It could have been anywhere in the world, she thought, but it wasn’t. It was in a city where if anything were to go wrong…
She sighed, came away from the window and looked around the room. It was quite large and expensively furnished. It was one of several she had been visiting in the last three months.
Quite elegant too, as the hotel had its origins dating back to before the revolution in 1917. At least, currently, there would not be a team of KGB agents somewhere in the basement monitoring everything that happened in the room.
There was no such thing as the KGB anymore, though there was an FSB, but such organisations were of no interest to her.
She was here to meet with Vladimir.
She smiled to herself when she thought of him, such an interesting man whose command of English was as good as her command of Russian, though she had not told him of that ability.
All he knew of her was that she was American, worked in the Embassy as a clerk, nothing important, whose life both at work and at home was boring. Not that she had blurted that out the first time they met, or even the second.
That first time, at a function in the Embassy, was a chance meeting, a catching of his eye as he looked around the room, looking, as he had told her later, for someone who might not be as boring as the function itself.
It was a celebration honouring one of the Embassy officials’ service in Moscow, soon to be returning home after 10 years. She had been there one and still hadn’t met all the staff.
They had talked; Vladimir knew a great deal about England, having been stationed there for a year or two, and had politely asked questions about where she lived, her family, and, of course, what her role was, all questions she fended off with an air of disinterested interest.
It fascinated him, as she knew it would, a sort of mental sparring as one would do with swords if this were a fencing match.
They had said they might or might not meet again when the party was over, but she suspected there would be another opportunity. She knew the signs of a man interested in her, and Vladimir was.
The second time came in the form of an invitation to an art gallery and a viewing of the works of a prominent Russian artist, an invitation she politely declined. After all, invitations issued to Embassy staff held all sorts of connotations, or so she was told by the Security officer when she told him.
Then, it went quiet for a month. There was a party at the American embassy, and along with several other staff members, she was invited. She had not expected to meet Vladimir, but it was a pleasant surprise when she saw him, on the other side of the room, talking to several military men.
A pleasant afternoon ensued.
And it was no surprise that they kept running into each other at the various events on the diplomatic schedule.
By the fifth meeting, they were like old friends. She had broached the subject of being involved in a platonic relationship with him with the head of security at the embassy. Normally, for a member of her rank, it would not be allowed, but in this instance, it was.
She did not work in any sensitive areas, and, as the security officer had said, she might just happen upon something useful. In that regard, she was to keep her eyes and ears open and file a report each time she met him.
After that discussion, she got the impression her superiors considered Vladimir more than just a casual visitor on the diplomatic circuit. She also formed the impression that he might consider her an ‘asset’, a word that had been used at the meeting with security and the ambassador.
It was where the word ‘spy’ popped into her head and sent a tingle down her spine. She was not a spy, but the thought of it, well, it would be fascinating to see what happened.
A Russian friend. That’s what she would call him.
And over time, that relationship blossomed, until, after a visit to the ballet, late and snowing, he invited her to his apartment not far from the ballet venue. It was like treading on thin ice, but after champagne and an introduction to caviar, she felt like a giddy schoolgirl.
Even so, she had made him promise that he would remain on his best behaviour. It could have been very easy to fall under the spell of a perfect evening, but he promised, showed her to a separate bedroom, and after a brief kiss, their first, she did not see him until the next morning.
So, it began.
It was an interesting report she filed after that encounter, one she had expected to be reprimanded.
She wasn’t.
It wasn’t until six weeks had passed that he asked her if she would like to take a trip to the country. It would involve staying in a hotel, as always, in separate rooms. When she reported the invitation, no objection was raised, only a caution: keep her wits about her.
Perhaps, she had thought, they were looking forward to a more extensive report. After all, her reports on the places, the people, and the conversations she overheard were no doubt entertaining reading for some.
But on this visit, the nature of the relationship changed, and it was one that she did not immediately report. She had realised at some point before the weekend away that she had feelings for him, and it was not that he was pushing her in that direction or manipulating her in any way.
It was just one of those moments where, after a grand dinner, a lot of champagne, and delightful company, things happen. Standing at the door to her room, a lingering kiss, not intentional on her part, just happened.
And for not one moment did she believe she had been compromised, but for some reason she had not reported that subtle change in the relationship to the powers that be, and so far, no one had any inkling.
She took off her coat and placed it carefully on the back of one of the ornate chairs in the room. She stopped for a moment to look at a framed photograph on the wall, one representing Red Square.
Then, after a minute or two, she went to the minibar and took out the bottle of champagne left there for them, a treat Vladimir arranged for each encounter.
There were two champagne flutes set aside on the bar, next to a bowl of fruit. She picked up the apple and thought about how Eve must have felt in the Garden of Eden, and the temptation.
Later perhaps, after…
She smiled at the thought and put the apple back.
A glance at her watch told her it was time for his arrival. It was, if anything, the one trait she didn’t like, and that was his punctuality. A glance at the clock on the room wall was a minute slow.
The doorbell rang, right on the appointed time.
She put the bottle down and walked over to the door.
Speed vs. Patience in Novel Writing: Why “Fast” Doesn’t Have to Mean “Shallow”
Writing fast can be a strength when it’s backed by a solid plan, disciplined habits, and a system for keeping track of details.
Rushing without preparation usually ends in thin characters, plot holes, and endless rewrites.
Earl Stanley Gardner’s 3 × 5‑card system shows how a writer can sprint the first draft while still maintaining “detail‑level” control.
In the world of fiction, the “fast‑track” versus “slow‑burn” debate is as old as the first typewriter. Some of the most beloved classics were laboured over for years; others erupted onto the scene in a burst of creative momentum. So, is finishing a novel quickly a badge of honour or a recipe for mediocrity? Let’s unpack the myth, look at the data, and see what a master of the craft—Earl Stanley Gardner—can teach us about marrying speed with substance.
1. The Myth of the “Quick‑Write” Novel
Common Pro‑Speed Belief
Reality Check
“If I write fast, the story stays fresh.”
Freshness can be preserved if you capture the core idea quickly, but the nuance (voice, subtext, world‑building) still requires time.
“The first draft should be a sprint.”
A sprint works when you have a map; otherwise you risk getting lost and having to backtrack.
“Fast writers are more productive, period.”
Productivity = output ÷ time. A fast first draft can be productive, but quality revisions are the true productivity multiplier.
The romantic image of the author hunched over a typewriter, words spilling out like a torrent, is compelling. Yet the industry’s “publish‑or‑perish” pressure has turned speed into a badge of professionalism—sometimes at the cost of depth.
Why the Fear of “Too‑Slow” Persists
Market pressure – Publishers want marketable manuscripts, and a lengthy gestation can look risky.
Personal doubt – Writers equate time spent with laziness, ignoring the fact that thoughtful revision is work, not procrastination.
Social media – Flash‑fiction challenges and “write‑a‑novel‑in‑30‑days” hashtags glorify speed.
But speed alone is not a metric of quality. It’s the process behind that speed that makes the difference.
2. The Counter‑Argument: “Take Your Time, Get the Detail Right”
Many celebrated authors have taken years—sometimes decades—to perfect a single novel:
Author
Time to First Draft
Notable Detail
Marcel Proust
13 years ( À la recherche du temps perdu )
Intricate memory structures, sensory detail
J.K. Rowling
5 years ( Harry Potter series)
World‑building, magical system rules
Haruki Murakami
4–6 years per novel
Atmosphere, recurring motifs
These writers demonstrate that deliberate, layered craftsmanship often requires a slower pace. Yet notice the pattern: they didn’t just sit and think; they produced drafts, rewrote, and refined—a disciplined cadence, not a languid drift.
What “Taking Your Time” Looks Like in Practice
Daily word‑count goals (e.g., 500–1,000 words) that respect a realistic schedule.
Research blocks are scheduled before or during the draft, not after.
Iterative outline revisions as the story evolves.
Scheduled “detail‑days” where you focus solely on specific aspects: dialogue, setting, character back‑story.
In other words, time is a resource—you can spend it wisely or waste it. The key is structure.
3. Planning: The Bridge Between Speed and Substance
Speed without a plan is like driving a sports car without a road map: you’ll get somewhere, but likely not where you intended. A robust plan lets you:
Flag high‑stakes details (character motivations, world rules) for later refinement.
Allocate “sprint” vs. “sprint‑pause” phases, ensuring stamina.
Types of Planning Systems
System
Core Idea
Ideal For
Full‑blown outline (e.g., Snowflake Method)
Start with a single sentence, expand to chapters.
Writers who love a macro view before micro work.
Scene‑by‑scene index cards
Cards for each scene, shuffled as needed.
Visual thinkers, flexible plots.
Mind‑map
Non‑linear, branching ideas.
Complex worlds, multiple POVs.
3 × 5‑card system (Earl Stanley Gardner)
Details captured on index cards, organized into “files.”
Plot‑driven writers, mystery/suspense authors.
All of these share a common thread: externalise the story. When you move ideas off the page (or screen) you free mental bandwidth for creative flow.
4. Case Study: Earl Stanley Gardner and the 3 × 5‑Card System
Who Was Earl Stanley Gardner?
Creator of the Perry Mason series (1933–1973) – over 80 novels, many adapted for TV.
Prodigious output: Averaged a novel every two months, some weeks.
Master of plot precision: Known for intricate puzzles that never left loose ends.
The Card System Explained
Step
What You Do
Why It Helps
1. Capture every idea
Write each plot point, character trait, clue, or setting on a 3 × 5 index card.
Prevents “aha!” moments from evaporating.
2. Categorize into “files.”
Group cards into logical bins: Characters, Motives, Clues, Red Herrings, Scenes.
Gives you a searchable “database” of story elements.
3. Sequence the narrative
Lay out the scene cards in order, shuffle, test alternate orders.
Enables rapid restructuring without rewriting.
4. Draft from the cards
Use the sequence as a road map for a fast, first‑draft sprint.
Keeps you moving forward; you already have the details.
5. Review & tighten
After the draft, return to the cards to spot missing connections or over‑complicated twists.
Guarantees that the detail‑level (the “fair‑play” of mystery) stays intact.
Why It Works
External Memory: The cards become a “second brain,” freeing the author to write rather than juggle facts.
Modular Flexibility: If a scene feels flat, you pull a different card, replace it, and keep writing.
Speed with Safety Net: Gardener could sprint the first draft because the “detail police” lived on his card table.
Takeaways for Any Writer
Adopt a capture tool – physical index cards, a digital Kanban board (Trello, Notion), or even a simple spreadsheet.
Commit to a “card‑first” mindset – no idea is too small to be carded.
Use the cards as a reversible outline – rearrange, add, delete, then write.
5. Practical Blueprint: Write a Novel Fast Without Losing Depth
Below is a step‑by‑step workflow that blends Gardner’s method with modern tools.
Phase 1 – Ideation (1–2 weeks)
Action
Tool
Output
Brain‑dump plot seeds
Scrivener, Google Docs, or a stack of 3 × 5 cards
20–30 raw ideas
Turn each seed into a card
Physical cards or Trello card
“Idea Cards”
Assign tags (Character, Setting, Twist)
Card color/label
Organized library
Phase 2 – Structure (2–3 weeks)
Action
Tool
Output
Draft a one‑sentence logline
Notepad
Core hook
Expand to a paragraph synopsis
Word processor
Story arc
Break synopsis into scene cards
Trello board columns (Act I, II, III)
30–50 scene cards
Verify each scene supports one major plot goal and one character arc beat
Checklist
Cohesive structure
Phase 3 – Sprint Draft (4–6 weeks)
Daily Routine
Goal
Morning (30 min): Review the next 2‑3 scene cards, add any missing details.
Keep the mental map fresh.
Writing block (2 hr): Write the scenes in order without editing.
Capture raw narrative.
Afternoon (15 min): Update card status (Done, Needs Revision).
Track progress.
Evening (10 min): Quick “detail‑audit” – do any clues or character motives feel incomplete? Add new cards if needed.
Prevent blind spots.
Result: A first draft in 30–45 days, with most major plot holes already flagged.
Phase 4 – Revision (4–8 weeks)
Revision Pass
Focus
Pass 1 – Macro: Compare draft to scene cards, ensure every card is represented appropriately.
Structural fidelity.
Pass 2 – Character Depth: Cross‑check each character’s “Motivation Card” against their actions.
Emotional authenticity.
Pass 3 – Detail Polish: Use “Setting” and “Clue” cards to enrich prose, add sensory layer.
Texture and atmosphere.
Pass 4 – Line‑Edit: Grammar, style, pacing.
Clean copy.
The beauty of this system is that the heavy lifting (detail tracking) is already done; revisions become a matter of refinement, not reconstruction.
6. When Speed Can Backfire (And How to Avoid It)
Pitfall
Symptoms
Fix
“Speed‑first, plan‑later”
Frequently hitting dead‑ends, large plot holes, endless rewrites.
Insert at least a 10‑page outline before the first draft.
“All‑out sprint, no rest”
Burnout, loss of enthusiasm, sloppy prose.
Build in micro‑breaks (e.g., 10‑minute walk after each 2‑hour block).
“Details after the fact”
Inconsistencies in character back‑story, world logic errors.
Use cards or a spreadsheet to log every new fact as you write.
“Relying on memory”
Forgetting early clues, contradictory timelines.
Keep a master timeline (Google Sheet, Excel) updated daily.
7. Bottom Line: Speed Is a Tool, Not a Philosophy
If you have a plan, a fast first draft can be a productive sprint that leaves you plenty of time for deep revision.
If you lack a plan, speed often leads to a quick mess that takes longer to clean up than a slower, more deliberate approach.
Gardner’s 3 × 5‑card system proves that you can have both: a rapid output engine powered by meticulous, externalised detail tracking.
In short: Write fast when you’ve wired the details into a system you trust. Write slowly when you’re still figuring out what the story even is. The sweet spot lies somewhere in the middle—structured speed backed by disciplined organisation.
8. Quick‑Start Checklist (Print‑Friendly)
Capture every narrative idea on a card (physical or digital).
Tag each card (Character, Plot, Setting, Clue).
Arrange cards into a three‑act scene sequence.
Set a daily word‑count goal (1,000–2,000 words).
Write the first draft without editing – use the cards as a roadmap.
Mark cards that need extra detail during the draft.
Revise using the four‑pass method (macro → character → detail → line).
Print this list, stick it on your desk, and let it guide you from “I have a story” to “I have a polished novel—fast.”
Further Reading
Earl Stanley Gardner – The Case of the Counterfeit Coin (intro to his planning method).
Steven King – On Writing (chapter on “The Importance of a Plan”).
K.M. Weiland – Structuring Your Novel (Snowflake Method).
James Clear – Atomic Habits (building daily writing habits).
Ready to sprint your next novel while keeping the details tight? Grab a stack of 3 × 5 cards, map out your world, and let the words flow. Speed and depth are not mutually exclusive—they’re just waiting for the right system to meet.
Happy writing!
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This story has been ongoing since I was seventeen, and just to let you know, I’m 72 this year.
Yes, it’s taken a long time to get it done.
Why, you might ask.
Well, I never gave it much interest because I started writing it after a small incident when I was 17, and working as a book packer for a book distributor in Melbourne
At the end of my first year, at Christmas, the employer had a Christmas party, and that year, it was at a venue in St Kilda.
I wasn’t going to go because at that age, I was an ordinary boy who was very introverted and basically scared of his own shadow and terrified by girls.
Back then, I would cross the street to avoid them
Also, other members of the staff in the shipping department were rough and ready types who were not backwards in telling me what happened, and being naive, perhaps they knew I’d be either shocked or intrigued.
I was both adamant I wasn’t coming and then got roped in on a dare.
Damn!
So, back then, in the early 70s, people looked the other way when it came to drinking, and of course, Dutch courage always takes away the concerns, especially when normally you wouldn’t do half the stuff you wouldn’t in a million years
I made it to the end, not as drunk and stupid as I thought I might be, and St Kilda being a salacious place if you knew where to look, my new friends decided to give me a surprise.
It didn’t take long to realise these men were ‘men about town’ as they kept saying, and we went on an odyssey. Yes, those backstreet brothels where one could, I was told, have anything they could imagine.
Let me tell you, large quantities of alcohol and imagination were a very bad mix.
So, the odyssey in ‘The things we do’ was based on that, and then the encounter with Diana. Well, let’s just say I learned a great deal about girls that night.
Firstly, not all girls are nasty and spiteful, which seemed to be the case whenever I met one. There was a way to approach, greet, talk to, and behave.
It was also true that I could have had anything I wanted, but I decided what was in my imagination could stay there. She was amused that all I wanted was to talk, but it was my money, and I could spend it how I liked.
And like any 17-year-old naive fool, I fell in love with her and had all these foolish notions. Months later, I went back, but she had moved on, to where no one was saying or knew.
Needless to say, I was heartbroken and had to get over that first loss, which, like any 17-year-old, was like the end of the world.
But it was the best hour I’d ever spent in my life and would remain so until I met the woman I have been married to for the last 48 years.
As Henry, he was in part based on a rebel, the son of rich parents who despised them and their wealth, and he used to regale anyone who would listen about how they had messed up his life
If only I’d come from such a background!
And yes, I was only a run away from climbing up the stairs to get on board a ship, acting as a purser.
I worked for a shipping company and they gave their junior staff members an opportunity to spend a year at sea working as a purser on a cargo ship that sailed between Melbourne, Sydney and Hobart in Australia.
One of the other junior staff members’ turn came, and I would visit him on board when he would tell me stories about life on board, the officers, the crew, and other events. These stories, which sounded incredible to someone so impressionable, were a delight to hear.
Alas, by that time, I had tired of office work and moved on to be a tradesman at the place where my father worked.
It proved to be the right move, as that is where I met my wife. Diana had been right; love would find me when I least expected it.
Now, over the cat and his wake-up tactics, food issues, and then walking off with a snooty expression, it might not be, but I’m going with that, it’s time to get to work.
But before that, I’m going to take the time to go over the plan, and taking into account the few sidebars that I made a few notes on to come back to, I realise there was a little loss of continuity.
Unfortunately, I’m going to have to rechart the plan in Excel, so later, when the same thing happens, I can quickly move the ’tiles’ around, and this takes a few hours.
Chester drops by to give me a surly look and wanders off.
Now having sorted the ’tiles’ into order, and added side notes, I’m ready to start again.
Of course, then there’s a problem. I’m writing away, and instead of sticking to the plan, I’m going off on a tangent. That’s the way the story is leading me, pantser style, but it’s only one possibility, so I put that writing aside and go back to the plan.
Williams’ Restaurant, East 65th Street, New York, Saturday, 8:00 p.m.
We met the Blaines at Williams’, a rather upmarket restaurant that the Blaines frequently visited and had recommended.
Of course, during the taxi ride there, Alison reminded me that with my new job, we would be able to go to many more places like Williams’. It was, at worst, more emotional blackmail, because as far as Alison was concerned, we were well on our way to posh restaurants, the Trump Tower Apartments, and the trappings of the ‘executive set’.
It would be a miracle if I didn’t strangle Elaine before the night was over. It was she who had filled Alison’s head with all this stuff and nonsense.
Aside from the half-frown, half-smile, Alison was looking stunning. It had been months since she had last dressed up, and she was especially wearing the dress I’d bought her for our 5th anniversary that cost a month’s salary. On her, it was worth it, and I would have paid more if I had to. She had adored it and me, for a week or so after.
For tonight, I think I was close to getting back on that pedestal.
She had the looks and figure to draw attention, the sort movie stars get on the red carpet, and when we walked into the restaurant, I swear there were at least five seconds of silence, and many more gasps.
I even had a sudden loss of breath earlier in the evening when she came out of the dressing room. Once more, I was reminded of how lucky I was that she had agreed to marry me. Amid all those self-doubts, I couldn’t believe she had loved me when there were so many others out there who were more appealing.
Elaine was out of her seat and came over just as the Head Waiter hovered into sight. She personally escorted Alison to the table, allowing me to follow like the Queen’s consort, while she and Alison basked in the admiring glances of the other patrons.
More than once, I heard the muted question, “Who is she?”
Jimmy stood, we shook hands, and then we sat together. It was not the usual boy, girl, boy, girl seating arrangement. Jimmy and I on one side and Elaine and Alison on the other.
The battle lines were drawn.
Jimmy was looking fashionable, with a permanent blade one beard, unkempt hair, and a designer dinner suit that looked like he’d slept in it. Alison insisted I wear a tuxedo, and I looked like the proverbial penguin or just a thinner version of Alfred Hitchcock.
The bow tie had been slightly crooked, but just before we stepped out, she had straightened it. And took the moment to look deeply into my soul. It was one of those moments when words were not necessary.
Then it was gone.
I relived it briefly as I sat and she looked at me. A penetrating look that told me to ‘behave’.
When we were settled, Elaine said, in that breathless, enthusiastic manner of hers when she was excited, “So, Harry, you are finally moving up.” It was not a question, but a statement.
I was not sure what she meant by ‘finally’, but I accepted it with good grace. Sometimes, Elaine was prone to using figures of speech I didn’t understand. I guessed she was talking about the new job. “It was supposed to be a secret.”
She smiled widely. “There are no secrets between Al and me, are there, Al?”
I looked at ‘Al’ and saw a brief look of consternation.
I was not sure Alison liked the idea of being called Al. I tried it once and was admonished. But it was interesting that her ‘best friend forever’ was allowed that distinction when I was not. It was, perhaps, another indicator of how far I’d slipped in her estimation.
Perhaps, I thought, it was a necessary evil. As I understood it, the Blaines were our mentors at the Trump Tower, because they didn’t just let ‘anyone’ in. I didn’t ask if the Blaines thought we were just ‘anyone’ before I got the job offer.
And then there was that look between Alison and Elaine, quickly stolen before Alison realised I was looking at both of them. I was out of my depth, in a place I didn’t belong, with people I didn’t understand. And yet, apparently, Alison did. I must have missed the memo.
“No,” Alison said softly, stealing a glance in my direction, “No secrets between friends.”
No secrets. Her look conveyed something else entirely.
The waiter brought champagne, Krug, and poured glasses for each of us. It was not the cheap stuff, and I was glad I brought a couple of thousand dollars with me. We were going to need it.
Then, a toast.
To a new job and a new life.
“When did you decide?” Elaine was effusive at the best of times, but with the champagne, it was worse.
Alison had a strange expression on her face. It was obvious she had told Elaine it was a done deal, even before I’d made up my mind. Perhaps she’d assumed I might be ‘refreshingly honest’ in front of Elaine, but it could also mean she didn’t really care what I might say or do.
Instead of consternation, she looked happy, and I realised it would be churlish, even silly, if I made a scene. I knew what I wanted to say. I also knew that it would serve little purpose provoking Elaine or upsetting Alison. This was not the time or the place. Alison had been looking forward to coming here, and I was not going to spoil it.
Instead, I said, smiling, “When I woke up this morning and found Alison missing. If she had been there, I would not have noticed the water stain on the roof above our bed, and decided there and then how much I hated the place.” I used my reassuring smile, the one I used with the customers when all hell was breaking loose, and the forest fire was out of control. “It’s the little things. They all add up until one day …” I shrugged. “I guess that one day was today.”
I saw an incredulous look pass between Elaine and Alison, a non-verbal question; perhaps, is he for real? Or, I told you he’d come around.
I had no idea the two were so close.
“How quaint,” Elaine said, which just about summed up her feelings towards me. I think, at that moment, I lost some brownie points. It was all I could come up with at short notice.
“Yes,” I added, with a little more emphasis than I wanted. “Alison was off to get some studying in with one of her friends.”
“Weren’t the two of you off to the Hamptons, a weekend with some friends?” Jimmy piped up and immediately got the ‘shut up, you fool’ look that cut that line of conversation dead. Someone forgot to feed Jimmy his lines.
It was followed by the condescending smile from Elaine, and “I need to powder my nose. Care to join me, Al?”
A frown, then a forced smile for her new best friend. “Yes.”
I watched them leave the table and head in the direction of the restroom, looking like they were in earnest conversation. I thought ‘Al’ looked annoyed, but I could be wrong.
I had to say Jimmy looked more surprised than I did.
There was that odd moment of silence between us, Jimmy still smarting from his death stare, and for me, the Alison and Elaine show. I was quite literally gob-smacked.
I drained my champagne glass, gathering some courage and turned to him. “By the way, we were going to have a weekend away, but this legal tutorial thing came up. You know Alison is doing her law degree.”
He looked startled when he realised I had spoken. He was looking intently at a woman several tables over from us, one who’d obviously forgotten some basic garments when getting dressed. Or perhaps it was deliberate. She’d definitely had some enhancements done.
He dragged his eyes back to me. “Yes. Elaine said something or other about it. But I thought she said the tutor was out of town and it had been postponed until next week. Perhaps I got it wrong. I usually do.”
“Perhaps I’ve got it wrong.” I shrugged as the dark thoughts started swirling in my head again. “This week or next, what does it matter?”
Of course, it mattered to me, and I digested what he said with a sinking heart. It showed there was another problem between Alison and me; she might have been telling me lies. If what he said was true and I had no reason to doubt him, where was she going tomorrow morning, and had she really been with a friend studying today?
We poured some more champagne, had a drink, then he asked, “This promotion thing, what’s it worth?”
“Trouble, I suspect. Definitely more money, but less time at home.”
“Oh,” raised eyebrows. Obviously, the women had not talked about the job in front of him, or, at least, not all the details. “You sure you want to do that?”
At last, the voice of reason. “Me? No.”
“Yet you accepted the job.”
I sucked in a breath or two while I considered whether I could trust him. Even if I couldn’t, I could see my ship was sinking, so it wouldn’t matter what I told him, or what Elaine might find out from him. “Jimmy, between you and me, I haven’t as yet decided one way or another. To be honest, I won’t know until I go up to Barclay’s office and he asks me the question.”
“Barclay?”
“My boss.”
“Elaine’s doing a job for a Barclay who recently moved into the tower a block down from us. I thought I recognised the name.”
“How did Elaine get the job?”
“Oh, Alison put him onto her.”
“When?”
“A couple of months ago. Why?”
I shrugged and tried to keep a straight face, while my insides were churning up like the wake of a supertanker. I felt sick, faint, and wanted to die all at the same moment. “Perhaps she said something about it, but it didn’t connect at the time. Too busy with work, I expect. I think I seriously need to get away for a while.”
I could hardly breathe, my throat was constricted, and I knew I had to keep it together. I could see Elaine and Alison coming back, so I had to calm down. I sucked in some deep breaths and put my ‘manage a complete and utter disaster’ look on my face.
And I had to change the subject, quickly, so I said, “Jimmy, Elaine told Alison, who told me, you were something of a guru of the cause and effects of the global economic meltdown. Now, I have a couple of friends who have been expounding this theory …”
Like flicking a switch, I launched into the well-worn practice of ‘running a distraction’, like at work when we needed to keep the customer from discovering the truth. It was one of the things I was good at, taking over a conversation and pushing it in a different direction. It was salvaging a good result from an utter disaster, and if ever there was a time that it was required, it was right here, right now.
When Alison sat down and looked at me, she knew something had happened between Jimmy and me. I might have looked pale or red-faced, or angry or disappointed, but it didn’t matter. If that didn’t seal the deal for her, the fact that I took over the dining engagement did. She knew well enough that the only time I did that was when everything was about to go to hell in a handbasket. She’d seen me in action before and had been suitably astonished.
But I got into gear, kept the champagne flowing and steered the conversation, as much as one could from a seasoned professional like Elaine, and, I think, in Jimmy’s eyes, he saw the battle lines and knew who took the crown on points. Neither Elaine nor Jimmy suspected anything, and if the truth be told, I had improved my stocks with Elaine. She was at times both surprised and interested, even willing to take a back seat.
Alison, on the other hand, tried poking around the edges, and, once when Elaine and Jimmy had got up to have a cigarette outside, questioned me directly. I chose to ignore her and pretend nothing had happened, rather than tell her how much I was enjoying the evening.
She had her ‘secrets’. I had mine.
At the end of the evening, when I got up to go to the bathroom, I was physically sick from the pent-up tension and the implications of what Jimmy had told me. It took a while for me to pull myself together; so long, in fact, that Jimmy came looking for me. I told him I’d drunk too much champagne, and he seemed satisfied with that excuse. When I returned, both Alison and Elaine noticed how pale I was, but neither made any comment.
It was a sad way to end what was supposed to be a delightful evening, which, to a large degree, it was for the other three. But I had achieved what I set out to do: to play them at their own game, watching the deception once I knew there was one, as warily as a cat watches its prey.
I had also discovered Jimmy’s real calling; a professor of economics at the same University Alison was doing her law degree. It was no surprise in the end, on a night where surprises abounded, that the world could really be that small.
We parted in the early hours of the morning, a taxi whisking us back to the Lower East Side, another taking the Blaines back to the Upper West Side. But, in our case, as Alison reminded me, it would not be for much longer. She showed concern for my health and asked me what was wrong. It took all the courage I could muster to tell her it was most likely something I ate and the champagne, and that I would be fine in the morning.
She could see quite plainly it was anything other than what I told her, but she didn’t pursue it. Perhaps she just didn’t care what I was playing at.
And yet, after everything that had happened, once inside our ‘palace’, the events of the evening were discarded, like her clothing, and she again reminded me of what we had together in the early years before the problems had set in.
It left me confused and lost.
I couldn’t sleep because my mind had now gone down that irreversible path that told me I was losing her, that she had found someone else, and that our marriage was in its last death throes.
And now I knew it had something to do with Barclay.
A similar-looking man to the last appeared. We were only just beginning to grapple with successful cloning, and I wondered if those who were driving the projects were visitors from this galaxy.
If they were on our world, wouldn’t they be trying to use their knowledge, if not for avarice, but to help, or worse, to eradicate us as a threat?
It was too much for me to concern myself, that was for the high council to discuss and take action.
“Captain, I represent Krulaxl, the traditional home world of Princess Adwenana, and formally request her release into our protection.”
“Captain. For what reason?”
“That is not within my preview to discuss. You can be assured that no harm will come to her.”
“Everybody keeps telling me no harm will come to her, and yet they refuse to tell me about the purpose behind their request. I have discussed the Foroi’s intentions, and I will discuss yours with or without the real reason, but I suspect her response will be the same, she’d rather be recruited as a crew member of my ship that to leave it. Care to explain why that is so?”
“I cannot. Perhaps she is still traumatised from years of incarceration at the hands of the Foroi.”
“And yet there were no signs of ill-treatment.”
“They are very skilled at hiding their methods of torture which I assure you they visit upon all their prisoners.”
“Good to know. I shall speak to you again after I put your request to her.”
The comms officer ended the transmission.
Burke, one of the science officers said, “Captain, the new vessel has been scanning our ship, and tried several times to take the Princess.”
Of course, they had. Engage in a distraction while executing their true purpose.
“All divisions on alert for intruders,” I said, adding, “Let’s lift the threat level to blue.” There were only two after that: red, battle stations, an attack imminent, and black, we had been boarded and potential loss of control of the ship.
Our simulations of a black alert always seemed to end in a shambles, so I hoped it didn’t get to that.
“Number One, take charge. No more communications until I return.”
I’m sure by now the Princess was tired of seeing me. Certainly, when I arrived on her doorstep, it was surprising to see a wry smile rather than deep concern.
“If you keep visiting me like this, the crew are going to suspect we are having a clandestine affair.”
“That would only be the case if you were spoken for.”
She looked puzzled
“You already had a partner. We also call it cheating because we like the idea of monogamy.”
“We’re not that old-fashioned, but some still insist on the old ways. But no, I am not spoken for as you suggest.”
“And I have no other intentions or motives other than to protect you.”
It was odd to be having this type of discussion while five enemy ships with questionable intentions were nearby. I was sure the General and his team were in their element formulating attack plans, the first military operation in outer space.
It was the stuff of legends and names for high schools.
“The new arrivals have made their intentions clear. They want to take you to their version of safety. They claim you are a Princess from Krulaxl.”
“They would be correct. But that planet and people have been crushed and annexed by the Foroi, so they are pretending to be something they are not “
“Not a chance they are the resistance if the original citizens of Krulaxl could fight back?”
“It would be highly unlikely. At the time of the invasion, we were much like the equivalent of the Stone Age man on your planet versus your people in the 20th century.”
I had a hard time visualising her in a Stone Age dress. Or perhaps that was unwise. Like others from this galaxy, she had a very persuasive manner and was someone who was used to getting what she wanted.
“Have you considered my suggestion?”
“To join the crew?”
“Or I could be so much more for you.”
It took a moment to read between the lines, and it was disconcerting. Was this also a trait of these people?
“If I have given you any reason to think that my intentions were anything other than honourable, I apologise. It simply isn’t the case.”
“You don’t like me?”
“It’s not a matter of whether I like you or not; it is a matter of propriety, and as Captain, I have to set an example. That might not happen on your planet, but it does on mine.”
“Then I am sorry. I meant no disrespect. It’s just a more preferable option than leaving this ship.”
“Staying here might cause a great many deaths to my people, and I have to weigh that up against what may or may not be best for you.”
“If I go with either of them, more of my people will die, one way or another.”
The very definition of being between a rock and a hard place.
“Then how do we resolve this problem? If I agree to let you stay on this ship, you have to prove to me you have a purpose.”
“Perhaps I could mediate a truce between the peoples of our worlds. It’s clear to me that if the Krulaxl need me, if that’s why they’re here, then their uprising needs a figurehead, a reason to continue. And if the Foroi are here, they know the battle is slipping. It may present an opportunity to increase your profile and that of your planet.”
“You do realise the moment you leave this room, they will take you off the ship.”
Oops, been watching Romancing the Stone again, and that catchy line caught my attention. Perhaps I can use it somewhere, one day.
But…
The project is proceeding on course, adhering more to the outline than less, and it’s looking good.
I know just in saying that the ship is about to founder on a reef, so I’ll brace myself.
Today’s quota of words is done early, so I can sit down soon and do the crossword over a cup of coffee while waiting for dinner to cook in the oven.
Perhaps we might have a New Zealand Sauvignon Blanc with dinner. What I’ve noticed with these is that they are not all the same; some actually taste terrible, and some are quite exquisite. I suspect it might be where they grow the grapes, even if it is in the same region.
And, later, I’ll take another look at the sidebar I decided to add and flesh it out a little more. In view of what is happening, it is rather fortuitous that it came out of left field because it will serve as a reminder that being home doesn’t mean they’re safe.
Once upon a time, you could have told me Jack Robinson was a jack in the box; the name meant nothing to me.
Not until Phryne Fisher came along, a rather brilliant 1920s private detective series set in the back streets of Melbourne, as well as more salubrious houses of the rich and famous.
In this series, there is a policeman, a foil for her detective moments, and a love interest that is always just beyond her grasp, a man by the name of Inspector Jack Robinson.
How coincidental.
But…
As for the saying, before you can say Jack Robinson…
It has nothing to do with Phryne Fisher’s Inspector.
Instead,
There is one story of a politician, Jack Robinson, in the late eighteenth century, who was accused of bribery on the floor of the House of Commons in England. His accuser was another MP who was asked to name the culprit, and thereby coined the term, ‘I could name him as soon as I could say, Jack Robinson’.
The second was a Jack Robinson, the hero of a story written in the nineteenth century, who came home to find his intended wife married to another, and to assuage the pain of it, he went back to the sea, ‘afore you could say Jack Robinson’.
I’m sure there’s a ton of other sayings that could be attached to the name, but these seem to be the accepted reasons for the term ‘before you can say, Jack Robinson’.
Why trying to please a “target reader” can lead you straight into a creative dead‑end—and how embracing your own voice can actually broaden your reach.
1. The Age‑Old Dilemma
Every writer, from the novice journal keeper to the seasoned novelist, has heard the mantra: “Know your audience.” In marketing circles, it’s a golden rule, in academic circles, it’s a prerequisite for a good paper, and in creative writing workshops, it’s often presented as a safety net: “If you write for someone who actually wants to read your work, you’ll have a better chance of success.”
But there’s a darker side to that advice. When the phrase “target audience” becomes a prescriptive checklist, it can morph into a self‑imposed prison. You start asking:
* Should I tone down my humour because “my readers don’t get sarcasm”?* * Do I need to avoid political opinions because “my audience is 50‑something retirees”?* * Must I keep my protagonist’s journey “relatable” in a way that feels forced?*
The result? A story that sounds less like you and more like a diluted version of what you think they want. In the worst cases, the writing turns bland, generic, and ultimately forgettable.
2. The Myth of the “Perfect Reader”
The idea that a single, monolithic reader exists—someone who will love everything you write—is a comforting illusion. In reality:
Reader Type
Typical Expectation
Reality
The “Ideal Fan”
Loves every plot twist, character, and stylistic quirk.
No one loves everything; even the biggest fans have pet peeves.
The “Critical Scholar”
Demands flawless structure and deep subtext.
Even experts can disagree on what qualifies as “deep.”
The “Casual Browser”
Wants light, easy‑to‑digest content.
They might actually crave something thought‑provoking if presented well.
The “Niche Enthusiast”
Wants high‑level technical detail.
Over‑explaining can alienate newcomers; under‑explaining can feel lazy.
Because each individual brings a unique mix of experience, mood, and personal bias to the page, any attempt to write for a single archetype is fundamentally speculative. You can only guess what will click, and even the most data‑driven predictions can’t account for the serendipitous spark that makes a reader fall in love with a line.
3. Writing for You: The Unexpected Advantage
When you write primarily for yourself, a few things happen that actually help reach a broader audience:
What Happens When You Write for Yourself
Why It Helps the Reader
Authentic Voice Emerges
Readers pick up on sincerity. A genuine tone feels trustworthy and invites empathy.
Risk‑Taking Becomes Natural
You’re more willing to experiment with structure, language, or theme—creating fresh experiences for the reader.
Consistency Beats Conformity
A clear personal style becomes a brand. Readers know what to expect (and love it), even if the genre shifts.
Passion Fuels Persistence
Writing is hard. When the work matters to you, you’re more likely to edit, rewrite, and polish.
Think of it as a two‑way street: the more you love what you write, the more chance there is that someone else will love it too. Authenticity is magnetic; calculated pandering is often invisible.
4. Real‑World Examples
Author
What They Did
Result
Haruki Murakami
Wrote stories about jazz bars, cats, and surreal parallel worlds because those obsessions fascinated him.
Global cult following; readers across continents adore his “oddly specific” voice.
David Mitchell
Mixed historical fiction with speculative sci‑fi purely because he loved the “what‑if” of time travel.
Critical acclaim and a wildly diverse readership attracted to his genre‑bending narratives.
Samantha “Sam” Cole (fictional indie blogger)
Abandoned a “listicle for millennials” plan, wrote a personal essay on grief because it had to be said.
The post went viral, resonating with readers of all ages who recognized its raw honesty.
These writers didn’t start with a spreadsheet of demographics; they started with curiosity, annoyance, awe, or pure love for a subject. The audience grew organically around that core.
5. Practical Strategies: How to Prioritise Your Voice Without Ignoring Readers
You don’t have to swing the pendulum completely to “write only for yourself.” Here’s a balanced workflow that preserves authenticity while still being considerate of readers:
Start in the “Me‑Zone”
Freewrite for 15–20 minutes with the intention only of getting your own thoughts down. No audience in mind.
Ask yourself: What excites me? What irritates me? What can’t I stop thinking about?
Step Back & Identify the Core
Highlight the central emotion or hook that made you write in the first place. This is the seed that will interest readers.
Empathy Check
Switch hats: If a reader stumbled on this piece tomorrow, what would they need to understand the core quickly?
Tip: Write a one‑sentence pitch for a complete stranger. If you can convey the essence, you’re likely on the right track.
Selective Polishing
Remove self‑censorship that dilutes your voice (e.g., “Maybe I shouldn’t use that slang”).
Add clarity where needed (explain a term, give context) without compromising tone.
Feedback Loop
Share with a small, trusted group who value honesty over flattery. Ask: “Did my voice feel genuine? Was anything confusing?”
Use their notes to tighten the piece, not to rewrite it in their image.
Release & Observe
Publish. Watch the comments, metrics, and, most importantly, your own emotional response.
If you feel proud, that pride will translate into future work that continues to attract kindred readers.
6. “What If” Scenarios: When Audience‑First Fails
Scenario
What Went Wrong
Lesson Learned
A romance novelist writes only “safe” love‑stories to please the “mainstream market.”
Stories lack tension; readers feel the plot is predictable and disengage.
Authentic conflict—whether internal or external—drives investment.
A tech blogger avoids jargon to appeal to “non‑techies.”
Content becomes vague; both novices and experts feel the article is unhelpful.
Clarity doesn’t require “dumbing down”; it requires thoughtful explanation.
A poet tries to mimic the style of a bestselling poet to capture their fanbase.
The work feels derivative; critics call it “imitative.”
Originality beats mimicry; readers can spot a copycat from a mile away.
These cautionary tales reinforce the central truth: no amount of market research can substitute for genuine curiosity and personal investment. When you start building your work on the sand of “what I think they want,” you risk losing the solid foundation of your own voice.
7. The Sweet Spot: “Write for Yourself and Invite Others In”
Think of writing as hosting a party you love. You decorate the space, choose the playlist, and cook the food because you enjoy it. Then, you open the door and welcome guests. If the vibe feels authentic, the guests will stay, chat, and maybe even bring friends. If the party feels forced, no one will linger.
In practice, that means:
Let your passion be the headline. Your enthusiasm is contagious.
Use empathy as the entryway. A brief moment of “what would a reader need?” can help bridge the gap without muting your voice.
Accept that you’ll never please everyone. The goal isn’t universal approval; it’s a connection with those who resonate.
8. Takeaway Checklist
I’m writing because…
1
I’m fascinated, angry, or moved by the subject.
2
I have a unique angle that I can’t find elsewhere.
3
I’m excited to experiment with form or language.
4
I’m willing to edit for clarity, not for conformity.
5
I’m open to feedback that enhances my voice, not replaces it.
If you can answer “yes” to at least three of these, you’re likely steering toward a piece that speaks both to you and, organically, to readers.
9. Final Thought
“Write for yourself, but don’t forget the world is listening.”
That paradox captures the sweet spot most writers chase: authenticity as your compass, empathy as your map. When you let your inner compass guide you, you’ll find that the world—sometimes unexpectedly—shows up at the destination you never planned.
So the next time you sit down at the keyboard, ask yourself: What would I write if no one were watching? Then, once the words flow, give them a quick glance to make sure the door is open enough for someone else to step inside.
Write boldly, edit kindly, and watch as the right readers find you—because they’ll be looking for the voice you could only have written.
Happy writing, and may your pages always feel like home.
If this post resonated with you, feel free to share your own experiences in the comments. How have you balanced personal passion with audience awareness?
A relatively unassuming lane leads to what could be described as a grand hotel, called Waitomo Caves Hotel.
The original hotel was built in 1908, and it was later extended in 1928. Part of it is ‘Victorian’, based on an eastern Europe mountain chalet, and part of it is ‘Art Deco’, the concrete wing, and a feature, if it could be called that, is none of the four corners are the same.
Views from the balcony show part of the surrounding gardens
and the town of Waitomo in the distance.
In gloomy weather, it does look rather spooky, and I suspect there may be a ghost or two lurking somewhere in the buildings.
But…
This a a very interesting, and the words of one of my younger grand daughters, a very creepy place. It would make an excellent base for paranormal activity, and there could very well be ghosts walking the corridors of this hotel.
It has the long darkish passageways that lead in all directions and to almost hidden rooms, a creepy nighttime aspect, and the creaky woodwork.
I know when we were exploring, it was easy to lose your bearings, if not get lost, trying to find certain places, and once found, hard to find your way back.
All in all, it was one of the best stays in a very old place going through the throes of modernisation.
And looking at it from the outside at night, I’ll leave you with that thought…