Category: Fiction

What I learned about writing – Balancing Ink & Life

Writing is a solitary art that demands deep concentration, yet writers are also humans with families, jobs, errands, and the ever‑present buzz of notifications. If you’ve ever stared at a blank screen while the dishwasher hums, the dog barks, or the inbox pings, you’re not alone. Below is a practical, battle‑tested roadmap for managing the work‑life tug‑of‑war and carving out a distraction‑free zone where words can flow.

1. Map Out Your Priorities – Then Align Your Schedule

a. Define What You’re Writing For

GoalFrequencyTime NeededDeadline
Draft novel chapter3×/week2 hrsEnd of month
Blog post for client1×/week1 hrWednesday
Personal journalingDaily15 min—

Why it works: When the purpose and deadline are crystal clear, you can allocate slots that protect both writing and non‑writing responsibilities.

b. The “Two‑Bucket” Calendar

  • Bucket 1 – Core Writing Blocks: Reserve 2–4 dedicated hours on your most alert days (morning for most, late night for night‑owls).
  • Bucket 2 – Life Obligations: Place meetings, family duties, errands, and “buffer” time here.

Treat the writing bucket like a non‑negotiable meeting with yourself. If a personal event threatens to intrude, move it to Bucket 2 or reschedule—never cancel the writing block.

2. Design a Physical “Write‑Only” Sanctuary

ElementPractical Tips
LocationChoose a spot that’s separate from TV, kitchen, or bedroom. Even a small corner with a desk and a single chair works.
LightingNatural light boosts mood; if that’s impossible, use a daylight‑mimicking lamp (4,000–5,000 K).
ErgonomicsInvest in a supportive chair and keep the monitor at eye level to prevent fatigue.
SignalPut a simple sign (“Writing in progress”) on the door or a colored flag on the desk; it tells others you’re in focus mode.
MinimalismKeep only the essentials: laptop, notebook, pen, a cup of tea. Clutter equals mental clutter.

Pro tip: If you can’t leave home, recreate this “sanctuary” with a portable setup—fold‑out lap desk, noise-cancelling headphones, and a “Do Not Disturb” status on your phone.

3. Shut Out the Digital Noise

  1. Turn Off All Non‑Essential Notifications
    • Use the Do Not Disturb mode on all devices.
    • On Windows/macOS, set Focus Assist or Focus Mode to silence alerts.
    • On iOS/Android, create a custom “Writing” profile that only allows calls from emergency contacts.
  2. Leverage Website Blockers
    • Freedom, Cold Turkey, or the free LeechBlock extension can lock you out of social media, news sites, and even email for the duration of a writing block.
  3. The “30‑Minute Rule” for Email
    • Open email only at the start and end of your day. If something urgent pops up, note it on a “Later” list and return to it after the writing block.
  4. Physical Device Separation
    • Keep your phone in another room or inside a drawer. If you need it for reference, set a timer (e.g., 5 min) and then return it to its “out of sight” spot.

4. Master the Mental Muscle of Focus

a. The Pomodoro‑Plus Method

  1. 25 min writing (single‑task, screen‑only).
  2. 5 min micro‑break (stretch, hydrate, glance away).
  3. After four cycles, take a 15‑20 min longer break (walk, snack).

Why the “plus”? After each Pomodoro, jot a one‑sentence note of where you left off. This “mental bookmark” prevents the brain from trying to remember the plot thread during the break, keeping the next session smoother.

b. The “Pre‑Write Ritual”

  • 5‑minute breathing (inhale 4‑sec, hold 4‑sec, exhale 4‑sec).
  • Sensory cue (light a candle, play a specific instrumental track).
  • Goal statement: “In this session, I will finish the opening dialogue for scene 3.”

Rituals cue your brain that it’s time to shift into creative mode.

c. The “One‑Idea‑Only” Technique

When a stray thought appears (e.g., “Did I lock the front door?”), write it down on a “Distraction Pad” and promise yourself you’ll address it after the current block. The act of externalising the thought releases the mental load.

5. Protect Your Life Outside the Desk

AreaSimple Guardrails
FamilySet a daily “family check‑in” (15 min) to answer questions, then return to writing.
Household choresBatch tasks (laundry, dishes) for evenings or weekends; schedule them like appointments.
Exercise & HealthBlock a 30‑minute workout slot before or after your writing block—movement fuels focus.
Social MediaAllocate specific windows (e.g., 8–9 pm) for scrolling; keep the rest of the day offline.
SleepTreat bedtime as a non‑negotiable meeting; aim for 7–8 hours for optimal cognitive performance.

When your non‑writing life runs on a predictable rhythm, fewer emergencies bleed into your writing time.

6. Real‑World Example: A Day in the Life of a Freelance Novelist

TimeActivity
6:30 amWake, 5‑min breath, coffee, quick 10‑min journal (personal thoughts only).
7:00 amFocus Block #1 – 2 hrs: Draft Chapter 12 (Pomodoro‑Plus).
9:00 am15‑min walk, stretch, check messages (only urgent).
9:30 amFamily Check‑In – 15 min breakfast with partner, kids.
10:00 amAdmin: emails, invoices (30 min).
10:45 amFocus Block #2 – 1.5 hrs: Revise previous scenes.
12:30 pmLunch + offline.
1:30 pmHousehold chores (30 min).
2:00 pmCreative Play – free‑write, brainstorming (45 min).
2:45 pmShort break, snack.
3:00 pmFocus Block #3 – 1 hr: Outline next chapter.
4:00 pmExercise (30 min).
4:45 pmWrap‑up: review notes, set tomorrow’s goal.
5:15 pmFamily time, dinner.
9:30 pmLight reading, unwind.
10:30 pmLights out.

Key takeaways:

  • Writing blocks are front‑loaded when mental energy peaks.
  • Each block is surrounded by a deliberate transition (walk, check‑in) to keep the brain from “bleeding” into other tasks.
  • The day ends with a clear boundary—no screen time after 9 pm to protect sleep.

7. Troubleshooting Common Roadblocks

SymptomQuick Fix
“I’m tired, can’t focus.”Do a 3‑minute power pose (stand tall, shoulders back). It boosts dopamine and can reset alertness.
“The house is noisy.”Invest in a white‑noise app or a pair of noise‑canceling headphones. Create a “quiet signal” (e.g., a door sign) for housemates.
“I keep thinking about tomorrow’s errands.”Write a “Tomorrow List” at the end of today’s block. Offloading the mental checklist reduces anxiety.
“I’m stuck on a paragraph.”Switch to free‑write mode: write anything for 5 minutes about the scene, even nonsense, then return to the stuck spot with fresh eyes.
“My motivation drops after a week.”Revisit your why: Keep a visible reminder (sticky note, vision board) of the bigger purpose—publishing, income, personal growth.

8. The Bottom Line: Discipline + Compassion = Sustainable Writing

  1. Discipline: Treat your writing time as a professional appointment—schedule, guard, and honour it.
  2. Compassion: Accept that life will occasionally intrude. When it does, pause, breathe, and gently return.

When the two coexist, you build a resilient workflow that lets you produce quality prose and enjoy a balanced life.

Ready to Give It a Go?

Start tonight:

  1. Pick a 90‑minute slot tomorrow morning.
  2. Clear your desk, turn on Do Not Disturb, and place a “Writing in Progress” sign.
  3. Write a one‑sentence goal for that session.

Share your experience in the comments—what worked, what needs tweaking. Let’s turn the solitary struggle into a community of focused creators!

Happy writing. ✍️

365 Days of Writing, 2026 – 211

Day 211 –  Write because you must write

…

Why Write? The Untamed Truth About the Creative Urge

“If you want fame, be a prize fighter or a movie star. If you write, write because you must write.” – Sinclair Lewis

It’s a stark, uncompromising sentiment. In an era dominated by influencer culture, personal branding, and the relentless pursuit of going viral, this advice feels almost revolutionary—perhaps even a little discouraging at first glance.

We live in a world that practically worships visibility. Social media algorithms reward the loud, the flashy, and the prolific. Yet, true artists across the generations have continually reminded us that the engine of genuine literature cannot be fueled by the superficial desire for applause.

If you are picking up a pen or opening a blank document simply because you want people to know your name, you are playing the wrong game. Here is a deep dive into why true writing is an act of compulsion, not ambition, and why writing “because you must” is the only way to survive the page.

The Mirage of Literary Fame

Let’s address the elephant in the room: fame.

In the popular imagination, the writer’s life is often romanticised. We picture glittering book launches, glowing profiles in The New Yorker, packed readings, and the quiet satisfaction of shaping the cultural zeitgeist.

The reality is vastly different. Writing is, by its very nature, a solitary, gruelling, and largely unglamorous pursuit. It involves staring at a blinking cursor for hours, wrestling with self-doubt, rewriting the same paragraph seven times, and sending your deepest thoughts out into a vast, indifferent void.

If your primary motivation is fame, writing will inevitably break your heart. The publishing industry is notoriously fickle. Bestseller lists are crowded, trends shift overnight, and the correlation between literary merit and public recognition is notoriously weak.

Worse yet, chasing fame fundamentally alters what you write. When you write for an audience’s approval, you begin to self-censor. You write what is marketable, what is trendy, or what is palatable. You trade your authentic voice for algorithmic compliance. And in doing so, you lose the very thing that makes your writing worth reading in the first place.

What Does It Mean to “Write Because You Must”?

When the legendary author (or wise observer, as echoed in sentiments by writers from Bukowski to Orwell) suggests writing because you must, they are pointing to a psychological and emotional necessity.

Writing out of compulsion looks different. It is:

  • An itch that refuses to be scratched: It’s the story that wakes you up at 3:00 AM demanding to be told. It’s the observation about human nature that you can’t shake until you trap it in a sentence.
  • A method of survival: For many writers, putting words on a page isn’t a hobby; it is a way of processing grief, confusion, joy, and the chaotic experience of being alive. As Joan Didion famously wrote, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means.”
  • An involuntary reflex: You write not because you want to be a writer, but because not writing leaves you feeling hollow, anxious, and disconnected from yourself.

When you operate from this space of necessity, the external markers of success—book sales, follower counts, critical acclaim—become secondary. They are nice if they happen, but they are not the point. The point is the work itself.

The Freedom of the Compulsive Writer

Paradoxically, letting go of the desire for fame is the most liberating thing a writer can do.

When you write strictly because you must, you give yourself permission to fail. You give yourself permission to write a terrible first draft, to explore weird themes, and to tell stories that appeal to an audience of one: yourself.

  • You reclaim your voice: Without the pressure to please the masses, your prose becomes sharper, stranger, and more honest.
  • You build resilience: Rejection hurts, but it doesn’t destroy you. If a publisher passes on your manuscript, it stings—but you will keep writing anyway, because stopping was never really an option.
  • You find your true tribe: Ironically, readers can smell authenticity a mile away. The work that resonates the most deeply across generations is almost always the work that was written with utter disregard for market trends, born purely from an author’s urgent need to express a truth.

How to Know Why You Are Writing

Take a moment to check your creative pulse. Ask yourself honestly:

  • If no one ever read what I am writing right now, would I still write it?
  • Am I dreaming more about holding my published book, or more about solving the puzzle of the chapter I’m working on?
  • Does writing feel like a chore I endure for status, or a fire I have to tend to stay warm?

If your answers lean toward the former in each scenario, it’s time to recalibrate. Lower the stakes. Stop writing for the applause sign.

Final Thoughts: Answer the Call

If you want to be a celebrity, go audition for a reality show, start a viral TikTok channel, or train for the ring. There are much faster, more efficient ways to achieve fame than writing a novel.

But if there is a quiet, persistent voice inside you that demands expression—if stories form behind your eyes when you walk down the street, and if words are the only way you know how to make sense of this wild world—then pick up the pen.

Don’t write for the claps. Don’t write for the bestseller lists. Write because you must. Everything else is just noise.

…

“Sunday in New York”, a romantic adventure that’s not a walk in the park!

“Sunday in New York” is ultimately a story about trust, and what happens when a marriage is stretched to its limits.

When Harry Steele attends a lunch with his manager, Barclay, to discuss a promotion that any junior executive would accept in a heartbeat, it is the fact that his wife, Alison, who previously professed her reservations about Barclay, also agreed to attend that casts a small element of doubt in his mind.

From that moment, his life, in the company, in deciding what to do, his marriage, his very life, spirals out of control.

There is no one big factor that can prove Harry’s worst fears, that his marriage is over, just several small, interconnecting events, when piled on top of each other, point to a cataclysmic end to everything he had believed in.

Trust is lost firstly in his best friend and mentor, Andy, who only hints at impending disaster, Sasha, a woman whom he saved, and who appears to have motives of her own, and then in his wife, Alison, as he discovers piece by piece, damning evidence that she is about to leave him for another man.

Can we trust what we see with our eyes or trust what we hear?

Haven’t we all jumped to conclusions at least once in our lives?

Can Alison, a woman whose self-belief and confidence are about to be put to the ultimate test, find a way of proving their relationship is as strong as it has ever been?

As they say in the classics, read on!

…

Purchase:

http://tinyurl.com/Amazon-SundayInNewYork

“Echoes From The Past”, the past doesn’t necessarily stay there


What happens when your past finally catches up with you?

…

Christmas is just around the corner, a time to be with family. For Will Mason, an orphan since he was fourteen, it is a time for reflection on what his life could have been, and what it could be.

Until a chance encounter brings back to life the reasons for his twenty years of self-imposed exile from a life only normal people could have. From that moment, Will’s life slowly starts to unravel, and it’s obvious to him that it’s time to move on.

This time, however, there is more at stake.

Will has broken his number one rule: don’t get involved.

With his nemesis, Eddie Jamieson, suddenly within reach, and a blossoming relationship with an office colleague, Maria, about to change everything, Will has to make a choice. Quietly leave, or finally, make a stand.

But as Will soon discovers, when other people are involved, there are going to be terrible consequences no matter what choice he makes.

…

https://amzn.to/2CYKxu4

newechocover5rs

365 Days of Writing, 2026 – 211

Day 211 –  Write because you must write

…

Why Write? The Untamed Truth About the Creative Urge

“If you want fame, be a prize fighter or a movie star. If you write, write because you must write.” – Sinclair Lewis

It’s a stark, uncompromising sentiment. In an era dominated by influencer culture, personal branding, and the relentless pursuit of going viral, this advice feels almost revolutionary—perhaps even a little discouraging at first glance.

We live in a world that practically worships visibility. Social media algorithms reward the loud, the flashy, and the prolific. Yet, true artists across the generations have continually reminded us that the engine of genuine literature cannot be fueled by the superficial desire for applause.

If you are picking up a pen or opening a blank document simply because you want people to know your name, you are playing the wrong game. Here is a deep dive into why true writing is an act of compulsion, not ambition, and why writing “because you must” is the only way to survive the page.

The Mirage of Literary Fame

Let’s address the elephant in the room: fame.

In the popular imagination, the writer’s life is often romanticised. We picture glittering book launches, glowing profiles in The New Yorker, packed readings, and the quiet satisfaction of shaping the cultural zeitgeist.

The reality is vastly different. Writing is, by its very nature, a solitary, gruelling, and largely unglamorous pursuit. It involves staring at a blinking cursor for hours, wrestling with self-doubt, rewriting the same paragraph seven times, and sending your deepest thoughts out into a vast, indifferent void.

If your primary motivation is fame, writing will inevitably break your heart. The publishing industry is notoriously fickle. Bestseller lists are crowded, trends shift overnight, and the correlation between literary merit and public recognition is notoriously weak.

Worse yet, chasing fame fundamentally alters what you write. When you write for an audience’s approval, you begin to self-censor. You write what is marketable, what is trendy, or what is palatable. You trade your authentic voice for algorithmic compliance. And in doing so, you lose the very thing that makes your writing worth reading in the first place.

What Does It Mean to “Write Because You Must”?

When the legendary author (or wise observer, as echoed in sentiments by writers from Bukowski to Orwell) suggests writing because you must, they are pointing to a psychological and emotional necessity.

Writing out of compulsion looks different. It is:

  • An itch that refuses to be scratched: It’s the story that wakes you up at 3:00 AM demanding to be told. It’s the observation about human nature that you can’t shake until you trap it in a sentence.
  • A method of survival: For many writers, putting words on a page isn’t a hobby; it is a way of processing grief, confusion, joy, and the chaotic experience of being alive. As Joan Didion famously wrote, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means.”
  • An involuntary reflex: You write not because you want to be a writer, but because not writing leaves you feeling hollow, anxious, and disconnected from yourself.

When you operate from this space of necessity, the external markers of success—book sales, follower counts, critical acclaim—become secondary. They are nice if they happen, but they are not the point. The point is the work itself.

The Freedom of the Compulsive Writer

Paradoxically, letting go of the desire for fame is the most liberating thing a writer can do.

When you write strictly because you must, you give yourself permission to fail. You give yourself permission to write a terrible first draft, to explore weird themes, and to tell stories that appeal to an audience of one: yourself.

  • You reclaim your voice: Without the pressure to please the masses, your prose becomes sharper, stranger, and more honest.
  • You build resilience: Rejection hurts, but it doesn’t destroy you. If a publisher passes on your manuscript, it stings—but you will keep writing anyway, because stopping was never really an option.
  • You find your true tribe: Ironically, readers can smell authenticity a mile away. The work that resonates the most deeply across generations is almost always the work that was written with utter disregard for market trends, born purely from an author’s urgent need to express a truth.

How to Know Why You Are Writing

Take a moment to check your creative pulse. Ask yourself honestly:

  • If no one ever read what I am writing right now, would I still write it?
  • Am I dreaming more about holding my published book, or more about solving the puzzle of the chapter I’m working on?
  • Does writing feel like a chore I endure for status, or a fire I have to tend to stay warm?

If your answers lean toward the former in each scenario, it’s time to recalibrate. Lower the stakes. Stop writing for the applause sign.

Final Thoughts: Answer the Call

If you want to be a celebrity, go audition for a reality show, start a viral TikTok channel, or train for the ring. There are much faster, more efficient ways to achieve fame than writing a novel.

But if there is a quiet, persistent voice inside you that demands expression—if stories form behind your eyes when you walk down the street, and if words are the only way you know how to make sense of this wild world—then pick up the pen.

Don’t write for the claps. Don’t write for the bestseller lists. Write because you must. Everything else is just noise.

…

‘What Sets Us Apart’ – A beta reader’s view

There’s something to be said for a story that starts like a James Bond movie, throwing you straight in the deep end, a perfect way of getting to know the main character, David, or is that Alistair?

A retired spy, well, not so much a spy as a retired errand boy, David’s rather wry description of his talents, and a woman that most men would give their left arm for, not exactly the ideal couple, but there is a spark in a meeting that may or may not have been a setup.

But as the story progressed, the question I kept asking myself was why he’d bother.

And, page after unrelenting page, you find out.

Susan is exactly the sort of woman to pique his interest.  Then, inexplicably, she disappears.  That might have been the end of it, but Prendergast, that shadowy enigma, David’s ex-boss who loves playing games with real people, gives him an ultimatum: find her or come back to work.

Nothing like an offer that’s a double-edged sword!

A dragon for a mother, a sister he didn’t know about, Susan’s BFF who is not what she seems or a friend indeed, and Susan’s father, who, up till David meets her, couldn’t be less interested, his nemesis proves to be the impossible dream, and he’s always just that one step behind.

When the rollercoaster finally came to a halt, and I could start breathing again, it was an ending that was completely unexpected.

I’ve been told there’s a sequel in the works.

Bring it on!

…

The book can be purchased here:  http://amzn.to/2Eryfth

…

The cinema of my dreams – I always wanted to write a war story – Episode 55

For a story that was conceived during those long boring hours flying in a steel cocoon, striving to keep away the thoughts that the plane and everyone in it could just simply disappear as planes have in the past, it has come a long way.

Whilst I have always had a fascination with what happened during the Second world war, not the battles or fighting, but in the more obscure events that took place, I decided to pen my own little sidebar to what was a long and bitter war.

And, so, it continues…

…

We were not leaving the castle the way we had found it, but we would blame the Germans.  Carlo understood because he was the one who had selectively destroyed parts of it, but I knew after we’d gone, he would blame us.

When Carlo discovered the empty cells below in the dungeons, he and the boy went back outside and looked for them.  I didn’t have the heart to tell him that Wallace would have ordered them removed and executed because Meyer had been the objective and everything else was a distraction.

Two of Blinky’s soldiers were assigned to bring back Chiara.

Blinky and the rest of his men moved into better quarters and had their first real meal in a week.  We posted sentries, but I didn’t think any Germans would be coming to see what happened.  The sentries were more to tell us when Meyer and his escort arrived.

Blinky would then be the official escort for Meyer back to England.  A plane was on standby waiting for our signal.

Several hours after Carlo left, he returned with Martina and Johanneson, the latter looking very worse for wear.

The last of the traitors.

Carlo shoved him into a chair and bound him very tightly.

“We found the prisoners, all shot.  Fernando’s remnants killed them.  I will make it my business to find every last one of them.  What do you want to do with this traitor?”  He nodded in Johannesen’s direction.

Martina had slumped into a chair.  She still wore the very recent scars of a severe beating and was out on her feet.  Despite that, I got the impression she was glad to be alive.

“Was he responsible for anything that happened while you were in the cells?” I asked her.

“He saved me if that could be called an act of kindness.  He did nothing to save the others.”

“If you had a choice?”

“I’d shoot him.”

“Now hang on.  Since when did good Samaritans get punished?”  Johannesen was outraged.

I shrugged.  “You will be judged on past sins.”

Martina looked up.  “He was the leader of the group that destroyed the church.  It was our original headquarters, down in the basement.  We managed to get away, with a few injuries, but it took out our equipment and radio.”

“There,” he said.  “My intention was destroying infrastructure not lives.”

“Coincidental.”

I got up and walked over to Martina and gave her my gun.  “I’ve done enough killing for today.  Perhaps a small token of retribution for those lost.”

“Chiara?”

“She will be here shortly.  We found her just in time.”

“Thank God for that.”

I don’t think she had it in her to enjoy the moment she executed Johannesen, I don’t think it was worth celebrating a death, more lamenting the loss of yet another person in a war that seemed to be dragging on.

At least he accepted his fate and didn’t plead for his life.

It was mission accomplished.

Blinky’s radioman finally reconnected with Thompson and told him that we were awaiting the arrival of Meyer and that he could tell those up the pipeline it was safe to bring him to the village.  He would then signal when the plane was in the air.  Thompson was pleased enough to give me a ticket back to London.  All we had to do was collect Meyer.

That was Carlo and my job, and for the last time, I went back down into the village and waited.

I was not sure who was more relieved, Meyer or myself.  I’d met him once before the war, at a University in Hamburg where he was working on a top-secret project, and I was studying the archaeology of some old castles nearby.

I’d been tasked to find out what he was doing, my rather bright future in archaeology was never going to take off in those dark months that followed Chamberlain’s peace treaty.  Everyone but him seemed to know that war was inevitable.

He’d spent time telling me about the stars and planets, and how wonderful it would be to visit them one day in the not-too-distant future.  From that, we inferred that the Germans were working on space travel, though you never really could tell what they were up to.

It simply meant if things went bad, we needed to touch base every now and then with Meyer, which I did, in a friendly manner and never directly asking what he was up to.  That contact had paid off, and he had made contact asking me if it was possible to come live in England.

Thompson had been very pleased.

“Herr Atherton,” he said, rather relieved to see me.

“Herr Meyer.”

We shook hands, and then he hugged me like an old friend would.  “You came.”

“You asked.  I do my best?”

“We leave now?’

“We very definitely leave now.”

I left Carlo with the escorts to explain the new arrangements, far away from the castle, and I took Meyer back to the castle.  Along the way we talked, not of rockets and death, but of old times in Berlin, and how Germany used to be before this crazy person called Hitler had sent them down the path to self-destruction.

Perhaps, he said, one day he might be able to return.

I hoped I would not, not until the war ended, but that being a forlorn hope, not until I had a very long, well-earned rest.

But this was Thompson we were talking about, and his favourite saying was ‘There’s no rest for the wicked’.

…

© Charles Heath 2021-2023

The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 56

Here’s the thing…

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

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

But these dreams are nothing to laugh about.

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

…

Our local area had six churches.  We really only needed two, the catholic church, a big, imposing stone structure that was almost a mini cathedral, showing the wealth and influence of the church, commanding the best location.

The other, a protestant church, a very old, simple wooden structure that had been on its less salubrious site, once belonging to the missionaries who inhabited the land with the first settlers, before the Pope saw an opportunity, and moved in.

Nadia and her family were catholic.  So were the Benderby’s.

My family was protestant, well, not really churchgoers at all, which was a contradictory standpoint because nearly everyone else in the area were devout worshippers.  I remembered my father’s comments, when he was alive, watching all the sheep going to be fleeced every Sunday at the big church on the hill.

To me, the devoutness of the Benderby’s and Cossatino’s seemed at odds with their profession, as most of their activities were sins against God, and proving my father’s point.  I never saw the point of it, but nevertheless, my mother dragged me to church, in my younger days, every other Sunday just in case my soul needed saving.

Now, standing in the graveyard beside the imposing but badly in need of repairs catholic citadel, I felt a shiver go through me.  Mid-morning, there was a cool breeze at odds with the warmth of the sun beating down from a cloudless sky.

“You feel that?” I asked Nadia.

She was in a very summery dress and sun hat, looking at a group of gravestones belonging to the Archer family, going back over a hundred years.

“Ghosts, perhaps?  I hadn’t realized Mrs. Archer had died.”

“You’ve been away.  A lot has happened in the last year or so.”

“I liked her.  She used to look after Vince and me when we were kids.  He used to terrorize her.”

Somehow that didn’t surprise me.  It was rumored Vince was given a gun when he was five years old and his father taught him how to use it.  Once, he was caught bringing it to school.  Now, given the number of school shootings, it hardly registered back then other than a rebuke from the headmaster.

A half-hour later, after surveying a graveyard that had a lot of the areas most prominent people buried there, I came across an almost disintegrated stone that marked the final resting place of Friedrich Ormiston, the son of Heinrich who died in 1976, the same year as Friedrich which was an odd coincidence.

A little further investigation showed there was another Heinrich who died in 1899, and another Friedrich, who died in 1924. It showed there had been Ormiston’s around these parts for over 150 years.  A little further away there were two more gravestones, more recent, belonging to Wendy and Alan, both of whom died within a year of each other 5 years ago.

I took notes on each of the Ormiston’s, their birth dates and death dates, so I could possibly look them up in the parish records, and the local newspaper office, The Jefferson Leader, a publication that was still produced to this day, and it’s current editor, once an old friend from school who had expansive aspirations in the world of journalism and ended up back home tending to the paper his great, great grandfather started.

It seemed a lot of us from that generation couldn’t escape the clutches of our town or families.

“You’d think there’d be a mausoleum or something.”  Nadia had come up from behind and startled me.

“Perhaps the treasure quests took all the money.  Besides, after you’re dead, you don’t really care where you finish up.”

“You’ve seen the monument our family has.  I’m not looking forward to finishing up there.”

I’d seen it, on the other side of the graveyard, along with a dozen others, all in a row, like a row of houses in the more affluent part of the town.  The Cossatino’s were larger than life in death too.

“I hope the bed is comfortable, you’re going to be there a long time.”

She gave me one of her ‘if looks could kill’, the smiled, perhaps deciding it was my feeble attempt at humor.

“I take it we’re finished.  I think I’m beginning to believe there really are ghosts here.” 

I saw her shiver, and then I felt it, a cold rush of air, and what might have been a hand on my shoulder.

“I think it’s time to leave.”  I shut the notebook, put it in my pocket.

She did not need to be asked twice.  Curiously, as we made our way towards the gate, I thought I saw the priest looking at us from the front doorway of the church, but when I looked back there was no one there.

…

© Charles Heath 2020-2022

The 2am Rant: Have you ever been sidetracked

Started to write a post, get so far, and another theme or idea slips in, and demands to be written first?

I’m on this nostalgia kick, simply because when I turned on the TV to catch up with the latest news, it was on a channel that shows old movies.

In case you don’t realize it, I love old movies, not just those from Hollywood, but also from Britain.

What was on?

An American in Paris.

Well, it had to be one of my favourites, even though I’m not a great fan of Gene Kelly, the sheer majesty of the music more than makes up for the story in between.

Could it be said, then, this was from the golden years of Hollywood? Such bright and cheerful movies such as Singing in the Rain, and An American in Paris, perhaps exemplify the Hollywood musical.

Years before, Fred Astaire and Ginger Rogers were the quintessential musical stars, followed by the likes of Judy Garland and Deanna Durbin, and later Bing Crosby and Frank Sinatra. A couple of musicals, in particular, comes to mind, firstly the Wizard of Oz and then High Society.

Moving forward to more modern times, several stand out in the 1960s, My Fair Lady and Sound of Music. By this time theatregoers were dining on the superb talents of Rogers and Hammerstein, and Learner and Lowe. Of the former, musicals such as Carousel, South Pacific, and The King and I were on my list of favourites.

Even later still in the 1970s, there is Funny Girl, and Hello Dolly, which have a connection to the past with its director, none other than, yes, Gene Kelly.

But it seems once the 60s had passed the notion of the Hollywood blockbuster musical had gone, and we were left with clip shows like That’s Entertainment, put together while Gene Kelly and Fred Astaire were still alive. We still had the film versions of the stage plays, but the lustre had, somehow, gone.

Perhaps it will return, who knows, after all, everything old is usually new again, it just takes time to go full circle.

What I learned about writing – The Power of Language: Unleashing the Imagination

Anthony Burgess, the renowned English writer and critic, once said, “Language exists less to record the actual than to liberate the imagination.” These profound words highlight the dual nature of language, which not only serves as a tool for communication but also as a catalyst for creativity and imagination. In this blog post, we will delve into the concept of language as a liberator of the imagination, exploring its implications and significance in our daily lives.

The Limitations of Recording the Actual

Language is often seen as a means of recording and conveying information about the world around us. We use words to describe people, places, objects, and events, attempting to capture their essence and characteristics. However, as Burgess notes, language is not merely a passive recorder of reality. If it were, it would be limited to simply documenting facts and figures, without any room for interpretation, creativity, or innovation.

Liberating the Imagination

The true power of language lies in its ability to transcend the mundane and ordinary, to tap into our imagination and creativity. Through language, we can conjure up worlds, characters, and scenarios that are entirely fictional, yet eerily relatable. We can use words to evoke emotions, to paint vivid pictures, and to convey complex ideas and concepts. Language becomes a tool for self-expression, allowing us to channel our thoughts, feelings, and experiences into something tangible and meaningful.

The Role of Metaphor and Symbolism

One of the key ways in which language liberates the imagination is through the use of metaphor and symbolism. By comparing two seemingly unrelated things, we can create new meanings and associations, revealing hidden connections and patterns. Metaphors and symbols can transport us to new realms of understanding, enabling us to see the world from fresh perspectives. For example, when we describe a person as a “ray of sunshine,” we are not merely recording a fact, but rather using language to evoke a sense of warmth, happiness, and optimism.

The Importance of Imagination in Human Experience

Imagination is a fundamental aspect of the human experience, enabling us to dream, to innovate, and to create. It is through imagination that we can envision new possibilities, challenge existing norms, and push the boundaries of what is thought possible. Language, as a liberator of the imagination, plays a vital role in this process, providing us with the tools to express ourselves, to communicate our ideas, and to bring our visions to life.

Conclusion

Anthony Burgess’s statement reminds us that language is not just a utilitarian tool but a powerful catalyst for creativity and imagination. By recognising the dual nature of language, we can harness its potential to liberate our imagination, to express ourselves authentically, and to create new worlds, characters, and scenarios. As we continue to navigate the complexities of the human experience, we must prioritise the imagination, using language as a tool to inspire, innovate, and bring our most fantastical ideas to life. In doing so, we can unlock the full potential of language and unleash the imagination that lies within us all.