass of water, let alone poison.  The other, again by your own admission, only you could have administered it.”

The son put another restraining hand on her and stopped her from removing it.  “You are twisting her words.”

“So you are admitting your mother lied.”

“Now you’re twisting my words.”

“No.  You just didn’t think things through before you wrote it down.”

Mathilde was now past angry.  Which, for someone who wanted to prove she was the loving and caring partner, certainly seemed agitated when the contrary was presented.

“You cooked this circus up together, didn’t you?”

My turn.  “Why didn’t you tell us when our father died?  In fact, when Jeanne called a few days after we now know he had died, one of your sons said he was still alive, and for us not to worry about him.”

She looked at her son, and he shrugged

“You got your dates mixed up.”

Jeanne, now strangely calm, said,  “I recorded the conversation, timestamped and filed away, with every other call I made.  Your son lied.  Why?”

She thought about what she would say, probably for the first time, and decided silence was a better option.

“Perhaps I might have an answer for you,” I said.  “You needed the time to try and empty the bank accounts before notifying the bank of his death.  The problem is, you couldn’t because he had to verify the transactions, a secondary process you were not aware of.  I’m guessing you saw the confirmation request but couldn’t bluff your way through it.  You knew he had several investment accounts, but he only granted you access to the everyday working account and a capped credit card.  If you killed him for his money, you failed.”

Her expression said all we needed to know.  It must have been hell in that house when she discovered she couldn’t get her hands on the main prize, about 30 million dollars.  I shuddered to think what the state of his study was after all of them ransacked it for evidence of his riches.  The paperwork would have been there somewhere, and he would not have had time to go cold before the search began.

How did I know this possible scenario?  The notifications the bank sent my father asking for his confirmation also came to me.  It was then I realised what those papers I’d signed meant.  I dug them out of the bottom of a proverbial shoebox and read them.

That’s when I realised something had happened.  He may not have been dead at the time, but totally incapacitated.  I was the only other signatory who could authorise her withdrawals.  It told me he hadn’t really trusted her completely.

“If I go home and have a look in his study, I’m willing to bet you ripped it apart looking for his access codes.  The thing is, he never wrote them down.  They died with him.”

She may have just worked out how to control her expression, but the boys hadn’t.  That house would now be little more than a rubbish tip.

Mathilde regained some composure, enough to say, “You asked us here to tell us what’s in the will.  My family needs some clarity about what arrangements he set in place for me.”

“Very well.  We’ll presume the assumption of innocence for all for the moment.  In normal circumstances, the will is quite simple in its provisions.”

An almost smug look returned to her face.

“It is important to note, before I read those provisions, the arrangements that were made some years ago, just after the death of his first wife and before he met and married you.”  Ferguson looked pointedly at Mathilde.  “At that time he decided to create a family trust, and then deposited the main investments and part of the funds from the sale of the house and several other properties into it.”

He paused, maybe to let that sink in, or to take a sigh of relief.  I remembered overhearing a conversation he had with our father over his finances, and the need to set up a trust to protect what he had and to provide for those he deemed worthy of an inheritance.

“He also created a working account where his share of the dividends from the trust’s investments were to be directed.  A few months later he transferred ownership of the trust to his four original children.”

It was a surprise to the other three, and until I got the requests for authorisation, I was equally in the dark.  Our father and Ferguson would have managed it without needing to defer to us, and his managers hip would have lapsed on his death

“What does all that mean?”  The smug look had gone, and the calculating mind had kicked in.

“It means Albert’s estate amounts to about a hundred and twenty-two thousand dollars.  The house was leased from the trust to him for a peppercorn rent as long as he lived.  Your continuing to rent the property will be at the discretion of the trustees.  Bear in mind that a tenant inspection is being carried out while you are here, as provided in the conditions of the rental agreement, and if the damages to the house exceed 5,000 dollars, you will be issued a notice of eviction.”

“You can’t do that.  He promised us he would look after us.”

“You didn’t ask the appropriate questions and made assumptions.  The rental agreement was made in his name.  He asked you if you wanted to be included on the lease agreement, but you declined.  If your name was on the rental agreement, it would be a different situation.”

“So, what do we get?”

“The car, and each a share of the 122 thousand or so in the working account and an investment account in both your names.  He had nothing else.”

One of the sons said, “And the dividends from the trusts.”

“Unfortunately, that money was at the discretion of the trustees, in his name only, and an arrangement made before you met him.  The agreement he signed with the trust was a contract of employment, which ceased on his death.  There will be some clean-up disbursements, vacation pay and possibly a bonus, but nothing significant.”

“And that’s it?”

“I’m afraid so.”

“We’ll sue.”  One of the other sons, probably the first time he looked as if he was paying attention, spoke.  “There’s no way at least half of whatever is in that trust is ours.  It has to be worth millions.  He was filthy rich.  You said he was the one with the money.”

Ferguson’s phone vibrated on the desk beside the file.  He picked up the phone and checked it, reading what must have been a text.  There was just a hint of a smile.

“If you decide to sue, which is your right, of course, any bequests will be withdrawn, and we can argue our case in court.”

There were raised voices outside the office, and when we looked through the windows looking out over the foyer, there were two uniformed police officers and two detectives.

“The tox report had come back, and as I understand it, Albert died from slow poisoning. I’m not sure what the details are, but the police have searched the house and found evidence which they need you to explain how and why it’s there, and why it is in some of the food you kept in the freezer.”

Mathilde looked at the eldest son.

“What?  It’s not my fault.”

“Shut up, you fool.”

The detective was ushered in, and without another word, we left, as all four of them immediately said they would not be cooperating until they called their lawyer.

I was positive Ferguson was not going to represent them.

…

The menagerie that was Mathilde’s family was rounded up and taken away.  Ferguson was glad to see the last of them.

Legally, we had known about the trust, if push came to shove, but the reality was Ferguson kept all of the letters, documents and correspondence at his office.

Our father didn’t want to burden us with complications of investing money or managing properties. Now? Perhaps we would have to.

It was a tidy sum, and we could draw a large income from the trust if we chose.  None of it could go to his new family.  They were only entitled to a share of his assistance and the time of the wedding.

It was watertight and could not be contested.

And if she, or any of them, were convicted of murder, then it was a moot point.

Jeanne’s final remark: “She was, after all said and done, just a gold digger.  All of them. I think we owe a great deal of thanks to Mr Ferguson for his diligence in protecting us from that dreadful woman and her family.”

Even so, I had a feeling we had not seen the last of Mathilde Watson.

…

©  Charles Heath  2026

What I learned about writing – You need to find a place without distractions

I just spent a week away in one of our favourite places, in a cottage in the hills not far from the Gold Coast in Queensland.

The location is in a valley, at the bottom of which is a small creek.  There is nothing but farming land in every direction, and it’s a place where you can luxuriate in the silence, when not being interrupted by the sounds of wildlife and farm animals.

The serenity is simply amazing.

You can use it as a base because everything you could want is no more than two hours in any direction, but for us, there is no reason to leave the cottage.  We come for relaxation and to wind completely down, away from everything.

The good news is there’s no TV, and the internet and phone coverage are terrible at best, which means you need to find alternate ways of relaxing.

I can’t tell you how good it is not to be addicted to TV news, not to have the internet calling you via social media, and not have the phone ring once in four days.  After you get past that first day of withdrawal symptoms are nearly as bad as coming down off drugs.

Except…

This time I had a mission, to take the time to finish off one of my books. The Enchanted Horse, a story I’ve been promising my grandchildren I’d finish for the last five years.

There just never seems to be time at home with all the distractions, you know those trappings of modern life, the phone, the internet, TV.

And, the good news is I managed to review, collate and generally structure the 700 odd pages I’d already written, and comprehensively outline the last few remaining chapters so I can finally finish the first draft.

The other job that became apparent about one-third of the way through, was that the story is too big for one book, and now it is three, each instalment about 300 pages long, and it gave me the opportunity to write bridging chapters, a sort of the story so far, which will also serve as synopsis I can send to prospective publishers.

All in all, huge progress was made.

Pity I could stay for a month.  I have so much that needs doing without distraction

365 Days of writing, 2026 – Beyond the second novel

The Invisible Wall

…

Hitting the Wall: How to Rescue a Book Series When You’ve Literally Lost the Plot

You had a vision. Book one launched with a bang. Book two built the world and deepened the character arcs. Book three delivered a satisfying, breathless climax that left readers clamouring for more.

And then came book four.

You’re halfway through the manuscript, and you’ve hit the ultimate writer’s nightmare: you have quite literally lost the plot. The pacing is dead, the characters are wandering around a narrative wasteland like confused tourists, and staring at a blank Word document makes you want to take up competitive knitting.

If your series was going gangbusters and has now slammed head-first into a brick wall, take a deep breath. You aren’t the first bestselling author to face the dreaded “middle-book slump,” and you certainly won’t be the last.

Here is your emergency guide on what happens when you hit the wall, both figuratively and literally—and how to fix it before your readers jump ship.


Phase 1: The Anatomy of the Collapse (The “Literally” Part)

First, let’s address the physical and mental reality of hitting the wall. Writing a sprawling series takes a massive cognitive toll. By book four, you are no longer just writing a story; you are managing a fictional ecosystem.

When you lose the plot literally, it usually looks like this:

  • The Spaghetti Plot: You’ve introduced too many subplots, and they are now tangled in a knot so tight even Alexander the Great would reach for a pair of scissors.
  • The Character Drift: Your protagonist is doing things purely because the plot requires them to, rather than making organic choices based on their growth.
  • The Middle-Book Swamp: You know where the book needs to end, and you know where it started, but the 40,000 words in the middle are a foggy morass of conversations in coffee shops and hallways that lead nowhere.

When your brain hits this wall, it’s waving a white flag. It’s telling you that your current blueprint is broken.


Phase 2: Stop Digging (The Power of Stepping Back)

The worst thing you can do when you’ve lost the plot is to force yourself to churn out 2,000 words a day of absolute nonsense just to hit a daily quota. That’s how you end up with a manuscript that requires a ruthless, tear-soaked page-one rewrite later.

1. Give Yourself Permission to Pause: Step away from the keyboard for 48 hours. Seriously. Go for a walk, read a book in a completely different genre, or binge a TV show. Let your subconscious untangle the wires without your conscious frustration getting in the way.

2. Conduct an Autopsy: Print out what you have so far—yes, actual paper. Grab a red pen and a highlighter. Read through the manuscript from chapter one of book four (or even the end of book three) to see where the train officially derailed. Ask yourself:

  • Where did the momentum stop?
  • Which character choice felt forced?
  • Did I introduce a shiny new plot element just to keep things moving, and did it actually ruin the pacing?

Phase 3: Rebuilding the Roadmap

Once you’ve identified the crash site, it’s time to rebuild. If you’re a “pantser” (someone who writes by the seat of their pants), congratulations: you have officially reached the limits of pure intuition. It’s time to borrow a few tools from the outliners.

Triage Strategy A: The “Back to Basics” Reset

Look back at the promise you made to your readers in books one through three. What is the core engine of this series?

  • Is it a romance where the tension has stalled?
  • Is it a mystery where the wrong clues are taking up too much oxygen?
  • Strip away the shiny subplots and refocus entirely on the main conflict.

Triage Strategy B: Up the Stakes (or Change the Cost)

Often, a plot stalls because the characters are safe and the conflict is abstract. Introduce a ticking clock. Force your protagonist into a corner where they have to make an impossible choice. If a scene doesn’t change the characters’ status quo or advance the central mystery/conflict, cut it.

Triage Strategy C: Bring in the Wrecking Ball

If the middle is truly unsalvageable, ask yourself the most dangerous question a writer can ask: What is the worst possible thing that could happen to my characters right now? Blow up a safehouse. Have a trusted ally betray them. Force them to abandon their current mission and pivot entirely. Sometimes, introducing a narrative earthquake is the only way to shake the plot back to life.


Phase 4: Crossing the Finish Line

Writing a long-running series is a marathon of endurance. The first three books benefited from the initial adrenaline rush of creation—the honeymoon phase of world-building and character introduction. Book four is where the real work begins.

Hitting the wall doesn’t mean you’re a bad writer; it means you’ve outgrown your current structure.

So, forgive yourself for the mess. Roll up your sleeves, grab your red pen, and go find your plot. Your readers are waiting on the other side of the wall, and they are rooting for you to break right through it.

…

If I only had one day to stop over in – Rome – what would I do?

One Day in Rome: Making the Most of the Colosseum Experience

Rome, a city where ancient history and vibrant culture collide, can feel overwhelming in a single day. With countless landmarks vying for your attention, how do you choose just one place to make your stopover truly memorable? The answer lies in the heart of the Eternal City—The Colosseum. This iconic monument is not just a structure; it’s a portal to the past, offering a day packed with history, architecture, and a touch of Roman magic. Here’s how to turn your one day into a timeless memory.

Why the Colosseum?

The Colosseum is Rome’s most enduring symbol of imperial grandeur. Built in 80 AD, this ancient amphitheatre once hosted gladiatorial battles, epic hunts, and spectacular spectacles. Visiting it is like stepping into a living museum of Roman engineering and ambition. Unlike sprawling sites like the Vatican, the Colosseum allows you to delve deep into a singular, monumental narrative. Plus, it’s centrally located, making it a gateway to other historic treasures.

Start Your Day with a Skip-the-Line Tour

Beat the crowds and start your adventure early. Booking a skip-the-line guided tour in advance (like the Colosseum, Roman Forum, and Palatine Hill combo ticket) ensures you maximise your time and access exclusive areas like the Gladiator Hypogeum, where you can imagine the chaos of the underground staging area before battles. Early mornings (before 9 AM) are ideal for fewer crowds and cooler temperatures.

Pro Tip: Opt for a VIP tour or evening tour for a more intimate experience. The Colosseum under a sunset or moonlit sky? Unforgettable.

Explore the Roman Forum and Palatine Hill

Adjacent to the Colosseum, the Roman Forum and Palatine Hill are a must. Once the political and social heart of Rome, the Forum’s ruins—from the Temple of Saturn to the Arch of Titus—tell stories of emperors, senators, and citizens. Palatine Hill, where emperors like Augustus and Nero lived, offers a glimpse into imperial opulence. Let your imagination wander as you walk through marble colonnades and crumbling temples.

Hidden Gem: After your guided tour, stroll outside the Colosseum’s walls to the Appian Way or Circo Massimo Park for a quieter moment. The Colosseum’s silhouette from a distance is a photo opportunity you won’t want to miss.

Break for Lunch Like a Local

Rome isn’t just about history—it’s also about food. After your ancient adventure, indulge in a Roman classic at a nearby trattoria. Try Supplì al telefono (fried rice balls) or Cacio e Pepe near the Colosseum. The Centrale Food Market, just a 10-minute walk away, is perfect for a quick, authentic bite.

Afternoon: Hidden Treasures and Winding Alleys

Post-lunch, explore the neighbourhoods surrounding the Colosseum. Wander through Piazza Vittorio Emanuele II, an underrated square with fountains and modern flair. For a quieter alternative, visit Basilica di San Clemente, a stunning church with layers of history beneath its church (a Roman house church, and even a 1st-century Mithraic temple).

Evening: Sunset and Stories

End your day with a romantic walk around the Colosseum at sunset. The golden light casts a magical glow on the arches, and the atmosphere is electric. If time allows, catch a night tour—the guided stories under torchlight add a dramatic edge to the Colosseum’s tales.


Final Thoughts

While Rome is a city of endless wonders, the Colosseum offers a concentrated dose of what makes it unforgettable. By focusing on this singular icon—along with its nearby treasures—you’ll gain a deeper appreciation for Rome’s legacy while leaving with memories of grandeur, history, and a touch of local flavour.

So, whether you’re a first-time traveller or a returning explorer, let the Colosseum be your anchor. With a bit of planning, even a fleeting day in Rome can become a chapter of your eternal story.

Buon viaggio! 🍷✨

Another excerpt from “Strangers We’ve Become” – A sequel to ‘What Sets Us Apart’

…

It was the first time in almost a week that I made the short walk to the cafe alone.  It was early, and the chill of the morning was still in the air.  In summer, it was the best time of the day.  When Susan came with me, it was usually much later, when the day was much warmer and less tolerable.

On the morning of the third day of her visit, Susan said she was missing the hustle and bustle of London, and by the end of the fourth she said, in not so many words, she was over being away from ‘civilisation’.  This was a side of her I had not seen before, and it surprised me.

She hadn’t complained, but it was making her irritable.  The Susan that morning was vastly different to the Susan on the first day.  So much, I thought, for her wanting to ‘reconnect’, the word she had used as the reason for coming to Greve unannounced.

It was also the first morning I had time to reflect on her visit and what my feelings were towards her.  It was the reason I’d come to Greve: to soak up the peace and quiet and think about what I was going to do with the rest of my life.

I sat in my usual corner.  Maria, one of two waitresses, came out, stopped, and there was no mistaking the relief in her manner.  There was an air of tension between Susan and Maria I didn’t understand, and it seemed to emanate from Susan rather than the other way around.  I could understand her attitude if it was towards Alisha, but not Maria.  All she did was serve coffee and cake.

When Maria recovered from the momentary surprise, she said, smiling, “You are by yourself?”  She gave a quick glance in the direction of my villa, just to be sure.

“I am this morning.  I’m afraid the heat, for one who is not used to it, can be quite debilitating.  I’m also afraid it has had a bad effect on her manners, for which I apologise.  I cannot explain why she has been so rude to you.”

“You do not have to apologise for her, David, but it is of no consequence to me.  I have had a lot worse.  I think she is simply jealous.”

It had crossed my mind, but there was no reason for her to be.  “Why?”

“She is a woman, I am a woman, she thinks because you and I are friends, there is something between us.”

It made sense, even if it was not true.  “Perhaps if I explained…”

Maria shook her head.  “If there is a hole in the boat, you should not keep bailing but try to plug the hole.  My grandfather had many expressions, David.  If I may give you one piece of advice, as much as it is none of my business, you need to make your feelings known, and if they are not as they once were, and I think they are not, you need to tell her.  Before she goes home.”

Interesting advice.  Not only a purveyor of excellent coffee, but Maria was also a psychiatrist who had astutely worked out my dilemma.  What was that expression, ‘not just a pretty face’?

“Is she leaving soon?” I asked, thinking Maria knew more about Susan’s movements than I did.

“You would disappoint me if you had not suspected as much.  Susan was having coffee and talking to someone in her office on a cell phone.  It was an intense conversation.  I should not eavesdrop, but she said being here was like being stuck in hell.  It is a pity she does not share your love for our little piece of paradise, is it not?”

“It is indeed.  And you’re right.  She said she didn’t have a phone, but I know she has one.  She just doesn’t value the idea of getting away from the office.  Perhaps her role doesn’t afford her that luxury.”

And perhaps Alisha was right about Maria, that I should be more careful.  She had liked Maria the moment she saw her.  We had sat at this very table, the first day I arrived.  I would have travelled alone, but Prendergast, my old boss, liked to know where ex-employees of the Department were, and what they were doing.

She sighed.  “I am glad I am just a waitress.  Your usual coffee and cake?”

“Yes, please.”

Several months had passed since we had rescued Susan from her despotic father; she had recovered faster than we had thought, and settled into her role as the new Lady Featherington, though she preferred not to use that title, but go by the name of Lady Susan Cheney.

I didn’t get to be a Lord, or have any title, not that I was expecting one.  What I had expected was that Susan, once she found her footing as head of what seemed to be a commercial empire, would not have time for details like husbands, particularly when our agreement made before the wedding gave either of us the right to end it.

There was a moment when I visited her recovering in the hospital, where I was going to give her the out, but I didn’t, and she had not invoked it.  We were still married, just not living together.

This visit was one where she wanted to ‘reconnect’ as she called it, and invite me to come home with her.  She saw no reason why we could not resume our relationship, conveniently forgetting she indirectly had me arrested for her murder, charges both her mother and Lucy vigorously pursued, and had the clone not returned to save me, I might still be in jail.

It was not something I would forgive or forget any time soon.

There were other reasons why I was reluctant to stay with her, like forgetting small details, an irregularity in her character I found odd.  She looked the same, she sounded the same, she basically acted the same, but my mind was telling me something was not right.  It was not the Susan I first met, even allowing for the ordeal she had been subjected to.

But, despite those misgivings, there was no question in my mind that I still loved her, and her clandestine arrival had brought back all those feelings.  But as the days passed, I began to get the impression my feelings were one-sided and she was just going through the motions.

Which brought me to the last argument, earlier, where I said if I went with her, it would be business meetings, social obligations, and quite simply her ‘celebrity’ status that would keep us apart.  I reminded her that I had said from the outset I didn’t like the idea of being in the spotlight, and when I reiterated it, she simply brushed it off as just part of the job, adding rather strangely that I always looked good in a suit.  The flippancy of that comment was the last straw, and I left before I said something I would regret.

I knew I was not a priority.  Maybe somewhere inside me, I had wanted to be a priority, and I was disappointed when I was not.

And finally, there was Alisha.  Susan, at the height of the argument, had intimated she believed I had an affair with her, but that elephant was always in the room whenever Alisha was around.  It was no surprise when I learned Susan had asked Prendergast to reassign her to other duties. 

At least I knew what my feelings for Alisha were, and there were times when I had to remember she was persona non grata.  Perhaps that was why Susan had her banished, but, again, a small detail; jealousy was not one of Susan’s traits when I first knew her.

Perhaps it was time to set Susan free.

When I swung around to look in the direction of the lane where my villa was, I saw Susan.  She was formally dressed, not in her ‘tourist’ clothes, which she had bought from one of the local clothing stores.  We had fun that day, shopping for clothes, a chore I’d always hated.  It had been followed by a leisurely lunch, lots of wine and soul searching.

It was the reason why I sat in this corner; old habits die hard.  I could see trouble coming from all directions, not that Susan was trouble or at least I hoped not, but it allowed me the time to watch her walking towards the cafe in what appeared to be short, angry steps; perhaps the culmination of the heat wave and our last argument.

She glared at me as she sat, dropping her bag beside her on the ground, where I could see the cell phone sitting on top.  She followed my glance down, and then she looked unrepentant back at me.

Maria came back at the exact moment she was going to speak.  I noticed Maria hesitate for a second when she saw Susan, then put her smile in place to deliver my coffee.

Neither spoke nor looked at each other.  I said, “Susan will have what I’m having, thanks.”

Maria nodded and left.

“Now,” I said, leaning back in my seat, “I’m sure there’s a perfectly good explanation as to why you didn’t tell me about the phone, but that first time you disappeared, I’d guessed you needed to keep in touch with your business interests.  I thought it somewhat unwisethat you should come out when the board of one of your companies was trying to remove you, because of what was it, an unexplained absence?  All you had to do was tell me there were problems and you needed to remain at home to resolve them.”

My comment elicited a sideways look, with a touch of surprise.

“It was unfortunate timing on their behalf, and I didn’t want you to think everything else was more important than us.  There were issues before I came, and I thought the people at home would be able to manage without me for at least a week, but I was wrong.”

“Why come at all.  A phone call would have sufficed.”

“I had to see you, talk to you.  At least we have had a chance to do that.  I’m sorry about yesterday.  I once told you I would not become my mother, but I’m afraid I sounded just like her.  I misjudged just how much this role would affect me, and truly, I’m sorry.”

An apology was the last thing I expected.

“You have a lot of work to do catching up after being away, and of course, in replacing your mother and gaining the requisite respect as the new Lady Featherington.  I think it would be for the best if I were not another distraction.  We have plenty of time to reacquaint ourselves when you get past all these teething issues.”

“You’re not coming with me?”  She sounded disappointed.

“I think it would be for the best if I didn’t.”

“Why?”

“It should come as no surprise to you that I’ve been keeping an eye on your progress.  You are so much better doing your job without me.  I told your mother once that when the time came I would not like the responsibilities of being your husband.  Now that I have seen what it could possibly entail, I like it even less.  You might also want to reconsider our arrangement, after all, we only had a marriage of convenience, and now that those obligations have been fulfilled, we both have the option of terminating it.  I won’t make things difficult for you if that’s what you want.”

It was yet another anomaly, I thought; she should look distressed, and I would raise the matter of that arrangement.  Perhaps she had forgotten the finer points.  I, on the other hand, had always known we would not last forever.  The perplexed expression, to me, was a sign she might have forgotten.

Then, her expression changed.  “Is that what you want?”

“I wasn’t madly in love with you when we made that arrangement, so it was easy to agree to your terms, but inexplicably, since then, my feelings for you changed, and I would be sad if we parted ways.  But the truth is, I can’t see how this is going to work.”

“In saying that, do you think I don’t care for you?”

That was exactly what I was thinking, but I wasn’t going to voice that opinion out loud.  “You spent a lot of time finding new ways to make my life miserable, Susan.  You and that wretched friend of yours, Lucy.  While your attitude improved after we were married, that was because you were going to use me when you went to see your father, and then almost let me go to prison for your murder.”

“I had nothing to do with that, other than to leave, and I didn’t agree with Lucy that you should be made responsible for my disappearance.  I cannot be held responsible for the actions of my mother.  She hated you; Lucy didn’t understand you, and Millie told me I was stupid for not loving you in return, and she was right.  Why do you think I gave you such a hard time?  You made it impossible not to fall in love with you, and it nearly changed my mind about everything I’d been planning so meticulously.  But perhaps there was a more subliminal reason why I did because after I left, I wanted to believe, if anything went wrong, you would come and find me.”

“How could you possibly know that I’d even consider doing something like that, given what you knew about me?”

“Prendergast made a passing comment when my mother asked him about you; he told us you were very good at finding people and even better at fixing problems.”

“And yet here we are, one argument away from ending it.”

I could see Maria hovering, waiting for the right moment to deliver her coffee, then go back and find Gianna, the café owner, instead.  Gianna was more abrupt and, for that reason, was rarely seen serving the customers.  Today, she was particularly cantankerous, banging the cake dish on the table and frowning at Susan before returning to her kitchen.  Gianna didn’t like Susan either.

Behind me, I heard a car stop, and when she looked up, I knew it was for her.  She had arrived with nothing, and she was leaving with nothing.

She stood.  “Last chance.”

“Forever?”

She hesitated and then shook away the look of annoyance on her face.  “Of course not.  I wanted you to come back with me so we could continue working on our relationship.  I agree there are problems, but it’s nothing we can’t resolve if we try.”

I had been trying.  “It’s too soon for both of us, Susan.  I need to be able to trust you, and given the circumstances, and all that water under the bridge, I’m not sure if I can yet.”

She frowned at me.  “As you wish.”  She took an envelope out of her bag and put it on the table.  “When you are ready, it’s an open ticket home.  Please make it sooner rather than later.  Despite what you think of me, I have missed you, and I have no intention of ending it between us.”

That said, she glared at me for a minute, shook her head, then walked to the car.  I watched her get in and the car drive slowly away.

No kiss, no touch, no looking back. 

…

© Charles Heath 2018-2025

strangerscover9

If I only had one day to stop over in – Venice – what would I do?

A Day in Venice: Making the Most of Your 24-Hour Stopover

Venice, the City of Water, is a place that has captivated the hearts of travellers for centuries. With its stunning architecture, rich history, and unique culture, it’s no wonder that Venice is a top destination for many. But what if you only have a day to spend in this enchanting city? Is it possible to make the most of your 24-hour stopover and create unforgettable memories? The answer is yes, and it all starts with visiting one iconic place: St. Mark’s Square.

The Heart of Venice: St. Mark’s Square

Located in the heart of Venice, St. Mark’s Square (Piazza San Marco) is the city’s most famous landmark and a must-visit destination for any traveller. This stunning square is surrounded by breathtaking architecture, including the magnificent St. Mark’s Basilica, the Doge’s Palace, and the Campanile di San Marco (St. Mark’s Bell Tower). As you step into the square, you’ll be struck by the sheer beauty and grandeur of your surroundings.

Why St. Mark’s Square is a Must-Visit

So, what makes St. Mark’s Square the perfect place to visit during your one-day stopover in Venice? Here are just a few reasons:

  • Unparalleled Architecture: The square is home to some of the most stunning examples of Byzantine architecture in the world, including the intricate mosaics and golden domes of St. Mark’s Basilica.
  • Rich History: St. Mark’s Square has been the centre of Venetian life for centuries, with a history dating back to the 9th century. You can almost feel the weight of history as you walk through the square.
  • Cultural Significance: The square is a hub of cultural activity, with street performers, musicians, and artists adding to the lively atmosphere.
  • Accessibility: St. Mark’s Square is easily accessible by vaporetto (water bus) or on foot, making it a convenient destination for travellers with limited time.

Tips for Visiting St. Mark’s Square

To make the most of your visit to St. Mark’s Square, here are a few tips to keep in mind:

  • Arrive Early: Get to the square early in the morning to avoid the crowds and enjoy a more peaceful atmosphere.
  • Dress Modestly: Remember to dress modestly when visiting the basilica, as it’s a place of worship.
  • Take a Guided Tour: Consider taking a guided tour of the square and its surrounding attractions to get a deeper understanding of the history and culture.
  • Enjoy the Views: Don’t forget to take in the stunning views of the square from the top of the Campanile di San Marco, which offers breathtaking vistas of the city.

Conclusion

In conclusion, St. Mark’s Square is the perfect destination for travellers with a one-day stopover in Venice. With its stunning architecture, rich history, and cultural significance, this iconic square is sure to leave a lasting impression. By visiting St. Mark’s Square, you’ll be able to experience the essence of Venice and create unforgettable memories of your time in this enchanting city. So, make the most of your 24-hour stopover and head to St. Mark’s Square – you won’t regret it!

365 Days of writing, 2026 – Beyond the second novel

The Invisible Wall

…

Hitting the Wall: How to Rescue a Book Series When You’ve Literally Lost the Plot

You had a vision. Book one launched with a bang. Book two built the world and deepened the character arcs. Book three delivered a satisfying, breathless climax that left readers clamouring for more.

And then came book four.

You’re halfway through the manuscript, and you’ve hit the ultimate writer’s nightmare: you have quite literally lost the plot. The pacing is dead, the characters are wandering around a narrative wasteland like confused tourists, and staring at a blank Word document makes you want to take up competitive knitting.

If your series was going gangbusters and has now slammed head-first into a brick wall, take a deep breath. You aren’t the first bestselling author to face the dreaded “middle-book slump,” and you certainly won’t be the last.

Here is your emergency guide on what happens when you hit the wall, both figuratively and literally—and how to fix it before your readers jump ship.


Phase 1: The Anatomy of the Collapse (The “Literally” Part)

First, let’s address the physical and mental reality of hitting the wall. Writing a sprawling series takes a massive cognitive toll. By book four, you are no longer just writing a story; you are managing a fictional ecosystem.

When you lose the plot literally, it usually looks like this:

  • The Spaghetti Plot: You’ve introduced too many subplots, and they are now tangled in a knot so tight even Alexander the Great would reach for a pair of scissors.
  • The Character Drift: Your protagonist is doing things purely because the plot requires them to, rather than making organic choices based on their growth.
  • The Middle-Book Swamp: You know where the book needs to end, and you know where it started, but the 40,000 words in the middle are a foggy morass of conversations in coffee shops and hallways that lead nowhere.

When your brain hits this wall, it’s waving a white flag. It’s telling you that your current blueprint is broken.


Phase 2: Stop Digging (The Power of Stepping Back)

The worst thing you can do when you’ve lost the plot is to force yourself to churn out 2,000 words a day of absolute nonsense just to hit a daily quota. That’s how you end up with a manuscript that requires a ruthless, tear-soaked page-one rewrite later.

1. Give Yourself Permission to Pause: Step away from the keyboard for 48 hours. Seriously. Go for a walk, read a book in a completely different genre, or binge a TV show. Let your subconscious untangle the wires without your conscious frustration getting in the way.

2. Conduct an Autopsy: Print out what you have so far—yes, actual paper. Grab a red pen and a highlighter. Read through the manuscript from chapter one of book four (or even the end of book three) to see where the train officially derailed. Ask yourself:

  • Where did the momentum stop?
  • Which character choice felt forced?
  • Did I introduce a shiny new plot element just to keep things moving, and did it actually ruin the pacing?

Phase 3: Rebuilding the Roadmap

Once you’ve identified the crash site, it’s time to rebuild. If you’re a “pantser” (someone who writes by the seat of their pants), congratulations: you have officially reached the limits of pure intuition. It’s time to borrow a few tools from the outliners.

Triage Strategy A: The “Back to Basics” Reset

Look back at the promise you made to your readers in books one through three. What is the core engine of this series?

  • Is it a romance where the tension has stalled?
  • Is it a mystery where the wrong clues are taking up too much oxygen?
  • Strip away the shiny subplots and refocus entirely on the main conflict.

Triage Strategy B: Up the Stakes (or Change the Cost)

Often, a plot stalls because the characters are safe and the conflict is abstract. Introduce a ticking clock. Force your protagonist into a corner where they have to make an impossible choice. If a scene doesn’t change the characters’ status quo or advance the central mystery/conflict, cut it.

Triage Strategy C: Bring in the Wrecking Ball

If the middle is truly unsalvageable, ask yourself the most dangerous question a writer can ask: What is the worst possible thing that could happen to my characters right now? Blow up a safehouse. Have a trusted ally betray them. Force them to abandon their current mission and pivot entirely. Sometimes, introducing a narrative earthquake is the only way to shake the plot back to life.


Phase 4: Crossing the Finish Line

Writing a long-running series is a marathon of endurance. The first three books benefited from the initial adrenaline rush of creation—the honeymoon phase of world-building and character introduction. Book four is where the real work begins.

Hitting the wall doesn’t mean you’re a bad writer; it means you’ve outgrown your current structure.

So, forgive yourself for the mess. Roll up your sleeves, grab your red pen, and go find your plot. Your readers are waiting on the other side of the wall, and they are rooting for you to break right through it.

…

365 Days of Writing, 2026 – 240

Day 240 – The usefulness of old writing tropes

…

The Power of Tropes: Why Cliffhangers, Third-Act Twists, and the Hero’s Quest Still Rule Storytelling

As writers, we all chase the holy grail of absolute originality. We want to craft something so entirely unprecedented that it leaves readers breathless, wondering, “How on earth did they think of that?”

However, in the pursuit of being unique, it’s easy to slip into the writing morass—that confusing, overly abstract swamp where narratives become so convoluted that they alienate the reader entirely.

The truth? Tropes aren’t the enemy of creativity; they are its foundation. Tropes are the shared language between storyteller and audience. When used skillfully, time-tested devices like cliffhangers, third-act twists, and the hero’s quest act as narrative anchor points. They keep readers turning pages while giving you a sturdy framework to inject your own voice and subvert expectations.

Let’s break down three of the most powerful storytelling tropes, exploring the distinct advantages and disadvantages of each, and how you can use them without falling into clichés.


1. The Cliffhanger: The Ultimate Page-Turner

Think of the classic serialised novels of the 19th century or modern prestige television: just as the tension reaches a fever pitch, bam—fade to black. A cliffhanger abruptly halts the narrative at a moment of high suspense, leaving the ultimate fate of the characters hanging in the balance.

The Advantages:

  • Instant Engagement: Cliffhangers hijack our psychological need for closure (known as the Zeigarnik effect). Readers remember uncompleted tasks and unresolved plots much better than finished ones, making it nearly impossible to put the book down.
  • Momentum: They bridge the gap between chapters, episodes, or books. In serialised fiction or indie publishing, a well-placed cliffhanger is your best tool for securing immediate pre-orders for the sequel.

The Disadvantages:

  • Reader Frustration: If overused or deployed cheaply, cliffhangers can feel manipulative. When every single chapter ends with a manufactured crisis that is immediately resolved in the next sentence, readers lose trust in the narrative stakes.
  • The “Cheap Trick” Trap: Relying solely on cliffhangers can mask lazy plotting. If the core narrative arc isn’t compelling on its own, a cliffhanger is just a Band-Aid slapped over a boring story.

Pro Tip: Use cliffhangers sparingly and ensure they emerge naturally from the plot. A true cliffhanger should answer one major question while brilliantly spawning two more.


2. The Third-Act Twist: The Perspective Shifter

Positioned just as the story hurtles toward its climax, the third-act twist turns everything the reader thought they knew completely upside down. Think of The Sixth Sense, Gone Girl, or Shutter Island. Suddenly, clues that were hiding in plain sight take on a terrifying or triumphant new meaning.

The Advantages:

  • High Re-readability: A masterfully executed twist rewards the reader. Once the secret is out, looking back at the narrative jigsaw puzzle and seeing how the pieces fit together is one of the most deeply satisfying experiences a reader can have.
  • Emotional Resonance: A great twist doesn’t just shock; it changes the stakes. It forces the protagonist (and the audience) to re-evaluate their journey, often elevating a standard plot into a profound thematic statement.

The Disadvantages:

  • The “Come Out of Nowhere” Problem: If a twist has no foreshadowing, it stops being clever and starts looking like cheating. Readers hate feeling tricked by information the author withheld just to pull a fast one.
  • Predictability: Conversely, because third-act twists are so ubiquitous, seasoned readers can often spot them a mile away. If your twist relies on an amnesiac narrator, a secret twin, or “it was all a dream,” genre-savvy readers will guess it by page fifty.

Pro Tip: Play fair. Hide your clues in moments of high action so the reader’s attention is divided. When the twist drops, the reader should slap their forehead and say, “Of course! It was right there the whole time!”


3. The Hero’s Quest: The Blueprint of Human Myth

From The Odyssey and The Lord of the Rings to Star Wars and The Hunger Games, the hero’s quest (often mapped out as Joseph Campbell’s Hero’s Journey) is the undisputed heavyweight champion of storytelling structures. A protagonist is called to adventure, crosses a threshold, faces trials, undergoes a profound transformation, and returns home forever changed.

The Advantages:

  • Universal Resonance: The hero’s quest mirrors the human condition. We are all striving to grow, overcome obstacles, and find our place in the world. Because of this, the quest structure speaks directly to our primal emotional wiring.
  • Built-in Character Arcs: The structure forces your protagonist to change. By putting them through a gauntlet of external trials that reflect their internal flaws, you guarantee a deeply satisfying character arc.

The Disadvantages:

  • Formulaic Fatigue: Because it is so ubiquitous, the quest can easily feel paint-by-numbers. If you hit every single milestone of the Hero’s Journey without subverting any expectations, your story risks feeling like a generic clone of a thousand other books.
  • Scope Creep: Quests are naturally sprawling. It is very easy to get bogged down in world-building, lore, and “fetch quests” that stall the narrative momentum and exhaust the reader.

Pro Tip: Subvert the milestones. Maybe your hero refuses the call and stays home, changing their small corner of the world instead. Or perhaps the mentor figure turns out to be the ultimate antagonist. Give the familiar skeleton some entirely new skin.


Conclusion: Embrace the Tropes, Find Your Voice

Tropes are not a cage; they are tools. Cliffhangers keep the pages turning, third-act twists blow the reader’s mind, and the hero’s quest provides a resonant emotional backbone.

Don’t be afraid to lean into these time-tested traditions. Readers want the comfort of the familiar, provided you deliver it with a fresh voice, sharp prose, and genuine emotional stakes. Use these tropes as your foundation, and let your unique perspective be the architecture that brings the house down.


What is your favorite trope to write or read? Do you love a good plot twist, or do you prefer a classic epic journey? Let us know in the comments below!

…

What I learned about writing: The dust jacket biography

There is that biography that sits on the inside of the dustcover of your book, slightly more impressive than that on X. What are the requirements?

…

That’s a fantastic point, and you’ve hit on the core difference between marketing copy (the X bio) and the author’s professional narrative (the book dust jacket bio).

The dust jacket biography, often called the Author Flap Copy or Jacket Copy, has a completely different purpose, format, and tone than the 160-character X bio. It serves as an authoritative statement to both readers and the book industry.


Key Differences in Purpose and Tone

FeatureX (Twitter) Bio (160 Characters)Book Dust Jacket Bio (Approx. 150-250 Words)
Primary GoalAcquisition & Engagement: Get a quick follow and signal the type of content the user tweets.Authority & Trust: Validate the author’s expertise and establish their professional credentials.
PerspectiveOften First-Person (“I write…”) to establish a personal connection.Almost always Third-Person (“She lives in…”, “He is a…”) to create an objective, authoritative voice.
ToneConversational, Witty, Casual, or Punchy.Formal, Professional, Established, and Narrative-Driven.
FocusCurrent interests, latest projects, and a personal flair.The author’s full professional history, prior publications, and relevant background.

Essentials for the Dust Jacket Biography

Since the book flap bio has a generous word count (relative to X), it functions as a short professional narrative. It should ideally include the following five components:

1. The Opening Hook (Name & Residency)

Start with the author’s full name and their geographic context, often framed by a sentence that establishes their vocation.

  • Example: Dr. Alana Chen is a professor of history at Yale University and a renowned specialist in Cold War espionage.

2. Relevant Credentials and Expertise

This is where the biography justifies why the author is the person who should be writing this particular book.

  • Non-Fiction: Include academic degrees, professional roles, awards, and relevant real-world experience (e.g., “A former intelligence analyst,” “Holds a PhD in Astrophysics,” “Co-founder of the global non-profit…”).
  • Fiction: Mention prior successful novels, major literary awards, or specific background that lends authenticity to the story (e.g., “Her short stories have appeared in The New Yorker,” “A three-time winner of the Edgar Award”).

3. Prior Work and Social Proof

List a maximum of two or three previous major works to demonstrate a history of publication and success.

  • Example: She is the author of the critically acclaimed novels, The Silicon Fog and The Memory Architect.

4. Personal/Relatable Detail

A single sentence to humanise the author and make them relatable to the reader. This is often an interest, a pet, or a detail about their family life.

  • Example: When not researching ancient civilisations, she enjoys hiking the trails near her home with her two rescue dogs.

5. Current Location

The final line often returns to their place of residence to provide a grounding detail.

  • Example: He currently lives in London. (This is often stylised to be the last, standalone line.)

If I only had one day to stop over in – Venice – what would I do?

A Day in Venice: Making the Most of Your 24-Hour Stopover

Venice, the City of Water, is a place that has captivated the hearts of travellers for centuries. With its stunning architecture, rich history, and unique culture, it’s no wonder that Venice is a top destination for many. But what if you only have a day to spend in this enchanting city? Is it possible to make the most of your 24-hour stopover and create unforgettable memories? The answer is yes, and it all starts with visiting one iconic place: St. Mark’s Square.

The Heart of Venice: St. Mark’s Square

Located in the heart of Venice, St. Mark’s Square (Piazza San Marco) is the city’s most famous landmark and a must-visit destination for any traveller. This stunning square is surrounded by breathtaking architecture, including the magnificent St. Mark’s Basilica, the Doge’s Palace, and the Campanile di San Marco (St. Mark’s Bell Tower). As you step into the square, you’ll be struck by the sheer beauty and grandeur of your surroundings.

Why St. Mark’s Square is a Must-Visit

So, what makes St. Mark’s Square the perfect place to visit during your one-day stopover in Venice? Here are just a few reasons:

  • Unparalleled Architecture: The square is home to some of the most stunning examples of Byzantine architecture in the world, including the intricate mosaics and golden domes of St. Mark’s Basilica.
  • Rich History: St. Mark’s Square has been the centre of Venetian life for centuries, with a history dating back to the 9th century. You can almost feel the weight of history as you walk through the square.
  • Cultural Significance: The square is a hub of cultural activity, with street performers, musicians, and artists adding to the lively atmosphere.
  • Accessibility: St. Mark’s Square is easily accessible by vaporetto (water bus) or on foot, making it a convenient destination for travellers with limited time.

Tips for Visiting St. Mark’s Square

To make the most of your visit to St. Mark’s Square, here are a few tips to keep in mind:

  • Arrive Early: Get to the square early in the morning to avoid the crowds and enjoy a more peaceful atmosphere.
  • Dress Modestly: Remember to dress modestly when visiting the basilica, as it’s a place of worship.
  • Take a Guided Tour: Consider taking a guided tour of the square and its surrounding attractions to get a deeper understanding of the history and culture.
  • Enjoy the Views: Don’t forget to take in the stunning views of the square from the top of the Campanile di San Marco, which offers breathtaking vistas of the city.

Conclusion

In conclusion, St. Mark’s Square is the perfect destination for travellers with a one-day stopover in Venice. With its stunning architecture, rich history, and cultural significance, this iconic square is sure to leave a lasting impression. By visiting St. Mark’s Square, you’ll be able to experience the essence of Venice and create unforgettable memories of your time in this enchanting city. So, make the most of your 24-hour stopover and head to St. Mark’s Square – you won’t regret it!