365 Days of writing, 2026 – 247

Day 247 – Fear of the blank page

…

Naked Truths: How to Overcome the Fear of the Blank Page (Without Actually Imagining Your Readers Undressed)

We’ve all heard the classic public speaking advice: “If you’re nervous, just picture the audience in their underwear.”

The logic goes that by reducing a room full of judging, critical humans down to their skivvies, they instantly lose their intimidating aura. Suddenly, you aren’t presenting to a board of directors or a room full of peers; you’re talking to a bunch of regular folks in polka-dot boxers and lace bralettes.

It’s silly, slightly absurd, and wildly ineffective for most people (mostly because picturing your boss in tighty-whities usually causes more anxiety, not less).

However, the psychology behind the trick is solid. It’s about reframing the power dynamic. It’s about stripping away the manufactured pressure of a situation to reveal the simple, human reality underneath.

So, how do we translate this concept to the writer’s ultimate nemesis: the fear of the blank page?

When facing a pristine, glowing white document, writers don’t usually fear the paper. They fear judgment. They fear failure. They fear that what they write won’t be smart, profound, or polished enough.

If you want to conquer the blank page, you need to strip it of its power. Here is how to apply the “underwear rule” to your writing process and finally start typing.


1. Realize the Page Isn’t a Masterpiece Waiting to Happen (It’s Laundry)

When a blank page feels intimidating, it’s usually because we’ve put it on a pedestal. We treat the cursor like a spotlight and the first sentence like a literary legacy.

The Translation: Strip the page of its dignity.

Accept right now that your first draft is going to be messy, awkward, and poorly fitted—much like wearing mismatched underwear on laundry day. A blank page isn’t a marble slab waiting for a Michelangelo; it’s a dumping ground for half-formed thoughts. Give yourself permission to write absolute garbage. You cannot edit a blank page, but you can fix a terribly written paragraph.

2. Picture Your Reader as a Friend (Or Just a Person)

When we write, we often imagine an intimidating, anonymous crowd reading our work with crossed arms and red pens. We write for “The Internet,” “The Critics,” or “My High School English Teacher.”

The Translation: Strip your audience of their intimidating title.

Instead of imagining a faceless mob of critics, picture one specific, friendly person. Write an email to your best friend explaining the concept. Talk to your sibling. When you shift your mental audience from “The Public” to “One Individual,” the stakes instantly lower. You stop trying to sound like a textbook and start sounding like a human being.

3. Change What You’re Wearing (Digital Disguises)

Sometimes the environment contributes to the intimidation factor. Staring at a blinking cursor in a professional, stark-white word processor like Microsoft Word or Google Docs feels like sitting in the principal’s office.

The Translation: Change the aesthetic.

Just like dressing down changes your confidence, changing your writing environment can strip away the pressure.

  • Use a distraction-free writing app with a dark mode (like Typora, Scrivener, or Ulysses) so the page isn’t glaring at you.
  • Write your first draft in Comic Sans or a goofy font—it’s scientifically impossible to take a sentence seriously when it’s written in Comic Sans, which instantly kills your inner perfectionist.
  • Write the first version by hand in a cheap notebook where mistakes don’t carry the finality of a digital delete key.

4. Write the “Unpublishable” Intro

The hardest part of any journey is the first step, and the hardest part of any article or story is the first sentence. We agonize over hooks, desperately trying to start with a bang.

The Translation: Start with a terrible warm-up.

Give yourself a rule: The first three sentences are not allowed to be good. Write intentionally bad sentences to break the ice.

  • “I have no idea what I’m writing about right now, but my coffee is cold.”
  • “This is going to be a really stupid article about writing.”

Once you break the silence of the page—even with nonsense—the spell is broken. You’ve crossed the threshold. Now you can delete the garbage intro and get to the real work.


The Bottom Line

The fear of the blank page is just performance anxiety in disguise.

Just like public speaking, writing triggers our deepest insecurities about being seen and judged. But the next time you freeze up in front of a flashing cursor, remember the core lesson of the “underwear” trick: The things intimidating you only have power because you gave it to them.

Strip the page of its perfectionism. Strip the audience of their judgment. Stop waiting for the muse to show up in a three-piece suit, and start writing in your sweatpants.

…

An excerpt from “Mistaken Identity” – a work in progress

The odds of any one of us having a doppelganger are quite high. Whether or not you got to meet them or be confronted by them was significantly lower. Except, of course, unless you are a celebrity.

It was a phenomenon remarkable only for the fact that, at times, certain high-profile people, notorious or not, had doubles if only to put off enemies or the general public. Sometimes we see people in the street who look like someone we knew and make the mistake of approaching them like a long-lost friend, only to discover an embarrassed individual desperately trying to get away from what they perceive as a stalker, or worse.

And then sometimes it is a picture that looms up on a TV screen, an almost exact likeness of you. At first, you are fascinated, and then, according to the circumstances and narrative that is attached to that picture, either flattered or horrified.

For me, one turned to the other when I saw an almost likeness of me flash up on the screen when I turned the TV on in my room. What looked to be my photo, with only minor differences, was in the corner of the screen, the newsreader speaking in rapid Italian, so fast I could only translate every second or third word.

But the one word I did recognise was murder. The photo of the man on the screen was the subject of an extensive manhunt. The crime, the murder of a woman in the very same hotel I was staying, and it was being played out live several floors above me. The gist of the story, the woman had been seen with and staying with the man who was my double, and, less than an hour ago, the body had been discovered by a chambermaid.

The killer, the announcer said, was believed to be still in the hotel because the woman had died shortly before she had been discovered.

I watched, at first fascinated by what I was seeing. I guess I should have been horrified, but at that moment it didn’t register that I might be mistaken for that man.

Not until another five minutes had passed, and I was watching the police in full riot gear, with a camera crew following behind, coming up a passage towards a room. Live action of the arrest of the suspected killer, the breathless commentator said.

Then, suddenly, there was a pounding on the door. On the TV screen, plain to see, was the number of my room. I looked through the peephole and saw an army of police officers. It didn’t take much to realise what had happened. The hotel staff identified me as the man in the photograph on the TV and called the police.

Horrified wasn’t what I was feeling right then.

It was fear.

My last memory was the door crashing open, the wood splintering, and men rushing into the room, screaming at me, waving guns, and when I put my hands up to defend myself, I heard a gunshot.

And in one very confused and probably near-death experience, I thought I saw my mother and thought what was she doing in Rome?

…

I was the archetypal nobody.

I lived in a small flat, I drove a nondescript car, had an average job in a low-profile travel agency, was single, and currently not involved in a relationship, had no children, and, according to my workmates, no life.

They were wrong. I was one of those people who preferred their own company; I had a cat, and travelled whenever I could. And I did have a ‘thing’ for Rosalie, one of the reasons why I stayed at the travel agency. I didn’t expect anything to come of it, but one could always hope.

I was both pleased and excited to be going to the conference. It was my first, and the glimpse I had seen of it had whetted my appetite for more information about the nuances of my profession.

Some would say that a travel agent wasn’t much of a job, but to me, it was every bit as demanding as being an accountant or a lawyer. You were providing a customer with a service, and arguably, more people needed a travel agent than a lawyer. At least that was what I told myself as I watched more and more people start using the internet, and our relevance slowly dissipating.

This conference was about countering that trend.

The trip over had been uneventful. I was met at the airport and taken to the hotel where the conference was being held with several other delegates who had arrived on the same plane. I had mingled with several other delegates at the pre-conference get-together, including one whose name was Maryanne.

She was an unusual young woman, not the sort that I usually met, because she was the one who was usually surrounded by all the boys, the life of the party. In normal circumstances, I would not have introduced myself to her, but she had approached me. Why did I think that may have been significant? All of this ran through my mind, culminating in the last event on the highlight reel, the door bursting open, men rushing into my room, and then one of the policemen opened fire.

I replayed that last scene again, trying to see the face of my assailant, but it was just a sea of men in battle dress, bulletproof vests and helmets, accompanied by screaming and yelling, some of which I identified as “Get on the floor”.

Then came the shot.

Why ask me to get on the floor if all they were going to do was shoot me? I was putting my hands up at the time, in surrender, not reaching for a weapon.

Then I saw the face again, hovering in the background like a ghost. My mother. Only the hair was different, and her clothes, and then the image was going, perhaps a figment of my imagination brought on by pain-killing drugs. I tried to imagine the scene again, but this time it played out without the image of my mother.

I opened my eyes and took stock of my surroundings. What I felt in that exact moment couldn’t be described. I should most likely be dead, the result of a gunshot wound. I guess I should be thankful the shooter hadn’t aimed at anything vital, but that was the only item on the plus side.

I was in a hospital room with a policeman by the door. He was reading a newspaper and sitting uncomfortably on a small chair. He gave me a quick glance when he heard me move slightly, but didn’t acknowledge me with either a nod or a greeting, just went back to the paper.

If I still had a police guard, then I would still be considered a suspect. What was interesting was that I was not handcuffed to the bed. Perhaps that only happened in TV shows. Or maybe they knew I couldn’t run because my injuries were too serious. Or the guard would shoot me long before my feet hit the floor. I knew the police well enough now to know they would shoot first and ask questions later.

On the physical side, I had a large bandage over the top left corner of my chest, extending over my shoulder. A little poking and prodding determined the bullet had hit somewhere between the top of my rib cage and my shoulder. Nothing vital there, but my arm might be somewhat useless for a while, depending on what the bullet hit on the way in or through.

It didn’t feel like there were any broken or damaged bones.

That was the good news.

On the other side of the ledger, my mental state, there was only one word that could describe it. Terrified. I was looking at a murder charge and jail time, a lot of it. Murder usually had a long time in jail attached to it.

Whatever had happened, I didn’t do it. I know I didn’t do it, but I had to try to explain this to people who had already made up their minds. I searched my mind for evidence. It was there, but in the confused state brought on by the medication, all I could think about was jail, and the sort of company I was going to have.

I think death would have been preferable.

…

Half an hour later, maybe longer, I was drifting in and out of consciousness. A nurse, or what I thought was a nurse, came into the room. The guard stood, checked her ID card, and then stood by the door.

She came over and stood beside the bed. “How are you?” she asked, first in Italian, and when I pretended I didn’t understand, she asked the same question in accented English.

“Alive, I guess,” I said. “No one has come and told me what my condition is yet. You are my first visitor. Can you tell me?”

“Of course. You are very lucky to be alive. You will be fine and make a full recovery. The doctors here are excellent at their work.”

“What happens now?”

“I check you, and then you have another visitor. He is from the British Embassy, I think. But he will have to wait until I have finished my examination.”

I realised then she was a doctor, not a nurse.

…

My second visitor was a man, dressed in a suit, the sort of which I associated with the British Civil Service.  He was not very old, which told me he was probably a recent graduate on his first posting, the junior officer who drew the short straw.

The guard checked his ID but again did not leave the room, sitting back down and going back to his newspaper.

My visitor introduced himself as Alex Jordan from the British Embassy in Rome, and he had been asked by the Ambassador to sort out what he labelled a tricky mess.

For starters, it was good to see that someone cared about what happened to me.  But, equally, I knew the mantra, get into trouble overseas, and there is not much we can do to help you.  So, after that lengthy introduction, I had to wonder why he was here.

I said, “They think I am an international criminal by the name of Jacob Westerbury, whose picture looks just like me, and apparently, for them, it is an open and shut case.”  I could still hear the fragments of the yelling as the police burst through the door, at the same time telling me to get on the floor with my hands over my head.

“It’s not.  They know they’ve got the wrong man, which is why I’m here.  There is the issue of what had been described as excessive force, and the fact that you were shot had made it an all-around embarrassment for them.”

“Then why are you here?  Shouldn’t they be here apologising?”

“That is why you have another visitor.  I only took precedence because I insisted on speaking with you first.  I have come, basically, to ask you for a favour.  This situation has afforded us an opportunity.  We would like you to sign the official document, which basically indemnifies them against any legal proceedings.”

Curious.  What sort of opportunity was he talking about?  Was this a matter that could get difficult and I could be charged by the Italian Government, even if I wasn’t guilty, or was it one of those hush-hush type deals, you do this for us, we’ll help you out with that?  “What sort of opportunity?”

“We want to get our hands on Jacob Westerbury as much as they do.  They’ve made a mistake, and we’d like to use that to get custody of him if or when he is arrested in this country.  I’m sure you would also like this man brought into custody as soon as possible, so you will stop being confused with him.  I can only imagine what it was like to be arrested in the manner you were.  And I would not blame you if you wanted to get some compensation for what they’ve done.  But.  There are bigger issues in play here, and you would be doing this for your country.”

I wondered what would happen if I didn’t agree to his proposal.  I had to ask, “What if I don’t?”

His expression didn’t change.  “I’m sure you are a sensible man, Mr Pargeter, who is more than willing to help his country whenever he can.  They have agreed to take care of all your hospital expenses, refund the cost of the Conference, and travel.  I’m sure I could also get them to pay for a few days at Capri or Sorrento, if you like, before you go home.  What do you say?”

There was only one thing I could say.  Wasn’t it treason if you went against your country’s wishes?

“I’m not an unreasonable man, Alex.  Go do your deal, and I’ll sign the papers.”

“Good man.”

…

After Alex left, the doctor came back to announce the arrival of a woman, who had announced herself as the publicity officer from the Italian police. When she came into the room, she was not dressed in a uniform.

The doctor left after giving a brief report to the civilian at the door. I understood the gist of it: “The patient has recovered excellently, and the wounds are healing as expected. There is no cause for concern.”

That was a relief.

While the doctor was speaking to the civilian, I speculated on who she might be. She was young, not more than thirty, conservatively dressed, so an official of some kind, but not necessarily with the police. Did they have prosecutors? I was unfamiliar with the Italian legal system.

She had long, wavy black hair and the sort of sultry looks of an Italian movie star, and her presence made me more curious than fearful, though I couldn’t say why.

The woman then spoke to the guard, and he reluctantly got up and left the room, closing the door behind him. She checked the door and then came back towards me, standing at the end of the bed. Now alone, she said, “A few questions before we begin.” Her English was only slightly accented. “Your name is Jack Pargeter?”

I nodded. “Yes.”

“You are in Rome to attend the Travel Agents Conference at the Hilton Hotel?”

“Yes.”

“You attended a preconference introduction on the evening of the 25th, after arriving from London at approximately 4:25 pm.”

“About that time, yes. I know it was about five when the bus came to collect me, and several others, to take us to the hotel.”

She smiled. It was then that I noticed she was reading from a small notepad.

“It was ten past five to be precise. The driver had been held up in traffic. We have several witnesses who saw you on the plane, on the bus, at the hotel, and with the aid of closed-circuit TV, we have established you are not the criminal Jacob Westerbury.”

She put her notebook back in her bag and then said, “My name is Vicenza Andretti, and I am with the prosecutor’s office. I am here to formally apologise for the situation that can only be described as a case of mistaken identity. I assure you, it is not the habit of our police officers to shoot people unless they have a very strong reason for doing so. I understand that in the confusion of the arrest, one of our officers accidentally discharged his weapon. We are undergoing a very thorough investigation into the circumstances of this event.”

I was not sure why, but between the time I had spoken to the embassy official and now, something about letting them off so easily was bugging me. I could see why they had sent her. It would be difficult to be angry or annoyed with her.

But I was annoyed.

“Do you often send a whole squad of trigger-happy riot police to arrest a single man?” It came out harsher than I intended.

“My men believed they were dealing with a dangerous criminal.”

“Do I look like a dangerous criminal?” And then I realised if it was mistaken identity, the answer would be yes.

She saw the look on my face and said quietly, “I think you know the answer to that question, Mr Pargeter.”

“Well, it was overkill.”

“As I said, we are very sorry for the circumstances you now find yourself in. You must understand that we honestly believed we were dealing with an armed and dangerous murderer, and we were acting within our mandate. My department will cover your medical expenses and any other amounts for the inconvenience this has caused you. I believe you were attending a conference at your hotel. I am very sorry, but given the medical circumstances you have, you will have to remain here for a few more days.”

“I guess, then, I should thank you for not killing me.”

Her expression told me that was not the best thing I could have said in the circumstances.

“I mean, I should thank you for the hospital and the care. But a question or two of my own. May I?”

She nodded.

“Did you catch this Jacob Westerbury character?”

“No. In the confusion created by your arrest, he escaped. Once we realised we had made a mistake and reviewed the closed-circuit TV, we tracked him leaving by a rear exit.”

“Are you sure it was one of your men who shot me?”

I watched as her expression changed to one of surprise.

“You don’t think it was one of my men?”

“Oddly enough, no. But don’t ask me why.”

“It is very interesting that you should say that, because in our initial investigation, it appeared none of our officers’ weapons had been discharged. A forensic investigation into the bullet tells us it was one that is used in our weapons, but…”

I could see their dilemma.

“Have you any enemies that would want to shoot you, Mr Pargeter?”

That was absurd because I had no enemies, at least none that I knew of, much less anyone who would want me dead.

“Not that I’m aware of.”

“Then it is strange, and will perhaps remain a mystery. I will let you know if anything more is revealed in our investigation.”

She took an envelope out of her briefcase and opened it, pulling out several sheets of paper.

I knew what it was. A verbal apology was one thing, but a signed waiver would cover them legally. They had sent a pretty girl to charm me. Perhaps using anyone else would not have worked. There was potential for a huge litigation payout here, and someone more ruthless would jump at the chance of making a few million out of the Italian Government.

“We need a signature on this document,” she said.

“Absolving you of any wrongdoing?”

“I have apologised. We will take whatever measures are required for your comfort after this event. We are accepting responsibility for our actions and are being reasonable.”

They were. I took the pen from her and signed the documents.

“You couldn’t add dinner with you on that list of benefits?” No harm in asking.

“I am unfortunately unavailable.”

I smiled. “It wasn’t a request for a date, just dinner. You can tell me about Rome, as only a resident can. Please.”

She looked me up and down, searching for the ulterior motive. When she couldn’t find one, she said, “We shall see once the hospital discharges you in a few days.”

“Then I’ll pencil you in?”

She looked at me quizzically. “What is this pencil me in?”

“It’s an English colloquialism. It means maybe. As when you write something in pencil, it is easy to erase it.”

A momentary frown, then recognition and a smile. “I shall remember that. Thank you for your time and cooperation, Mr Pargeter. Good morning.”

…

© Charles Heath 2015-2021

The cinema of my dreams – Was it just another surveillance job – Episode 36

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

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

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

Chasing leads, maybe


I’m glad she didn’t ask me about Nobbin, or the fact a woman by the name of Josephine was working for him.  That went ditto for Severin, and Jan, who was working for him.

It was a tangled web.  Now, apparently, I was working for her.

I had another idea, and went back to the computer room to do another search, this time for the names of those who had been on my training course, and who was also assigned to the surveillance job.

I checked the name Jack Temple, and his file was marked closed, with a stark, red, deceased across the first page.

I checked the name Adam Alwin, and it was the same, deceased.

I checked the name Jennifer Underwood, and it had the label inactive, on medical leave.  She had been injured and was recovering.  There was no reference to her being in a hospital, or a recovery facility so I presumed she was at home.

It was another address to remember, this time what I assumed was a flat in Putney.  It was not something she had mentioned in all the time we have been together.  She had spoken of a house in Scotland.

But, then, who really told the truth when we were trained and continually told to lie about everything.  In the end I don’t think we quite knew who we were.  I knew her as Jennifer, but I doubted that was her real name.

Maybe I’d find out when I went to see her.  I needed help and from someone I could trust.  It was logical to select her.  We had, for at least six months, relying on each other to get through.

 

I cam out into the daylight and it hurt my eyes.  The artificial light, not that it was very bright, had queered my sight briefly.  No good, because for a minute at least I was vulnerable to an attack.

Good thing it didn’t happen.

But something else did.  A car pulled up on the side of the road, one I instantly recognised as the same Nobbin had used when he collected Josephine.

He wound down the rear kerbside window and said, “Sam.  Just the man I want to see.  Get in.”

I saw him slide over.  I opened the door, got in, and the driver drove off.

He seemed pleased with himself.

“How is the hunt?”

“How do you think it’s going?”

He looked quizzically at me.  “Why would I ask if I knew the answer?”

“I think you do.  I was at O’Connell’s flat when one of your assistants was there.  She discovered the same as I did, nothing.”

“What assistant?”  He tried to sound surprised.

“We’re not going to be very good friends if you are going to lie to me.  She called herself Josephine.  I wouldn’t be much of an agent if I didn’t have a few tricks up my sleeve.  And, lets be clear about one thing, if nothing else, you want to play games, fine.  So will I.”

“What did Monica want?”

“What everyone wants.  There appear to be secret documents on the loose.  Everyone thinks they’re on a USB, and that O’Connell has hidden them somewhere.  They’re not in his flat, and the cat wasn’t talking.”

“Just remember that O’Connell was working for me, and he was getting the documents for me.”

“So you know what these documents are about?”

“No.  He didn’t tell me because he didn’t look at them.  He couldn’t.  They’re encrypted, and he doesn’t have the code.”

Which wouldn’t do much good for me if I tried to see what the fuss was about.  Perhaps the best idea would be to destroy the USB so no one had these documents, given the trouble they’d caused so far.

“Anyone check O’Connell’s body properly for the USB?  He may have had it hidden in his clothing somewhere.”  I knew I didn’t have sufficient time to thoroughly check myself.

“No one knows where the body is.”

“I saw the cleaners arrive to process the scene.”

“Well, if they did, the job never reached the books.  According to the cleaners, no one was dispatched to take care of anything at the location.”

Which meant Severin had the body, had checked as I would if I had the time, and it was not on him.  Otherwise, he would not have paid me a visit.  It was back to Peaslake then, the next step in the investigation.

“Recovery of these documents is time-sensitive Sam.  You need to double your effort.”

“A lack of clues is not helping.  Nor is everyone working on their own agenda.”

“Then don’t lose focus.”

I saw him motion to the driver to pull over and let me out.

I waved as the car pulled back out into the traffic.



© Charles Heath 2020

The cinema of my dreams – I always wanted to see the planets – Episode 1

I’d been on the starship for almost three hours when…

…

The captain was coming up from the earth station by transport, not wanting to trust the transporters, and I’d just finished the orientation of the ship by the second officer, and had arrived on the bridge to see various crew members hunched over their consoles.

The captain had told me, before stepping onto the transport, that we would be leaving the dock shortly after he arrived.

Nothing I’d seen so far had led me to believe it would be going anywhere, anytime soon.

Nevertheless, the crew briefing had run smoothly, the second officer assigned to correlate the complaints/problems list, and everyone else had taken their assigned positions. 

I was waiting for the captain, standing beside the ‘chair’, ready to hand over.  In any other situation, we would be off to an illustrious start.

Until the dulcet tones of the Chief Engineer rang through the bridge, uttering those fateful words, “the warp coil has had a catastrophic failure”.

This was at odds with another statement he had made earlier when I was in Engineering, and given I was told the Chief Engineer was prone to hyperbole; his statement ‘they just don’t make warp coils like they used to’ hadn’t exactly filled me with confidence, but I had been expecting we would be ready to depart.

I had been looking at the screen, an overlay of the window that looked out over space, or at this moment, the space dock, where there was a representation of the planets that were ‘out there’.

I had been curious about M75, but the helmsman, a rather taciturn chap who seemed to resent the fact he was assigned to this ship, just shrugged and said, “it’s something, somewhere, but not of much interest,” then went back to his console.

If this was Star Trek, we’d be ejecting the warp coil by now, but in the space dock, that didn’t seem to me to be a viable option.

“How long before we can get this bucket of bolts moving,” I ask the Chief.

“I’m going as fast as I can.”

Yes, words ripped right out of the script of a Star Trek episode, I thought. A sad case of life imitating art.

A strange whistling sound emanated from the speakers, then the whoosh of the elevator just before the doors opened. OK, new ship, squeaky doors, another item to be put on the ‘look at’ list after the shakedown cruise.

The Captain had arrived.

“Why are dock workers still on the ship, Number One.”

For a moment there, I thought I was talking to John Luc Picard.

“Faulty warp coil. You know how it goes, save a billion by outsourcing to the cheapest supplier.”

The captain didn’t appreciate my sardonic humour, or my apparent disdain in outsourcing what we had once built ourselves.

He gave me a frown, a slight shake of his head, then said, “I’ll be in my quarters. Let me know when we’re about to leave.”

He didn’t wait for acknowledgement and disappeared through another squeaky door. More repairs.

The Chief’s voice then came over the speaker. “I can give you impulse speed, warp speed will take a little longer.”

“Doesn’t that refer to miracles over the impossible,” I ask.

“Perhaps.  But in the meantime, I need a specific spanner and the replicators are down. So, now we have to fix them first, before moving on. Might take a while.”

I look around the crew, seeing their expectant faces drop with disappointment.

Outer space was going to have to wait a little longer.

…

© Charles Heath 2025

What I learned about writing – Just what is the right word processor?

It was as if Microsoft Word was sent down from that place in the universe where a group of torturers sit around a table to find new ways of making our lives just that little bit more difficult.

I mean, most of the time it works really well and behaves itself.

But…

Then there are the times, usually when you are stressed about a deadline, or you are nearly at the end of what you believe to be the most brilliant writing you have ever put on paper.

Then…

Disaster strikes.

It could be that the power goes off, even for just a few seconds, but it’s enough to kill the computer.  It could be that you have reached the end and closed Word down, thinking that it had autosaved, all the while ignoring that little pop-up that says, ‘Do you want to save your work’?

It’s been a long day, night, or session.  You’re tired and your mind is elsewhere, as it always is at the end.

You always assume that autosave is on.  It was the last time; it has been since the day you installed it however long ago that was.

So…

When the power comes back on, you start the computer, go into Word, and it brings back all the windows you had open when the power failed, and the one with the brilliant piece you just wrote, it’s just a blank sheet.

Or up to where it last autosaved, which is nowhere near the end.

Or it didn’t save at all.

You forgot that the software was updated recently and that always brings changes.  Usually, unwanted changes.

By which time you have that sinking feeling that all is lost, deadline missed, brilliant work lost, it’s the end of the world.

You promise yourself you’re going to get Scrivener, or something else, where this doesn’t happen.

Or if you’re like me, you put the cat on the keyboard and tell him to sort the mess out.

365 Days of Writing, 2026 – 246

Day 246 – Are modern novels boring?

…

Are Modern Novels Boring? (And How Do We Avoid the Literary Abyss)

Scroll through Goodreads, wander the aisles of a major bookstore, or tune into BookTok, and you’ll find a paradoxical landscape. We are currently living through a golden age of publishing volume. Yet, a nagging, heresy-sounding question is echoing among avid readers, critics, and writers alike:

Are modern novels… kind of boring?

It’s a controversial take. After all, thousands of brilliantly crafted, highly praised books hit the shelves every year. So why does a pervasive sense of literary fatigue seem to have gripped the reading public? Why do so many contemporary books feel like they were written by an algorithm, polished by a focus group, and designed to be consumed like fast food rather than savoured like a fine wine?

Let’s dive into the state of contemporary fiction, explore why modern novels sometimes feel like an uninspired trudge, and discover how readers can navigate past the noise to avoid the terrifying “literary abyss.”


Part 1: Why Do Modern Novels Feel Boring?

To be clear, “boring” doesn’t necessarily mean slow. In fact, many modern novels move at a breakneck pace. Rather, the boredom stems from a sense of sameness, predictability, and a retreat from genuine artistic risk.

Here are the primary culprits turning contemporary fiction into a snooze-fest:

1. The Domestication of the Plot (The “Cozy” Trap)

In an effort to remain hyper-relatable and emotionally safe, a massive slice of modern literary fiction has retreated into the mundane. We are flooded with novels about contemporary people sitting in apartments, navigating micro-aggressions, having esoteric conversations about modern dating, and agonising over career pivots.

While everyday life can be profound, too many modern novels mistake triviality for depth. When every book is a quiet, low-stakes character study about upper-middle-class ennui, the genre begins to smell of stale coffee and self-absorption.

2. The Algorithmic Homogenization of Style

Publishing is a business, and businesses hate losing money. In the age of algorithmic marketing, publishing houses increasingly lean toward formulas that have worked before.

This has birthed a distinct “contemporary literary voice”: clean, hyper-accessible, emotionally explicit, and largely devoid of stylistic idiosyncrasies. Authors are often encouraged to write in a cinematic, easily translatable style that makes adaptation for Netflix or HBO effortless. Gone are the eccentric prose styles of the past; in their place is a bland, standardised English designed not to offend anyone’s palate.

3. “Show, Don’t Tell” Has Become “Explain Everything”

Good writing historically trusted the reader to read between the lines. Modern fiction, however, is terrified of ambiguity.

Influenced perhaps by the digital age’s demand for instant clarity, contemporary novels often hold the reader’s hand a little too tightly. Themes are spelled out explicitly in the dialogue. Characters give TED Talks to explain their internal psychology. When a book does all the emotional heavy lifting for you, the act of reading ceases to be a dynamic collaboration and becomes a passive lecture.

4. The Moralization of Art

Literature has always explored morality, but a growing trend in modern fiction is the demand that characters (and by extension, authors) pass strict contemporary ideological purity tests.

When novels become moral instruction manuals rather than explorations of human complexity, they lose their spark. Great literature thrives in the grey areas, the hypocrisies, and the moral ugliness of humanity. When every character has to be a pristine avatar of virtue—or an unambiguously cartoonish villain—the narrative tension evaporates.


Part 2: How to Spot a “Boring” Book Before You Buy

If you want to protect your reading time from the abyss of blandness, you need a radar system. Be wary of books that feature these red flags:

  • The Over-caffeinated Blurb: If the back cover features quotes comparing the author to Joan Didion, Sally Rooney, and Ottessa Moshfegh all at once, you are likely looking at a manufactured trend, not an authentic voice.
  • The High-Concept Gimmick: A book whose entire value proposition is a quirky premise (“What if an AI ran a coffee shop in a post-apocalyptic IKEA?”) but lacks stylistic prose or psychological depth.
  • The Trauma-Drop: Books that rely on an early, shocking revelation of trauma to generate forced emotional stakes, while the rest of the prose coasts on cruise control.

Part 3: How Do We Avoid the Literary Abyss?

If you are suffering from reading fatigue, do not give up on reading altogether. You simply need to change your navigation strategy. Here is how you can step back from the brink of the literary abyss and fall in love with reading again.

1. Read Widely Across Time

There is an entire cemetery of brilliant literature out there waiting to be exhumed. If modern fiction feels flat, step back. Read the 19th-century Russians for sheer psychological depth; read the mid-century modernists for stylistic fireworks; read genre fiction from the 1970s and 80s that prioritised pure, unadulterated storytelling.

A healthy reading diet resembles a balanced ecosystem: mix the old with the new.

2. Seek Out Small Presses and Indie Publishers

While the Big Five publishers are increasingly risk-averse, independent presses (like Graywolf, Coffee House Press, New Directions, and Europa Editions) are taking massive artistic gambles.

Indie publishers are the lifeblood of contemporary literary innovation. They are printing translations of international authors, genre-bending experiments, and unapologetic prose that traditional houses won’t touch because they aren’t “marketable enough.”

3. Embrace Translation

American and British fiction often suffer from a specific cultural insularity. By looking outward and reading translated literature, you instantly escape the stylistic homogeneity of the Anglosphere.

Writers from South Korea, Argentina, Norway, Japan, and France bring entirely different philosophical frameworks, cultural rhythms, and narrative structures to the page. Reading translated works is the literary equivalent of taking off virtual reality goggles and seeing the real world for the first time.

4. Support Books That Take Risks

When you find an author who refuses to play it safe—someone who uses weird punctuation, writes unlikeable characters, tackles bizarre subjects, or structures a plot like a labyrinth—support them. Buy their books, recommend them to friends, and let publishers know that readers still reward audacity.


Conclusion: The Horizon is Still Bright

Are modern novels boring? Many of them are, yes. But boredom is simply a symptom of a bloated marketplace prioritising commercial safety over artistic peril.

The literary abyss is real, but it is entirely avoidable. By raising our standards, looking beyond the bestseller lists, and championing books with teeth, grit, and originality, we can push past the noise.

Great, vital, mind-altering books are still being written—we just have to be a little braver in how we look for them.

…

The story behind the story – Echoes from the Past

The novel ‘Echoes from the Past’ started out as a short story I wrote about 30 years ago, titled ‘The Birthday’.

My idea was to take a normal person out of their comfort zone and led on a short but very frightening journey to a place where a surprise birthday party had been arranged.

Thus, the very large man with a scar and a red tie was created.

So was the friend with the limousine who worked as a pilot.

So were the two women, Wendy and Angelina, who were Flight Attendants that the pilot friend asked to join the conspiracy.

I was going to rework the short story, then about ten pages long, into something a little more.

And like all rewrites, especially those I have anything to do with, it turned into a novel.

There was motivation.  I had told some colleagues at the place where I worked at the time that I liked writing, and they wanted a sample.  I was going to give them the re-worked short story.  Instead, I gave them ‘Echoes from the past’

Originally, it was not set anywhere in particular.

But when considering a location, I had, at the time, recently been to New York in December, and visited Brooklyn and Queens, as well as a lot of New York itself.  We were there for New Year’s, and it was an experience I’ll never forget.

One evening, we were out late and finished up in Brooklyn Heights, near the waterfront, and there was rain and snow; it was cold and wet, and apartment buildings were shimmering in the street light, and I thought, “This is the place where my main character will live”.

It had a very spooky atmosphere, the sort where ghosts would not be unexpected.  I felt more than one shiver go up and down my spine in the few minutes I was there.

I had taken notes, as I always do, of everywhere we went, so I had a ready supply of locations I could use, changing the names in some cases.

Fifth Avenue near the Rockefeller Centre is amazing at first light, and late at night with the Seasonal decorations and lights.

The original main character was a shy man with few friends, hence not expecting the surprise party.  I enhanced that shyness into purposely lonely because of an issue from his past that leaves him always looking over his shoulder and ready to move on at the slightest hint of trouble.  No friends, no relationships, just a very low profile.

Then I thought, what if he breaks the cardinal rule and begins a relationship?

But it is also as much an exploration of a damaged soul as it is the search for a normal life, without having any idea what normal was, and how the understanding of one person can sometimes make all the difference in what we may think or feel.

And, of course, I wanted a happy ending.

Except for the bad guys.

…

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

The first case of PI Walthenson – “A Case of Working With the Jones Brothers”

This case has everything: red herrings, jealous brothers, femme fatales, and at the heart of it all, greed.

See below for an excerpt from the book…

Coming soon!

PIWalthJones1

An excerpt from the book:

…

When Harry took the time to consider his position, a rather uncomfortable position at that, he concluded that he was somehow involved in another case that meant very little to him.

Not that it wasn’t important in some way he was yet to determine, it was just that his curiosity had got the better of him, and it had led to this: sitting in a chair, securely bound, waiting for someone, one of his captors had called Doug.

It was not the name that worried him so much; it was the evil laugh that had come after the name was spoken.

Doug what? Doug the ‘destroyer’, Doug the ‘dangerous’, Doug the ‘deadly’; there were several sinister connotations, and perhaps that was the point of the laugh, to make it more frightening than it was.

But there was no doubt about one thing in his mind right then: he’d made a mistake. A very big. and a costly mistake. Just how big the cost, no doubt, he would soon find out.

His mother and his grandmother, the wisest person he had ever known, had once told him never to eavesdrop.

At the time, he couldn’t help himself, and instead of minding his own business, listening to a one-sided conversation that ended with a time and a place. The very nature of the person receiving the call was, at the very least, sinister, and, because of the cryptic conversation, there appeared to be, or at least to Harry, criminal activity involved.

For several days, he had wrestled with the thought of whether he should go. Stay on the fringe, keep out of sight, observe and report to the police if it was a crime. Instead, he had willingly gone down the rabbit hole.

Now, sitting in an uncomfortable chair, several heat lamps hanging over his head, he was perspiring, and if perspiration could be used as a measure of fear, then Harry’s fear was at the highest level.

Another runnel of sweat rolled into his left eye, and, having his hands tied, it literally made it impossible to clear it. The burning sensation momentarily took his mind off his predicament. He cursed and then shook his head, trying to prevent a recurrence. It was to no avail.

Let the stinging sensation be a reminder of what was right and what was wrong.

It was obvious that it was the right place and the right time, but in considering his current perilous situation, it definitely was the wrong place to be, at the worst possible time.

It was meant to be his escape, an escape from the generations of lawyers, what were to Harry, dry, dusty men who had been in business since George Washington said to the first Walthenson to step foot on American soil, ‘Why don’t you become a lawyer?” when asked what he could do for the great man.

Or so it was handed down as lore, though Harry didn’t think Washington meant it literally, the Walthenson’s, then as now, were not shy of taking advice.

Except, of course, when it came to Harry.

He was, Harry’s father was prone to saying, the exception to every rule. Harry guessed his father was referring to the fact that his son wanted to be a Private Detective rather than a dry, dusty lawyer. Just the clothes were enough to turn Harry off the profession.

So, with a little of the money Harry inherited from one of his aunts, he leased an office in Gramercy Park and had it renovated to look like the Sam Spade detective agency, you know the one, Spade and Archer, and The Maltese Falcon.

There’s a movie and a book by Dashiell Hammett if you’re interested.

So, there it was, painted on the opaque glass inset of the front door, ‘Harold Walthenson, Private Detective’.

There was enough money to hire an assistant, and it took a week before the right person came along, or, more to the point, didn’t just see his business plan as something sinister. Ellen, a tall, cool woman in a long black dress, or so the words of a song in his head told him, fitted in perfectly.

She’d seen the movie, but she said with a grin, Harry was no Humphrey Bogart.

Of course not, he said, he didn’t smoke.

Three months on the job, and it had been a few calls, no ‘real’ cases, nothing but missing animals, and other miscellaneous items. What he really wanted was a missing person. Or perhaps a beguiling, sophisticated woman who was as deadly as she was charming, looking for an errant husband, perhaps one that she had already ‘dispatched’.

Or for a tall, dark and handsome foreigner who spoke in riddles and in heavily accented English, a spy, or perhaps an assassin, in town to take out the mayor. The man was such an imbecile that Harry had considered doing it himself.

Now, in a back room of a disused warehouse, that wishful thinking might be just about to come to a very abrupt end, with none of the romanticised trappings of the business befalling him. No beguiling women, no sinister criminals, no stupid policemen.

Just a nasty little man whose only concern was how quickly or how slowly Harry’s end was going to be.

…

© Charles Heath 2019-2024

365 Days of Writing, 2026 – 246

Day 246 – Are modern novels boring?

…

Are Modern Novels Boring? (And How Do We Avoid the Literary Abyss)

Scroll through Goodreads, wander the aisles of a major bookstore, or tune into BookTok, and you’ll find a paradoxical landscape. We are currently living through a golden age of publishing volume. Yet, a nagging, heresy-sounding question is echoing among avid readers, critics, and writers alike:

Are modern novels… kind of boring?

It’s a controversial take. After all, thousands of brilliantly crafted, highly praised books hit the shelves every year. So why does a pervasive sense of literary fatigue seem to have gripped the reading public? Why do so many contemporary books feel like they were written by an algorithm, polished by a focus group, and designed to be consumed like fast food rather than savored like a fine wine?

Let’s dive into the state of contemporary fiction, explore why modern novels sometimes feel like an uninspired trudge, and discover how readers can navigate past the noise to avoid the terrifying “literary abyss.”


Part 1: Why Do Modern Novels Feel Boring?

To be clear, “boring” doesn’t necessarily mean slow. In fact, many modern novels move at a breakneck pace. Rather, the boredom stems from a sense of sameness, predictability, and a retreat from genuine artistic risk.

Here are the primary culprits turning contemporary fiction into a snooze-fest:

1. The Domestication of the Plot (The “Cozy” Trap)

In an effort to remain hyper-relatable and emotionally safe, a massive slice of modern literary fiction has retreated into the mundane. We are flooded with novels about contemporary people sitting in apartments, navigating micro-aggressions, having esoteric conversations about modern dating, and agonizing over career pivots.

While everyday life can be profound, too many modern novels mistake triviality for depth. When every book is a quiet, low-stakes character study about upper-middle-class ennui, the genre begins to smell of stale coffee and self-absorption.

2. The Algorithmic Homogenization of Style

Publishing is a business, and businesses hate losing money. In the age of algorithmic marketing, publishing houses increasingly lean toward formulas that have worked before.

This has birthed a distinct “contemporary literary voice”: clean, hyper-accessible, emotionally explicit, and largely devoid of stylistic idiosyncrasies. Authors are often encouraged to write in a cinematic, easily translatable style that makes adaptation for Netflix or HBO effortless. Gone are the eccentric prose styles of the past; in their place is a bland, standardized English designed not to offend anyone’s palate.

3. “Show, Don’t Tell” Has Become “Explain Everything”

Good writing historically trusted the reader to read between the lines. Modern fiction, however, is terrified of ambiguity.

Influenced perhaps by the digital age’s demand for instant clarity, contemporary novels often hold the reader’s hand a little too tightly. Themes are spelled out explicitly in the dialogue. Characters give TED Talks to explain their internal psychology. When a book does all the emotional heavy lifting for you, the act of reading ceases to be a dynamic collaboration and becomes a passive lecture.

4. The Moralization of Art

Literature has always explored morality, but a growing trend in modern fiction is the demand that characters (and by extension, authors) pass strict contemporary ideological purity tests.

When novels become moral instruction manuals rather than explorations of human complexity, they lose their spark. Great literature thrives in the gray areas, the hypocrisies, and the moral ugliness of humanity. When every character has to be a pristine avatar of virtue—or an unambiguously cartoonish villain—the narrative tension evaporates.


Part 2: How to Spot a “Boring” Book Before You Buy

If you want to protect your reading time from the abyss of blandness, you need a radar system. Be wary of books that feature these red flags:

  • The Over-caffeinated Blurb: If the back cover features quotes comparing the author to Joan Didion, Sally Rooney, and Ottessa Moshfegh all at once, you are likely looking at a manufactured trend, not an authentic voice.
  • The High-Concept Gimmick: A book whose entire value proposition is a quirky premise (“What if an AI ran a coffee shop in a post-apocalyptic IKEA?”) but lacks stylistic prose or psychological depth.
  • The Trauma-Drop: Books that rely on an early, shocking revelation of trauma to generate forced emotional stakes, while the rest of the prose coasts on cruise control.

Part 3: How Do We Avoid the Literary Abyss?

If you are suffering from reading fatigue, do not give up on reading altogether. You simply need to change your navigation strategy. Here is how you can step back from the brink of the literary abyss and fall in love with reading again.

1. Read Widely Across Time

There is an entire cemetery of brilliant literature out there waiting to be exhumed. If modern fiction feels flat, step back. Read the 19th-century Russians for sheer psychological depth; read the mid-century modernists for stylistic fireworks; read genre fiction from the 1970s and 80s that prioritized pure, unadulterated storytelling.

A healthy reading diet resembles a balanced ecosystem: mix the old with the new.

2. Seek Out Small Presses and Indie Publishers

While the Big Five publishers are increasingly risk-averse, independent presses (like Graywolf, Coffee House Press, New Directions, and Europa Editions) are taking massive artistic gambles.

Indie publishers are the lifeblood of contemporary literary innovation. They are printing translations of international authors, genre-bending experiments, and unapologetic prose that traditional houses won’t touch because they aren’t “marketable enough.”

3. Embrace Translation

American and British fiction often suffer from a specific cultural insularity. By looking outward and reading translated literature, you instantly escape the stylistic homogeneity of the Anglosphere.

Writers from South Korea, Argentina, Norway, Japan, and France bring entirely different philosophical frameworks, cultural rhythms, and narrative structures to the page. Reading translated works is the literary equivalent of taking off virtual reality goggles and seeing the real world for the first time.

4. Support Books That Take Risks

When you find an author who refuses to play it safe—someone who uses weird punctuation, writes unlikeable characters, tackles bizarre subjects, or structures a plot like a labyrinth—support them. Buy their books, recommend them to friends, and let publishers know that readers still reward audacity.


Conclusion: The Horizon is Still Bright

Are modern novels boring? Many of them are, yes. But boredom is simply a symptom of a bloated marketplace prioritizing commercial safety over artistic peril.

The literary abyss is real, but it is entirely avoidable. By raising our standards, looking beyond the bestseller lists, and championing books with teeth, grit, and originality, we can push past the noise.

Great, vital, mind-altering books are still being written—we just have to be a little braver in how we look for them.

…

‘Sunday in New York’ – A beta reader’s view

I’m not a fan of romance novels but …

There was something about this one that resonated with me.

This is a novel about a world generally ruled by perception, and how people perceive what they see, what they are told, and what they want to believe.

I’ve been guilty of it myself, as I’m sure we all have at one time or another.

For the main characters, Harry and Alison, other issues are driving their relationship.

For Alison, it is a loss of self-worth through losing her job and from losing her mother and, in a sense, her sister.

For Harry, it is the fact that he has a beautiful and desirable wife, his belief that she is the object of other men’s desires, and, in particular, his immediate superior’s.

Between observation, the less-than-honest motives of his friends, a lot of jumping to conclusions based on very little fact, and you have the basis of one very interesting story.

When it all comes to a head, Alison finds herself in a desperate situation, and she realises only the truth will save their marriage.

But is it all the truth?

What would we do in similar circumstances?

Rarely does a book have me so enthralled that I could not put it down until I knew the result. They might be considered two people who should have known better, but as is often the case, they had to get past what they both thought was the truth.

And the moral of this story, if it could be said there is one, is that nothing is ever what it seems.

…

Available on Amazon here: amzn.to/2H7ALs8

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