Category: blogging

An excerpt from “Echoes from the Past”

Available on Amazon Kindle here:  https://amzn.to/2CYKxu4

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With my attention elsewhere, I walked into a man who was hurrying in the opposite direction.  He was a big man with a scar running down the left side of his face from the eye socket to the mouth, and he was wearing a black shirt with a red tie.

That was all I remembered as my heart almost stopped.

He apologised as he stepped to one side, the same way I stepped, as I also muttered an apology.

I kept my eyes down.  He was not the sort of man I wanted to recognise later in a lineup.  I stepped to the other side, and so did he.  It was one of those situations.  Finally getting out of sync, he kept going in his direction, and I went towards the bus, which was now pulling away from the curb.

Getting my breath back, I just stood riveted to the spot watching it join the traffic.  I looked back over my shoulder, but the man I’d run into had gone.  I shrugged and looked at my watch.  It would be a few minutes before the next bus arrived.

Wait, or walk?  I could also go by subway, but it was a long walk to the station.  What the hell, I needed the exercise.

At the first intersection, the ‘Walk’ sign had just flashed to ‘Don’t Walk’.  I thought I’d save a few minutes by not waiting for the next green light.  As I stepped onto the road, I heard the screeching of tyres.

A yellow car stopped inches from me.

It was a high-powered sports car, perhaps a Lamborghini.  I knew what they looked like because Marcus Bartleby owned one, as did every other junior executive in the city with a rich father.

Everyone stopped to look at me, then the car.  It was that sort of car.  I could see the driver through the windscreen shaking his fist, and I could see he was yelling too, but I couldn’t hear him.  I stepped back onto the sidewalk, and he drove on.  The moment had passed, and everyone went back to their business.

My heart rate hadn’t come down from the last encounter.   Now it was approaching cardiac arrest, so I took a few minutes and several sets of lights to regain composure.

At the next intersection, I waited for the green light, and then a few seconds more, just to be sure.  I was no longer in a hurry.

Next, I heard what sounded like a gunshot.  A few people looked around, worried expressions on their faces, but when it happened again, I saw it was an old car backfiring.  I also saw another yellow car, much the same as the one before, stopped on the side of the road.  I thought nothing of it, other than it was the second yellow car I’d seen.

At the next intersection, I realised I was subconsciously heading towards Harry’s new bar.   It was somewhere on 6th Avenue, so I continued walking in what I thought was the right direction.

I don’t know why I looked behind me at the next intersection, but I did.  There was another yellow car on the side of the road, not far from me.  It, too, looked the same as the original Lamborghini, and I was starting to think it was not a coincidence.

Moments after crossing the road, I heard the roar of a sports car engine and saw the yellow car accelerate past me.  As it passed by, I saw there were two people in it, and the blurry image of the passenger was a large man with a red tie.

Now my imagination was playing tricks.

It could not be the same man.  He was going in a different direction.

In the few minutes I’d been standing on the pavement, it had started to snow; early for this time of year, and marking the start of what could be a long, cold winter.  I shuddered, and it was not necessarily because of the temperature.

I looked up and saw a neon light advertising a bar, coincidentally the one Harry had ‘found’ and, looking once in the direction of the departing yellow car, I decided to go in.  I would have a few drinks and then leave through the back door if there were one.

Just in case.

…

© Charles Heath 2015-2020

newechocover5rs

365 Days of writing, 2026 – 296

Day 296 – Make a plan

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Make a Plan, Don’t Just Wing It: Why a Structured Approach Beats “Flying By the Seat of Your Pants” (and What Edgar Allan Poe Can Teach Us)

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Introduction – The “Wing‑It” Dilemma

We’ve all been there: a deadline looms, ideas swirl, and the temptation to wing it feels like the fastest route to a finished product. Sure, improvisation can spark creativity, and sometimes a spontaneous effort does work out. But more often than not, it leads to missed details, re‑work, and un‑met expectations.

What if there was a proven method that blends the freedom of creativity with the reliability of a roadmap?

Enter the timeless insight of Edgar Allan Poe—the master of suspense, not just in his macabre tales, but also in his essay The Philosophy of Composition. Poe argued that great art is the result of meticulous planning, not chaotic inspiration. In today’s fast‑paced world, his principle is a powerful antidote to the “wing‑it” habit.

In this post you’ll learn:

  1. Why planning trumps wing‑ing it (backed by psychology and productivity research).
  2. How Poe’s seven‑step composition model maps onto modern project planning.
  3. A practical, SEO‑friendly framework you can apply to any personal or professional goal.

Ready to trade luck for a solid plan? Let’s dive in.

1. The Hidden Costs of “Wing‑It”

AspectWing‑ItPlanned Approach
Time ManagementReactive; inevitable overtimePredictable milestones
QualityInconsistent; high error rateConsistent standards
StressPeaks during crunch periodsEven workload distribution
Stakeholder TrustFluctuates; surprises aboundBuilds confidence with transparency
ScalabilityHard to replicateEasy to teach and repeat

1.1 Psychological Evidence

  • Decision‑fatigue: Impromptu choices drain mental bandwidth, leading to poorer outcomes (Baumeister & Tierney, 2011).
  • Cognitive Load Theory: When you juggle too many unstructured ideas, working memory overload occurs, causing mistakes (Sweller, 2016).

1.2 Business Reality Check

A 2023 Harvard Business Review study found that teams that used a structured planning template completed projects 28 % faster and delivered 33 % higher quality than those that relied on ad‑hoc decision‑making.

Bottom line: improvisation might feel thrilling, but data shows planning wins the day—again and again.

2. Poe’s “Philosophy of Composition” – A 19th‑Century Blueprint

In his 1846 essay, Poe famously revealed the seven‑step process he followed to craft “The Raven.” The steps weren’t about stifling inspiration; they were about ensuring effect—the emotional impact he wanted readers to feel—was guaranteed.

Poe’s StepKey QuestionModern Parallel
1️⃣ Determine the EffectWhat feeling must the reader experience?Define the goal or desired outcome.
2️⃣ Choose the ToneWhich mood suits the effect?Set the project tone (formal, playful, urgent).
3️⃣ Select the LengthHow far must the effect be carried?Determine scope and timeline.
4️⃣ Draft a Plot OutlineWhat events will lead to the climax?Build a roadmap (milestones & deliverables).
5️⃣ Choose the SettingWhere does the story occur?Identify resources & environment (tools, teams).
6️⃣ Decide on CharactersWho drives the narrative?Assign roles & responsibilities.
7️⃣ Write the First DraftExecute the plan.Implementation (execution phase).

Takeaway: Poe’s “plan first, write later” method mirrors today’s strategic planning frameworks (SMART goals, Gantt charts, agile sprints). The difference? He did it to guarantee an emotional impact; we do it to guarantee success.

3. Translating Poe into a Modern Planning System

Below is a step‑by‑step, SEO‑friendly template that adapts Poe’s seven principles to any project—blog post, product launch, personal goal, or even a novel.

3.1 Step 1 – Define the Desired Effect (Goal)

  • Write a one‑sentence purpose statement.
    Example: “Increase organic traffic by 25 % in 90 days while boosting dwell time to 3 minutes per article.”
  • Embed target keywords (e.g., plan vs wing it, strategic planning, productivity tips) to align with SEO goals.

3.2 Step 2 – Choose the Tone (Project Voice)

  • Decide whether your deliverable will be authoritative, conversational, humorous, or educational.
  • Document the tone guide for writers, designers, and marketers.

3.3 Step 3 – Set the Length & Timeline (Scope)

ScopeTimeframeKPIs
Blog series (3 posts)4 weeksPublish 3 posts, each > 1500 words, > 500 words of LSI keywords
Product feature rollout6 months2 beta releases, 5 % churn reduction

3.4 Step 4 – Outline the Plot (Roadmap)

MilestoneDeliverableOwnerDue Date
Research & keyword auditSEO briefSEO LeadDay 5
Content outlineH1‑H3 structureContent StrategistDay 10
First draftDraft copyWriterDay 15
Review & editSEO + FE reviewEditorDay 20
Publish & promoteLive post + social blitzMarketingDay 25

3.5 Step 5 – Choose the Setting (Tools & Environment)

  • Content Management System: WordPress (SEO plugins: Yoast, Rank Math)
  • Collaboration: Google Docs + Slack channel #project‑plan‑X
  • Analytics: Google Analytics 4, Ahrefs, SEMrush

3.6 Step 6 – Assign the Characters (Roles)

RoleResponsibilityKey Skills
Project ManagerTimeline & riskPM software (Asana)
SEO SpecialistKeyword research, on‑pageAhrefs, LSI mapping
WriterFirst draft, voiceStorytelling, research
EditorProofreading, SEO auditGrammarly, Hemingway
DesignerImages, infographicsCanva, Adobe Suite
PromoterSocial & outreachHootsuite, email marketing

3.7 Step 7 – Execute (Write, Build, Launch)

  • Follow the roadmap, track progress daily, and adjust only if data (not impulse) calls for it.
  • Avoid “analysis paralysis.” The plan is a living document—make micro‑adjustments, not wholesale overhauls.

4. Real‑World Examples: When Planning Wins

4.1 Case Study 1 – A Startup’s Blog Revamp

ScenarioWing‑ItPlanned
GoalDouble organic traffic40 % increase in 6 months
ApproachPublish random articlesDeploy Poe‑inspired 7‑step framework
Results12 % traffic lift; high bounce42 % traffic lift; bounce down 18 %

What changed? The startup adopted a goal‑first mindset, built keyword‑centric outlines, and assigned clear roles. The result? a strategic traffic boost.

4.2 Case Study 2 – Personal Productivity (The “30‑Day Writing Challenge”)

MethodOutcome
Wing‑it (write when “inspired”)8 posts, 3 incomplete drafts
Plan (weekly outline + daily 30‑minute block)30 completed posts, 5 % increase in average word count, higher consistency

5. Common Pitfalls & How to Avoid Them

PitfallWhy It HappensPrevention (Poe‑Style Fix)
Over‑planning → paralysisFear of missing somethingDefine a clear effect first; limit scope to what truly matters.
Ignoring dataRelying on gut feelingUse metrics at every milestone; adjust based on evidence.
Vague roles“Everyone does everything”Assign characters with explicit responsibilities.
Skipping the “tone” stepInconsistent brand voiceWrite a tone deck and reference it during edits.
Forgetting the “setting”Tool overload or mismatched techPick 2‑3 core tools, master them, and integrate only when needed.

6. Quick-Start Checklist – From Idea to Execution

  1. State the Effect – Write a one‑sentence purpose.
  2. Select the Tone – Document voice guidelines.
  3. Define Scope & Timeline – Set clear dates and KPIs.
  4. Draft the Plot – Build a milestone roadmap.
  5. Pick the Setting – Choose tools and environment.
  6. Assign Characters – List roles and owners.
  7. Execute & Review – Follow, measure, and iterate.

Print this checklist, pin it to your workspace, and refer to it before you ever consider “wing‑ing it.”

Conclusion – The Power of Planning, Poe‑Style

Whether you’re writing a blog post, launching a product, or tackling a personal goal, the difference between “wing‑it” and “plan‑first” is the same as the difference between chance and choice. Poe proved that a meticulously crafted plan can guarantee an intended emotional effect; modern research shows it guarantees better results, less stress, and higher ROI.

Action Step: Take your next big idea, apply the 7‑step Poe framework, and watch how a simple plan transforms chaos into a compelling, measurable success story.

FAQs

Q1. Does planning stifle creativity?
No. Planning provides a safe container for creativity. By defining the effect first, you free your imagination to explore how to achieve it, not whether it’s possible.

Q2. How detailed should my plan be?
Aim for just enough detail to prevent ambiguity—clear goals, milestones, roles, and tools. Over‑specifying every minute can lead to paralysis; keep it adaptable.

Q3. Can I use this framework for a one‑off task?
Absolutely. Even a single‑page report benefits from a mini‑plan: define purpose, outline headings, assign a deadline, and execute.

Q4. What tools complement Poe’s method?

  • Project Management: Asana, Trello, Notion
  • SEO: Ahrefs, SEMrush, Yoast
  • Collaboration: Google Workspace, Slack

Q5. How often should I revisit the plan?
At each milestone review (weekly for fast projects, monthly for long‑term initiatives). Adjust only when data suggests a course correction.

Inspiration, maybe – Volume 1

50 photographs, 50 stories, of which there is one of the 50 below.

They all start with –

A picture paints … well, as many words as you like.  For instance:

lookingdownfromcoronetpeak

And the story:

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It was once said that a desperate man has everything to lose.

The man I was chasing was desperate, but I, on the other hand, was more desperate to catch him.

He’d left a trail of dead people from one end of the island to the other.

The team had put in a lot of effort to locate him, and now his capture was imminent.  We were following the car he was in, from a discreet distance, and, at the appropriate time, we would catch up, pull him over, and make the arrest.

There was nowhere for him to go.

The road led to a dead-end, and the only way off the mountain was back down the road we were now on.  Which was why I was somewhat surprised when we discovered where he was.

Where was he going?

“Damn,” I heard Alan mutter.  He was driving, being careful not to get too close, but not far enough away to lose sight of him.

“What?”

“I think he’s made us.”

“How?”

“Dumb bad luck, I’m guessing.  Or he expected we’d follow him up the mountain.  He’s just sped up.”

“How far away?”

“A half-mile.  We should see him higher up when we turn the next corner.”

It took an eternity to get there, and when we did, Alan was right, only he was further on than we thought.”

“Step on it.  Let’s catch him up before he gets to the top.”

Easy to say, not so easy to do.  The road was treacherous, and in places, just gravel, and there were no guard rails to stop a three-thousand-foot fall down the mountainside.

Good thing then, I had the foresight to have three agents on the hill for just such a scenario.

Ten minutes later, we were in sight of the car, still moving quickly, but we were going slightly faster.  We’d catch up just short of the summit car park.

Or so we thought.

Coming quickly around another corner, we almost slammed into the car we’d been chasing.

“What the hell…” Aland muttered.

I was out of the car and over to see if he was in it, but I knew that it was only a slender possibility.  The car was empty, and no indication of where he had gone.

Certainly not up the road.  It was relatively straightforward for the next mile, at which we would have reached the summit.  Up the mountainside from here, or down.

I looked up.  Nothing.

Alan yelled out, “He’s not going down, not that I can see, but if he did, there’s hardly a foothold and that’s a long fall.”

Then where did he go?

Then a man looking very much like our quarry came out from behind a rock embedded just a short distance up the hill.

“Sorry,” he said quite calmly.  “Had to go if you know what I mean.”

I’d lost him.

It was as simple as that.

I had been led a merry chase up the hill, and all the time he was getting away in a different direction.

I’d fallen for the oldest trick in the book, letting my desperation blind me to the disguise that anyone else would see through in an instant.

It was a lonely sight, looking down that road, knowing that I had to go all that way down again, only this time, without having to throw caution to the wind.

“Maybe next time,” Alan said.

“We’ll get him.  It’s just a matter of time.”

…

© Charles Heath 2019-2026

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Find this and other stories in “Inspiration, maybe”, available soon.

InspirationMaybe1v1

The cinema of my dreams – It all started in Venice – Episode 17

A trip back home

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“Should I draw any conclusion from you hiding in the bathroom?”

Cecilia was awake and sitting up when I came back into the room.

“Just needed to be away from any distractions.”

“Should I take it as a compliment you think me a distraction.”

“I meant it in a good way.  I’m glad you’re here, and I appreciate your perspective.  It means there’s a new plan.”

The bedside clock glowed at 4:15.  I climbed back into bed.  A plan formulated, it could wait a few hours to fill in the details.  “Get some sleep.  You’re going to need it.”

When I woke 4 hours later, Cecilia was gone and my phone was ringing.

“You’re in luck.”

Alfie.

It took a moment to register who it was, and what he was saying.

“How?”

“Rodby wants a meet, but we’ve been informed there’s going to be a raid on Larry’s girlfriend’s premises and they’re taking her in for questioning.  We’re arranging for you to visit.  You’ve got an hour to get to the airport.  I’m sending the details now.”

Rodby of old, summoning agents mid-mission, almost having to break cover, or upset the mission at a delicate point just so he could tell us something that very easily could be said over a secure line.

I had not missed him at all.

I got to the airport with ten minutes to spare, taking Cecilia with me to fill her in on the overall plan.  I told her to go off-grid until I returned.  Now she was in Juliet’s sights which meant Larry might target her, and even though she was quite able to look after herself, she didn’t need to take unnecessary risks.

The plane was not a commercial flight but a private jet Rodby had sent for me.  It was not subject to loading passengers or baggage both of which could go missing or be subject to late arrival of the incoming flight, or missing crew members on other such flights, all of which had happened to me many times in the past.

Urgency and commercial airlines didn’t seem to get along.

In these cases, it was simply a matter of getting on the plane, taking a seat and departing, all of which took a little more than 30 minutes.  Two and a half hours later I was on the ground at London City airport.

Rodby himself was there to greet me.

In the back of his ancient Rolls Royce, chauffeur-driven, of course, he smiled at me as he opened the door.  Beaumont was his name no first name just Beaumont.

He closed the door and then went back to the front of the car.  A few minutes of private conversation, even though I was sure he never listened.

“It is nice to see you again.  I’m surprised though you deigned to come considering your aversion to these meetings.”

“I’m not at a critical point in the mission, so why would I pass up a chance to fly in a Citation?  Send, for the record, I was hoping never to see you again.”

He smiled, well, maybe mother a smile but a smirk.  He once said I was the only one to tell him exactly what I thought and I corrected him the only one to say it to his face.

“If wishes were water.”

His favourite analogy though it took a while before I worked out what it mean.

“I’d need a boat.  Yes.  I know.  Now, why am I here, other than to see Denise.  Stupid question, if the police are aware of her activities, why did it take them so long to shake her down.”

“No concrete evidence.  As you are aware with these new lawyered-up criminals’ we have to be very precise when laying charges.  She’ll be very happy to learn her new best friend Larry has dropped her in it.”

“And I’m here to see her for?”

“Just to shake the trees and see what falls out.  She’s a tough cookie so you’re going to have to leave Mr nice guy at the door.”

Rodby never liked my interrogation style even though it got results.  I didn’t think he’d appreciate me saying I didn’t like violence which was to him an odd thing to say for one in this line of business.

I shrugged.  “I’ve made a note.  Anything else?”

“What are you intending to do now that Violetta has passed?”

“Not come back to rejoin your merry band of misfits.  I was thinking of living on an island somewhere in the middle of the Pacific ocean, one that doesn’t have an airstrip.”

“Well, if you change your mind, the door is always open.”

Conversation over, he waved to the chauffeur.  It was time to go.

© Charles Heath 2023

First Dig Two Graves

A sequel to “The Devil You Don’t”

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Revenge is a dish best served cold – or preferably so when everything goes right

Of course, it rarely does, as Alistair, Zoe’s handler, discovers to his peril. Enter a wildcard, John, and whatever Alistair’s plan for dealing with Zoe was dies with him.

It leaves Zoe in completely unfamiliar territory.

…

John’s idyllic romance with a woman who is utterly out of his comfort zone is on borrowed time. She is still trying to reconcile her ambivalence after being so indifferent for so long.

They agree to take a break, during which she disappears. John, thinking she has left without saying goodbye, refuses to accept the inevitable and calls on an old friend for help in finding her.

After the mayhem and being briefly reunited, she recognises an inevitable truth: there is a price to pay for taking out Alistair; she must leave and find them first, and he would be wise to keep a low profile.

But keeping a low profile just isn’t possible, and enlisting another friend, a private detective and his sister, a deft computer hacker, they track her to the border between Austria and Hungary.

What John doesn’t realise is that another enemy is tracking him to find her too. It could have been a grand tour of Europe. Instead, it becomes a race against time before enemies old and new converge for what will be an inevitable showdown.

The cinema of my dreams – I always wanted to see the planets – Episode 49

A matter of diplomacy

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I had to wonder, in that brief moment standing there, how I had come from a contented life plying space in a nomadic cargo vessel, to this, in charge of over 2000 crew, on a spaceship the size of a small town, on a mission to find new life out beyond the known edge of space.

And succeeding beyond all expectations without the loss of a single life, or perhaps that wasn’t quite true, the previous captain had become a casualty in exceptional circumstances.

I looked over at the head of Diplomacy.  “Have you given any thought to my suggestion?”

After coming back from the alien vessel, I had immediately gone to the head of the Diplomatic mission and told him to pick a team to go down to the alien planet, telling him that we had been given permission to learn about their culture and others in their galaxy.

There had been no shortage of volunteers, and they had left not much more than an hour after I arrived back on board.  It was an opportunity not to be missed.

The other matter was about leaving some people there until we came back, or the next earth vessel arrived.  It was not what had been considered back on earth before the mission left, but to me it had some merit, perhaps setting up what might be a galactic embassy smoothing the way for other vessels like ours.

A sea of expectant faces, only one asked the question on everyone’s mind, giving my diplomatic chief a little more time to come up with an answer.

“Who are they, and are they like us?”  The fourth officer had finally appeared from his room in engineering where his interest lay, but from a practical standpoint, was there in case the bridge was lost.

“No.  And yes.  They are consciousness in an artificial body that looks like us, but I imagine it would take the form of any being they came in contact with.  I suspect they have evolved beyond the need for a body that wears out over time, which it seems is our problem, and we are only at the threshold of robotics as replacement parts, even bodies.  I don’t know the whole story, but that’s one for the medical people.  But…”

I turned back to my diplomatic expert, “we are going to have to talk to these people and not only that, we need to understand them and their customs before more of us blunder into their territory and do everything wrong.  You have permission to send two representatives to the planet to talk to their scribes, which I believe are most likely historians.  They are going to tell us about the peoples of this galaxy and perhaps beyond.  It will at least give us something to work with before as they rightly put it blunder our way into possible diplomatic nightmares.”

“Do you think they’d let us set up a diplomatic outpost?”

“You could work on a proposal, but for now we have about six days or so to get as much information as we can.  Anything else is your department, and for you to decide.  I understand there are some in your department who signed on in the hope they might get to stay in a new world, but, again, you will have to make a threat assessment based on all of the contacts so far.  I have endured all of the recordings of our encounters are available.”

“How long have I got?”

“Until we reach the Princesses home planet in about three days’ time.”

Not a lot of time to review and assess given most of the encounters were hostile.  But an arrangement with these people would be considered advantageous as a first stop on the way to other galaxies.  And I had no doubt they had a vast store of knowledge of other alien life forms which would be invaluable.

“How did we get stuck with taking the Princess home, and how do we know they will want her back?  We don’t know the precise circumstances of how she got there in the first place.”

The second officer was not backwards in voicing concerns.  He was the ship’s resident Mr doom and gloom.  But for all that, his was a view that could be used as a counterbalance when making a decision.

“A good question and one I intend to get answers to right after we finish here.”

That left general business on the table, departmental reports, crew statuses, and the all-important ship systems.

Good to know the crew was reasonably happy, all performing their duties through the various crises, and systems had only minor failed that the skeleton shipbuilders crew were able to fix, one way or another.

Best of all, the chief engineer was happy, so far.

An hour later, it was time to visit the Princess.

…

© Charles Heath 2021-2022

NANOWRIMO – April 2024 – “The One That Got Away” – Day 7

The reporter

…

Winifred, daughter of Adria, is the contradiction.

She always had no intention of playing on her title, and she always regarded people addressing her as Lady Winifred with suspicion.

She also never wanted to use her name to open doors or get an advantage.  She went to university, and soon realised her calling was the written word and a talent for getting to the truth of the matter.

She honed her journalistic skills in the university newspaper and had the distinction of solving a rather convoluted death that was first believed to be a suicide as a murder, one the murderer would have got away with if she hadn’t tenaciously pursued it.

Those detective skills stood her in good stead, getting her a job at a major newspaper, except the editor didn’t believe she was up to the task, her society and aristocratic background getting in the way.

She has a point to prove, and this latest move by her mother’s organisation as good as any for what might be a good story.

And, in the back of her mind, something she had overheard when researching another story stuck, that involved the General, and it wasn’t good.

Of course, her mother knows Winnie is like a dog with a bone and warns her, ‘There’s nothing to see here’.

Winnie isn’t so sure…

…

Words today, 1,529, for a total of 12,545

A photograph from the inspirational bin – 31

This is rugged bushland not far from suburbia, though you wouldn’t know exactly where it is just by looking at the photograph

But, for the writer, this is an excellent setting.

For instance, once again we are out wandering in the bush, lost. It’s not hard to get lost, and stay lost if there are no recognizable landmarks, and given we all walk with a bias to one side or the other, and we have to avoid objects like trees, ravines, animals, and rocks, keeping a straight line is impossible.

But the question is, how did you get into the bush in the first place?

It’s not as if you would deliberately go there, just to if you can get lost.

No, my idea is that you have been kidnapped and drugged, then taken to a location either in the book of a car or just in the back seat with a hood, then dropped off and left to die

The criminals in this story are more efficient in getting rid of pesky witnesses.

Or maybe it’s something less sinister, like going out and counting the koalas in the bush, well, what’s left of the bush as the suburban spray takes more and more of the koala’s habitat.

And it could also be like the planet of the apes, the koalas start fighting back.

Stranger things have been known to happen.

What I learned about writing – Even rainy days can be inspiring

It’s one of those grey, dark, wet mornings where you can inadvertently sleep in because the bedroom remains dark for an extra two hours.

That could be a problem if you have a day job, like most of us.

But, today is Friday, and it’s just what I need.  The news is telling us that six months worth of rain just fell in one hour.  That’s a lot of rain, but it isn’t going to break the drought.

But that’s not a topic that can make a story work.  I need something poetic, dramatic, or a catalyst.

Time to mull over the latest storyline, marshal my thoughts, write the prose in my head.

OK, that not working for me.

The rain is getting heavier, and is splashing outside; the steady waterfall of overflow from the gutters is taking away my concentration.

Rain, rain, go away …

I have two different visions.

A cold, grey day in London (is there any other sort of day?) waiting for a train, and seeing the woman of your dreams go past, standing in the doorway, and in that fraction of a second your eyes meet, a connection is made.

I suspect it has fuelled many a song such as ‘The Look of Love’.

The second is on a desolate section of coastline as for north as you can go in Scotland (yes, I am a glutton for punishment), and she is standing on the cliff top gazing out to sea, hair blowing in the wind.  Silent, strong, resolute.

Rain gone.

Notes hastily scribbled in a notebook for later reference.

Time to go out and check if the garden has derived any benefit at all.

365 Days of Writing, 2026 – 295

Day 295 – Don’t tell the readers what they already know about life

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Why Charles Simic’s Advice to “Not Tell Readers What They Already Know” Can Transform Your Writing

…

Introduction

“Don’t tell the readers what they already know about life.” — Charles Simic

Charles Simic, the Serbian‑American poet and former U.S. Poet Laureate, was famous for his razor‑sharp wit. This single line may sound almost like a tautology, but it holds a secret weapon for every writer: trust your audience.

When you assume readers have the same life experiences you do, you risk preaching, over‑explaining, and, ultimately, boring them. The modern reader craves connection, not instruction. In this post we’ll unpack Simic’s advice, see why it matters in today’s content‑driven world, and give you concrete steps to keep your prose fresh, resonant, and—most importantly—show rather than tell.

1. What Simic Really Meant

1.1 A reminder of the “show, don’t tell” principle

Simic’s statement is a riff on the classic show‑don’t‑tell mantra taught in every creative‑writing class. While “show” urges you to let actions, dialogue, and sensory details illustrate a point, Simic sharpens it: don’t waste precious words on truths the reader already carries.

1.2 Why it matters today

  • Attention economy: Online readers skim. A sentence that restates the obvious is a fast track to bounce‑rate.
  • Reader empowerment: Audiences enjoy the pleasure of discovering meaning themselves. It feels like a partnership, not a lecture.
  • Depth over surface: By discarding the obvious, you free up space for nuance, subtext, and emotional resonance.

2. The Pitfalls of Over‑Explaining

Common Over‑ExplainersWhy They FailBetter Alternative
Heavy “moral of the story” statementsFeels preachy; removes reader agencyLet the narrative’s arc imply the lesson
Repeating universal truths (“love is painful”)Redundant; cheapens impactUse a specific anecdote that embodies the truth
Expository dumps under the guise of “background”Slows pacing; creates info‑overloadWeave backstory into dialogue, setting, and action
Overly literal metaphors (“the storm raged like a lion” )Cluttered, clichéChoose fresh, concrete images that spark imagination

3. Trusting Your Reader’s Intuition

3.1 Readers bring their own life experience

Even if you think a concept is obvious, each reader’s cultural background, age, and personal history shape how they receive it. By offering breadcrumbs rather than a full meal, you respect their intelligence.

3.2 The “Goldilocks Zone” of information

  • Too little: Readers feel confused or alienated.
  • Just right: Readers fill gaps, feel involved, and remember the story.
  • Too much: The narrative becomes a lecture.

Finding the sweet spot is a skill—one we’ll develop in the next sections.

4. Techniques to “Show, Not Tell” the Known

4.1 Use specific, concrete details

Instead of saying “She was sad,” describe “She traced the rim of her coffee cup with a trembling finger, the steam fogging the window as her eyes refused to meet his.” The emotion is inferred, not stated.

4.2 Leverage dialogue

Let characters voice their worldview. A line like “I guess we’re all just trying to stay afloat” hints at life’s struggle without the author’s narration.

4.3 Play with sensory language

Touch, taste, sound, and smell evoke feeling. The scent of rain on pavement can conjure renewal without commenting on it.

4.4 Deploy subtext and implication

A character’s silence, a lingering glance, or an unfinished sentence can say more than an explicit explanation.

4.5 Trim expository filler

Ask yourself: Is this sentence necessary for plot, character, or theme? If the answer is “no,” cut it.

5. Embracing Ambiguity & Subtlety

Simic didn’t recommend vague writing for its own sake; he championed purposeful ambiguity. When you leave room for interpretation, you invite deeper engagement.

  • Open‑ended endings let readers project their own experiences onto the story.
  • Symbolic objects (a cracked mirror, a broken watch) can hold layered meaning.
  • Contradictory actions (a smile in grief) provoke curiosity and empathy.

6. Applying Simic’s Advice Across Genres

GenreWhat “don’t tell” looks likeExample
Literary fictionFocus on inner nuance, avoid moralizingInstead of “He realized love was fleeting,” show the wilted roses he places on the table.
ThrillerKeep suspense by revealing only what the protagonist knowsDon’t tell the reader the killer’s motive before the reveal.
Non‑fictionTrust readers to connect facts themselvesIn a business article, present data and let readers draw the conclusion.
Blog contentProvide actionable insights, not “obvious” adviceSkip “Write regularly” and share a unique workflow that helped you meet deadlines.
PoetryUse metaphor rather than declarative statementsRather than “Life is painful,” write “The night bleeds into the dawn.”

7. Common Mistakes & How to Fix Them

  1. Narrative “hand‑holding” – Fix: Cut adverbs that explain feelings; replace them with visual cues.
  2. Cliché overload – Fix: Replace generic phrases with fresh, sensory images.
  3. Over‑reliance on exposition – Fix: Convert exposition into scenes or dialogue.
  4. Assuming universality – Fix: Research diverse perspectives; test your piece with beta readers from varied backgrounds.

8. Practical Exercises

ExerciseGoalHow to Execute
The 30‑Word SceneStrip to essentialsDraft a scene in 30 words that conveys a full emotional beat.
Show‑Only RewriteReplace “telling” sentencesFind five “telling” lines in a recent draft and rewrite them using only actions, senses, or dialogue.
Reader Gap TestIdentify unnecessary explanationsShare a paragraph with a friend and ask them to “fill in the blanks” where they think you’ve over‑explained.
Metaphor HuntReplace generic statementsLocate any sentences that begin with “It was …” and replace them with a concrete metaphor.
Silence ExerciseUse subtextWrite a dialogue where the main conflict is never spoken outright.

9. Key Takeaways

  • Trust your audience. Readers bring their own life experience—don’t waste words reiterating the obvious.
  • Show, don’t tell with concrete details, dialogue, and sensory language.
  • Embrace ambiguity to create richer, more memorable writing.
  • Tailor the approach to your genre, but the core principle remains universal.
  • Practice relentlessly. Use the exercises above to train your instinct for what to leave unsaid.

10. Frequently Asked Questions

Q: Isn’t some exposition necessary for clarity?
A: Absolutely. The key is balance. Give readers only the information they need to stay oriented, and let the rest unfold organically.

Q: How do I know if I’m over‑explaining?
A: If a sentence could be replaced with a sensory detail or an action without losing meaning, you’re likely over‑explaining.

Q: What if my audience is younger or less experienced?
A: Adjust the depth of implied knowledge, but still avoid stating the obvious. Use relatable analogies instead of explicit explanation.

Q: Does this mean I should avoid “life lessons” altogether?
A: Not at all. Life lessons shine when they emerge from the narrative’s events, not from the author’s direct commentary.

Q: How can I apply this advice to SEO‑focused blog posts?
A: Write for humans first—use engaging storytelling, vivid examples, and data-driven insights. Then sprinkle SEO keywords naturally; avoid keyword‑stuffed “obvious” statements that sound like filler.

11. Closing Thought

Charles Simic’s advice isn’t a command to become cryptic—it’s an invitation to collaborate with your readers. By withholding the obvious, you give them space to connect the dots, feel the emotions, and remember the story. The next time you reach for a line that tells rather than shows, ask yourself: Does my reader already know this? If the answer is yes, let the scene breathe, and watch your writing become more alive, more authentic, and ultimately, more unforgettable.

Ready to rewrite? Grab your latest draft, highlight every sentence that says what instead of how, and start swapping the tell for the show. Your readers (and your Google rankings) will thank you.