Month: September 2026

365 Days of Writing, 2026 – 233

Day 233 – Brevity in writing

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The Goldilocks Dilemma in Content Creation: How to Find Your Readers’ Sweet Spot

Let’s be honest: in the digital age, attention is the world’s most valuable currency.

Every time someone opens a browser, scrolls through social media, or checks their email inbox, they are bombarded with thousands of competing messages. Videos auto-play, notifications ping, and headlines scream for a fraction of a second of their day.

For writers, bloggers, and marketers, grabbing the reader’s attention is only half the battle. Keeping it is where the real war is fought.

This brings us to the eternal debate of the digital writing world: brevity. We are constantly told to keep it short, keep it punchy, and cut the fluff. But in our quest to be concise, are we starving our readers of the depth they actually crave? Is there a line where “short” turns into “shallow,” and “long” turns into “boring”?

Let’s explore the Goldilocks dilemma of content length—how to know what is too much, what is not enough, and how to keep your readers hooked right down to the final period.

The Death of the Attention Span (And Why It’s a Myth)

You’ve probably heard the statistic a dozen times: Humans now have an attention span of 8 seconds—shorter than a goldfish.

It’s a great soundbite, but it’s largely a myth. People don’t have inherently shorter attention spans today; rather, they have higher standards for what deserves their attention.

If a reader clicks on your article and immediately bounces back to Google, it’s rarely because the piece was too long. More often, it’s because the introduction was sluggish, the formatting was a wall of text, or the content failed to deliver on the promise of the headline.

When a reader is genuinely engaged, they will happily spend 10, 15, or 20 minutes reading a deeply reported, comprehensive piece. Conversely, if content is unengaging, even a 300-word blog post will feel like an eternity.

The goal isn’t necessarily to make your writing short. The goal is to make it effortless to consume.

When Is It “Not Enough”? (The Danger of Under-Delivering)

In the rush to respect the reader’s time, many creators swing too far in the direction of brevity. They strip away nuance, context, and personality, leaving behind a skeletal shell of information.

This is what we call the Wikipedia trap or thin content.

When your content isn’t enough, you run into three major problems:

  1. You sacrifice value: If a reader can find the exact same surface-level information in the first three results of a Google search, you haven’t given them a reason to stay.
  2. You lose authority: Short, superficial answers rarely build trust. Readers want to know why something is true, not just what is true. Depth demonstrates expertise.
  3. The “Unsatisfied Bounce”: Have you ever clicked an article, scrolled through a few vague paragraphs, and realised you learned absolutely nothing new? It’s frustrating. When content is not enough, it leaves the reader feeling cheated out of their time.

The Rule for Minimum Viable Length: Your piece should be only as long as it takes to completely solve the reader’s problem, answer their question, or deliver an emotional payoff. If you leave loose ends, you haven’t written enough.

When Is It “Too Much”? (The Danger of the Digital Dump)

On the flip side, we’ve all encountered the bloated blog post. You know the ones: 5,000 words of meandering prose that could easily have been summarised in 500 words.

Writers often fall into this trap for the wrong reasons—trying to hit arbitrary SEO word counts, over-explaining simple concepts, or simply falling in love with the sound of their own typing.

When your content is too much, the symptoms are glaring:

  • Fluff and padding: Using three adjectives where one would do; repeating the same point in different ways just to extend the paragraph.
  • Buried leads: Making the reader wade through a 500-word personal anecdote about your weekend before getting to the actual topic they searched for.
  • Cognitive overload: Hitting the reader with so much data, jargon, and unstructured thoughts that their brain simply shuts down.

Remember the cardinal rule of editing, famously attributed to writer Elmore Leonard (via Anton Chekhov): “Leave out the parts that readers skip.”

If a paragraph doesn’t move the narrative forward, answer a pressing question, or add distinct value, mercilessly cut it.

Finding the Sweet Spot: How to Keep Readers Hooked

So, how do you find the magical middle ground where length ceases to matter and engagement takes over? It comes down to a blend of structural psychology and empathetic writing.

1. Hook ‘Em Fast, Then Feed Them

Your introduction is the handshake. Make it firm, welcoming, and clear. Tell the reader immediately what they are going to get out of the piece. Once you’ve made that promise, dive straight into the substance without unnecessary throat-clearing.

2. Design for the Skimmer (Visual Rhythm)

Here’s a dirty little secret of the internet: People don’t read online—they scan.

Even the most dedicated readers use their eyes to preview a page before committing. If they see a massive, unbroken block of text, flight instincts kick in.

  • Use short paragraphs (1–3 sentences).
  • Utilise bold text for key takeaways.
  • Break up monotony with bullet points and numbered lists.
  • Include subheadings that act as signposts along the reader’s journey.

By creating visual rhythm, you make a long article feel short and manageable.

3. Match Length to Intent

Content length should always be dictated by the user’s intent.

  • If someone wants to know the current weather, a 2,000-word essay on meteorology is too much.
  • If someone wants to learn how to build a retirement portfolio from scratch, a 300-word summary is not enough.

Always ask yourself: What does the reader need to walk away with to feel satisfied? Give them exactly that, packaged as cleanly as possible.

The Bottom Line

Writing isn’t about hitting an arbitrary word count; it’s about choreography. It’s about taking a reader by the hand and leading them on a journey from point A to point B without losing them in the weeds or rushing them off the path.

Forget the obsession with being short. Forget the anxiety of needing to be long.

Instead, focus on being clear, valuable, and engaging. If you do that, your readers won’t care how long your article is—they’ll just be glad they stayed until the end.

What’s your take? Do you prefer bite-sized reads, or do you love sinking your teeth into long-form deep dives? Let’s discuss in the comments below!

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“The Things We Do For Love”

Would you give up everything to be with the one you love?

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Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?

For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself.  It takes him to a small village by the sea, a place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.

Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledged that something had happened the moment they first met.  

Plans were made, plans were revised, and hopes were shattered.

A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone.  To keep him alive, she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.

But can love conquer all?

It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realises is the love of his life.

The cover, at the moment, looks like this:

lovecoverfinal1

Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?

For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself.  It takes him to a small village by the sea, s place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.

Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledge that something happened the moment they first met.  

Plans were made, plans were revised, and hopes were shattered.

A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone.  To keep him alive she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.

But can love conquer all?

It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realizes is the love of his life.

The cover, at the moment, looks like this:

lovecoverfinal1

The cinema of my dreams – Was it just another surveillance job – Episode 22

I’m back home and this story has been sitting on a back burner for a few months, waiting for some more to be written.

The trouble is, there are also other stories to write, and I’m not very good at prioritising.

But, here we are, a few minutes opened up and it didn’t take long to get back into the groove.

An unlikely ally?

When we were far enough away, not far from the bridge that crossed the Thames towards the Houses of Parliament, and with the London Eye in the foreground, I slackened my pace.  There were enough people around to afford us cover if Maury and his team realised quickly enough what we had done to escape.

“What now?” she asked.

“Go back to your people, tell them you’ve been compromised, but only on the basis that your flat was tossed, don’t mention Nobbin or Severin unless you feel compelled you have to, and make sure you don’t go back to the flat.  Both of them will have it staked out by now.”

“And what are you doing to do?”

“Try and play them off against each other, which probably won’t work.  I’m not nearly good enough at this caper yet.  Unfortunately, I’m going to have to talk to both of them and tell them I’m onto McConnell, though that will hardly be a surprise to either of them.  After that, find somewhere safe to figure out what to do next.”

“Who was that back at the station?”

“A chap called Maury, and I think he’s one of Severin’s hatchet men.  He was one of those who trained me and several others.”

“You do realise what you’re saying?”

“That my situation is so screwed up, yes, I know.”

It was when I stopped to think about it.  Trained by a rogue group no one knew about, or so they said, and transferred to another group, but not told about it, well, not officially, anyway.

“Maybe we should keep each other’s back.  I mean, if what you say is true, if I go back to my people and tell them about this, it’s likely I’ll be putting a target on my back too.”

True.  I had considered that, but not that we might team up.  It would introduce a third group to the game, and it might be one too many, or act as a catalyst leading to catastrophic consequences.

“What are you saying?”  I asked her, just in case I was misinterpreting what she was saying.

“I’m not safe, you’re not safe, together we might be.  I might have something useful about O’Connell, but I wouldn’t know if it was useful of not.  You at least know what to look for, and basically who to avoid.  Who knows, we might make a great team.”

We might.  But it would have to be predicated on trust, and, right now, I was not sure if I could trust her.  That pen thing, she might have precipitated it, and was working with Severin.  It seemed logical in the circumstances.

But what was that saying, keep your friends close, and your enemies closer?  I’d soon find out.

“Ok.  What do you think we should do first?”

“Find a hotel, an obscure one, nearby, and you call your so-called friends, and see what happens, as you said.”

I nodded.  “Sounds like a plan.”

And, I thought to myself, ideal for her if she was insinuating herself into my world, much the same as she had in O’Connell’s case.  In was now in my nature to suspect everyone and everything, because a few words of one lesson came back to haunt me.  We trust people because we instinctively want to believe them, and in this line of work, the people we come across are good and sincere storytellers.

It was a question of how much truth they weaved into their story, that made it believable.  I wanted to believe her, but the facts, circumstantial or otherwise, pointed me in the other direction.

I would have to wait and see and make sure I was prepared for the worst.

It was Jan’s idea t stay near the Charing Cross station in a hotel that I would not normally stay in because of the cost.  I let Jan do the check-in and when we arrived at the room, I discovered she hadn’t booked two rooms, but a Studio Suite with two single beds and a sofa bed.

Apparently, we were brother and sister, which made sense after I had overheard some of the conversation with the check-in clerk.  I didn’t hear what her excuse was for lack of luggage.  Perhaps the airline had lost it, but I had to admit the girl could think on her feet.

Once inside the room, it felt cramped, but the beds looked comfortable, and it had a minibar.

“Before you make any calls, you need to disable the GPS in your phone.”

“They’ll still be able to track it.”

“Not if you are on it for a short period, and we are outside the hotel.”

Well, before that I need a drink.”

“So, do I.  Give me a minute to freshen up and we’ll go down to the bar.  It’ll be a lot cheaper than the minibar.  Then I think we both need to get some supplies.”

I wondered if this is what it was like to be married.

 

© Charles Heath 2019

An excerpt from “If Only” – a work in progress

Investigations of crimes don’t always go according to plan, nor does the perpetrator get found or punished.

That was particularly true in my case.  The murderer was incredibly careful in not leaving any evidence behind, to the extent that the police could not rule out whether it was a male or a female.

At one stage, the police thought I had murdered my own wife, though how I could be on a train at the time of the murder was beyond me.  I had witnesses and a cast-iron alibi.

The officer in charge was Detective First Grade Gabrielle Walters.  She came to me on the day after the murder seeking answers to the usual questions like, when was the last time you saw your wife, did you argue, the neighbours reckon there were heated discussions the day before.

Routine was the word she used.

Her fellow detective was a surly piece of work whose intention was to get answers or, more likely, a confession by any or all means possible.  I could sense the raging violence within him.  Fortunately, common sense prevailed.

Over the course of the next few weeks, once I’d been cleared of committing the crime, Gabrielle made a point of keeping me informed of the progress.

After three months, the updates were more sporadic, and when, for lack of progress, it became a cold case, communication ceased.

But it was not the last time I saw Gabrielle.

The shock of finding Vanessa was more devastating than the fact that she was now gone, and those images lived on in the same nightmare that came to visit me every night when I closed my eyes.

For months, I was barely functioning, to the extent that I had all but lost my job and quite a few friends, particularly those who were more attached to Vanessa rather than me.

They didn’t understand how it could affect me so much, and since it had not happened to them, my tart replies of ‘you wouldn’t understand’ were met with equally short retorts.  Some questioned my sanity, even, for a time, so did I.

No one, it seemed, could understand what it was like, no one except Gabrielle.

She was by her own admission, damaged goods, having been the victim of a similar incident, a boyfriend who turned out to be an awfully bad boy.  Her story varied only in that she had been made to witness his execution.  Her nightmare, in reliving that moment in time, was how she was still alive and, to this day, had no idea why she’d been spared.

It was a story she told me one night, some months after the investigation had been scaled down.  I was still looking for the bottom of a bottle and an emotional mess.  Perhaps it struck a resonance with her; she’d been there and managed to come out the other side.

What happened became our secret, a once-only night together that meant a great deal to me, and by mutual agreement, it was not spoken of again.  It was as if she knew exactly what was required to set me on the path to recovery.

And it had.

Since then, we saw each other about once a month in a cafe.   I had been surprised to hear from her again shortly after that eventful night when she called to set it up, ostensibly for her to provide me with any updates on the case, but perhaps we had, after that unspoken night, formed a closer bond than either of us wanted to admit.

We generally talked for hours over wine, then dinner and coffee.  It took a while for me to realise that all she had was her work; personal relationships were nigh on impossible in a job that left little or no spare time for anything else.

She’d always said that if I had any questions or problems about the case, or if there was anything that might come to me that might be relevant, even after all this time, all I had to do was call her.

I wondered if this text message was in that category.  I was certain it would interest the police, and I had no doubt they could trace the message’s origin, but there was that tiny degree of doubt about whether or not I could trust her to tell me what the message meant.

I reached for the phone, then put it back down again.  I’d think about it and decide tomorrow.

© Charles Heath 2018-2020

The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 78

Here’s the thing…

Every time I close my eyes, I see something different.

I’d like to think the cinema of my dreams is playing a double feature but it’s a bit like a comedy cartoon night on Fox.

But these dreams are nothing to laugh about.

Once again there’s a new instalment of an old feature, and we’re back on the treasure hunt.

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The final treasure hunt

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Boggs was unusually quiet, but that might be because he wasn’t in charge.  We were at the cave Nadia and I had found shelter from the storm, and he was busy checking the climbing equipment and making sure he had everything.

Then he set both Nadia and me up with the gear we’d need to follow him.  Neither of us was an experienced climber, but it was simple he said, he’d more or less pull us up once he found the cave.

If there was a cave there.

It was possible the seismic activity had closed it off, and it was gone forever, but he was choosing to be positive and believe it would be well hidden until he was right on top of it.

Certainly is not visible from below, it simply looked like any other rockface but with indentations where little shrubs were growing, and it certainly could not be seen from above because of the cliff overhang, nor could it be seen from the side, because it was not possible to get high enough or near enough.

Boggs said he knew a lot about rock formations, and his preliminary inspection in the late afternoon suggested there might ledge about 10 yards above the sand line.  He had put in a few pegs and climbed to a spot under the overhang where there was a small ledge, and what looked to be a narrow pathway that zig-zagged seemingly through the rock but resisted the urge to follow it.

Both Nadia and I kept watch, but nothing else was stirring on that part of the shoreline.  The idea was to go after dark when it was less likely anyone else would be around.

Now, as darkness fell, he was full of nervous energy, the sort that one had before participating in an event.  This might finally be the end to his, and his father before him, search for the treasure, and even I was caught up in the moment.

I had just one more task before we stepped out the door, to send a prewritten text message to Charlene, just in case everything went pear-shaped.  It was possible it might, but right then, it was the last thing I was expecting.

What if there were riches beyond avarice awaiting us?  It was now only a matter of time before we knew.

After escaping the sheriff’s office, and saying all the words he wanted to hear, for my mother’s sake, I called Nadia, then went to see her, taking extraordinarily silly means to avoid being followed, because the idea of seeing her after being warned off might cause a reaction.

It was probably the most rebellious thing I’d ever done, and it was secretly thrilling, to the point of that pit in the stomach that was meant to be a warning that something bad was going to happen.

I could now understand the nature of addiction.

And in the semi-darkness, she seemed more like an ethereal spectre, albeit a lot more whimsical.

“The Sherriff just warned me that associating with you is putting my life in danger.”

“The Sherriff?”

“My mother is getting him to put pressure on me to stop seeing you.  My mother is firmly of the belief you are tarred with the same brush as the rest of your family.”

“I take it the fact you’re here now means you don’t agree with either of them.”

“Or I find living life on the edge is preferable to no life at all.  My mother wants me to be boring and predictable, and live my life like she does.  But, she had a bad boy streak, marrying my father the criminal.  She knew what and who he was long ago, one of Benderby’s henchmen.”

“Do you want to be boring and predictable?”

“I don’t want to be a criminal, even though it has a certain allure, and is probably the only other job you could get in this area.”

“Things aren’t that bad,” she said.

“They are.  You know as well as I do, kids who’ve left school only do one of two things.  Leave town for the big smoke, or get a crap job working for either criminal enterprise.  No one wants to work in the factory.”

It was hard to deny the facts.  And those that didn’t do anything, were either dead or close to it.  I wasn’t exactly enamoured with my job at the warehouse, but it was legitimate, if not underpaying, job, and I knew I should be grateful.

“Anyway,” I said, “it’s all moot now.  Both Boggs and I agree the treasure if it’s anywhere is somewhere on that cliff face, he was climbing before he was cut down.”

“So, you’re saying my family tried to kill him?”

“More or less.  You don’t cut a climber’s rope unless you mean him harm.”

“I’d prefer to call it a warning.  They probably think he was trying to gain access to the Gove via the beachhead.  I seriously doubt Vince would see it as anything else.  I think we can expect he’ll be keeping an eye on that part of the beach from now on.”

It seemed like something he’d do, so it was going to add another layer of complexity to our incursion.  But I doubted he would be on the beach, but prefer the clifftop, and that could work in our favour.

“Be that as it may, are you in or out?”

“In, of course.  And, just in case you’re thinking I’m working for my father, and all of this has been a charade to gain your confidence, it is not.”

“I’d be a liar if I told you it didn’t cross my mind, but I believe you.”

Did I?  The was a 64,000-dollar question with half a dozen different answers, all of them leading down the path to hell.  I would believe, until she proved otherwise, and I was truly hoping she wouldn’t.  But, blood was thicker than water, as the saying goes, and now she might believe herself she was on our side, but when push came to shove, a lot could happen.

“When?”

“In an hour.  We’re going to get Boggs and his gear and go to your beach hut, and then to the cave we found.  When darkness falls, that’s when we go up the cliff.”

A clouded expression, then a smile.  “Clever, Sam.  You’re not giving me any opportunity to betray you.”

I had to admit, at that moment, it wasn’t intended, but perhaps subconsciously I had planned it this way.

I shrugged.  “It was all last minute, brought on by being hauled into the sheriff’s office.  By tomorrow we’ll all be under observation, and take away any opportunity for us to do anything.  I assume you’re still in?”

“Of course.  We should have something to eat, so I’ll order up some takeout.  Pizzas?”

And, if she wanted to, there were still a dozen ways she could betray us, and I was definitely not going to keep her under observation the whole time.

…

© Charles Heath 2020-2022

The 2am Rant: It’s market day…

These donuts are whole, with jam injected into them and are delicious.  You cannot stop at one, which is why you get five.

They are like the donuts I used to get from the Dandenong market when I was a child.  Back then, nearly 60 years ago, I used to go every Tuesday to get fruit and vegetables, and sometimes clothes, because there were other stalls selling useful household items.

Back then we used to get donuts, and for a long time, I had never managed to get back when the market was open to relive those childhood memories.

This trip we do.

The Dandenong Market had changed considerably since the last time I remember it.  The building where my eldest son used to play basketball has been turned into a market for meat, fish, and food stalls.

It has grown to be about ten times the size it used to be, making it seem like a difficult task to find the donut van, but we entered by the right entrance, and there it was.

And the donuts?

They were exactly as I remembered.

While we’re in the area, we also made a trip to the Springvale market.  When I lived in Victoria, there was no such market; this had only been around since the immigrant Vietnamese have made their home in Springvale, and in places, it reminds you of similar markets in Singapore, Hong Kong, or China.

It was a fascinating half-hour of wandering around, almost feeling like you are somewhere in Southeast Asia.

With markets like these, who would really need a supermarket?  And a bonus?  The street food.

What I learned about writing – Seeking Inspiration – New headlines/Quirky stories

The Unassuming Gems: Where Inspiration Truly Hides

We’ve all been there. Staring at a blank document, a still canvas, or a silent workshop, the well of inspiration feels utterly dry. We crave that spark, that brilliant idea that will propel us forward, but the world seems stubbornly uncooperative. We might scroll through endless curated feeds, devouring aspirational content, hoping for a lightning strike of genius.

But what if I told you that the most profound inspiration isn’t always found in the dazzling headlines or the perfectly staged Instagram posts? What if it’s often hiding in plain sight, peeking out from the most ordinary corners of our daily lives?

Think about your morning routine. For many of us, it involves a quick flick through the morning newspaper, whether it’s the ink-on-paper variety or the digital equivalent on our smartphones. We skim the headlines, digest the major events, and perhaps glance at the sports scores. It’s a ritual of staying informed, a way to ground ourselves in the present.

And yet, within this seemingly mundane activity, a treasure trove of inspiration can lie waiting. It’s rarely the front page that will send your creative gears whirring. No, the real magic often happens further in, perhaps lurking somewhere at the bottom of page 19.

Imagine it. You’ve finished the main news, perhaps scrolled past a few local announcements you might vaguely care about. Then, your eyes drift to a smaller, less prominent article. It might be a human-interest story about a local baker who’s reinvented a traditional recipe, a brief mention of a community garden overcoming a challenging season, or a quirky report on an unusual local phenomenon.

This is where the gems are. These aren’t the earth-shattering, world-changing events that dominate the front pages. Instead, they are the quiet, the subtle, the unexpected. They are the stories that reveal the resilience of the human spirit, the ingenuity born of necessity, or the simple beauty found in everyday life.

That paragraph at the bottom of page 19 – it doesn’t shout for attention. It doesn’t demand to be noticed. It simply is. And in its unassuming presence, it can offer a completely fresh perspective.

Perhaps the story of the baker sparks a new idea for your own culinary endeavors, or a unique ingredient combination you’d never considered. Maybe the community garden’s struggle and eventual success reminds you of the importance of persistence in your own projects. Or that quirky local report? It might be the perfect quirky detail to inject into your next piece of fiction, or a reminder to embrace the unexpected in your own creative process.

These aren’t grand pronouncements of genius; they are whispers of possibility. They are the seeds of ideas that, with a little nurturing, can blossom into something truly remarkable.

The key is to cultivate a mindset of receptiveness. It’s about looking beyond the obvious, beyond the noise, and being open to what the less-highlighted corners of our world have to offer. It’s about recognizing that inspiration isn’t always a thunderclap; it can also be a gentle breeze, carrying with it the scent of possibility.

So, the next time you find yourself searching for that elusive spark, don’t just skim the headlines. Take a moment. Delve a little deeper. You might just unearth a gem, tucked away at the bottom of page 19. And who knows what wonderful creations it might inspire?

365 Days of Writing, 2026 – 232

Day 232 – The Hollywood writer mentality

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“I’m a Hollywood Writer, So I Put on My Sports Jacket and Take Off My Brain”: Deconstructing Ben Hecht’s Ultimate Industry Satire

“I’m a Hollywood writer, so I put on my sports jacket and take off my brain.”

If you’ve ever spent more than forty-eight hours in a writers’ room, felt the soul-crushing despair of a studio note that asks you to “make the protagonist more likable while also making them entirely unhinged,” or watched a masterpiece get sliced into digital confetti by a focus group, that quote hits you right in the solar plexus.

It is sharp, cynical, hilarious, and dripping with the kind of world-weary exhaustion that only a true veteran of the studio system could muster.

The man behind the quip? Ben Hecht.

Often called the “Shakespeare of Hollywood,” Hecht was a legendary screenwriter, playwright, and journalist who helped shape the Golden Age of cinema. He won the very first Academy Award for Best Original Story (for 1927’s Underworld), wrote or co-wrote stone-cold classics like His Girl Friday, Scarface, and Notorious, and quietly doctored dozens of scripts without credit (including polishing Gone with the Wind).

Yet, despite his immense success and undeniable genius, Hecht maintained a notoriously love-hate relationship with the motion picture industry. His famous sports jacket quote is more than just a snappy punchline; it is a profound commentary on the commodification of art, the absurdity of the studio system, and the psychological armour required to survive as a creative in Tinseltown.

Let’s unpack what Hecht meant, why it still resonates today, and what modern writers can learn from his cynical wisdom.

The Uniform of Compromise: What the Sports Jacket Represents

To understand Hecht’s joke, you have to look at the visual language of Hollywood.

In Hecht’s era—and largely still today—the film industry was a place of stark contrasts. On one side stood the suits: the studio moguls, the producers, and the executives who viewed movies not as high art, but as an assembly-line manufacturing process. On the other side stood the artists: the directors, actors, and writers who often viewed themselves as tortured visionaries.

By joking that he puts on a “sports jacket”—traditionally a casual, slightly corporate, uniform-of-convenience piece of menswear—to “take off his brain,” Hecht is performing a brilliant piece of psychological self-defense.

He is acknowledging the transactional nature of his work. A sports jacket says, “I’m professional enough to take your money, but I’m detached enough not to break my heart when you ruin my scene.”

Putting on the jacket is the physical ritual of putting on the work persona. It is the moment the artist steps out of the realm of pure imagination and enters the boardroom, where imagination is often treated as a liability rather than an asset.

Why Hollywood Demands You “Take Off Your Brain”

Why would a Pulitzer-winning, brilliantly gifted wordsmith feel the need to check his brain at the studio gate?

Because commercial filmmaking—at its worst—is hostile to genuine intellect and originality. Hecht understood a fundamental truth of the studio system: executives rarely want a thinker; they want an obedient problem-solver.

When Hecht implies he takes off his brain, he’s pointing out several classic industry traps:

  1. The Homogenization of Art: Studio notes have a way of filing down the sharp edges of a story until it fits neatly into a demographic-friendly box. If you keep your brain fully engaged, you’ll fight for every nuanced character beat. If you take your brain off, you just nod, smile, and change the third act so the dog doesn’t die.
  2. The Illusion of Effort: In Hollywood, there is often an inverse relationship between how hard you think and how happy the studio is. If you overcomplicate a plot with deep thematic resonance, the executives get confused. And confused executives give terrible notes.
  3. Self-Preservation: Caring too much in Hollywood is a fast track to an ulcer. Hecht was prolific because he treated screenwriting with a certain professional detachment. He knew that pouring your entire soul into a 120-page document only to have a 24-year-old development executive say, “Can we add a talking animal?” is a recipe for madness.

Ben Hecht: The Ultimate Hollywood Mercenary

To truly appreciate the quote, you have to look at Hecht’s paradoxical career.

Hecht was no hack. He was a literary titan. Before moving to Hollywood, he was a star reporter for the Chicago Daily News and a novelist whose books were banned for being too racy. He co-wrote The Front Page, one of the greatest stage comedies about journalism ever produced.

Yet, Hecht had no romantic illusions about the movies. He once famously said of Hollywood: “It’s a place where people die of nostalgia for a place they never were.”

He went to Hollywood explicitly for the money. He famously knocked out scripts with terrifying speed, paid off his debts, bought a luxurious lifestyle, and funded his political activism (including working tirelessly behind the scenes to rescue European Jews during the Holocaust).

Hecht’s sports jacket quote encapsulates his mercenary philosophy. He viewed screenwriting as a trade—a very lucrative, highly entertaining trade, but a trade nonetheless. He kept his “real” brain—his literary soul—reserved for his novels, plays, and journalism, while happily taking studio checks to punch up gangster flicks and screwball comedies.

The Modern Relevance: Does the Sports Jacket Still Fit?

Nearly a century after Hecht’s heyday, his cynical wisdom is more relevant than ever.

Today’s writers face an even more algorithm-driven landscape. Writers’ rooms are increasingly corporatised, IP (Intellectual Property) is king, and “brand synergy” often trumps narrative logic.

If you talk to working writers in streaming or franchise-heavy feature films today, they will tell you that Hecht’s ritual is alive and well. It might not be a literal sports jacket—today, it might be slipping on a pair of noise-cancelling headphones before a Zoom call with twenty executives, or adopting a cheerful tone of voice while secretly plotting how to subtly sneak your thematic message past the censors.

Wearing the metaphorical sports jacket today means learning how to separate your identity from your output. It means realising that a corporate note telling you to “add more action to the first ten minutes” isn’t a personal indictment of your artistic integrity; it’s just the weather in Los Angeles.

How to Wear the Jacket Without Losing Your Mind

Is Hecht’s quote a counsel of despair? Not necessarily. In fact, for modern creatives, it can be deeply liberating.

Here is how you can channel the spirit of Ben Hecht without selling out completely:

  • Protect Your “Real” Brain: Like Hecht, keep a creative sanctuary for yourself. Write the indie script, pen the personal essay, paint the canvas, or build the passion project where no studio notes can reach you.
  • Treat It Like a Job (Because It Is): When you put on your professional hat, remember that commercial writing is a collaborative, service-oriented art form. Sometimes, you just need to write the car chase, collect the check, and go home.
  • Cultivate Professional Detachment: Don’t fall in love with your first draft—or your fifth. Be willing to kill your darlings before an executive does it for you with a chainsaw.
  • Keep Your Sense of Humour: Hollywood is inherently ridiculous. If you can’t laugh at the absurdity of a notes meeting where three people debate the emotional arc of a CGI raccoon, you won’t survive the town.

Final Thoughts

Ben Hecht’s quip about the sports jacket and the brain is ultimately a survival manual disguised as a punchline. It reminds us that navigating the commercial art world requires a delicate balance: enough professional savvy to play the game, and enough self-awareness not to let the game consume your soul.

So, the next time you log on to a painfully corporate notes call, or stare blankly at a feedback document that asks you to “change the genre from thriller to romantic comedy by tomorrow morning,” just smile, zip up your metaphorical sports jacket, and remember the words of the great Ben Hecht.

Just keep your real brain safe where they can’t touch it.

What’s the most absurd studio note or feedback you’ve ever received? How do you protect your creative soul while working in commercial media? Let’s talk about it in the comments below!

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Top 5 sights on the road less travelled – Adelaide, Australia

Discover Adelaide’s Best-Kept Secrets: Top 5 Crowd-Free Gems with Unique Charms

Adelaide, nestled in South Australia’s vibrant heart, is a treasure trove of cultural richness and natural beauty. While the city is home to iconic attractions like the Adelaide Zoo and the bustling Rundle Mall, it also harbours lesser-known wonders that promise unforgettable experiences without the crowds. If you’re looking to explore Adelaide’s hidden gems, here are five distinctive spots that are rarely overrun but brimming with charm.

1. Tandanya National Aboriginal Cultural Institute: A Window into Aboriginal Heritage

Tucked away in the city centre, the Tandanya National Aboriginal Cultural Institute is Australia’s oldest and largest Aboriginal-led cultural space. This dynamic museum showcases the art, stories, and traditions of South Australia’s First Nations peoples through immersive exhibitions, from contemporary art to traditional artifacts. Unlike larger, more generic museums, Tandanya offers a deeply authentic cultural experience with a serene atmosphere that draws visitors in for meaningful exploration rather than mere sightseeing.

Why it’s crowd-free: It’s often overlooked by mainstream tourist itineraries, making it a peaceful place to immerse yourself in history and art.
Pro tip: Check out their calendar for live performances and workshops for a more interactive visit.

2. Cleland Wildlife Park: Up-Close Encounters with Aussie Fauna

For a unique wildlife adventure, head to Cleland Wildlife Park, just a short drive from Adelaide’s CBD. This sanctuary is home to native species like koalas, kangaroos, and wallabies. Visitors can feed and photograph these creatures in a natural setting, but unlike busier zoos, Cleland’s laid-back vibe and spacious enclosures keep the atmosphere intimate.

Why it’s crowd-free: Mid-week visits or early mornings ensure a quiet experience, with plenty of space to roam and connect with nature.
Pro tip: Book a guided tour to learn about conservation efforts and meet nocturnal creatures in their hideaways.

3. Adelaide Gaol: A Glimpse into Dark Historical Days

Step into the shadows of Adelaide’s past at the Adelaide Gaol, a 19th-century prison that held some of Australia’s most notorious figures. This atmospheric site blends eerie history with engaging guided tours, where tales of rebellion, harsh punishment, and resilience come to life. The gaol’s moats and rusted cells offer a tangible connection to South Australia’s colonial legacy.

Why it’s crowd-free: While it’s a historic site, its solemn focus deters mass tourism, making it ideal for history buffs.
Pro tip: Opt for the 90-minute “History Tour” to uncover lesser-known stories and enjoy the most in-depth experience.

4. Old Government House: A Quaint Royal Retreat

Set within the lush grounds of the Adelaide Botanic Garden, Old Government House is a charming colonial-era mansion that served as a residence for South Australia’s governors. The building’s neoclassical architecture and manicured gardens offer a tranquil escape, while its hidden history as a “royal retreat” adds intrigue.

Why it’s crowd-free: Tucked inside a crowded attraction, the house and garden are often overlooked by tourists rushing to see the main highlights.
Pro tip: Visit during the weekdays to enjoy guided docent tours and the peace of the surrounding rose gardens.

5. Japanese Garden (Adelaide Botanic Garden): A Zen Oasis in the City

Within the sprawling Adelaide Botanic Garden, the Japanese Garden is a serene, minimalist haven filled with koi ponds, maple trees, and sand raked in meditative patterns. Designed in the late 1980s by Hidetori Matsumura, this gem is a perfect spot for reflection or a quiet picnic, far removed from the typical tourist hotspots.

Why it’s crowd-free: Its specific location within the garden and niche appeal ensure a peaceful, crowd-free experience.
Pro tip: Bring a sketchbook or a camera—this garden is a photographer’s dream, especially during spring when the blossoms are in full bloom.

Conclusion: Adelaide’s Hidden Treasures Awaits
Adelaide’s quieter attractions offer a perfect blend of history, culture, and natural beauty without the hassle of crowds. Whether you’re exploring the Tandanya’s Aboriginal art or savouring the peace of the Japanese Garden, these spots provide a deeper, more personal connection to the city’s soul. So next time you’re in Adelaide, venture off the well-trodden path—these hidden gems are sure to leave a lasting impression.

Respect the environment and local communities by following guidelines, especially in wildlife parks and cultural institutions. Enjoy your journey! 

In a word: Under

Under by itself is a rather boring word, you know, under the moon, under the sea, under the influence, which is not hard to be if you’ve been hypnotised or after a few drinks.

Under is anything beneath something else.

But let’s add it to some other words like,

Underrated, which means it is better than what others give it credit for.

Underwear is what you would wear underneath your clothes.

An understudy is a person who takes over a lead role when the lead is incapacitated. And how many understudies are guilty of harming the lead to get a big break?

And not get away with it?

Understood: an agreement that might or might not be in writing that something will happen; that is, it is understood that I will be the next president.

Or not. Who on earth would really want to be president of anything?

So in the spirit of trying to confuse everyone all of the time, I have a conundrum in the form of a question: what is the difference between under and underneath?

To me, there is none; you can be under the sea or underneath the sea, or under the table or underneath the table, but then there’s another: you can be under the influence but not underneath the influence, though technically you could, if you wanted to use confusing English.

And, just to add to the confusion further, I can say that the submarine sailed under the sea, underneath the sea, but, in actual fact, it doesn’t.

What is under the sea is the sand, or seabed, and a submarine does not plough its way through the sand, does it?

What we really should be saying is that a submarine moves through the water.

Just saying…