BY FRAN PAINO, A.K.A. F. DELLA NOTTE

Being a figure skating enthusiast, I tuned in at 4:30 a.m. to the last major international figure skating competition before the 2026 Winter Olympics: The Four Continents, from Beijing, China. At the time, I was unconcerned with the time difference and what it meant to U.S. audiences, and since I communicate with family in Europe frequently, I’m accustomed to thinking about “what time is it” before I make a call. It was when the American Ice Dance team of Emilie Zingas and Vadym Kolesnik were interviewed after their win that time zones became front and center.

Emilie made a point of thanking her parents for all they do and for “staying up in the middle of the night” in Michigan to watch her skate to victory, as China is 13 hours ahead of Michigan, and 14 hours ahead of Austin, Texas. That’s more than half a day, and perhaps like jet lag without leaving your home. I agreed with Emilie, it warranted a special mention and thanks, and it gave rise to my question. Are there structured guidelines for incorporating different time zones into the same stories, and why is that important?

There are technical terms for the methods of writing split-time narratives, and how to use them to give readers clear structural signals. They include Alternating Chapters for specific times and/or locations; sectioned timelines, grouping multiple chapters from one timeline into a distinct “part” before switching to another time zone; and converging plots, even when each thread is at a different point in time, weaving them into a shared climax.

Clarity and Transitions can be emphasized by using time stamps or actually noting the time zone. i.e., Noon, CST, or using geographic descriptions, or outright statements, such as XXX miles away, in …, which tell the reader where they are going next in the story, what the time there is. Each timeline should have its own internal conflict and resolution, and stakes that are equally compelling so readers won’t feel it’s okay to skip any of them. Again, the endings should be woven together. These techniques are vital for clarity and flow for the reader, who should not stop to wonder where we are and what time it is there.

In my upcoming fourth novel in the Housekeeper Mystery Series, Murder in the Cat’s Eye, A Roman Antiquities Mystery, much of the action takes place simultaneously between Rome, Italy, and Austin, Texas. The distance is approximately 5,700 air miles, and Rome, Italy, is on Central European Time (CET) during the winter months, and switches to Central European Summer Time (CEST) from the last Sunday in March to the last Sunday in October, keeping it seven hours ahead of Austin. This time difference comes into play in several chapters, when Mrs. B. and Fr. Melvyn take a small group from St. Francis de Sales in Austin, Texas, to Rome, Italy, to learn about the lives of early Roman Christians.

They get more history than they bargained for. First, an antique cross shows up in Mrs. B.’s book bag, then she’s kidnapped on Halloween night. The young thief responsible for stealing the cross is murdered, and the life of an antiquities dealer is threatened. The leader of a local crime family becomes involved, and the hierarchy of the Catholic Church swoops in to determine if the cross is a missing relic thought to be a myth, and to whom it belongs. Unfamiliar with the differences in law enforcement and unsure of who to trust, Father Melvyn reaches asks his friend, Jake Zayas, an APD police detective, with contacts in Interpol, for help.

Austin diocesan responsibilities require Father Melvyn to return to Texas, before Mrs. B. leaving her embroiled in power battles, mayhem, and murder. Upping the tension is the frequent shift between continents and time zones, which requires careful attention to keep the story’s actions flowing in sensible, understandable streams for the reader.

Using timestamps and location methods, along with descriptions of the cities and time gaps, adds to the drama. Precise notes and clarity are needed to prevent the reader from losing the narrative’s thread. Handling time zones that are an hour apart, like moving between states or Canada and the Midwest in Blood Calls for Blood, is more straightforward than managing the seven-hour gap in Murder in the Cat’s Eye. This significant time difference can intensify narrative tension; for instance, a phone call at eleven a.m. in Rome reaches Austin at four a.m., which is far from routine, and these time gaps aren’t just dramatic devices for fiction.

Returning to sports and time zones, there will be a 6- to 9-hour time difference between Milan, and Cortina, Italy, and the various U.S. time zones for the 2026 Winter Olympic Games. The drama and suspense of the events will air on NBC, USA, and, for subscribers, Peacock TV. This will give a full range of times to watch live or on playback.

Meanwhile, Mrs. B., Father Melvyn, and the cast of Murder in the Cat’s Eye will conclude their time and involvement in Rome, Italy. Will they all get back to the U.S. alive and well? What will they have learned about ancient Christian history? About themselves? Which friendships will hold? Will they make new friends? How will they have grown from their experiences in Rome? Watch for Murder in the Cat’s Eye, A Roman Antiquities Mystery, to find out.

Meanwhile, enjoy the Olympics and happy reading!