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Flashfire (Parker Series #19)

Flashfire (Parker Series #19)

4.2 5
by Richard Stark, Terry Teachout (Foreword by)

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Between Parker’s 1961 debut and his return in the late 1990s, the world of crime changed considerably. Now fake IDs and credit cards had to be purchased from specialists; increasingly sophisticated policing made escape and evasion tougher; and, worst of all, money had gone digital—the days of cash-stuffed payroll trucks were long gone.

But cash


Between Parker’s 1961 debut and his return in the late 1990s, the world of crime changed considerably. Now fake IDs and credit cards had to be purchased from specialists; increasingly sophisticated policing made escape and evasion tougher; and, worst of all, money had gone digital—the days of cash-stuffed payroll trucks were long gone.

But cash isn’t everything: Flashfire and Firebreak find Parker going after, respectively, a fortune in jewels and a collection of priceless paintings. In Flashfire, Parker’s in West Palm Beach, competing with a crew that has an unhealthy love of explosions; when things go sour, Parker finds himself shot and trapped—and forced to rely on a civilian to survive. Firebreak takes Parker to a palatial Montana "hunting lodge" where a dot-com millionaire hides a gallery of stolen old masters—which will fetch Parker a pretty penny if his team can just get it past the mansion’s tight security. The forests of Montana are an inhospitable place for a heister when well-laid plans fall apart, but no matter how untamed the wilderness, Parker’s guaranteed to be the most dangerous predator around.
“Like all of Stark’s Parker novels, Firebreak is a brutal yet compelling glimpse into the amoral world of crime and revenge.”—Booklist
“The action [in Flashfire] is nonstop. . . . The awful fascination in these Parker tales comes from knowing the protagonist will always do whatever is necessary to protect himself and to achieve his goals.”—Wall Street Journal

Editorial Reviews

Entertainment Weekly - Stephen King

“Parker is refreshingly amoral, a thief who always gets away with the swag.”
New York Times - William Grimes

“Parker . . . lumbers through the pages of Richard Stark’s noir novels scattering dead bodies like peanut shells. . . . In a complex world [he] makes things simple.”
Elmore Leonard

“Whatever Stark writes, I read. He’s a stylist, a pro, and I thoroughly enjoy his attitude.”
Bookforum - John Banville

“Richard Stark’s Parker novels . . . are among the most poised and polished fictions of their time and, in fact, of any time.”
New York Times Book Review - Marilyn Stasio

“Parker is a true treasure. . . . The master thief is back, along with Richard Stark.”
Washington Post

“Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible.”
Los Angeles Times

“Elmore Leonard wouldn’t write what he does if Stark hadn’t been there before. And Quentin Tarantino wouldn’t write what he does without Leonard. . . . Old master that he is, Stark does all of them one better.”
Lawrence Block
“Donald Westlake’s Parker novels are among the small number of books I read over and over. Forget all that crap you’ve been telling yourself about War and Peace and Proust—these are the books you’ll want on that desert island.”
New York Times Book Review - Anthony Boucher

“Richard Stark writes a harsh and frightening story of criminal warfare and vengeance with economy, understatement and a deadly amoral objectivity—a remarkable addition to the list of the shockers that the French call roman noirs.”
New York Review of Books - Luc Sante

"Parker is a brilliant invention. . . . What chiefly distinguishes Westlake, under whatever name, is his passion for process and mechanics. . . . Parker appears to have eliminated everything from his program but machine logic, but this is merely protective coloration. He is a romantic vestige, a free-market anarchist whose independent status is becoming a thing of the past."
Virginia Quarterly Review - John McNally

"If you're a fan of noir novels and haven't yet read Richard Stark, you may want to give these books a try. Who knows? Parker may just be the son of a bitch you've been searching for."
Vue Weekly - Josef Braun

"The University of Chicago Press has recently undertaken a campaign to get Parker back in print in affordable and handsome editions, and I dove in. And now I get it."
Weekly Standard - Terry Teachout

"Whether early or late, the Parker novels are all superlative literary entertainments."
Globe and Mail - H. J. Kirchoff

“The UC Press mission, to reprint the 1960s Parker novels of Richard Stark (the late Donald Westlake), is wholly admirable. The books have been out of print for decades, and the fast-paced, hard-boiled thrillers featuring the thief Parker are brilliant.”
Our Review
23 Years Won't Soften a Crook
Donald Westlake's alter ego, Richard Stark, returns with a vengeance in Flashfire, part of the long-running series featuring Parker, the consummate professional thief. Flashfire marks Parker's third reappearance since Stark/Westlake's surprising decision to revive the series in 1997, following a 23-year layoff. I'm happy to report that the years haven't mellowed Parker, who is as ruthlessly efficient and thoroughly amoral as ever. It's a pleasure to have him back.

Flashfire begins, in classic Stark fashion, with a robbery-in-progress, as Parker and his latest trio of partners take down a bank on the outskirts of Omaha. The robbery itself goes spectacularly well. Afterward, however, the thieves fall out. Parker's cohorts plan to use the proceeds from the bank job to finance a more ambitious scheme: a multimillion-dollar jewel heist scheduled to take place some months later in Palm Springs. When Parker declines to participate, his partners "borrow" his share of the take and send him on his way.

No one, of course, treats Parker like this and lives to tell about it. Over the next several weeks, Parker finances his own long-range plans through a series of brutal, lovingly described robberies. Once he has accumulated sufficient working capital, he heads to Palm Springs. Safely hidden behind the bland persona of Daniel Parmitt, member in good standing of the idle rich, he waits for his former partners to roll into town and steal 12 million dollars worth of jewelry from a local estate auction. At that point, he plans to hijack the jewelry and avenge his professional honor.

Nothing, of course, goes exactly according to the blueprint, and Parker finds himself facing some unanticipated problems. One takes the form of a middle-aged, blonde real estate agent who somehow intuits Parker/Parmitt's underlying agenda and wants a piece of the action. A second, more serious problem arises when a pair of professional hit men enter the picture and nearly succeed in taking Parker permanently off the board.

It's all great, dark, nasty fun, written in the stripped-down, streamlined prose that has characterized this series for almost 40 years. Like its protagonist, Flashfire is terse, observant, unsentimental, and always tightly focused. Westlake, as always, seems incapable of writing a bad or boring passage. All of his admirers, and all aficionados of the hard-boiled tradition, will need this book, which reaffirms its author's position as one of the most versatile, consistently reliable figures in the recent history of American popular fiction.||||||||

--Bill Sheehan

Bill Sheehan reviews horror, suspense, and science fiction for Cemetery Dance, The New York Review of Science Fiction, and other publications. His book-length critical study of the fiction of Peter Straub, At the Foot of the Story Tree, has just been published by Subterranean Press (www.subterraneanpress.com).

Publishers Weekly - Publisher's Weekly
How does Stark know so much about the mechanics of crime? In this latest installment of the miraculously revitalized career of master criminal Parker (after 1999's Backflash), Stark (aka Donald Westlake) blithely reveals how to use a telephone repairman's tools to check if a house is empty, how to find cash to steal in an increasingly electronic economy, how to launder money by making up a fictitious church. He does this all without boasting or moralizing, describing Parker's abilities and stomping grounds in the clean, pungent, poetically understated prose that makes him one of our best noir novelists. "The condos along the narrow strip of island south of the main part of Palm Beach yearn toward a better life: something English, somewhere among the landed gentry," Stark writes about Florida's temple to wealth and privilege. Parker has come to Palm Beach because three associates have just done the unthinkable: cheated him out of his share of the money from a bank heist. With the deadly precision of a heat-seeking missile, barely deterred by serious attempts on his life because he happened to be in the wrong place at the wrong time, Parker messes up the plans of his former colleagues in a major way. This is great, dirty fun: you can't help seeing the pouchy face of Lee Marvin (who played Parker--renamed Walker--in Point Blank, based on an early Stark book) as you turn the pages. In the 23-year gap between the 20th and 21st Parker episodes, Westlake has recharged his batteries with a formula he should market to other writers. (Nov.) Copyright 2000 Cahners Business Information.

Product Details

University of Chicago Press
Publication date:
Parker Series , #19
Sales rank:
Product dimensions:
5.10(w) x 8.04(h) x 0.65(d)

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Read an Excerpt


A Parker Novel

By Richard Stark

The University of Chicago Press

Copyright © 2000 Richard Stark
All rights reserved.
ISBN: 978-0-226-77062-8


When the dashboard clock read 2:40, Parker drove out of the drugstore parking lot and across the sunlit road to the convenience store/gas station. He stopped beside the pumps, the only car here, hit the button to pop the trunk lid, and got out of the car. A bright day in July, temperature in the low seventies, a moderate-sized town not two hundred miles from Omaha, a few shoppers driving past in both directions. A dozen blocks away, Melander and Carlson and Ross would be just entering the bank.

The car, a forgettable dark gray Honda Accord, took nine point seven two gallons of gasoline. The thin white surgical gloves he wore as he pumped the gas looked like pale skin.

When the tank was full, he screwed the gas cap back on and opened the trunk. Inside were some old rags and an empty glass one-point-seven-five-liter jug of Jim Beam bourbon. He filled the bottle with gasoline, then stuffed one of the rags into the top, lit the rag with a Zippo lighter, and heaved the bottle overhand through the plate-glass window of the convenience store. Then he got into the Honda and drove away, observing the speed limit.

2:47. Parker made the right turn onto Tulip Street. Back at the bank, Ross would be controlling the customers and employees, while Melander and Carlson loaded the black plastic trash bags with cash. Farther downtown, the local fire company would be responding to the explosion and fire with two pumpers, big red beasts pushing out of their red brick firehouse like aggravated dinosaurs.

The white Bronco was against the curb where Parker had left it, in front of a house with a For Sale sign on the lawn and all the shades drawn. Parker pulled into the driveway there, left the Honda, and walked to the Bronco. At this point, Melander and Ross would have the bags of money by the door, the civilians all facedown on the floor behind the counter, while Carlson went for their car, their very special car, just around the corner.

When there's an important fire, the fire department responds with pumpers or hook and ladders, but also responds with the captain in his own vehicle, usually a station wagon or sports utility truck, painted the same cherry red as the fire engines, mounted with red flashing light and howling siren. Last night, Parker and the others had taken such a station wagon from a town a hundred miles from here, and now Carlson would be getting behind the wheel of it, waiting for the fire engines to race by.

Parker slid into the Bronco, peeled off the surgical gloves, and stuffed them into his pants pocket. Then he started the engine and drove two blocks closer to where he'd started, parking now in front of a weedy vacant lot. Near the bank, the fire engines would be screaming by, and Carlson would bring the station wagon out fast in their wake, stopping in front of the bank as Melander and Ross came running out with the full plastic bags.

Parker switched the scanner in the Bronco to the local police frequency and listened to all the official manpower in town ordered to the convenience store on the double. They'd all be coming now, fire engines, ambulances, police vehicles; and the fire captain's station wagon, its own siren screaming and red dome light spinning in hysterics.

2:53 by this new dashboard clock. It should be now. Parker looked in the rearview mirror, and the station wagon, as red as a firecracker in all this sunlight, came modestly around the corner back there, its lights and siren off.

Parker wasn't the driver; Carlson was. Leaving the Bronco engine on, he stepped out of it and went around to open the luggage door at the back, as the captain's car stopped beside him. A happy Melander in the back seat handed out four plastic bags bulging with paper, and Parker tossed them in the back. Then Carlson drove ahead to park in front of the Bronco while Parker shut the luggage door and got into the back seat, on the street side.

Ahead, the three were getting out of the captain's car, stripping off the black cowboy hats and long tan dusters and white surgical gloves they'd worn on the job, to make them all look alike for the eyewitnesses later. They tossed all that into the back seat of the station wagon, then came trotting this way. They were all grinning, like big kids. When the job goes right, everybody's up, everybody's young, everybody's a little giddy. When the job goes wrong, everybody's old and nobody's happy.

Carlson got behind the wheel, Melander beside him, Ross in back with Parker. Ross was a squirrelly short guy with skin like dry leather; when he grinned, like now, his face looked like a khaki road map. "We havin' fun yet?" he asked, and Carlson put the Bronco in gear.

Parker said, as they drove deeper into town, "I guess everything went okay in there."

"You'd have thought," Carlson told him, "they'd rehearsed it."

Melander, a brawny guy with a large head piled with wavy black hair, twisted around in his seat to grin back at Parker and say, "Move away from the alarm; they move away from the alarm. Put your hands on your head; they put their hands on their heads."

Carlson, with a quick glance at Parker in the rearview mirror, said, "Facedown on the floor; guess what?"

Ross finished, "We didn't even have to say, 'Simon says.'"

Carlson took the right onto Hyacinth. It looked like just another residential cross street, but where all the others stopped at or before the city line, this one went on to become a county route through farmland that eventually linked up with a state road that soon after that met an interstate. By the time the law back in town finished sorting out the fire from the robbery, trying to guess which way the bandits had gone, the Bronco would be doing seventy, headed east.

Like most drivers, Carlson was skinny. He was also a little edgy-looking, with jug ears. Grinning again at Parker in the mirror, he said, "That was some campfire you lit."

"It attracted attention," Parker agreed.

Ross, his big smile aimed at the backs of the heads in front of him, said, "Boyd? Hal? Are we happy?"

Melander twisted around again. "Sure," he said, and Carlson said, "Tell him."

Parker said, "Tell him? Tell me?" What was wrong here? His piece was inside his shirt, but this was a bad position to operate from. "Tell me what?" he said, thinking, Carlson would have to be taken out first. The driver.

But Ross wasn't acting like he was a threat; none of them were. His smile still big, Ross said, "We had to know if we were gonna get along with you. And we had to know if you were gonna get along with us. But now we all think it's okay, if you think it's okay. So what I'm gonna do is tell you about the job."

Parker looked at him. "We just did the job," he said.

"Not that," Ross said, dismissing the bank job with a wave of the hand. "That wasn't the job. You know what that was? That was the financing for the job."

"The job," Melander added, "the real job, is not nickel-dime. Not like this."

"The real job," Ross said, "is worthy of our talents."

Parker looked from one to another. He didn't know these people. Was this something, or was it smoke and mirrors? Was this what Hurley had almost but not quite mentioned? "I think," he said, "you ought to tell me about the job."


It had started with a phone call, through a cutout. Parker returned the call from a pay phone and recognized Tom Hurley's voice when he said, "You busy?"

"Not in particular," Parker said. "How's the wing?" Because the last time they'd been together, in a town called Tyler, Hurley had wound up shot in the arm and had been taken out of the action by a friend of his named Dalesia.

Hurley laughed, not as though he was amused but as though he was angry. "Fucked me a little," he said. "I feel it in cold weather."

"Stay where it's warm."

"That's what I'm doing. In fact, that's why I'm calling."

Parker waited. After a little dead air, Hurley did his laugh again and said, "You never were much for small talk."

Parker waited. After a shorter pause, Hurley cleared his throat and said, "It's a thing with some people I don't think you know."

"I know you."

"Well, that's just it, I won't be there. If you want it, you're taking my place."


"I got a better something come up, offshore. I'm fixing to be a beachcomber. A rich beachcomber."

"Because of the arm," Parker suggested.

'That, too," Hurley agreed. "These three are good boys. They know how to count at the end of the day, you know what I mean."

Parker knew what he meant; they wouldn't try to hog it all, at the end of the day. He said, "Why don't I know them? They civilians?"

"No, they just work different places, different people, you know how it is. But then, it could pan out with them, and then you know them, and who knows."

"Who knows what?"

"What happens next," Hurley said.

Letting that go, Parker said, "Where are they now?"

"They move around, like people do," Hurley told him. "Lately, they're based around the Northwest somewhere, or maybe Vancouver. Over there someplace."

"Is that where this thing is?"

"No, they like to work away from home."

So did Parker. He said, "Not around me."

"No, in the Midwest, one of those flat states out there. I told them about you. If you're interested I'll give you a number."

So one thing led to another, and here he was in the back of the Bronco with Melander and Carlson and Ross, and after all he was going to be told the who-knows that Hurley hadn't wanted to talk about.


It's jewelry," Ross said.

Parker wasn't impressed. "That's a dime on the dollar, if you're lucky."

"That's right," Ross said, "that's what we'll get."

Melander said, "We got three buyers, ready to go. That's what they all give us."

Parker said, "Three?"

"There's too much for one fence," Ross explained.

Parker was beginning to get interested. "What are we talking about here?"

Carlson steered them up onto the interstate ramp as Ross said, "Four of us will walk home—"

"Ride home," Melander corrected him. "In a limo."

"Right," Ross agreed. "Four of us will ride home with three hundred grand apiece."

Parker looked from Ross to Melander and back. They both seemed serious, if happy.

Nobody in the car was taking any mood changers. He said, "This is twelve million in jewelry?"

"That's the floor," Ross said. "That's the appraisal. It's a charity sale. If we let it alone, it'll go higher, but what we'll get is the floor."

"A charity sale. Where?"

"Palm Beach," Ross said.

Parker shook his head. "Deal me out."

Ross said, "You don't want to listen to the job?"

"I just heard the job," Parker told him. "Twelve million in jewelry all in one place draws a lot of attention. Cops, private cops, guards, sentries, probably dogs, definitely helicopters, metal-detecting machines, all of that. Then you put it in Palm Beach, which has more police per square inch than anywhere else on earth. They're all rich in Palm Beach, and they all want to stay that way. And besides that, it's an island, with three narrow bridges, they can seal that place like it's shrink-wrap."

"All of this is true," Ross said. "But we got a way in, and we got a way at, and we got a way out."

"Then I still know the job," Parker told him, "and I still don't want it."

Melander said, 'Just out of curiosity, why?"

"Because to even think about doing your job," Parker told him, "and to do it in Palm Beach, there's two things you got to have. One is the insider, who's the amateur, who's gonna bring you down. And the other is a boat, which is the only way off the island, and which is even worse than an island, because there's no way off a boat."

Ross said, "That's yes and no. We got the insider, that's true, but he's before the job. He's nowhere near Palm Beach on the day, and he's not exactly an amateur."

Melander said, "He's one of our buyers, we worked with him before."

"What he is," Ross said, "he's an art appraiser, estate appraiser, he tells you what the paintings are worth, what the rugs are worth, what the jewelry is worth, for the taxes and the heirs."

Keeping his eyes on the road, Carlson said, "He has a little trouble with nose powder, so he needs extra money. But he doesn't let it make him a problem, at least not for us."

"What his occupation is," Melander said, "he spends his life casing the joint."

"Then he tips off you guys," Parker said.


"And then you go in and take out the best stuff. And how long before somebody notices, when this guy does the appraisal, step two is a robbery?"

"We don't do it that way," Ross told him. "Our agreement is, we never touch a thing until at least two years after he's been and gone. And this time, the Palm Beach, he wasn't one of the appraisers."

"He gets access to the appraisals," Melander added, "like anybody else in the business."

"He's done other stuff in Palm Beach," Ross said, "so he knows the place, he knows the routine, he knows everything about it, but he isn't one of the people that looked at this particular bunch of jewels."

Melander said, "He's moved in that territory, but on different estates, different evaluations."

"If they're looking for an insider," Ross said, "they won't look at him, because he wasn't inside."

"Possibly," Parker said. "What about the boat?"

"No boat," Melander assured him. "I a hundred percent agree with you about boats."

"Then how do you get off the island?"

"We don't," Ross said.

"You stay there? Where? You know, you rent a condominium, the cops are gonna look at recent rentals."

"Not a condominium," Ross said.

"Then where?"

"At my place," Melander said, and grinned like a bear.

Parker tried to see around corners, but couldn't, not quite. "You've got a place there?" "It's fifteen rooms," Melander told him, "on the beach. I think you'll like it."

"You've got a fifteen-room mansion on the beach in Palm Beach," Parker said. "How does this happen?"

"Well, I looked at it a few weeks ago," Melander said.

"But he's just buying it today," Ross said. "We got the down payment from that bank back there."


The motel, and the car Parker would be using, was in Evansville. When they got there, while Melander and Ross counted the money on the bed, Carlson and Parker sat in the room's two chairs, across the round table from one another, and Carlson told him more. "The mansion is cheap. I mean, for a mansion in Palm Beach."


"It was sold maybe eight years ago to this movie star couple, you know, he's a star and she's a star, so when they make a picture, he gets twenty million, she gets ten million—"

From the bed, Melander said, "Still not equal pay, you see that?"

Carlson and Parker both ignored him, Carlson saying, "They bought the place, they thought they'd be stars in Palm Beach, but Palm Beach ignored them. They're stars, but they're trash, and in Palm Beach you can't be trash. Or, if you are trash, you hide it, and you spread your money around."

"Charities," Melander said.

"They love charities in Palm Beach," Carlson agreed. "But these stars didn't do it right. They thought they were already entitled. They threw big flashy parties, they brought in rock bands, for Christ's sake, and nobody came."

"Well, a lot of people went to those parties," Ross said.

Carlson said, "Not the right people. Also, the parties were playing hell with the house, messing it up. Then the stars went away to be stars someplace else—"

"Where stars are looked up to," Melander said.

"So the house was abandoned," Carlson said, "and the alarm systems would break down all the time, and bums would sneak in there from the beach, and they had a couple little fires, and the cops finally said, we can't keep a man on this house twenty-four hours a day, you got to put in your own security patrol, and the stars said fuck it, and put it on the market."

Laughing, Melander said, "A fixer-upper for sale in Palm Beach. A do-it-yourselfer."

"These stars couldn't do anything right," Carlson said. "If they do the fix-up, they make a lot more money when they sell the place. But they're not interested, they're off somewheres else, and the house sits there until Boyd comes along."


Excerpted from Flashfire by Richard Stark. Copyright © 2000 Richard Stark. Excerpted by permission of The University of Chicago Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Meet the Author

Richard Stark was one of the many pseudonyms of Donald E. Westlake (1933–2008), a prolific author of crime fiction. In 1993, the Mystery Writers of America bestowed the society’s highest honor on Westlake, naming him a Grand Master.

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Flashfire 4.2 out of 5 based on 0 ratings. 5 reviews.
Watts12 More than 1 year ago
Flashfire is the 19th book in a series of wondeful caper stories. My recommendation is that you start at book one which is The Hunter and read them in order. Each book is only approx. 160 to 190 pages long. They are short but they are packed with excitement that makes you want to read the next one and then the next one. "Parker" is the "bad guy" that leads a bunch of his friends into some sort of caper. They rob banks, jewelery stores, armored cars, etc...sometimes people are killed, but not often. Sometimes his "friends" turn on one another and try to take all of the money for themselves. These books are very entertaining and easy to read.
Anonymous More than 1 year ago
Is this or these a continuatiin finished by.
Anonymous More than 1 year ago
harstan More than 1 year ago
About two hundred miles from Omaha, Parker and his three cohorts rob a bank with Parker causing the diversion with a nearby firebomb. After succeeding in this endeavor Parker¿s partners blithely inform him that they need his share of the loot as seed money to conduct a bigger heist on an island near Palm Beach, Florida. However, his former accomplices make one mistake when they abscond with Parker¿s portion of the booty, the trio leaves Parker alive.

Besides Parker wanting his money, no one cheats him out of his due so he follows Melander, Carlson, and Ross to Florida. He plans to trump his former friends by doing the jewelry job they were set to perform. However, Parker has also has blundered because someone not only recognizes him, but wants him dead.

FLASHFIRE is an excellent Parker tale that marks the return one of the great anti-heroes in American mystery literature. The story line is entertaining due to the lead character¿s criminal abilities that Richard Stark effortlessly brings alive in the well-written, fast-paced plot. Fans and new readers will enjoy this tale while seeking out previous books and movies (that both go back to the sixties) of a legendary protagonist.

Harriet Klausner

Anonymous More than 1 year ago
One camp. One of the two ideas for leadership. (Res five at camp.) Powers allowed, and other animals allowed. Camp has a meeting of their own every week to keep order and ceremonies and such. Could also have a seperate search showing when kits are ready to be apprentises and apprentises assassins. We can teach them no godmodding and if it happens we will find a way to put a stop to it. I still think one week should equal two moons. Kits also need to enjoy their kithood. We only attack any one clan in specific a max of one time every three or four weeks. We can live near a rural area, near farms. queens only have to live just outside camp so they can still be monitered. We will have a schedule, known only to us, knowing when we can do certain things and when we cant do something. Like specific time cut out for training and raids and sparring (battle fights with no claws, optional). Missing something but cant think of it right now...