Category: Fiction

Another excerpt from “Strangers We’ve Become” – A sequel to ‘What Sets Us Apart’

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It was the first time in almost a week that I made the short walk to the cafe alone.  It was early, and the chill of the morning was still in the air.  In summer, it was the best time of the day.  When Susan came with me, it was usually much later, when the day was much warmer and less tolerable.

On the morning of the third day of her visit, Susan said she was missing the hustle and bustle of London, and by the end of the fourth she said, in not so many words, she was over being away from ‘civilisation’.  This was a side of her I had not seen before, and it surprised me.

She hadn’t complained, but it was making her irritable.  The Susan that morning was vastly different to the Susan on the first day.  So much, I thought, for her wanting to ‘reconnect’, the word she had used as the reason for coming to Greve unannounced.

It was also the first morning I had time to reflect on her visit and what my feelings were towards her.  It was the reason I’d come to Greve: to soak up the peace and quiet and think about what I was going to do with the rest of my life.

I sat in my usual corner.  Maria, one of two waitresses, came out, stopped, and there was no mistaking the relief in her manner.  There was an air of tension between Susan and Maria I didn’t understand, and it seemed to emanate from Susan rather than the other way around.  I could understand her attitude if it was towards Alisha, but not Maria.  All she did was serve coffee and cake.

When Maria recovered from the momentary surprise, she said, smiling, “You are by yourself?”  She gave a quick glance in the direction of my villa, just to be sure.

“I am this morning.  I’m afraid the heat, for one who is not used to it, can be quite debilitating.  I’m also afraid it has had a bad effect on her manners, for which I apologise.  I cannot explain why she has been so rude to you.”

“You do not have to apologise for her, David, but it is of no consequence to me.  I have had a lot worse.  I think she is simply jealous.”

It had crossed my mind, but there was no reason for her to be.  “Why?”

“She is a woman, I am a woman, she thinks because you and I are friends, there is something between us.”

It made sense, even if it was not true.  “Perhaps if I explained…”

Maria shook her head.  “If there is a hole in the boat, you should not keep bailing but try to plug the hole.  My grandfather had many expressions, David.  If I may give you one piece of advice, as much as it is none of my business, you need to make your feelings known, and if they are not as they once were, and I think they are not, you need to tell her.  Before she goes home.”

Interesting advice.  Not only a purveyor of excellent coffee, but Maria was also a psychiatrist who had astutely worked out my dilemma.  What was that expression, ‘not just a pretty face’?

“Is she leaving soon?” I asked, thinking Maria knew more about Susan’s movements than I did.

“You would disappoint me if you had not suspected as much.  Susan was having coffee and talking to someone in her office on a cell phone.  It was an intense conversation.  I should not eavesdrop, but she said being here was like being stuck in hell.  It is a pity she does not share your love for our little piece of paradise, is it not?”

“It is indeed.  And you’re right.  She said she didn’t have a phone, but I know she has one.  She just doesn’t value the idea of getting away from the office.  Perhaps her role doesn’t afford her that luxury.”

And perhaps Alisha was right about Maria, that I should be more careful.  She had liked Maria the moment she saw her.  We had sat at this very table, the first day I arrived.  I would have travelled alone, but Prendergast, my old boss, liked to know where ex-employees of the Department were, and what they were doing.

She sighed.  “I am glad I am just a waitress.  Your usual coffee and cake?”

“Yes, please.”

Several months had passed since we had rescued Susan from her despotic father; she had recovered faster than we had thought, and settled into her role as the new Lady Featherington, though she preferred not to use that title, but go by the name of Lady Susan Cheney.

I didn’t get to be a Lord, or have any title, not that I was expecting one.  What I had expected was that Susan, once she found her footing as head of what seemed to be a commercial empire, would not have time for details like husbands, particularly when our agreement made before the wedding gave either of us the right to end it.

There was a moment when I visited her recovering in the hospital, where I was going to give her the out, but I didn’t, and she had not invoked it.  We were still married, just not living together.

This visit was one where she wanted to ‘reconnect’ as she called it, and invite me to come home with her.  She saw no reason why we could not resume our relationship, conveniently forgetting she indirectly had me arrested for her murder, charges both her mother and Lucy vigorously pursued, and had the clone not returned to save me, I might still be in jail.

It was not something I would forgive or forget any time soon.

There were other reasons why I was reluctant to stay with her, like forgetting small details, an irregularity in her character I found odd.  She looked the same, she sounded the same, she basically acted the same, but my mind was telling me something was not right.  It was not the Susan I first met, even allowing for the ordeal she had been subjected to.

But, despite those misgivings, there was no question in my mind that I still loved her, and her clandestine arrival had brought back all those feelings.  But as the days passed, I began to get the impression my feelings were one-sided and she was just going through the motions.

Which brought me to the last argument, earlier, where I said if I went with her, it would be business meetings, social obligations, and quite simply her ‘celebrity’ status that would keep us apart.  I reminded her that I had said from the outset I didn’t like the idea of being in the spotlight, and when I reiterated it, she simply brushed it off as just part of the job, adding rather strangely that I always looked good in a suit.  The flippancy of that comment was the last straw, and I left before I said something I would regret.

I knew I was not a priority.  Maybe somewhere inside me, I had wanted to be a priority, and I was disappointed when I was not.

And finally, there was Alisha.  Susan, at the height of the argument, had intimated she believed I had an affair with her, but that elephant was always in the room whenever Alisha was around.  It was no surprise when I learned Susan had asked Prendergast to reassign her to other duties. 

At least I knew what my feelings for Alisha were, and there were times when I had to remember she was persona non grata.  Perhaps that was why Susan had her banished, but, again, a small detail; jealousy was not one of Susan’s traits when I first knew her.

Perhaps it was time to set Susan free.

When I swung around to look in the direction of the lane where my villa was, I saw Susan.  She was formally dressed, not in her ‘tourist’ clothes, which she had bought from one of the local clothing stores.  We had fun that day, shopping for clothes, a chore I’d always hated.  It had been followed by a leisurely lunch, lots of wine and soul searching.

It was the reason why I sat in this corner; old habits die hard.  I could see trouble coming from all directions, not that Susan was trouble or at least I hoped not, but it allowed me the time to watch her walking towards the cafe in what appeared to be short, angry steps; perhaps the culmination of the heat wave and our last argument.

She glared at me as she sat, dropping her bag beside her on the ground, where I could see the cell phone sitting on top.  She followed my glance down, and then she looked unrepentant back at me.

Maria came back at the exact moment she was going to speak.  I noticed Maria hesitate for a second when she saw Susan, then put her smile in place to deliver my coffee.

Neither spoke nor looked at each other.  I said, “Susan will have what I’m having, thanks.”

Maria nodded and left.

“Now,” I said, leaning back in my seat, “I’m sure there’s a perfectly good explanation as to why you didn’t tell me about the phone, but that first time you disappeared, I’d guessed you needed to keep in touch with your business interests.  I thought it somewhat unwisethat you should come out when the board of one of your companies was trying to remove you, because of what was it, an unexplained absence?  All you had to do was tell me there were problems and you needed to remain at home to resolve them.”

My comment elicited a sideways look, with a touch of surprise.

“It was unfortunate timing on their behalf, and I didn’t want you to think everything else was more important than us.  There were issues before I came, and I thought the people at home would be able to manage without me for at least a week, but I was wrong.”

“Why come at all.  A phone call would have sufficed.”

“I had to see you, talk to you.  At least we have had a chance to do that.  I’m sorry about yesterday.  I once told you I would not become my mother, but I’m afraid I sounded just like her.  I misjudged just how much this role would affect me, and truly, I’m sorry.”

An apology was the last thing I expected.

“You have a lot of work to do catching up after being away, and of course, in replacing your mother and gaining the requisite respect as the new Lady Featherington.  I think it would be for the best if I were not another distraction.  We have plenty of time to reacquaint ourselves when you get past all these teething issues.”

“You’re not coming with me?”  She sounded disappointed.

“I think it would be for the best if I didn’t.”

“Why?”

“It should come as no surprise to you that I’ve been keeping an eye on your progress.  You are so much better doing your job without me.  I told your mother once that when the time came I would not like the responsibilities of being your husband.  Now that I have seen what it could possibly entail, I like it even less.  You might also want to reconsider our arrangement, after all, we only had a marriage of convenience, and now that those obligations have been fulfilled, we both have the option of terminating it.  I won’t make things difficult for you if that’s what you want.”

It was yet another anomaly, I thought; she should look distressed, and I would raise the matter of that arrangement.  Perhaps she had forgotten the finer points.  I, on the other hand, had always known we would not last forever.  The perplexed expression, to me, was a sign she might have forgotten.

Then, her expression changed.  “Is that what you want?”

“I wasn’t madly in love with you when we made that arrangement, so it was easy to agree to your terms, but inexplicably, since then, my feelings for you changed, and I would be sad if we parted ways.  But the truth is, I can’t see how this is going to work.”

“In saying that, do you think I don’t care for you?”

That was exactly what I was thinking, but I wasn’t going to voice that opinion out loud.  “You spent a lot of time finding new ways to make my life miserable, Susan.  You and that wretched friend of yours, Lucy.  While your attitude improved after we were married, that was because you were going to use me when you went to see your father, and then almost let me go to prison for your murder.”

“I had nothing to do with that, other than to leave, and I didn’t agree with Lucy that you should be made responsible for my disappearance.  I cannot be held responsible for the actions of my mother.  She hated you; Lucy didn’t understand you, and Millie told me I was stupid for not loving you in return, and she was right.  Why do you think I gave you such a hard time?  You made it impossible not to fall in love with you, and it nearly changed my mind about everything I’d been planning so meticulously.  But perhaps there was a more subliminal reason why I did because after I left, I wanted to believe, if anything went wrong, you would come and find me.”

“How could you possibly know that I’d even consider doing something like that, given what you knew about me?”

“Prendergast made a passing comment when my mother asked him about you; he told us you were very good at finding people and even better at fixing problems.”

“And yet here we are, one argument away from ending it.”

I could see Maria hovering, waiting for the right moment to deliver her coffee, then go back and find Gianna, the café owner, instead.  Gianna was more abrupt and, for that reason, was rarely seen serving the customers.  Today, she was particularly cantankerous, banging the cake dish on the table and frowning at Susan before returning to her kitchen.  Gianna didn’t like Susan either.

Behind me, I heard a car stop, and when she looked up, I knew it was for her.  She had arrived with nothing, and she was leaving with nothing.

She stood.  “Last chance.”

“Forever?”

She hesitated and then shook away the look of annoyance on her face.  “Of course not.  I wanted you to come back with me so we could continue working on our relationship.  I agree there are problems, but it’s nothing we can’t resolve if we try.”

I had been trying.  “It’s too soon for both of us, Susan.  I need to be able to trust you, and given the circumstances, and all that water under the bridge, I’m not sure if I can yet.”

She frowned at me.  “As you wish.”  She took an envelope out of her bag and put it on the table.  “When you are ready, it’s an open ticket home.  Please make it sooner rather than later.  Despite what you think of me, I have missed you, and I have no intention of ending it between us.”

That said, she glared at me for a minute, shook her head, then walked to the car.  I watched her get in and the car drive slowly away.

No kiss, no touch, no looking back. 

…

© Charles Heath 2018-2025

strangerscover9

365 Days of Writing, 2026 – 233

Day 233 – Brevity in writing

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The Goldilocks Dilemma in Content Creation: How to Find Your Readers’ Sweet Spot

Let’s be honest: in the digital age, attention is the world’s most valuable currency.

Every time someone opens a browser, scrolls through social media, or checks their email inbox, they are bombarded with thousands of competing messages. Videos auto-play, notifications ping, and headlines scream for a fraction of a second of their day.

For writers, bloggers, and marketers, grabbing the reader’s attention is only half the battle. Keeping it is where the real war is fought.

This brings us to the eternal debate of the digital writing world: brevity. We are constantly told to keep it short, keep it punchy, and cut the fluff. But in our quest to be concise, are we starving our readers of the depth they actually crave? Is there a line where “short” turns into “shallow,” and “long” turns into “boring”?

Let’s explore the Goldilocks dilemma of content length—how to know what is too much, what is not enough, and how to keep your readers hooked right down to the final period.

The Death of the Attention Span (And Why It’s a Myth)

You’ve probably heard the statistic a dozen times: Humans now have an attention span of 8 seconds—shorter than a goldfish.

It’s a great soundbite, but it’s largely a myth. People don’t have inherently shorter attention spans today; rather, they have higher standards for what deserves their attention.

If a reader clicks on your article and immediately bounces back to Google, it’s rarely because the piece was too long. More often, it’s because the introduction was sluggish, the formatting was a wall of text, or the content failed to deliver on the promise of the headline.

When a reader is genuinely engaged, they will happily spend 10, 15, or 20 minutes reading a deeply reported, comprehensive piece. Conversely, if content is unengaging, even a 300-word blog post will feel like an eternity.

The goal isn’t necessarily to make your writing short. The goal is to make it effortless to consume.

When Is It “Not Enough”? (The Danger of Under-Delivering)

In the rush to respect the reader’s time, many creators swing too far in the direction of brevity. They strip away nuance, context, and personality, leaving behind a skeletal shell of information.

This is what we call the Wikipedia trap or thin content.

When your content isn’t enough, you run into three major problems:

  1. You sacrifice value: If a reader can find the exact same surface-level information in the first three results of a Google search, you haven’t given them a reason to stay.
  2. You lose authority: Short, superficial answers rarely build trust. Readers want to know why something is true, not just what is true. Depth demonstrates expertise.
  3. The “Unsatisfied Bounce”: Have you ever clicked an article, scrolled through a few vague paragraphs, and realised you learned absolutely nothing new? It’s frustrating. When content is not enough, it leaves the reader feeling cheated out of their time.

The Rule for Minimum Viable Length: Your piece should be only as long as it takes to completely solve the reader’s problem, answer their question, or deliver an emotional payoff. If you leave loose ends, you haven’t written enough.

When Is It “Too Much”? (The Danger of the Digital Dump)

On the flip side, we’ve all encountered the bloated blog post. You know the ones: 5,000 words of meandering prose that could easily have been summarised in 500 words.

Writers often fall into this trap for the wrong reasons—trying to hit arbitrary SEO word counts, over-explaining simple concepts, or simply falling in love with the sound of their own typing.

When your content is too much, the symptoms are glaring:

  • Fluff and padding: Using three adjectives where one would do; repeating the same point in different ways just to extend the paragraph.
  • Buried leads: Making the reader wade through a 500-word personal anecdote about your weekend before getting to the actual topic they searched for.
  • Cognitive overload: Hitting the reader with so much data, jargon, and unstructured thoughts that their brain simply shuts down.

Remember the cardinal rule of editing, famously attributed to writer Elmore Leonard (via Anton Chekhov): “Leave out the parts that readers skip.”

If a paragraph doesn’t move the narrative forward, answer a pressing question, or add distinct value, mercilessly cut it.

Finding the Sweet Spot: How to Keep Readers Hooked

So, how do you find the magical middle ground where length ceases to matter and engagement takes over? It comes down to a blend of structural psychology and empathetic writing.

1. Hook ‘Em Fast, Then Feed Them

Your introduction is the handshake. Make it firm, welcoming, and clear. Tell the reader immediately what they are going to get out of the piece. Once you’ve made that promise, dive straight into the substance without unnecessary throat-clearing.

2. Design for the Skimmer (Visual Rhythm)

Here’s a dirty little secret of the internet: People don’t read online—they scan.

Even the most dedicated readers use their eyes to preview a page before committing. If they see a massive, unbroken block of text, flight instincts kick in.

  • Use short paragraphs (1–3 sentences).
  • Utilise bold text for key takeaways.
  • Break up monotony with bullet points and numbered lists.
  • Include subheadings that act as signposts along the reader’s journey.

By creating visual rhythm, you make a long article feel short and manageable.

3. Match Length to Intent

Content length should always be dictated by the user’s intent.

  • If someone wants to know the current weather, a 2,000-word essay on meteorology is too much.
  • If someone wants to learn how to build a retirement portfolio from scratch, a 300-word summary is not enough.

Always ask yourself: What does the reader need to walk away with to feel satisfied? Give them exactly that, packaged as cleanly as possible.

The Bottom Line

Writing isn’t about hitting an arbitrary word count; it’s about choreography. It’s about taking a reader by the hand and leading them on a journey from point A to point B without losing them in the weeds or rushing them off the path.

Forget the obsession with being short. Forget the anxiety of needing to be long.

Instead, focus on being clear, valuable, and engaging. If you do that, your readers won’t care how long your article is—they’ll just be glad they stayed until the end.

What’s your take? Do you prefer bite-sized reads, or do you love sinking your teeth into long-form deep dives? Let’s discuss in the comments below!

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“The Things We Do For Love”

Would you give up everything to be with the one you love?

…

Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?

For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself.  It takes him to a small village by the sea, a place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.

Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledged that something had happened the moment they first met.  

Plans were made, plans were revised, and hopes were shattered.

A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone.  To keep him alive, she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.

But can love conquer all?

It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realises is the love of his life.

The cover, at the moment, looks like this:

lovecoverfinal1

Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?

For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself.  It takes him to a small village by the sea, s place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.

Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledge that something happened the moment they first met.  

Plans were made, plans were revised, and hopes were shattered.

A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone.  To keep him alive she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.

But can love conquer all?

It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realizes is the love of his life.

The cover, at the moment, looks like this:

lovecoverfinal1

The cinema of my dreams – Was it just another surveillance job – Episode 22

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 prioritising.

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

An unlikely ally?

When we were far enough away, not far from the bridge that crossed the Thames towards the Houses of Parliament, and with the London Eye in the foreground, I slackened my pace.  There were enough people around to afford us cover if Maury and his team realised quickly enough what we had done to escape.

“What now?” she asked.

“Go back to your people, tell them you’ve been compromised, but only on the basis that your flat was tossed, don’t mention Nobbin or Severin unless you feel compelled you have to, and make sure you don’t go back to the flat.  Both of them will have it staked out by now.”

“And what are you doing to do?”

“Try and play them off against each other, which probably won’t work.  I’m not nearly good enough at this caper yet.  Unfortunately, I’m going to have to talk to both of them and tell them I’m onto McConnell, though that will hardly be a surprise to either of them.  After that, find somewhere safe to figure out what to do next.”

“Who was that back at the station?”

“A chap called Maury, and I think he’s one of Severin’s hatchet men.  He was one of those who trained me and several others.”

“You do realise what you’re saying?”

“That my situation is so screwed up, yes, I know.”

It was when I stopped to think about it.  Trained by a rogue group no one knew about, or so they said, and transferred to another group, but not told about it, well, not officially, anyway.

“Maybe we should keep each other’s back.  I mean, if what you say is true, if I go back to my people and tell them about this, it’s likely I’ll be putting a target on my back too.”

True.  I had considered that, but not that we might team up.  It would introduce a third group to the game, and it might be one too many, or act as a catalyst leading to catastrophic consequences.

“What are you saying?”  I asked her, just in case I was misinterpreting what she was saying.

“I’m not safe, you’re not safe, together we might be.  I might have something useful about O’Connell, but I wouldn’t know if it was useful of not.  You at least know what to look for, and basically who to avoid.  Who knows, we might make a great team.”

We might.  But it would have to be predicated on trust, and, right now, I was not sure if I could trust her.  That pen thing, she might have precipitated it, and was working with Severin.  It seemed logical in the circumstances.

But what was that saying, keep your friends close, and your enemies closer?  I’d soon find out.

“Ok.  What do you think we should do first?”

“Find a hotel, an obscure one, nearby, and you call your so-called friends, and see what happens, as you said.”

I nodded.  “Sounds like a plan.”

And, I thought to myself, ideal for her if she was insinuating herself into my world, much the same as she had in O’Connell’s case.  In was now in my nature to suspect everyone and everything, because a few words of one lesson came back to haunt me.  We trust people because we instinctively want to believe them, and in this line of work, the people we come across are good and sincere storytellers.

It was a question of how much truth they weaved into their story, that made it believable.  I wanted to believe her, but the facts, circumstantial or otherwise, pointed me in the other direction.

I would have to wait and see and make sure I was prepared for the worst.

It was Jan’s idea t stay near the Charing Cross station in a hotel that I would not normally stay in because of the cost.  I let Jan do the check-in and when we arrived at the room, I discovered she hadn’t booked two rooms, but a Studio Suite with two single beds and a sofa bed.

Apparently, we were brother and sister, which made sense after I had overheard some of the conversation with the check-in clerk.  I didn’t hear what her excuse was for lack of luggage.  Perhaps the airline had lost it, but I had to admit the girl could think on her feet.

Once inside the room, it felt cramped, but the beds looked comfortable, and it had a minibar.

“Before you make any calls, you need to disable the GPS in your phone.”

“They’ll still be able to track it.”

“Not if you are on it for a short period, and we are outside the hotel.”

Well, before that I need a drink.”

“So, do I.  Give me a minute to freshen up and we’ll go down to the bar.  It’ll be a lot cheaper than the minibar.  Then I think we both need to get some supplies.”

I wondered if this is what it was like to be married.

 

© Charles Heath 2019

An excerpt from “If Only” – a work in progress

Investigations of crimes don’t always go according to plan, nor does the perpetrator get found or punished.

That was particularly true in my case.  The murderer was incredibly careful in not leaving any evidence behind, to the extent that the police could not rule out whether it was a male or a female.

At one stage, the police thought I had murdered my own wife, though how I could be on a train at the time of the murder was beyond me.  I had witnesses and a cast-iron alibi.

The officer in charge was Detective First Grade Gabrielle Walters.  She came to me on the day after the murder seeking answers to the usual questions like, when was the last time you saw your wife, did you argue, the neighbours reckon there were heated discussions the day before.

Routine was the word she used.

Her fellow detective was a surly piece of work whose intention was to get answers or, more likely, a confession by any or all means possible.  I could sense the raging violence within him.  Fortunately, common sense prevailed.

Over the course of the next few weeks, once I’d been cleared of committing the crime, Gabrielle made a point of keeping me informed of the progress.

After three months, the updates were more sporadic, and when, for lack of progress, it became a cold case, communication ceased.

But it was not the last time I saw Gabrielle.

The shock of finding Vanessa was more devastating than the fact that she was now gone, and those images lived on in the same nightmare that came to visit me every night when I closed my eyes.

For months, I was barely functioning, to the extent that I had all but lost my job and quite a few friends, particularly those who were more attached to Vanessa rather than me.

They didn’t understand how it could affect me so much, and since it had not happened to them, my tart replies of ‘you wouldn’t understand’ were met with equally short retorts.  Some questioned my sanity, even, for a time, so did I.

No one, it seemed, could understand what it was like, no one except Gabrielle.

She was by her own admission, damaged goods, having been the victim of a similar incident, a boyfriend who turned out to be an awfully bad boy.  Her story varied only in that she had been made to witness his execution.  Her nightmare, in reliving that moment in time, was how she was still alive and, to this day, had no idea why she’d been spared.

It was a story she told me one night, some months after the investigation had been scaled down.  I was still looking for the bottom of a bottle and an emotional mess.  Perhaps it struck a resonance with her; she’d been there and managed to come out the other side.

What happened became our secret, a once-only night together that meant a great deal to me, and by mutual agreement, it was not spoken of again.  It was as if she knew exactly what was required to set me on the path to recovery.

And it had.

Since then, we saw each other about once a month in a cafe.   I had been surprised to hear from her again shortly after that eventful night when she called to set it up, ostensibly for her to provide me with any updates on the case, but perhaps we had, after that unspoken night, formed a closer bond than either of us wanted to admit.

We generally talked for hours over wine, then dinner and coffee.  It took a while for me to realise that all she had was her work; personal relationships were nigh on impossible in a job that left little or no spare time for anything else.

She’d always said that if I had any questions or problems about the case, or if there was anything that might come to me that might be relevant, even after all this time, all I had to do was call her.

I wondered if this text message was in that category.  I was certain it would interest the police, and I had no doubt they could trace the message’s origin, but there was that tiny degree of doubt about whether or not I could trust her to tell me what the message meant.

I reached for the phone, then put it back down again.  I’d think about it and decide tomorrow.

© Charles Heath 2018-2020

The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 78

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 instalment of an old feature, and we’re back on the treasure hunt.

…

The final treasure hunt

…

Boggs was unusually quiet, but that might be because he wasn’t in charge.  We were at the cave Nadia and I had found shelter from the storm, and he was busy checking the climbing equipment and making sure he had everything.

Then he set both Nadia and me up with the gear we’d need to follow him.  Neither of us was an experienced climber, but it was simple he said, he’d more or less pull us up once he found the cave.

If there was a cave there.

It was possible the seismic activity had closed it off, and it was gone forever, but he was choosing to be positive and believe it would be well hidden until he was right on top of it.

Certainly is not visible from below, it simply looked like any other rockface but with indentations where little shrubs were growing, and it certainly could not be seen from above because of the cliff overhang, nor could it be seen from the side, because it was not possible to get high enough or near enough.

Boggs said he knew a lot about rock formations, and his preliminary inspection in the late afternoon suggested there might ledge about 10 yards above the sand line.  He had put in a few pegs and climbed to a spot under the overhang where there was a small ledge, and what looked to be a narrow pathway that zig-zagged seemingly through the rock but resisted the urge to follow it.

Both Nadia and I kept watch, but nothing else was stirring on that part of the shoreline.  The idea was to go after dark when it was less likely anyone else would be around.

Now, as darkness fell, he was full of nervous energy, the sort that one had before participating in an event.  This might finally be the end to his, and his father before him, search for the treasure, and even I was caught up in the moment.

I had just one more task before we stepped out the door, to send a prewritten text message to Charlene, just in case everything went pear-shaped.  It was possible it might, but right then, it was the last thing I was expecting.

What if there were riches beyond avarice awaiting us?  It was now only a matter of time before we knew.

After escaping the sheriff’s office, and saying all the words he wanted to hear, for my mother’s sake, I called Nadia, then went to see her, taking extraordinarily silly means to avoid being followed, because the idea of seeing her after being warned off might cause a reaction.

It was probably the most rebellious thing I’d ever done, and it was secretly thrilling, to the point of that pit in the stomach that was meant to be a warning that something bad was going to happen.

I could now understand the nature of addiction.

And in the semi-darkness, she seemed more like an ethereal spectre, albeit a lot more whimsical.

“The Sherriff just warned me that associating with you is putting my life in danger.”

“The Sherriff?”

“My mother is getting him to put pressure on me to stop seeing you.  My mother is firmly of the belief you are tarred with the same brush as the rest of your family.”

“I take it the fact you’re here now means you don’t agree with either of them.”

“Or I find living life on the edge is preferable to no life at all.  My mother wants me to be boring and predictable, and live my life like she does.  But, she had a bad boy streak, marrying my father the criminal.  She knew what and who he was long ago, one of Benderby’s henchmen.”

“Do you want to be boring and predictable?”

“I don’t want to be a criminal, even though it has a certain allure, and is probably the only other job you could get in this area.”

“Things aren’t that bad,” she said.

“They are.  You know as well as I do, kids who’ve left school only do one of two things.  Leave town for the big smoke, or get a crap job working for either criminal enterprise.  No one wants to work in the factory.”

It was hard to deny the facts.  And those that didn’t do anything, were either dead or close to it.  I wasn’t exactly enamoured with my job at the warehouse, but it was legitimate, if not underpaying, job, and I knew I should be grateful.

“Anyway,” I said, “it’s all moot now.  Both Boggs and I agree the treasure if it’s anywhere is somewhere on that cliff face, he was climbing before he was cut down.”

“So, you’re saying my family tried to kill him?”

“More or less.  You don’t cut a climber’s rope unless you mean him harm.”

“I’d prefer to call it a warning.  They probably think he was trying to gain access to the Gove via the beachhead.  I seriously doubt Vince would see it as anything else.  I think we can expect he’ll be keeping an eye on that part of the beach from now on.”

It seemed like something he’d do, so it was going to add another layer of complexity to our incursion.  But I doubted he would be on the beach, but prefer the clifftop, and that could work in our favour.

“Be that as it may, are you in or out?”

“In, of course.  And, just in case you’re thinking I’m working for my father, and all of this has been a charade to gain your confidence, it is not.”

“I’d be a liar if I told you it didn’t cross my mind, but I believe you.”

Did I?  The was a 64,000-dollar question with half a dozen different answers, all of them leading down the path to hell.  I would believe, until she proved otherwise, and I was truly hoping she wouldn’t.  But, blood was thicker than water, as the saying goes, and now she might believe herself she was on our side, but when push came to shove, a lot could happen.

“When?”

“In an hour.  We’re going to get Boggs and his gear and go to your beach hut, and then to the cave we found.  When darkness falls, that’s when we go up the cliff.”

A clouded expression, then a smile.  “Clever, Sam.  You’re not giving me any opportunity to betray you.”

I had to admit, at that moment, it wasn’t intended, but perhaps subconsciously I had planned it this way.

I shrugged.  “It was all last minute, brought on by being hauled into the sheriff’s office.  By tomorrow we’ll all be under observation, and take away any opportunity for us to do anything.  I assume you’re still in?”

“Of course.  We should have something to eat, so I’ll order up some takeout.  Pizzas?”

And, if she wanted to, there were still a dozen ways she could betray us, and I was definitely not going to keep her under observation the whole time.

…

© Charles Heath 2020-2022

365 Days of Writing, 2026 – 232

Day 232 – The Hollywood writer mentality

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“I’m a Hollywood Writer, So I Put on My Sports Jacket and Take Off My Brain”: Deconstructing Ben Hecht’s Ultimate Industry Satire

“I’m a Hollywood writer, so I put on my sports jacket and take off my brain.”

If you’ve ever spent more than forty-eight hours in a writers’ room, felt the soul-crushing despair of a studio note that asks you to “make the protagonist more likable while also making them entirely unhinged,” or watched a masterpiece get sliced into digital confetti by a focus group, that quote hits you right in the solar plexus.

It is sharp, cynical, hilarious, and dripping with the kind of world-weary exhaustion that only a true veteran of the studio system could muster.

The man behind the quip? Ben Hecht.

Often called the “Shakespeare of Hollywood,” Hecht was a legendary screenwriter, playwright, and journalist who helped shape the Golden Age of cinema. He won the very first Academy Award for Best Original Story (for 1927’s Underworld), wrote or co-wrote stone-cold classics like His Girl Friday, Scarface, and Notorious, and quietly doctored dozens of scripts without credit (including polishing Gone with the Wind).

Yet, despite his immense success and undeniable genius, Hecht maintained a notoriously love-hate relationship with the motion picture industry. His famous sports jacket quote is more than just a snappy punchline; it is a profound commentary on the commodification of art, the absurdity of the studio system, and the psychological armour required to survive as a creative in Tinseltown.

Let’s unpack what Hecht meant, why it still resonates today, and what modern writers can learn from his cynical wisdom.

The Uniform of Compromise: What the Sports Jacket Represents

To understand Hecht’s joke, you have to look at the visual language of Hollywood.

In Hecht’s era—and largely still today—the film industry was a place of stark contrasts. On one side stood the suits: the studio moguls, the producers, and the executives who viewed movies not as high art, but as an assembly-line manufacturing process. On the other side stood the artists: the directors, actors, and writers who often viewed themselves as tortured visionaries.

By joking that he puts on a “sports jacket”—traditionally a casual, slightly corporate, uniform-of-convenience piece of menswear—to “take off his brain,” Hecht is performing a brilliant piece of psychological self-defense.

He is acknowledging the transactional nature of his work. A sports jacket says, “I’m professional enough to take your money, but I’m detached enough not to break my heart when you ruin my scene.”

Putting on the jacket is the physical ritual of putting on the work persona. It is the moment the artist steps out of the realm of pure imagination and enters the boardroom, where imagination is often treated as a liability rather than an asset.

Why Hollywood Demands You “Take Off Your Brain”

Why would a Pulitzer-winning, brilliantly gifted wordsmith feel the need to check his brain at the studio gate?

Because commercial filmmaking—at its worst—is hostile to genuine intellect and originality. Hecht understood a fundamental truth of the studio system: executives rarely want a thinker; they want an obedient problem-solver.

When Hecht implies he takes off his brain, he’s pointing out several classic industry traps:

  1. The Homogenization of Art: Studio notes have a way of filing down the sharp edges of a story until it fits neatly into a demographic-friendly box. If you keep your brain fully engaged, you’ll fight for every nuanced character beat. If you take your brain off, you just nod, smile, and change the third act so the dog doesn’t die.
  2. The Illusion of Effort: In Hollywood, there is often an inverse relationship between how hard you think and how happy the studio is. If you overcomplicate a plot with deep thematic resonance, the executives get confused. And confused executives give terrible notes.
  3. Self-Preservation: Caring too much in Hollywood is a fast track to an ulcer. Hecht was prolific because he treated screenwriting with a certain professional detachment. He knew that pouring your entire soul into a 120-page document only to have a 24-year-old development executive say, “Can we add a talking animal?” is a recipe for madness.

Ben Hecht: The Ultimate Hollywood Mercenary

To truly appreciate the quote, you have to look at Hecht’s paradoxical career.

Hecht was no hack. He was a literary titan. Before moving to Hollywood, he was a star reporter for the Chicago Daily News and a novelist whose books were banned for being too racy. He co-wrote The Front Page, one of the greatest stage comedies about journalism ever produced.

Yet, Hecht had no romantic illusions about the movies. He once famously said of Hollywood: “It’s a place where people die of nostalgia for a place they never were.”

He went to Hollywood explicitly for the money. He famously knocked out scripts with terrifying speed, paid off his debts, bought a luxurious lifestyle, and funded his political activism (including working tirelessly behind the scenes to rescue European Jews during the Holocaust).

Hecht’s sports jacket quote encapsulates his mercenary philosophy. He viewed screenwriting as a trade—a very lucrative, highly entertaining trade, but a trade nonetheless. He kept his “real” brain—his literary soul—reserved for his novels, plays, and journalism, while happily taking studio checks to punch up gangster flicks and screwball comedies.

The Modern Relevance: Does the Sports Jacket Still Fit?

Nearly a century after Hecht’s heyday, his cynical wisdom is more relevant than ever.

Today’s writers face an even more algorithm-driven landscape. Writers’ rooms are increasingly corporatised, IP (Intellectual Property) is king, and “brand synergy” often trumps narrative logic.

If you talk to working writers in streaming or franchise-heavy feature films today, they will tell you that Hecht’s ritual is alive and well. It might not be a literal sports jacket—today, it might be slipping on a pair of noise-cancelling headphones before a Zoom call with twenty executives, or adopting a cheerful tone of voice while secretly plotting how to subtly sneak your thematic message past the censors.

Wearing the metaphorical sports jacket today means learning how to separate your identity from your output. It means realising that a corporate note telling you to “add more action to the first ten minutes” isn’t a personal indictment of your artistic integrity; it’s just the weather in Los Angeles.

How to Wear the Jacket Without Losing Your Mind

Is Hecht’s quote a counsel of despair? Not necessarily. In fact, for modern creatives, it can be deeply liberating.

Here is how you can channel the spirit of Ben Hecht without selling out completely:

  • Protect Your “Real” Brain: Like Hecht, keep a creative sanctuary for yourself. Write the indie script, pen the personal essay, paint the canvas, or build the passion project where no studio notes can reach you.
  • Treat It Like a Job (Because It Is): When you put on your professional hat, remember that commercial writing is a collaborative, service-oriented art form. Sometimes, you just need to write the car chase, collect the check, and go home.
  • Cultivate Professional Detachment: Don’t fall in love with your first draft—or your fifth. Be willing to kill your darlings before an executive does it for you with a chainsaw.
  • Keep Your Sense of Humour: Hollywood is inherently ridiculous. If you can’t laugh at the absurdity of a notes meeting where three people debate the emotional arc of a CGI raccoon, you won’t survive the town.

Final Thoughts

Ben Hecht’s quip about the sports jacket and the brain is ultimately a survival manual disguised as a punchline. It reminds us that navigating the commercial art world requires a delicate balance: enough professional savvy to play the game, and enough self-awareness not to let the game consume your soul.

So, the next time you log on to a painfully corporate notes call, or stare blankly at a feedback document that asks you to “change the genre from thriller to romantic comedy by tomorrow morning,” just smile, zip up your metaphorical sports jacket, and remember the words of the great Ben Hecht.

Just keep your real brain safe where they can’t touch it.

What’s the most absurd studio note or feedback you’ve ever received? How do you protect your creative soul while working in commercial media? Let’s talk about it in the comments below!

…

An excerpt from “One Last Look”: Charlotte is no ordinary girl

This is currently available at Amazon here:  http://amzn.to/2CqUBcz

…

I’d read about out-of-body experiences, and like everyone else, thought it was nonsense.  Some people claimed to see themselves in the operating theatre, medical staff frantically trying to revive them, and being surrounded by white light.

I was definitely looking down, but it wasn’t me I was looking at.

It was two children, a boy and a girl, with their parents, in a park.

The boy was Alan.  He was about six or seven.  The girl was Louise, and she was five years old.  She had long red hair and looked the image of her mother.

I remember it now, it was Louise’s birthday and we went down to Bournemouth to visit our Grandmother, and it was the last time we were all together as a family.

We were flying homemade kites our father had made for us, and after we lay there looking up at the sky, making animals out of the clouds.  I saw an elephant, Louise saw a giraffe.

We were so happy then.

Before the tragedy.

When I looked again ten years had passed and we were living in hell.  Louise and I had become very adept at survival in a world we really didn’t understand, surrounded by people who wanted to crush our souls.

It was not a life a normal child had, our foster parents never quite the sort of people who were adequately equipped for two broken-hearted children.  They tried their best, but their best was not good enough.

Every day it was a battle, to avoid the Bannister’s and Archie in particular, every day he made advances towards Louise and every day she fended him off.

Until one day she couldn’t.

Now I was sitting in the hospital, holding Louise’s hand.  She was in a coma, and the doctors didn’t think she would wake from it.  The damage done to her was too severe.

The doctors were wrong.

She woke, briefly, to name her five assailants.  It was enough to have them arrested.  It was not enough to have them convicted.

Justice would have to be served by other means.

I was outside the Bannister’s home.

I’d made my way there without really thinking, after watching Louise die.  It was like being on autopilot, and I had no control over what I was doing.  I had murder in mind.  It was why I was holding an iron bar.

Skulking in the shadows.  It was not very different from the way the Bannister’s operated.

I waited till Archie came out.  I knew he eventually would.  The police had taken him to the station for questioning, and then let him go.  I didn’t understand why, nor did I care.

I followed him up the towpath, waiting till he stopped to light a cigarette, then came out of the shadows.

“Wotcha got there Alan?” he asked when he saw me.  He knew what it was, and what it was for.

It was the first time I’d seen the fear in his eyes.  He was alone.

“Justice.”

“For that slut of a sister of yours.  I had nuffing to do with it.”

“She said otherwise, Archie.”

“She never said nuffing, you just made it up.”  An attempt at bluster, but there was no confidence in his voice.

I held up the pipe.  It had blood on it.  Willy’s blood.  “She may or may not have Archie, but Willy didn’t make it up.  He sang like a bird.  That’s his blood, probably brains on the pipe too, Archie, and yours will be there soon enough.”

“He dunnit, not me.  Lyin’ bastard would say anything to save his own skin.”  Definitely scared now, he was looking to run away.

“No, Archie.  He didn’t.  I’m coming for you.  All of you Bannisters.  And everyone who touched my sister.”

It was the recurring nightmare I had for years afterwards.

I closed my eyes and tried to shut out the thoughts, the images of Louise, the phone call, the visit to the hospital and being there when she succumbed to her injuries.  Those were the very worst few hours of my life.

She had asked me to come to the railway station and walk home with her, and I was running late.  If I had left when I was supposed to, it would never have happened and for years afterwards, I blamed myself for her death.

If only I’d not been late…

When the police finally caught the rapists, I’d known all along who they’d be; antagonists from school, the ring leader, Archie Bannister, a spurned boyfriend, a boy whose parents, ubiquitously known to all as ‘the Bannister’s, dealt in violence and crime and who owned the neighbourhood.  The sins of the father had been very definitely passed onto the son.

At school, I used to be the whipping boy, Archie, a few grades ahead of me, made a point of belting me and a few of the other boys, to make sure the rest did as they were told.  He liked Louise, but she had no time for a bully like him, even when he promised he would ‘protect’ me.

I knew the gang members, the boys who tow-kowed to save getting beaten up, and after the police couldn’t get enough information to prosecute them because everyone was too afraid to speak out, I went after Willy.  There was always a weak link in a group, and he was it.

He worked in a factory, did long hours on a Wednesday and came home after dark alone.  It was a half mile walk, through a park.  The night I approached him, I smashed the lights and left it in darkness.  He nearly changed his mind and went the long way home.

He didn’t.

It took an hour and a half to get the names.  At first, when he saw me, he laughed.  He said I would be next, and that was four words more than he knew he should have said.

When I found him alone the next morning I showed him the iron bar and told him he was on the list.  I didn’t kill him then, he could wait his turn, and worry about what was going to happen to him.

When the police came to visit me shortly after that encounter, no doubt at the behest of the Bannister’s, the neighbourhood closed ranks and gave me an ironclad alibi.  The Bannister’s then came to visit me and threatened me.  I told them their days were numbered and showed them the door.

At the trial, he and his friends got off on a technicality.  The police had failed to do their job properly, but it was not the police, but a single policeman, corrupted by the Bannisters.

Archie could help but rub it in my face.  He was invincible.

Joe Collins took 12 bullets and six hours to bleed out.  He apologized, he pleaded, he cried, he begged.  I didn’t care.

Barry Mills, a strong lad with a mind to hurting people, Archie’s enforcer, almost got the better of me.  I had to hit him more times than I wanted to, and in the end, I had to be satisfied that he died a short but agonizing death.

I revisited Willy in the hospital.  He’d recovered enough to recognize me, and why I’d come.  Suffocation was too good for him.

David Williams, second in command of the gang, was as tough and nasty as the Bannisters.  His family were forging a partnership with the Bannister’s to make them even more powerful.  Outwardly David was a pleasant sort of chap, affable, polite, and well mannered.  A lot of people didn’t believe he could be like, or working with, the Bannisters.

He and I met in the pub.  We got along like old friends.  He said Willy had just named anyone he could think of, and that he was innocent of any charges.  We shook hands and parted as friends.

Three hours later he was sitting in a chair in the middle of a disused factory, blindfolded and scared.  I sat and watched him, listened to him, first threatening me, and then finally pleading with me.  He’d guessed who it was that had kidnapped him.

When it was dark, I took the blindfold off and shone a very bright light in his eyes.  I asked him if the violence he had visited upon my sister was worth it.  He told me he was just a spectator.

I’d read the coroner’s report.  They all had a turn.  He was a liar.

He took nineteen bullets to die.

Then came Archie.

The same factory only this time there were four seats.  Anna Bannister, brothel owner, Spike Bannister, head of the family, Emily Bannister, sister, and who had nothing to do with their criminal activities.  She just had the misfortune of sharing their name.

Archie’s father told me how he was going to destroy me, and everyone I knew.

A well-placed bullet between the eyes shut him up.

Archie’s mother cursed me.  I let her suffer for an hour before I put her out of her misery.

Archie remained stony-faced until I came to Emily.  The death of his parents meant he would become head of the family.  I guess their deaths meant as little to him as they did me.

He was a little more worried about his sister.

I told him it was confession time.

He told her it was little more than a forced confession and he had done nothing to deserve my retribution.

I shrugged and shot her, and we both watched her fall to the ground screaming in agony.  I told him if he wanted her to live, he had to genuinely confess to his crimes.  This time he did, it all poured out of him.

I went over to Emily.  He watched in horror as I untied her bindings and pulled her up off the floor, suffering only from a small wound in her arm.  Without saying a word she took the gun and walked over to stand behind him.

“Louise was my friend, Archie.  My friend.”

Then she shot him.  Six times.

To me, after saying what looked like a prayer, she said, “Killing them all will not bring her back, Alan, and I doubt she would approve of any of this.  May God have mercy on your soul.”

Now I was in jail.  I’d spent three hours detailing the deaths of the five boys, everything I’d done; a full confession.  Without my sister, my life was nothing.  I didn’t want to go back to the foster parents; I doubt they’d take back a murderer.

They were not allowed to.

For a month I lived in a small cell, in solitary, no visitors.  I believed I was in the queue to be executed, and I had mentally prepared myself for the end.

Then I was told I had a visitor, and I was expecting a priest.

Instead, it was a man called McTavish. Short, wiry, and with an accent that I could barely understand.

“You’ve been a bad boy, Alan.”

When I saw it was not the priest I told the jailers not to let him in, I didn’t want to speak to anyone.  They ignored me.  I’d expected he was a psychiatrist, come to see whether I should be shipped off to the asylum.

I was beginning to think I was going mad.

I ignored him.

“I am the difference between you living or dying Alan, it’s as simple as that.  You’d be a wise man to listen to what I have to offer.”

Death sounded good.  I told him to go away.

He didn’t.  Persistent bugger.

I was handcuffed to the table.  The prison officers thought I was dangerous.  Five, plus two, murders, I guess they had a right to think that.  McTavish sat opposite me, ignoring my request to leave.

“Why’d you do it?”

“You know why.”  Maybe if I spoke he’d go away.

“Your sister.  By all accounts, the scum that did for her deserved what they got.”

“It was murder just the same.  No difference between scum and proper people.”

“You like killing?”

“No-one does.”

“No, I dare say you’re right.  But you’re different, Alan.  As clean and merciless killing I’ve ever seen.  We can use a man like you.”

“We?”

“A group of individuals who clean up the scum.”

I looked up to see his expression, one of benevolence, totally out of character for a man like him.  It looked like I didn’t have a choice.

Trained, cleared, and ready to go.

I hadn’t realized there were so many people who were, for all intents and purposes, invisible.  People that came and went, in malls, in hotels, trains, buses, airports, everywhere, people no one gave a second glance.

People like me.

In a mall, I became a shopper.

In a hotel, I was just another guest heading to his room.

On a bus or a train, I was just another commuter.

At the airport, I became a pilot.  I didn’t need to know how to fly; everyone just accepted a pilot in a pilot suit was just what he looked like.

I had a passkey.

I had the correct documents to get me onto the plane.

That walk down the air bridge was the longest of my life.  Waiting for the call from the gate, waiting for one of the air bridge staff to challenge me, stepping onto the plane.

Two pilots and a steward.  A team.  On the plane early before the rest of the crew.  A group that was committing a crime, had committed a number of crimes and thought they’d got away with it.

Until the judge, the jury and their executioner arrived.

Me.

Quick, clean, merciless.  Done.

I was now an operational field agent.

I was older now, and I could see in the mirror I was starting to go grey at the sides.  It was far too early in my life for this, but I expect it had something to do with my employment.

I didn’t recognize the man who looked back at me.

It was certainly not Alan McKenzie, nor was there any part of that fifteen-year-old who had made the decision to exact revenge.

Given a choice; I would not have gone down this path.

Or so I kept telling myself each time a little more of my soul was sold to the devil.

I was Barry Gamble.

I was Lenny Buckman.

I was Jimmy Hosen.

I was anyone but the person I wanted to be.

That’s what I told Louise, standing in front of her grave, and trying to apologize for all the harm, all the people I’d killed for that one rash decision.  If she was still alive she would be horrified, and ashamed.

Head bowed, tears streamed down my face.

God had gone on holiday and wasn’t there to hand out any forgiveness.  Not that day.  Not any day.

New York, New Years Eve.

I was at the end of a long tour, dragged out of a holiday and back into the fray, chasing down another scumbag.  They were scumbags, and I’d become an automaton hunting them down and dispatching them to what McTavish called a better place.

This time I failed.

A few drinks to blot out the failure, a blonde woman who pushed my buttons, a room in a hotel, any hotel, it was like being on the merry-go-round, round and round and round…

Her name was Silvia or Sandra, or someone I’d met before, but couldn’t quite place her.  It could be an enemy agent for all I knew or all I cared right then.

I was done.

I’d had enough.

I gave her the gun.

I begged her to kill me.

She didn’t.

Instead, I simply cried, letting the pent up emotion loose after being suppressed for so long, and she stayed with me, holding me close, and saying I was safe, that she knew exactly how I felt.

How could she?  No one could know what I’d been through.

I remembered her name after she had gone.

Amanda.

I remembered she had an imperfection in her right eye.

Someone else had the same imperfection.

I couldn’t remember who that was.

Not then.

I had a dingy flat in Kensington, a place that I rarely stayed in if I could help it.  After five-star hotel rooms, it made me feel shabby.

The end of another mission, I was on my way home, the underground, a bus, and then a walk.

It was late.

People were spilling out of the pub after the last drinks.  Most in good spirits, others slightly more boisterous.

A loud-mouthed chap bumped into me, the sort who had one too many, and was ready to take on all comers.

He turned on me, “Watch where you’re going, you fool.”

Two of his friends dragged him away.  He shrugged them off, squared up.

I punched him hard, in the stomach, and he fell backwards onto the ground.  I looked at his two friends.  “Take him home before someone makes mincemeat out of him.”

They grabbed his arms, lifted him off the ground and took him away.

Out of the corner of my eye, I could see a woman, early thirties, quite attractive, but very, very drunk.  She staggered from the bar, bumped into me, and finished up sitting on the side of the road.

I looked around to see where her friends were.  The exodus from the pub was over and the few nearby were leaving to go home.

She was alone, drunk, and by the look of her, unable to move.

I sat beside her.  “Where are your friends?”

“Dunno.”

“You need help?”

She looked up, and sideways at me.  She didn’t look the sort who would get in this state.  Or maybe she was, I was a terrible judge of women.

“Who are you?” she asked.

“Nobody.”  I was exactly how I felt.

“Well Mr Nobody, I’m drunk, and I don’t care.  Just leave me here to rot.”

She put her head back between her knees, and it looked to me she was trying to stop the spinning sensation in her head.

Been there before, and it’s not a good feeling.

“Where are your friends?” I asked again.

“Got none.”

“Perhaps I should take you home.”

“I have no home.”

“You don’t look like a homeless person.  If I’m not mistaken, those shoes are worth more than my weekly salary.”  I’d seen them advertised, in the airline magazine, don’t ask me why the ad caught my attention.

She lifted her head and looked at me again.  “You a smart fucking arse are you?”

“I have my moments.”

“Have them somewhere else.”

She rested her head against my shoulder.  We were the only two left in the street, and suddenly in darkness when the proprietor turned off the outside lights.

“Take me home,” she said suddenly.

“Where is your place?”

“Don’t have one.  Take me to your place.”

“You won’t like it.”

“I’m drunk.  What’s not to like until tomorrow.”

I helped her to her feet.  “You have a name?”

“Charlotte.”

The wedding was in a small church.  We had been away for a weekend in the country, somewhere in the Cotswolds, and found this idyllic spot.  Graves going back to the dawn of time, a beautiful garden tended by the vicar and his wife, an astonishing vista over hills and down dales.

On a spring afternoon with the sun, the flowers, and the peacefulness of the country.

I had two people at the wedding, the best man, Bradley, and my boss, Watkins.

Charlotte had her sisters Melissa and Isobel, and Isobel’s husband Giovanni, and their daughter Felicity.

And one more person who was as mysterious as she was attractive, a rather interesting combination as she was well over retirement age.  She arrived late and left early.

Aunt Agatha.

She looked me up and down with what I’d call a withering look.  “There’s more to you than meets the eye,” she said enigmatically.

“Likewise I’m sure,” I said.  It earned me an elbow in the ribs from Charlotte.  It was clear she feared this woman.

“Why did you come,” Charlotte asked.

“You know why.”

Agatha looked at me.  “I like you.  Take care of my granddaughter.  You do not want me for an enemy.”

OK, now she officially scared me.

She thrust a cheque into my hand, smiled, and left.

“Who is she,” I asked after we watched her depart.

“Certainly not my fairy godmother.”

Charlotte never mentioned her again.

Zurich in summer, not exactly my favourite place.

Instead of going to visit her sister Isobel, we stayed at a hotel in Beethovenstrasse and Isobel and Felicity came to us.  Her husband was not with her this time.

Felicity was three or four and looked very much like her mother.  She also looked very much like Charlotte, and I’d remarked on it once before and it received a sharp rebuke.

We’d been twice before, and rather than talk to her sister, Charlotte spent her time with Felicity, and they were, together, like old friends.  For so few visits they had a remarkable rapport.

I had not broached the subject of children with Charlotte, not after one such discussion where she had said she had no desire to be a mother.  It had not been a subject before and wasn’t once since.

Perhaps like all Aunts, she liked the idea of playing with a child for a while and then give it back.

Felicity was curious as to who I was, but never ventured too close.  I believed a child could sense the evil in adults and had seen through my facade of friendliness.  We were never close.

But…

This time, when observing the two together, something quite out of left field popped into my head.  It was not possible, not by any stretch of the imagination, but I thought she looked like my mother.

And Charlotte had seen me looking in their direction.  “You seem distracted,” she said.

“I was just remembering my mother.  Odd moment, haven’t done so for a very long time.”

“Why now?”  I think she had a look of concern on her face.

“Her birthday, I guess,” I said, the first excuse I could think of.

Another look and I was wrong.  She looked like Isobel or Charlotte, or if I wanted to believe it possible, Melissa too.

I was crying, tears streaming down my face.

I was in pain, searing pain from my lower back stretching down into my legs, and I was barely able to breathe.

It was like coming up for air.

It was like Snow White bringing Prince Charming back to life.  I could feel what I thought was a gentle kiss and tears dropping on my cheeks, and when I opened my eyes, I saw Charlotte slowly lifting her head, a hand gently stroking the hair off my forehead.

And in a very soft voice, she said, “Hi.”

I could not speak, but I think I smiled.  It was the girl with the imperfection in her right eye.  Everything fell into place, and I knew, in that instant that we were irrevocably meant to be together.

“Welcome back.”

© Charles Heath 2016-2019

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“What Sets Us Apart”, a mystery with a twist

David is a man troubled by a past he is trying to forget.

Susan is rebelling against a life of privilege and an exasperated mother who holds a secret that will determine her daughter’s destiny.

They are two people brought together by chance. Or was it?

When Susan discovers her mother’s secret, she goes in search of the truth that has been hidden from her since the day she was born.

When David realizes her absence is more than the usual cooling off after another heated argument, he finds himself being slowly drawn back into his former world of deceit and lies.

Then, back with his former employers, David quickly discovers nothing is what it seems as he embarks on a dangerous mission to find Susan before he loses her forever.

Find the Kindle version on Amazon here:  http://amzn.to/2Eryfth

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365 Days of Writing, 2026 – 232

Day 232 – The Hollywood writer mentality

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“I’m a Hollywood Writer, So I Put on My Sports Jacket and Take Off My Brain”: Deconstructing Ben Hecht’s Ultimate Industry Satire

“I’m a Hollywood writer, so I put on my sports jacket and take off my brain.”

If you’ve ever spent more than forty-eight hours in a writers’ room, felt the soul-crushing despair of a studio note that asks you to “make the protagonist more likable while also making them entirely unhinged,” or watched a masterpiece get sliced into digital confetti by a focus group, that quote hits you right in the solar plexus.

It is sharp, cynical, hilarious, and dripping with the kind of world-weary exhaustion that only a true veteran of the studio system could muster.

The man behind the quip? Ben Hecht.

Often called the “Shakespeare of Hollywood,” Hecht was a legendary screenwriter, playwright, and journalist who helped shape the Golden Age of cinema. He won the very first Academy Award for Best Original Story (for 1927’s Underworld), wrote or co-wrote stone-cold classics like His Girl Friday, Scarface, and Notorious, and quietly doctored dozens of scripts without credit (including polishing Gone with the Wind).

Yet, despite his immense success and undeniable genius, Hecht maintained a notoriously love-hate relationship with the motion picture industry. His famous sports jacket quote is more than just a snappy punchline; it is a profound commentary on the commodification of art, the absurdity of the studio system, and the psychological armour required to survive as a creative in Tinseltown.

Let’s unpack what Hecht meant, why it still resonates today, and what modern writers can learn from his cynical wisdom.

The Uniform of Compromise: What the Sports Jacket Represents

To understand Hecht’s joke, you have to look at the visual language of Hollywood.

In Hecht’s era—and largely still today—the film industry was a place of stark contrasts. On one side stood the suits: the studio moguls, the producers, and the executives who viewed movies not as high art, but as an assembly-line manufacturing process. On the other side stood the artists: the directors, actors, and writers who often viewed themselves as tortured visionaries.

By joking that he puts on a “sports jacket”—traditionally a casual, slightly corporate, uniform-of-convenience piece of menswear—to “take off his brain,” Hecht is performing a brilliant piece of psychological self-defense.

He is acknowledging the transactional nature of his work. A sports jacket says, “I’m professional enough to take your money, but I’m detached enough not to break my heart when you ruin my scene.”

Putting on the jacket is the physical ritual of putting on the work persona. It is the moment the artist steps out of the realm of pure imagination and enters the boardroom, where imagination is often treated as a liability rather than an asset.

Why Hollywood Demands You “Take Off Your Brain”

Why would a Pulitzer-winning, brilliantly gifted wordsmith feel the need to check his brain at the studio gate?

Because commercial filmmaking—at its worst—is hostile to genuine intellect and originality. Hecht understood a fundamental truth of the studio system: executives rarely want a thinker; they want an obedient problem-solver.

When Hecht implies he takes off his brain, he’s pointing out several classic industry traps:

  1. The Homogenization of Art: Studio notes have a way of filing down the sharp edges of a story until it fits neatly into a demographic-friendly box. If you keep your brain fully engaged, you’ll fight for every nuanced character beat. If you take your brain off, you just nod, smile, and change the third act so the dog doesn’t die.
  2. The Illusion of Effort: In Hollywood, there is often an inverse relationship between how hard you think and how happy the studio is. If you overcomplicate a plot with deep thematic resonance, the executives get confused. And confused executives give terrible notes.
  3. Self-Preservation: Caring too much in Hollywood is a fast track to an ulcer. Hecht was prolific because he treated screenwriting with a certain professional detachment. He knew that pouring your entire soul into a 120-page document only to have a 24-year-old development executive say, “Can we add a talking animal?” is a recipe for madness.

Ben Hecht: The Ultimate Hollywood Mercenary

To truly appreciate the quote, you have to look at Hecht’s paradoxical career.

Hecht was no hack. He was a literary titan. Before moving to Hollywood, he was a star reporter for the Chicago Daily News and a novelist whose books were banned for being too racy. He co-wrote The Front Page, one of the greatest stage comedies about journalism ever produced.

Yet, Hecht had no romantic illusions about the movies. He once famously said of Hollywood: “It’s a place where people die of nostalgia for a place they never were.”

He went to Hollywood explicitly for the money. He famously knocked out scripts with terrifying speed, paid off his debts, bought a luxurious lifestyle, and funded his political activism (including working tirelessly behind the scenes to rescue European Jews during the Holocaust).

Hecht’s sports jacket quote encapsulates his mercenary philosophy. He viewed screenwriting as a trade—a very lucrative, highly entertaining trade, but a trade nonetheless. He kept his “real” brain—his literary soul—reserved for his novels, plays, and journalism, while happily taking studio checks to punch up gangster flicks and screwball comedies.

The Modern Relevance: Does the Sports Jacket Still Fit?

Nearly a century after Hecht’s heyday, his cynical wisdom is more relevant than ever.

Today’s writers face an even more algorithm-driven landscape. Writers’ rooms are increasingly corporatised, IP (Intellectual Property) is king, and “brand synergy” often trumps narrative logic.

If you talk to working writers in streaming or franchise-heavy feature films today, they will tell you that Hecht’s ritual is alive and well. It might not be a literal sports jacket—today, it might be slipping on a pair of noise-cancelling headphones before a Zoom call with twenty executives, or adopting a cheerful tone of voice while secretly plotting how to subtly sneak your thematic message past the censors.

Wearing the metaphorical sports jacket today means learning how to separate your identity from your output. It means realising that a corporate note telling you to “add more action to the first ten minutes” isn’t a personal indictment of your artistic integrity; it’s just the weather in Los Angeles.

How to Wear the Jacket Without Losing Your Mind

Is Hecht’s quote a counsel of despair? Not necessarily. In fact, for modern creatives, it can be deeply liberating.

Here is how you can channel the spirit of Ben Hecht without selling out completely:

  • Protect Your “Real” Brain: Like Hecht, keep a creative sanctuary for yourself. Write the indie script, pen the personal essay, paint the canvas, or build the passion project where no studio notes can reach you.
  • Treat It Like a Job (Because It Is): When you put on your professional hat, remember that commercial writing is a collaborative, service-oriented art form. Sometimes, you just need to write the car chase, collect the check, and go home.
  • Cultivate Professional Detachment: Don’t fall in love with your first draft—or your fifth. Be willing to kill your darlings before an executive does it for you with a chainsaw.
  • Keep Your Sense of Humour: Hollywood is inherently ridiculous. If you can’t laugh at the absurdity of a notes meeting where three people debate the emotional arc of a CGI raccoon, you won’t survive the town.

Final Thoughts

Ben Hecht’s quip about the sports jacket and the brain is ultimately a survival manual disguised as a punchline. It reminds us that navigating the commercial art world requires a delicate balance: enough professional savvy to play the game, and enough self-awareness not to let the game consume your soul.

So, the next time you log on to a painfully corporate notes call, or stare blankly at a feedback document that asks you to “change the genre from thriller to romantic comedy by tomorrow morning,” just smile, zip up your metaphorical sports jacket, and remember the words of the great Ben Hecht.

Just keep your real brain safe where they can’t touch it.

What’s the most absurd studio note or feedback you’ve ever received? How do you protect your creative soul while working in commercial media? Let’s talk about it in the comments below!

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