Over the years, I have traveled extensively and kept journals, with the idea that one day all of those places would become locations in books. Notebooks filled with odd characters, people and incidents observed, and whole tracts of stories written when the on the spot inspiration has been a driving force.
All of this is the basis of the first three novels, Sunday In New York, set, of course, in New York, probably my favorite city in the world, “Echoes From The Past’ equally set in New York, Brooklyn Heights and Philadelphia. The third, The Devil You Don’t, travels through Europe, starting in Geneva, moving to Rome, then Sorrento, and then to Venice.
Now, my passion to write is fuelled by travel and fine dining. When I take a break from these, I get to torment my three wonderful grandchildren whom I actively encourage to read as much as they can, and more recently to also write.
As for almost every other writer, I would not be able to do any of this without my wife who has put up with my moodiness, the times when I'm locked away in a room trying to push out another 2,000 words, and yet despite everything still puts up with me.
I wish I could say the same for our cat. Alas, I am still trying to work out how to be his friend!
Started to write a post, got so far, and another theme or idea slips in, and demands to be written first?
I’m on this nostalgia kick simply because when I turned on the TV to catch up with the latest news, it was on a channel that shows old movies.
In case you don’t realise it, I love old movies, not just those from Hollywood, but also from Britain.
What was on?
An American in Paris.
Well, it had to be one of my favourites, even though I’m not a great fan of Gene Kelly; the sheer majesty of the music more than makes up for the story in between.
Could it be said, then, that this was from the golden years of Hollywood? Such bright and cheerful movies as Singing in the Rain and An American in Paris perhaps exemplify the Hollywood musical.
Years before, Fred Astaire and Ginger Rogers were the quintessential musical stars, followed by the likes of Judy Garland and Deanna Durbin, and later Bing Crosby and Frank Sinatra. A couple of musicals, in particular, come to mind, firstly, The Wizard of Oz and then High Society.
Moving into more modern times, several stand out in the 1960s: My Fair Lady and The Sound of Music. By this time, theatregoers were dining on the superb talents of Rogers and Hammerstein, and Learner and Lowe. Of the former, musicals such as Carousel, South Pacific, and The King and I were on my list of favourites.
Even later still in the 1970s, there is Funny Girl, and Hello Dolly, which have a connection to the past with its director, none other than, yes, Gene Kelly.
But it seems once the 60s had passed, the notion of the Hollywood blockbuster musical had gone, and we were left with clip shows like That’s Entertainment, put together while Gene Kelly and Fred Astaire were still alive. We still had the film versions of the stage plays, but the lustre had, somehow, gone.
Perhaps it will return, who knows, after all, everything old is usually new again, it just takes time to go full circle.
The Art of the Opening Line: Impact, Promise, and the Perfect Sentence
In the sprawling landscape of literature, where countless stories vie for attention and untold universes beckon, there’s a single, vital pivot point: the first line. It’s more than just a gentle nudge; it’s a carefully constructed piece of prose, a declaration, a whisper, or a shout that sets everything in motion. And if you’re a writer, or simply a discerning reader, you know this truth deep in your bones: the first line has to make an impact.
The immediate, undeniable truth is this: a first line must make an impact. In a world saturated with content, where endless scrolls and countless tabs compete for precious moments, your opening sentence is your do-or-die moment. It isn’t merely about grabbing attention; it’s about demanding it. It might shock, mystify, intrigue, or present a profound truth that resonates instantly. Think of “It was the best of times, it was the worst of times,” or “Call me Ishmael.” These aren’t just words; they’re literary thunderclaps, perfectly thrown darts hitting the bullseye of the reader’s curiosity. They don’t just invite you in; they pull you in, often before you even realise you’ve been hooked.
But impact alone, while crucial, is only half the story. While the subsequent chapters unfurl the full tapestry of your narrative, why wait? Why not offer a tantalising glimpse, a foundational understanding of what awaits, right from the start? A well-crafted first line or paragraph subtly hints at the genre, the tone, the central conflict, or even the protagonist’s core dilemma. It’s a non-verbal contract with your reader, a promise of the journey to come. It says, “This is what you’re in for. This is the kind of world you’re about to enter.” It might promise wonder, dread, humour, or profound introspection. Even if the full qualification of these hints comes much later, the initial setup creates an expectation, a framework that encourages the reader to lean in and commit.
Which brings us to the bedrock of all this: the art of the sentence itself. The first line isn’t just a container for ideas; it is an idea, perfectly formed. It’s about meticulous word choice, the rhythm and cadence, the conciseness that packs a punch, and the elegance that makes it linger in the mind. Every word must earn its place, and every punctuation mark serves a purpose. This isn’t just about conveying information; it’s about crafting an experience. When we talk about the “art of the first line,” we are, in essence, talking about the art of the sentence – its power to evoke, to define, to resonate, and to stand as a miniature masterpiece in its own right. It elevates prose from mere communication to an experience.
So, when you sit down to craft your opening, whether you’re a seasoned novelist or a budding blogger, remember it’s not just a starting point; it’s a destination in itself. It’s the initial impact that makes a reader pause, the subtle promise that makes them stay, and the sheer artistry of the sentence that makes them marvel. Invest in your first line. Polish it, perfect it, and let it sing. For in that one perfect sentence lies the entire universe of your story, waiting to unfold.
The Case for the Page: Why Your Next First Draft Should Be Handwritten
In an era of lightning-fast keyboards, voice-to-text, and AI-assisted drafting, the act of putting pen to paper can feel almost prehistoric. Why reach for a pen when you can type at 80 words per minute? Why endure the hand cramp when you can edit with a simple backspace?
Yet, there is a growing movement of writers—from novelists to essayists—who are returning to the humble notebook for their first drafts. Beyond the aesthetic appeal of a leather-bound journal or the scratch of a fountain pen, there is a profound, functional benefit to writing in longhand.
If you’ve been feeling disconnected from your writing, here is why you might want to slow it down and go analog.
1. A Tangible Record of Your Evolution
When you write digitally, the “delete” key is a magician. You type a sentence, realise it’s weak, hit backspace, and it vanishes into the ether. It is as if the thought never existed.
In longhand, you cannot truly erase. You can only cross out.
This creates a tangible map of your creative process. When you look back at a physical page, you see the evolution of your ideas. You see the discarded phrases, the scribbled synonyms in the margins, and the sudden arrows pointing to a better arrangement. This “messy” draft becomes a record of your intellectual labor. It proves you didn’t just arrive at the finished product; you fought for it. There is a deep, psychological satisfaction in seeing that history remain on the page, rather than in a digital void.
2. The Permanence of Thought
Digital writing is ephemeral. Even with “Track Changes” or version history, the digital experience is defined by constant editing. We are trained to polish as we go, which stifles the raw, uninhibited flow of a first draft.
Longhand forces a slower pace, but it also provides a sense of finality. Once the ink touches the paper, the thought is “baked.” This forces you to be more deliberate with your word choices, yet paradoxically, it also allows you to make mistakes without the pressure to correct them immediately. Because you can’t easily “clean up” a handwritten draft, you are forced to keep moving forward, which is the golden rule of drafting: don’t look back until the page is full.
3. A Deeper Cognitive Connection
Neuroscience suggests that the brain processes information differently when we engage in handwriting. The physical act of forming letters and the tactile sensation of pen on paper activate different areas of the brain than typing does.
Many writers report that longhand helps them enter a “flow state” more easily. There are no notifications popping up in the corner of your notebook. No temptation to check email. No ability to reformat your font or check the word count every five minutes. It is just you and the paper, creating an environment where deep focus is the default, not the exception.
4. The Beauty of the “Permanent Erasure”
There is a unique kind of vulnerability in handwriting. Because you cannot delete, you learn to embrace the imperfection. You stop obsessing over the perfect opening sentence and start focusing on the truth of the sentence.
When you do eventually transcribe your handwritten draft into a digital format, you are essentially performing your first major edit. You aren’t just copying; you’re reading, refining, and selecting the best parts of what you wrote. It turns the editing process into a deliberate, second-pass creative act rather than a chore.
The Verdict?
Writing in longhand isn’t about being a Luddite. It’s about recognising that the “best” tools for efficiency aren’t always the “best” tools for creativity.
If your writing feels stagnant or you find yourself endlessly editing instead of creating, put the laptop away. Grab a pen. Feel the weight of the ink on the page. You might find that the best way to move your writing forward is to take a step back into the past.
Have you ever tried handwriting your first draft? Do you find it helps you unlock new ideas, or does it feel like extra work? Let me know in the comments below.
This morning started with a visit to the car rental place in Vancouver. It reinforced the notion that you can be given the address and still not find the place. It happened in Washington where it was hiding in the back of the main railway station, and it happened again in Vancouver when it was hidden inside a hotel.
We simply walked straight past it. Pity there wasn’t a sign to let people know.
However…
We went in expecting a Grand Jeep Cherokee and walked out with a Ford Flex, suitable for three people and four large suitcases. It actually seats 7, but forget the baggage, you’d be lucky to get two large suitcases in that configuration.
It is more than adequate for our requirements.
Things to note, it was delivered with just over a quarter of a tank of gas, and it had only done about 11,000 km, so it’s relatively new. It’s reasonably spacious, and when the extra seats are folded down, there is plenty of baggage space.
So far, so good.
We finally leave the hotel about half-past ten, and it is raining. It is a simple task to get on Highway 1, the TransCanada Highway, initially, and then onto Highway 5, the Coquihalla Highway, for the trip to Kamloops.
It rains all the way to the top of the mountain, progress hampered from time to time by water sprays from both vehicles and trucks. The rain is relentless. At the top of the mountain, the rain turns into snow and the road surface becomes slush. It’s 0 degrees, but being the afternoon, I was not expecting it to turn to ice very quickly.
On the other side of the mountain, closer to Kamloops, there was sleet, then rain, then nothing, the last 100kms or so, in reasonably dry conditions.
Outside Kamloops, and in the town itself, there was evidence of snow recently cleared, and slushy roads. Cars in various places were covered in snow, indicating the most recent falls had been the night before.
We’re staying at the Park Hotel, a heritage building, apparently built in the late 1920s. In the style of the time, it is a little like a rabbit warren with passages turning off in several directions, and showing it is spread across a number of different buildings.
It has the original Otis elevator that can take a maximum of four passengers, and a sign on the wall that says “no horseplay inside the elevator” which is a rather interesting expression that only someone of my vintage would understand. And, for those without a sense of humour, you definitely couldn’t fit a horse in it to play with.
The thing is, how do you find a balance between keeping the old world charm with modern day expectations? You can’t. Some hotels try valiantly to get that balance. Here, it is simply old-world charm, which I guess we should be grateful for because sooner rather than later, it’s going to disappear forever.
In my writer’s mind, given the importance of the railways, this was probably a thriving place for travellers, and once upon a time, there were a lot more hotels like this one.
In the distance, he could hear the dinner bell ringing and roused himself. Feeling the dampness of the pillow and fearing the ravages of pent-up emotion, he considered not going down but thought it best not to upset Mrs Mac, especially after he said he would be dining.
In the event, he wished he had reneged, especially when he discovered he was not the only guest staying at the hotel.
Whilst he’d been reminiscing, another guest, a young lady, had arrived. He’d heard her and Mrs Mac coming up the stairs and then shown to a room on the same floor, perhaps at the other end of the passage.
Henry caught his first glimpse of her when she appeared at the door to the dining room, waiting for Mrs Mac to show her to a table.
She was in her mid-twenties, slim, with long brown hair, and the grace and elegance of a woman associated with countless fashion magazines. She was, he thought, stunningly beautiful with not a hair out of place, and make-up flawlessly applied. Her clothes were black, simple, elegant, and expensive, the sort an heiress or wife of a millionaire might condescend to wear to a lesser occasion than dinner.
Then there was her expression; cold, forbidding, almost frightening in its intensity. And her eyes, piercingly blue and yet laced with pain. Dracula’s daughter was his immediate description of her.
All in all, he considered, the only thing they had in common was, like him, she seemed totally out of place.
Mrs Mac came out of the kitchen, wiping her hands on her apron. She was, she informed him earlier, chef, waitress, hotelier, barmaid, and cleaner all rolled into one. Coming up to the new arrival, she said, “Ah, Miss Andrews, I’m glad you decided to have dinner. Would you like to sit with Mr Henshaw, or would you like to have a table of your own?”
Henry could feel her icy stare as she sized up his appeal as a dining companion, making the hair on the back of his neck stand up. He purposely didn’t look back. In his estimation, his appeal rating was minus six. Out of a thousand!
“If Mr Henshaw doesn’t mind….” She looked at him, leaving the query in mid-air.
He didn’t mind and said so. Perhaps he’d underestimated his rating.
“Good.” Mrs Mac promptly ushered her over. Henry stood, made sure she was seated properly and sat.
“Thank you. You are most kind.” The way she said it suggested snobbish overtones.
“I try to be when I can.” It was supposed to nullify her sarcastic tone, but it made him sound a little silly, and when she gave him another of her icy glares, he regretted it.
Mrs Mac quickly intervened, asking, “Would you care for the soup?”
They did, and, after writing the order on her pad, she gave them each a look, imperceptibly shook her head, and returned to the kitchen.
Before Michelle spoke to him again, she had another quick look at him, trying to fathom who and what he might be. There was something about him.
His eyes mirrored the same sadness she felt, and, yes, there was something else, that it looked like he had been crying. There was a tinge of redness.
Perhaps, she thought, he was here for the same reason she was.
No. That wasn’t possible.
Then she said, without thinking, “Do you have any particular reason for coming here?” Seconds later, she realised she’d spoken it out loud, hadn’t meant to actually ask, it just came out.
It took him by surprise, obviously not the first question he was expecting her to ask of him.
“No, other than it is as far from civilisation, and home as I could get.”
At least we agree on that, she thought.
It was obvious he was running away from something as well.
Given the isolation of the village and lack of geographic hospitality, it was, from her point of view, ideal. All she had to do was avoid him, and that wouldn’t be difficult.
After getting through this evening first.
“Yes,” she agreed. “It is that.”
A few seconds passed, and she thought she could feel his eyes on her and wasn’t going to look up.
Until he asked, “What’s your reason?”
Slightly abrupt in manner, perhaps, because of her question and how she asked it.
She looked up. “Rest. And have some time to myself.”
She hoped he would notice the emphasis she had placed on the word ‘herself’ and take due note. No doubt, she thought, she had completely different ideas of what constituted a holiday than he, not that she had said she was here for a holiday.
Mrs Mac arrived at a fortuitous moment to save them from further conversation.
Over the entree, she wondered if she had made a mistake coming to the hotel. Of course, there had been no conceivable way she could know that anyone else might have booked the same hotel, but she realised it was foolish to think she might end up in it by herself.
Was that what she was expecting?
Not a mistake then, but an unfortunate set of circumstances, which could be overcome by being sensible.
Yet, there he was, and it made her curious, not that he was a man, by himself, in the middle of nowhere, hiding like she was, but for quite varied reasons.
On discreet observation, whilst they ate, she gained the impression his air of light-heartedness was forced, and he had no sense of humour.
This feeling was engendered by his looks, unruly dark hair, and permanent frown. And then there was his abysmal taste in clothes on a tall, lanky frame. They were quality but totally unsuited to the wearer.
Rebellion was written all over him.
The only other thought crossing her mind, and incongruously, was that he could do with a decent feed. In that respect, she knew now from the mountain of food in front of her, he had come to the right place.
“Mr Henshaw?”
He looked up. “Henshaw is too formal. Henry sounds much better,” he said, with a slight hint of gruffness.
“Then my name is Michelle.”
Mrs Mac came in to take their order for the only main course, gather up the entree dishes, and then return to the kitchen.
“Staying long?” she asked.
“About three weeks. Yourself?”
“About the same.”
The conversation dried up.
Neither looked at the other, but rather at the walls, out the window, towards the kitchen, anywhere. It was, she thought, unbearably awkward.
Mrs Mac returned with a large tray with dishes on it, setting it down on the table next to theirs.
“Not as good as the usual cook,” she said, serving up the dinner expertly, “but it comes a good second, even if I do say so myself. Care for some wine?”
Henry looked at Michelle. “What do you think?”
“I’m used to my dining companions making the decision.”
You would, he thought. He couldn’t help but notice the cutting edge of her tone. Then, to Mrs Mac, he named a particular White Burgundy he liked, and she bustled off.
“I hope you like it,” he said, acknowledging her previous comment with a smile that had nothing to do with humour.
“Yes, so do I.”
Both made a start on the main course, a concoction of chicken and vegetables that were delicious, Henry thought when compared to the bland food he received at home and sometimes aboard my ship.
It was five minutes before Mrs Mac returned with the bottle and two glasses. After opening it and pouring the drinks, she left them alone again.
Henry resumed the conversation. “How did you arrive? I came by train.”
“By car.”
“Did you drive yourself?”
And he thought, a few seconds later, that was a silly question; otherwise, she would not be alone, and certainly not sitting at this table. With him.
“After a fashion.”
He could see that she was formulating a retort in her mind, then changed it, instead, smiling for the first time, and it served to lighten the atmosphere.
And in doing so, it showed him she had another, more pleasant side despite the fact she was trying not to look happy.
“My father reckons I’m just another of ‘those’ women drivers,” she added.
“Whatever for?”
“The first and only time he came with me, I had an accident. I ran up the back of another car. Of course, it didn’t matter to him that the other driver was driving like a startled rabbit.”
“It doesn’t help,” he agreed.
“Do you drive?”
“Mostly people up the wall.” His attempt at humour failed. “Actually,” he added quickly, “I’ve got a very old Morris that manages to get me where I’m going.”
The apple pie and cream for dessert came and went, and the rapport between them improved as the wine disappeared and the coffee came. Both had found, after getting to know each other better, that their first impressions were not necessarily correct.
“Enjoy the food?” Mrs Mac asked, suddenly reappearing.
“Beautifully cooked and delicious to eat,” Michelle said, and Henry endorsed her remarks.
“Ah, it does my heart good to hear such genuine compliments,” she said, smiling. She collected the last of the dishes and disappeared yet again.
“What do you do for a living?” Michelle asked in an offhand manner.
He had a feeling she was not particularly interested, and it was just making conversation.
“I’m a purser.”
“A what?”
“A purser. I work on a ship doing the paperwork, that sort of thing.”
“I see.”
“And you?”
“I was a model.”
“Was?”
“Until I had an accident, a rather bad one.”
“Oh, I’m sorry.”
So that explained the odd feeling he had about her.
As the evening wore on, he began to think there might be something wrong, seriously wrong with her because she didn’t look too well. Even the carefully applied makeup, from close, didn’t hide the very pale, tired look, or the sunken, dark-ringed eyes.
“I try not to think about it, but it doesn’t necessarily work. I’ve come here for peace and quiet, away from doctors and parents.”
“Then you will not have to worry about me annoying you. I’m one of those fall-asleep-reading-a-book types.”
Perhaps it would be like ships passing in the night, and then he smiled to himself about the analogy.
Dinner over, they separated.
Henry went back to the lounge to read a few pages of his book before going to bed, and Michelle went up to her room to retire for the night.
But try as he might, he was unable to read, his mind dwelling on the unusual, yet compellingly mysterious person he would be sharing the hotel with.
Overlaying that original blurred image of her standing in the doorway was another of her haunting expressions that had, he finally conceded, taken his breath away, and a look that had sent more than one tingle down his spine.
She may not have thought much of him, but she had certainly made an impression on him.
Staying at Hampton Inn and Suites downtown, whatever that means, because it looks like we are in the middle of nowhere.
But, judging by the crowd in the breakfast room, it’s a popular hotel. Of course, it is Sunday morning so this could be the weekend escape people.
Two things I remember about staying in Hampton Inns are firstly the waffles and whipped butter. It’s been five years, but nothing has changed; they are as delicious as ever. The other is where I discovered vanilla-flavoured milk for coffee, and it, too, is addictive.
They also used to have flat burgers that were made out of sausage meat, which was delicious, but on the first day, they were not on the menu.
Nevertheless, it was still a very yummy breakfast.
After some research into where we might find this Pixmi unicorn, it appears that it is available at a ‘toys are us’ store in one of the suburbs of Vancouver. So, resuming the quest, we took a taxi to West Broadway, the street where the store is located.
A quick search of the store finds where the toys we’re looking for are, after asking one of the sales staff, and we find there are at least a dozen of them. Apparently, they are not as popular in Canada as they might be in America. Cheaper too, because the exchange rate for Canadian dollars is much better than for American dollars. Still, 70 dollars for a stuffed toy is a lot of money.
We also get some slime, stuff that our middle granddaughter seems to like playing with.
After shopping, we set off down West Broadway, the way we had come, looking for a taxi to return us to the hotel. There’s no question of walking back to the hotel.
A few hours later, we walked to the observation tower, which was not very far from the hotel,
a place where we could get a 360-degree view of the city of Vancouver although it was very difficult to see any of the old buildings because they were hidden by the newer buildings, nor could we see the distant mountains because of the haze.
After leaving the tower, we walked down Water Street to see the steam clock and the old world charm of a cobbled street and old buildings
We stopped at the Spaghetti Factory Italian restaurant for dinner, and is so popular that we had to wait 10 minutes to start with. It doesn’t take all that long to order and have the food delivered to the table. Inside the restaurant, there is an actual cable car, but we didn’t get to sit in it.
I have steak, rare, mushrooms, and spaghetti with marinara sauce. No, marinara doesn’t mean seafood sauce, but a very tasty tomato-based sauce. The steak was absolutely delicious and extremely tender, which made it more difficult to cut with a steak knife.
The write-up for the marinara sauce is, ‘it tastes so fresh because it is made directly from vine-ripened tomatoes, not from concentrate, packed within 6 hours of harvest. We combine them with fresh, high-quality ingredients such as caramelised onions, roasted garlic and extra virgin olive oil.’
Oh, and did I mention they have a streetcar right there in the middle of the restaurant
I’m definitely going to try to make this when we get home.
After dinner, we return to the observation tower, the ticket allowing us to go back more than once, and see the sights at night. I can’t say it was all that spectacular.
Another day has gone, and we are heading home tomorrow.
A single event driven by fate, after Ben told his wife Charlotte he would be late home one night, he left early, and by chance discovered his wife having dinner in their favourite restaurant with another man.
A single event where it could be said Ben was in the wrong place at the wrong time.
Who was this man? Why was she having dinner with him?
A simple truth to explain the single event was all Ben required. Instead, Charlotte told him a lie.
A single event that forces Ben to question everything he thought he knew about his wife and the people who are around her.
After a near-death experience and forced retirement into a world he is unfamiliar with, Ben finds himself once again drawn back into that life of lies, violence, and intrigue.
From London to a small village in Tuscany, little by little, Ben discovers who the woman he married is, and the real reason why fate had brought them together.
The Case for the Page: Why Your Next First Draft Should Be Handwritten
In an era of lightning-fast keyboards, voice-to-text, and AI-assisted drafting, the act of putting pen to paper can feel almost prehistoric. Why reach for a pen when you can type at 80 words per minute? Why endure the hand cramp when you can edit with a simple backspace?
Yet, there is a growing movement of writers—from novelists to essayists—who are returning to the humble notebook for their first drafts. Beyond the aesthetic appeal of a leather-bound journal or the scratch of a fountain pen, there is a profound, functional benefit to writing in longhand.
If you’ve been feeling disconnected from your writing, here is why you might want to slow it down and go analog.
1. A Tangible Record of Your Evolution
When you write digitally, the “delete” key is a magician. You type a sentence, realise it’s weak, hit backspace, and it vanishes into the ether. It is as if the thought never existed.
In longhand, you cannot truly erase. You can only cross out.
This creates a tangible map of your creative process. When you look back at a physical page, you see the evolution of your ideas. You see the discarded phrases, the scribbled synonyms in the margins, and the sudden arrows pointing to a better arrangement. This “messy” draft becomes a record of your intellectual labor. It proves you didn’t just arrive at the finished product; you fought for it. There is a deep, psychological satisfaction in seeing that history remain on the page, rather than in a digital void.
2. The Permanence of Thought
Digital writing is ephemeral. Even with “Track Changes” or version history, the digital experience is defined by constant editing. We are trained to polish as we go, which stifles the raw, uninhibited flow of a first draft.
Longhand forces a slower pace, but it also provides a sense of finality. Once the ink touches the paper, the thought is “baked.” This forces you to be more deliberate with your word choices, yet paradoxically, it also allows you to make mistakes without the pressure to correct them immediately. Because you can’t easily “clean up” a handwritten draft, you are forced to keep moving forward, which is the golden rule of drafting: don’t look back until the page is full.
3. A Deeper Cognitive Connection
Neuroscience suggests that the brain processes information differently when we engage in handwriting. The physical act of forming letters and the tactile sensation of pen on paper activate different areas of the brain than typing does.
Many writers report that longhand helps them enter a “flow state” more easily. There are no notifications popping up in the corner of your notebook. No temptation to check email. No ability to reformat your font or check the word count every five minutes. It is just you and the paper, creating an environment where deep focus is the default, not the exception.
4. The Beauty of the “Permanent Erasure”
There is a unique kind of vulnerability in handwriting. Because you cannot delete, you learn to embrace the imperfection. You stop obsessing over the perfect opening sentence and start focusing on the truth of the sentence.
When you do eventually transcribe your handwritten draft into a digital format, you are essentially performing your first major edit. You aren’t just copying; you’re reading, refining, and selecting the best parts of what you wrote. It turns the editing process into a deliberate, second-pass creative act rather than a chore.
The Verdict?
Writing in longhand isn’t about being a Luddite. It’s about recognising that the “best” tools for efficiency aren’t always the “best” tools for creativity.
If your writing feels stagnant or you find yourself endlessly editing instead of creating, put the laptop away. Grab a pen. Feel the weight of the ink on the page. You might find that the best way to move your writing forward is to take a step back into the past.
Have you ever tried handwriting your first draft? Do you find it helps you unlock new ideas, or does it feel like extra work? Let me know in the comments below.
What starts as a search for a missing husband soon develops into an unbelievable story of treachery, lies, and incredible riches.
…
It was meant to remain buried long enough for the dust to settle on what was once an unpalatable truth, when enough time had passed, and those who had been willing to wait could reap the rewards.
The problem was, no one knew where that treasure was hidden or the location of the logbook that held the secret.
At stake, billions of dollars’ worth of stolen Nazi loot brought to the United States in an anonymous tramp steamer and hidden in a specially constructed vault under a specifically owned plot of land on the once docklands of New York.
It may have remained hidden and unknown to only a few, if it had not been for a mere obscure detail being overheard …
… by our intrepid, newly minted private detective, Harry Walthenson …
… and it would have remained buried.
Now, through a series of unrelated events, or are they, that well-kept secret is out there, and Harry will not stop until the whole truth is uncovered.
Thrills, Spills, and just a dash of Romance 