If I only had one day to stop over in – London – what would I do?

One Day in London: Making the Most of Your Stopover

Are you lucky enough to have a one-day stopover in the vibrant city of London? With so much to see and do, it can be overwhelming to decide how to spend your limited time. As a seasoned traveller and blogger, I’m here to share with you the one place to visit that will make your day in London truly unforgettable: The British Museum.

Located in the heart of the city, the British Museum is one of the world’s greatest museums, housing a vast collection of artifacts from ancient civilisations. With a history spanning over 250 years, this iconic institution has something for everyone, from history buffs to curious travellers.

Why The British Museum?

  1. Unparalleled Collection: With over 8 million objects on display, the British Museum boasts an incredible collection of artifacts from around the globe, including the Rosetta Stone, the Elgin Marbles, and the mummies in the Ancient Egypt gallery.
  2. Iconic Landmark: The museum’s stunning Greek Revival architecture is a work of art in itself, with its grand entrance, sweeping staircases, and beautiful courtyards.
  3. Free Admission: The British Museum offers free admission to all its permanent collections, making it an accessible and budget-friendly option for travellers.
  4. Central Location: The museum is conveniently located in Bloomsbury, within walking distance of several major tube stations, including Holborn, Russell Square, and Tottenham Court Road.

Must-See Exhibits

  1. The Rosetta Stone: This ancient Egyptian artifact is one of the museum’s most famous objects, and for good reason. The stone’s intricate hieroglyphics and Greek inscriptions helped scholars decipher the secrets of ancient Egyptian language.
  2. The Mummies: The British Museum’s Ancient Egypt gallery is home to an impressive collection of mummies, including the famous Gebelein Man, who is over 5,500 years old.
  3. The Elgin Marbles: These stunning marble sculptures from the Parthenon in Athens are a highlight of the museum’s Greek collection.

Tips for Visiting The British Museum

  1. Plan Your Visit: With so much to see, it’s essential to plan your visit in advance. Consider purchasing a guided tour or using the museum’s mobile app to navigate the collections.
  2. Arrive Early: Beat the crowds by arriving early, and take advantage of the museum’s peaceful morning atmosphere.
  3. Take a Break: The British Museum has several cafes and restaurants on site, offering a range of refreshments and meals. Take a break and recharge before continuing your exploration.

Conclusion

If you only have one day in London, make the most of it by visiting The British Museum. This world-class institution offers a unique and unforgettable experience, with its incredible collections, stunning architecture, and rich history. Whether you’re a history enthusiast, a curious traveller, or simply looking for a memorable experience, The British Museum is the perfect destination for your one-day stopover in London.

So, what are you waiting for? Book your ticket, grab your camera, and get ready to discover the wonders of The British Museum!

365 Days of writing, 2026 – 17/18

Days 17 and 18 – Writing exercise

On your 18th birthday celebration, eating out with parents and brothers and sisters, your youngest sister blurts, “You do know you’re adopted.”

I had always been last for everything.  I had three elder brothers and two elder sisters, and then there was me, tail end Charlie, my father called me, a name I didn’t quite understand.

I thought it was because there were six years between me and the older siblings.

My brothers went to the best school, all three excelling in their studies and after high school, college and university.  My sisters went to the same school my mother attended, and college, but then chose marriage and children over a career.

Me, I attended grade school, middle school, high school, and had moderate success, but there was never any suggestion that I go to college.

It seemed that as the last one, I had not inherited the smarts of my other siblings and that the farming job I had with the Renfrews, out on the road to Weston, was good enough.

I barely graduated high school, and was discouraged from going to the prom, perhaps because I did not have a girl I could ask, though I suspected my siblings had ruined any chance I might have had with the one I thought would agree.

It was what it was, though I could never understand why they apparently disliked me so much.  It was not overtime, but from about the time I turned ten, I began to notice a distinct separation, like I was not one of the family.

I didn’t complain. 

But now, school over and prom gone, it was my 18th birthday, and I was heading into town to the family party.  Not the lavish affairs that were thrown at the country club for my siblings, with practically the whole town attending, this was just a quiet meal.

Again, it wasn’t a big deal.  I heard my parents talking about it one night when they thought everyone had gone to bed or was away.

The hushed voices in the main room.

“It’s not as if we can’t afford it, and he is a member of this family.”

“And if your sister…”

“What?  Thrown herself at you, and you couldn’t…”

“I think I’ve more than made up for that indiscretion a hundred times over.”

“But it’s never been the same, second best, if he was lucky.”

“You know why.”

“Well, it’s wrong.”

“He’s lucky he has a home, people who care enough.  Your sister, God rest her soul, was never going to cope.  He’ll be moving on once Renfrew makes his job permanent, and that’ll be the end of it.  God knows we’ve paid him enough.”

It was a conversation that made no sense.  I had no idea that my mother had a sister, not one that was referred to in those terms. 

The Renfrews had always employed me on and on over the years, but I thought I had got that job on my own merits.  Perhaps then I hadn’t, but it was not a question I was going to ask

My father had been irritable of late and not well disposed towards me, and the siblings that remained at the home had taken less interest in me since the eldest John had got married and left to work in New York.

About the time he left, six years ago, things changed.  I had seriously believed that the family thought I had driven him away.  Certainly, on several occasions, by the youngest sister, she had insisted that I was causing unnecessary problems between ‘her’ parents.

Were they not mine too?

But the day arrived.  I was in town with one of the few friends I had from school, and had agreed to join them at a particular time.

When I got there, they had all arrived and had already ordered.  It was like they had decided that I was almost irrelevant.

At least there was a seat next to my mother. 

She seemed to be the only one who cared whether I was there.  The others were arguing over what they were getting and the merits of besting each other with the most expensive dishes.

I was never that lucky and rarely got to choose.  The others would say that, as the youngest, I should be having the children’s meal.  Even when I got older, it was a running joke, one that neither parent stopped.

But today I was 18.  At the same time, my older brother got the keys to a new car, and a wad of money.  The same sort of gifts flowed down through the others.

I had expected the same, but that morning, there was a card with seven names scrawled on it, without any well-wishes or anything.  There was definitely no money, and had I been expecting a pleasant surprise now, I honestly believed that that ship had sailed

Perhaps they no longer had the money, certainly they no longer bragged about how well off they were, and the last time John was home, I had heard him asking for money, and my father telling him things were tight.

So, no car and no money.  And by the look of it, no present.  Of course, when the food came out, I could see that no expense had been spared for them.

It was going to be just like I had been told it would.

A question that I never thought would enter my head when old man Renfrew handed me a small boat wrapped in plain brown paper, tied with common garden twine.

Underneath the twine was an envelope with my name on it and the words “For your 18th birthday”.  When I asked him who it was from, he simply said it was on the front porch when he came home.

That was two days before my birthday.

Inside the envelope was a card, but mysteriously, it didn’t say who it was from, and a letter in an envelope that looked quite old and yellowing at the edges.  My name was written on it in rather exquisite lettering, Aloysius Charles William Henry.

What did that mean?  Was my last name Henry?  I didn’t think so.

Under my name was, ‘Do not open this until after your 18th family birthday party’.

I was curious, and had I not exercised the patience my mother had tried to teach the rest of her children, I might have torn the envelope open in the hope of finding a large cash reward or a loaded credit card.

It’s what seemed to motivate the other siblings.

I guess inadvertently, my parents had taught me all the virtues of patience and no expectation, but by all the wrong methods.

I then asked Mrs Refrew, who was less grumpy than her husband, and I knew she recognised the writing, and quite possibly who it was from, but she said that the good Lord had his reasons, and patience was a virtue.

So, without the benefit of whatever sage advise or revelations that lay within that envelope, I went, with a promise to myself that I would not show any emotion because I had reached the conclusion that there was something in my past that had been covered up or omitted, and that best guess, my father or mother had had an affair and I was the product of it. 

It was the only explanation for my treatment over the years and the change in the way my siblings treated me, at least from six years ago.  That was when they must have told them, the last of their children turning 18.

The youngest sister, still unmarried and prone to having bad relationships and bouts of drug addiction, was currently clean and had been for nearly a year, and this party was more about her achievement than my birthday.

As a reward the had given her a multi-thousand-dollar gift card.  I had seen it as a put-down, and I think it was deliberate on her part just to put me in my place.  I simply smiled, which seemed to annoy her.

In her sickly sweet voice, she said, “I hope you’re having a wonderful birthday.”

“Every bit as much as your year of sobriety, Anna.  At least I won’t be having another 18th Birthday.”

OK.  I didn’t mean to be that harsh, but I was human after all.

The dulcet tones turned into her angry squeak.  “What do you mean by that?”

The table went quiet, and all eyes were on me.  I’d just attacked one of their own, and the pack mentality came out.  Hyenas circling the dying animal.

“Three times now.  And given your choice in bad boys, I expect we’ll be back here next year.  You’re only 18 once.  Thankfully.”

“You’re an ass, Charlie.  You do know you’re adopted and you’re not one of us.  You don’t even deserve to sit at this table.”

My so-called mother looked horrified.  My so-called father and the rest of them looked smug.

What were they expecting?  For me to turn into a blubbing mess so they could laugh at me.

“That was uncalled for, Anna.”

“It’s true.  Why did you bother wasting your time?  I hope he’s not getting anything in your wills.  He’s not even family.”

Then I saw something I had never seen before in my life.  My so-called mother was angry.

“It depends on your definition of family, and unfortunately, no one in this family ever taught you the meaning of it.”  She turned to her husband.  “You promised.”

“They deserved to know.”

“Do you remember what I said back when you made that promise?”

“God, woman, that was 18 years ago.  Who cares?”

“You will.  And every one of these spawn of the devil you’ve created.  You know who I am.  You know what I gave up.  Well, I suspected you had betrayed me, so I took the appropriate steps.”

She stood and looked down at me with moist eyes. She was genuinely ashamed.  “Charlie.  I’m sorry you had to find out this way.  I was going to tell you the truth tonight.  Well, it seems that time has arrived early.”  Then she looked around at the sea of astonished faces.  “In what you might all call a cruel twist of fate, you are all now going to pay for your father’s sins.  No more money, no more handouts.” Then to her husband.  “Start looking for a job.  You’re going to need one.”

“Seriously, Martha, all this over a bastard son of a prostitute?”

I saw a small shudder going through her and the clenching and unclenching of fists.  She was beyond angry now, and the look on her face was one of pure hatred and disgust.

“You forget one important detail.  She was a prostitute who had a three-hundred-million-dollar inheritance, which she left to me to look after her son.  You have all benefited.  I’m willing to bet he did not tell you about the conditions that came with the benefits.”

“Anna was the one who blabbed.  None of us.  We’re not at fault.”  John was in full panic mode, seeing his never-ending well dry up before his eyes.

She glared at him.  “You sat back and laughed along with the rest of them.  You are the eldest, supposed to set an example.  Of what, greed, and ambivalence.  All of you had a chance to prove yourselves, and you missed it.  One chance.  You are all cut off; there will be no inheritance.  Now, get out of my sight.”

Dinner half eaten, drinks about to be served, not one of the siblings wanted to irritate her more than they already had.  I suspect all of them believed, as they shuffled out, that things would be back to normal tomorrow.

My so-called father didn’t move.

Her eyes rested on him.  “You don’t mean any of that; it was just a wake-up call to what I admit have been a few annoying children.  But let’s face it, we both spoiled them.  It’s as much….”

She picked up her glass of wine and threw it at him, the wine not the glass.

“Rethink those words, Roger.  If that’s the defence you’re going with, you’re in big trouble.  Leave now before I pick up the phone and call my lawyers.”

He stood slowly.  “We can talk later.  How will you get home?”

“Charlie can take me.”

I could see his nose wrinkle at the thought of my so-called mother being seen in a ’60s Ford truck.

Another repentant look at her, he left, joining the others out on the pavement.  They hadn’t gone, still stunned from their mother’s outburst.

She sighed, then sat.

I was stunned, still trying to come to terms with what had been said.  Adopted.  My so-called mother had a sister worth 300 million.  How?  I was my mother’s sister’s child.  And something else I remembered, my father was my father in a weird twist of fate.

I was, in a sense, family.  But my aunt, who was my mother for all intents and purposes, hadn’t done a very good job.

It was five minutes, maybe more, before she spoke.  I think that at that time she ran through every scenario, and not one of them would suffice.

A sigh, then, “You should be angry.  I don’t think there’s anything I can say that you would believe just how sorry I am.  That’s on me.  I want to use the excuse that both my twin sister and I were stupid spoilt drug addled kids who honestly believed life had no consequences, that we could do whatever we liked. 

“I met your father, Susannah stole him, he dumped her and picked me, then shagged her anyway.  She got pregnant, couldn’t handle it, killed herself, and it was a miracle you survived.  We agreed to adopt you and call you our own.  After all, there was no difference between my sister and I.  I just went away with you for nine months, and everything was fine.

“My problem was in marrying your father; I had to forgo my inheritance.  I got an allowance, but I didn’t really care all that much about money, and let him manage it.  I had no idea how much he disadvantaged you to the benefit of the others, not until a year ago, with Anna and her endless visits to rehabilitation.  And all the money he’d poured into John’s black hole was caused by idiotic investments.  The others are not much better.

“I’m sorry you got nothing.”

“It doesn’t matter.  It taught me lessons they will never get.  If you have nothing to start with, then every step up is appreciated all the more.  Perhaps the best birthday present was to see them finally look as scared as I have felt all my life.  It won’t hurt them, but It might be too late to make a point.”

“It’s never too late.  And the point will be made.  Did you get the box?”

“With a card and a letter?”

“Yes.  Did you read the letter?”

“No.  It said not to until after the party.”

“You have it?”

I took it out of my pocket and showed her.  I knew now who it was from.  My mother.  My real mother.

She took it with shaking hands and tears running down her cheeks.  There were eighteen years of pain etched on her face.

“I was there when you were born.  She had one last breath in her; as she breathed life into you, she exhaled her last.  I loved you like you were mine, until I got lost in a sea of self pity an post natal depression.  We were twins; I felt her pain, I felt everything that she would have felt.  I’m sorry I wasn’t made of stronger stuff.”

“I think I’ve always regarded you as my mother.  Though preferring the other five, well, that took a little understanding, of which in the end I had none.”

“I come from an era of women who preferred to hide behind their husbands.  It was drummed into us, but Anna was never going to be like that.  Still, that’s not an excuse.”  She handed the letter back.
You should read it now, then we can decide what to do.”

“Is there anything we can do?”

“Yes.”

If you are reading this, you will have just turned 18, a very important moment in your life.

If you have not been told, you will have been adopted by my twin sister, and she has promised me she will look after you better than I could.

I was not very good at managing anything.  Our lives were ruined from the start by parents who did not care at all what happened to us, that if they threw enough money at the problem, it would go away.

Money does not solve problems; it simply amplifies them into bigger problems.

I hope she has not gone down that path.  If she has, then I am sorry that I trusted her, that you did not get a life that was not as it should have been.

And if, on the other hand, she has managed to teach you the value of life, and more importantly, that it is family, those we choose and those we have to live with, and others who will have a guiding influence that will make us who we will become.

Given the five examples that constitute her current children, I’m not holding my breath that she will make a good fist of it.

Still, on my deathbed, I can only hope.  Perhaps there is some afterlife where I can come down and reprimand them if they falter.  You will be the judge of that.  Try not to be too critical.  Her upbringing, like mine, was terrible, and it’s hard to break out of a cycle you’ve known and been subject to for most of your life.

But, whatever the circumstances you find yourself in, if you are reading this letter, my sister has had the wherewithal to give it to you.  It means even if she is ashamed of what happened, it cannot be so bad that you might unequivocally hate her.

In the box is a key to a safety deposit box.  It is where your inheritance is.  The other key’s location can be obtained from the family lawyers, name and address with the key.  It can only be given to you, so you will have to undergo a DNA test and a few other identity tests that Freda will help you with.

What you do with your inheritance is up to you. I can only hope that you will not take a leaf out of my book and waste the opportunity to do some good, the good I realised far too late that I could have done.

Remember that I loved you then with all of my heart, and will to the end of tine.

Susannah.

“Were you that bad?”

“What did she say?”

“Your parents threw money at the problem, hoping it would go away.”

“Then yes.  I married your father to break that cycle and find some normality, but he was a poor fool who found himself in a world he couldn’t cope with.  My parents were right to disown me.”

“You had your sister’s fortune.”

“No.  We never mentioned that to him, only that she would provide a certain sum for your upbringing.  We had money, but that boost allowed helping to help indulge his children, where in the end they were no better off than my brothers and sisters were.  He wanted the life I hated.”

“And by a quirk of fate, you both brought me up the way in which mother had hoped you would, by a totally different method.  Resentment.  I have not once ever had to thought i could have anything I wanted, not like the others.  Cars, gift cards, credit cards with no limit, houses, and apartments.  None 9f them really work for a living, and I can’t see how they’re going to function.”

“They can come and see you for advice on how to live within their means.”

They were still outside the restaurant, trying to come to terms with what just happened.  They’d turned on Anna, then the father, then each other.

“Did you mean what you said to them?”

“Yes.  No more.”

“I don’t think they quite get that.  They’re still outside.”

She shrugged.  “Then it’s going to be a cold day in hell tomorrow.  We have a road trip.  New York.  I want to tell you everything about your mother before we go home, our home, where she came from, and where you will be welcomed.”

“How could that be possible?”

“That you will discover is the advantage of being a firstborn Rossiter.  My sister was born three minutes before me, and therefore, is the eldest child.  The eldest Rossiter then becomes the heir.  You were her first and eldest child, and therefore the current heir to the Rossiter legacy. 

“And you have a sister, something my husband never knew about, a twin sister.  The caretaker.  There is a world that my husband and my other children know nothing about because I was excommunicated. 

“Because now you are of age and can accept the inheritance, if you want to, of course, there’s no obligation; it has to be your choice, you can give me the chance to come back, but that too is only at your discretion, and I will understand if you rule against it.

“But its complicated and messy and swamped with rules and protocols and its the reason both my sister and I ran away. You might too when you discover the full extent of it.”

“I can make their lives easier,” I waved a hand in their direction.

“You could, but they never made it easy for you.  None of us did.  By choice or by ignorance.  That might never have changed if it had not been for Anna’s outburst.”

“But you said you were making changes.  That means you knew you were wrong and wanted to do something about it.”

“After 16 years of neglecting my sister’s wishes?”

I shrugged.  “We will have much to talk about.  Shall we go?  Out the back.  I had a feeling, one way or another, I would be slinking out of here.”

Good to see, also, it had started snowing.  It was the first of the season, and it meant Christmas was around the corner.  It might not be fun at home, but as a member of the town’s Christmas committee, the pageantry, the fete, the Christmas tree plot, and charity events always made it worthwhile.

Perhaps this year I could do more.

My mother, so-called, was my mother, good and bad.  She was the only mother I’d had, and I’d learned from school that it wasn’t always a luxury for all the kids there.

I gave her a hug, which surprised her, a hug that had every one of those 18 years her twin had been gone, but rather strangely was still with her in body and spirit.  I realised then I didn’t have to imagine the woman I had never met because she was the woman standing there in front of me.

It was the best and only present I could ever want for what was the most memorable and remarkable birthday of my life.

©  Charles Heath  2026

365 Days of writing, 2026 – My second story 3

More about my second story

The Female Assassin: Breaking Stereotypes and Forging a Unique Path

As a writer, creating a compelling and complex female character can be a daunting task, especially when venturing into the realm of assassins. With a plethora of male-dominated stories in the genre, it’s essential to differentiate our female protagonist from her counterparts while maintaining the essence of the profession. In this blog post, we’ll explore ways to set our female assassin apart, infuse her with a conscience or unique rationale, and introduce a captivating on-again, off-again romance that will keep readers enthralled.

Setting Her Apart: Beyond the Typical Traits

To avoid clichés, let’s move beyond the usual characteristics associated with female assassins, such as:

  • The seductress: using charm and beauty to lure targets
  • The revenge seeker: driven by a personal vendetta
  • The stoic killer: emotionless and devoid of empathy

Instead, consider the following traits to make your female assassin stand out:

  • Unconventional skills: Perhaps she’s an expert in a unique area, such as cryptology, toxicology, or engineering, which she leverages to carry out her missions.
  • Moral ambiguity: She operates in a gray area, questioning the true nature of her targets and the motivations behind her contracts.
  • Vulnerability: She has a weakness, such as a chronic illness, a troubled past, or a personal loss, that makes her more relatable and human.

A Conscience or Rationale: Adding Depth to Her Character

Giving your female assassin a conscience or a well-defined rationale for her actions can elevate her from a one-dimensional killer to a complex, multidimensional character. Some possible approaches:

  • A personal code: She adheres to a strict set of rules, such as only targeting those who have committed heinous crimes or refusing to harm innocent bystanders.
  • A larger purpose: She believes her work serves a greater good, such as taking down a corrupt organisation or protecting a specific community.
  • A conflicted past: Her experiences have led her to question the morality of her profession, and she grapples with the consequences of her actions.

The On-Again, Off-Again Romance: A Complicated Dance

A romance can add an exciting layer to your story, but it’s essential to avoid clichés and make the relationship an integral part of the narrative. Consider the following:

  • A complicated history: The love interest has a past with the assassin, making their interactions fraught with tension and unresolved emotions.
  • A forbidden love: Their relationship is taboo, either due to the assassin’s profession or the love interest’s connections to her targets.
  • A cat-and-mouse game: The love interest is also a skilled operative, leading to a thrilling game of espionage and one-upmanship.

To keep the romance engaging, make sure to:

  • Develop the love interest: Give them their own backstory, motivations, and conflicts to create a well-rounded character.
  • Balance action and romance: Ensure that the romance doesn’t overshadow the main plot or the assassin’s character development.
  • Keep it unpredictable: Avoid predictable tropes and surprising twists to keep readers invested in the relationship.

By incorporating these elements, you’ll create a female assassin who defies stereotypes and captivates readers with her complexity and depth. Remember to stay true to your character’s voice and agency, and don’t be afraid to push boundaries and explore new themes. With a richly nuanced protagonist and a gripping narrative, your story will stand out in the world of assassin fiction.

If I only had one day to stop over in – London – what would I do?

One Day in London: Making the Most of Your Stopover

Are you lucky enough to have a one-day stopover in the vibrant city of London? With so much to see and do, it can be overwhelming to decide how to spend your limited time. As a seasoned traveller and blogger, I’m here to share with you the one place to visit that will make your day in London truly unforgettable: The British Museum.

Located in the heart of the city, the British Museum is one of the world’s greatest museums, housing a vast collection of artifacts from ancient civilisations. With a history spanning over 250 years, this iconic institution has something for everyone, from history buffs to curious travellers.

Why The British Museum?

  1. Unparalleled Collection: With over 8 million objects on display, the British Museum boasts an incredible collection of artifacts from around the globe, including the Rosetta Stone, the Elgin Marbles, and the mummies in the Ancient Egypt gallery.
  2. Iconic Landmark: The museum’s stunning Greek Revival architecture is a work of art in itself, with its grand entrance, sweeping staircases, and beautiful courtyards.
  3. Free Admission: The British Museum offers free admission to all its permanent collections, making it an accessible and budget-friendly option for travellers.
  4. Central Location: The museum is conveniently located in Bloomsbury, within walking distance of several major tube stations, including Holborn, Russell Square, and Tottenham Court Road.

Must-See Exhibits

  1. The Rosetta Stone: This ancient Egyptian artifact is one of the museum’s most famous objects, and for good reason. The stone’s intricate hieroglyphics and Greek inscriptions helped scholars decipher the secrets of ancient Egyptian language.
  2. The Mummies: The British Museum’s Ancient Egypt gallery is home to an impressive collection of mummies, including the famous Gebelein Man, who is over 5,500 years old.
  3. The Elgin Marbles: These stunning marble sculptures from the Parthenon in Athens are a highlight of the museum’s Greek collection.

Tips for Visiting The British Museum

  1. Plan Your Visit: With so much to see, it’s essential to plan your visit in advance. Consider purchasing a guided tour or using the museum’s mobile app to navigate the collections.
  2. Arrive Early: Beat the crowds by arriving early, and take advantage of the museum’s peaceful morning atmosphere.
  3. Take a Break: The British Museum has several cafes and restaurants on site, offering a range of refreshments and meals. Take a break and recharge before continuing your exploration.

Conclusion

If you only have one day in London, make the most of it by visiting The British Museum. This world-class institution offers a unique and unforgettable experience, with its incredible collections, stunning architecture, and rich history. Whether you’re a history enthusiast, a curious traveller, or simply looking for a memorable experience, The British Museum is the perfect destination for your one-day stopover in London.

So, what are you waiting for? Book your ticket, grab your camera, and get ready to discover the wonders of The British Museum!

What I learned about writing – Use the non-fiction writer’s playbook

How to Nail the Start of Your Novel by Borrowing from Nonfiction’s Playbook

Every novelist knows the pressure of a great opening.

You’ve got one page—sometimes one paragraph—to hook your reader, introduce your world, and set the story in motion. Too much exposition, and you risk losing momentum. Too little context, and your reader is left confused. So how do you strike the perfect balance?

Turns out, the answer might not come from fiction at all.

Surprisingly, one of the most effective strategies for launching a novel comes not from bestselling thrillers or Pulitzer-winning literary works, but from the disciplined clarity of nonfiction writing.

Nonfiction writers live and breathe the six fundamental questions:
Who? What? Why? When? Where? How?

These aren’t just journalistic tools—they’re storytelling essentials. And by applying them to your novel’s opening, you can craft a start that’s both compelling and crystal clear.

Let’s break it down.


1. Who?

Establish your protagonist (or POV character) quickly.

Readers need someone to anchor to—fast. Within the first few paragraphs, you should introduce the person whose journey matters most. You don’t need a full backstory, but give us a sense of who they are: their name, role, emotional state, or core desire.

Example:
“My name is June Kim, and I hadn’t spoken to my mother in three years when the call came about her hospitalization.”
— Already, we have a who (June), a relationship (with her mother), and emotional weight.

Even in ensemble casts or complex narratives, the opening should clarify whose perspective we’re experiencing.


2. What?

What is happening right now?

This isn’t about the entire plot—just the immediate situation. What action, event, or decision kicks off the story?

Are they receiving a mysterious letter? Boarding a train to a new city? Discovering a body in the woods? The “what” grounds the reader in the present moment.

Tip: Start mid-action when possible. Avoid long internal monologues or backstory dumps. Let the “what” drive momentum.


3. Why?

Why should we care? Why does this matter to the character (and reader)?

This is where emotional stakes enter. A character running through a forest is intriguing—but if we know why they’re running (a child is missing, they’re being hunted, they’re fleeing guilt), the scene gains urgency.

The “why” doesn’t need to be fully explained upfront, but it should be implied. Let readers sense a deeper meaning, a hidden pain, or an impending threat.

Example:
Instead of: “She walked down the street.”
Try: “She walked down the street, rehearsing the apology she knew her sister wouldn’t accept.”
Now we have context, history, and emotional tension.


4. When?

Establish the timeline—past, present, future, or era.

Is this story set in modern-day Brooklyn, 18th-century France, or a post-apocalyptic 2150? Is it unfolding in real time or being told in retrospect?

Even subtle cues—technology, clothing, language—can signal time period without heavy exposition.

Pro Tip: If your novel spans multiple timelines, make the “when” of the opening scene unmistakable. Clarity prevents confusion.


5. Where?

Anchor the reader in a vivid setting.

Every story lives in a world—real or imagined. Use concrete sensory details (sights, sounds, smells) to immerse the reader instantly.

Don’t just say “a small town.” Say: “A town where every porch light flickered the same shade of yellow and everyone knew whose dog barked at 3 a.m.”

Strong setting doesn’t just describe—it enhances mood and theme.


6. How?

How does this opening scene set the tone and mechanics of the story to come?

This is your narrative engine. How is the story being told? First person? Third limited? With humour? Urgency? Mystery?

The “how” includes voice, pace, and structure. It answers: What kind of book have I just opened?

If your novel is a fast-paced thriller, the how might be short, punchy sentences and cliffhanger pacing. If it’s a quiet literary drama, the how could be lyrical introspection?

Your narrative technique should match your genre and intent.


Putting It All Together: A Fictional Example

Let’s apply all six questions to a strong novel opening:

“When the subway doors hissed open at 1:17 a.m., Leo Chen was the only one waiting on the platform—but he wasn’t the man I’d agreed to meet. I’d come to trade a stolen hard drive for $50,000 and my sister’s freedom. Now, standing in the flickering fluorescent light, I realized I was already too late.”

  • Who? The narrator (unnamed, but clearly involved) and Leo Chen.
  • What? A clandestine exchange on a subway platform.
  • Why? The narrator’s sister is being held; the stakes are sky-high.
  • When? 1:17 a.m.—late, isolated, dangerous.
  • Where? A nearly empty subway station, dimly lit and tense.
  • How? Immediate tension, first-person urgency, and mystery—hinting at a thriller’s pace.

All six questions answered—in under 70 words.


Final Thoughts: Clarity is Not the Enemy of Creativity

Some writers fear that answering these questions upfront will make the opening feel “formulaic.” But clarity isn’t the opposite of artistry—it’s its foundation.

Nonfiction writers use these questions to inform, yes—but novelists can use them to seduce. To intrigue. To deliver just enough truth so the reader can’t stop turning pages.

So before you write (or revise) your novel’s first chapter, ask yourself:

  • Who is the reader meeting?
  • What’s happening now?
  • Why does it matter?
  • When is this taking place?
  • Where are we, exactly?
  • How is this story being told—and why this way?

Answer those with precision and purpose, and you won’t just start your novel.
You’ll launch it.

If I only had one day to stop over in – New York – what would I do?

A One-Day Stopover in New York: Making Memories at the Unforgettable High Line

Travelling, by its very nature, is about discovery. But what do you do when time is truly limited? Imagine this: You’re sitting on a transatlantic flight, mid-Atlantic, with a layover in New York City. Your window seat offers a bird’s-eye view of the East River, and the next 24 hours are yours to craft a moment you’ll remember. One place. One day. One memory. What do you choose?

If you’re like me, you’ll go where the past and present dance together, where nature defies urban grit, and where art whispers to the soul—The High Line.

Why the High Line?

The High Line is a 1.45-mile-long elevated linear park built on a disused railway track. Converted from an industrial relic to a lush, living mosaic of wildflowers, art, and urban soul, it’s the epitome of New York’s reinvention. Unlike museums that demand hours or skyscrapers that require reservations, the High Line is free, open-air, and designed for the kind of slow, sensory experience that sticks with you long after the plane takes off.

What to Do (and See) in One Day

1. Walk the Wild Path
Start at the southernmost point near Gansevoort Street, where the park blends with the Meatpacking District. The path is a tapestry of native plants and grasses, curated to feel like a meadow in the sky. As you stroll, pause at Spur—a small extension of the park with a glass-walled café and breathtaking views of the Hudson Yards and the Hudson River. It’s like watching the city from a secret balcony.

2. Encounter Living Art
The High Line isn’t just a garden; it’s an art gallery in motion. Over a dozen open-air installations line the route, from Marcel Duchamp’s Bicycle Wheel to the whimsical Curl by Sarah Sze. The programming changes seasonally, so even if you’ve been before, there’s always something new. Pro tip: Keep an eye out for the Chambers Street Poetry Spots—poems etched into the paving stones, blending literature with the cityscape.

3. Marvel at the City’s Skyline
The park’s vantage points are priceless. At the Hudson Yards Terminal, look down into the massive Vessel structure and the glowing facades of the area’s towers. At the Diller–vonn Imhoff Courtyard, see the juxtaposition of modern art with the Lower West Side. And when the sun sets, don’t miss the Standard High Line rooftop—order a cocktail and watch the Empire State Building glisten in the distance.

4. Sip and Savour
Post-walk, refuel with a coffee at The Porch, the Spur’s airy café, or enjoy a globally inspired snack from The High Line’s food kiosks (they rotate seasonal vendors). For a deeper dive, venture to nearby Chelsea Market across the 10th Avenue Connector for soups, sushi, or sweet treats.

5. End with a Ferry Ride
Time your exit at the northern end near 34th Street. Take the Hudson River Ferry (free with a MetroCard) for a 20-minute voyage past the Statue of Liberty, the Vessel, and the glittering East River. It’s the perfect finale—a different perspective of the city, one that feels like a hidden New York only insiders know.

Why This Day Stands Out

The High Line isn’t just a place; it’s an experience of contrasts. It’s the crunch of gravel underfoot versus the silence of a hidden garden. It’s a city that breathes, where art and ecology thrive in harmony. Unlike ticking off landmarks, this stopover invites you to feel the pulse of New York, not just observe it.

When your time runs out, and you’re back in the airport, you’ll leave with more than photos: You’ll have memories of the way the sunlight filtered through the willows, the scent of wild thyme in the air, and the realisation that even in the most crowded city in America, there’s a place to find peace.

A one-day stopover in New York should be memorable. With the High Line, it will be.

365 Days of writing, 2026 – My second story 3

More about my second story

The Female Assassin: Breaking Stereotypes and Forging a Unique Path

As a writer, creating a compelling and complex female character can be a daunting task, especially when venturing into the realm of assassins. With a plethora of male-dominated stories in the genre, it’s essential to differentiate our female protagonist from her counterparts while maintaining the essence of the profession. In this blog post, we’ll explore ways to set our female assassin apart, infuse her with a conscience or unique rationale, and introduce a captivating on-again, off-again romance that will keep readers enthralled.

Setting Her Apart: Beyond the Typical Traits

To avoid clichés, let’s move beyond the usual characteristics associated with female assassins, such as:

  • The seductress: using charm and beauty to lure targets
  • The revenge seeker: driven by a personal vendetta
  • The stoic killer: emotionless and devoid of empathy

Instead, consider the following traits to make your female assassin stand out:

  • Unconventional skills: Perhaps she’s an expert in a unique area, such as cryptology, toxicology, or engineering, which she leverages to carry out her missions.
  • Moral ambiguity: She operates in a gray area, questioning the true nature of her targets and the motivations behind her contracts.
  • Vulnerability: She has a weakness, such as a chronic illness, a troubled past, or a personal loss, that makes her more relatable and human.

A Conscience or Rationale: Adding Depth to Her Character

Giving your female assassin a conscience or a well-defined rationale for her actions can elevate her from a one-dimensional killer to a complex, multidimensional character. Some possible approaches:

  • A personal code: She adheres to a strict set of rules, such as only targeting those who have committed heinous crimes or refusing to harm innocent bystanders.
  • A larger purpose: She believes her work serves a greater good, such as taking down a corrupt organisation or protecting a specific community.
  • A conflicted past: Her experiences have led her to question the morality of her profession, and she grapples with the consequences of her actions.

The On-Again, Off-Again Romance: A Complicated Dance

A romance can add an exciting layer to your story, but it’s essential to avoid clichés and make the relationship an integral part of the narrative. Consider the following:

  • A complicated history: The love interest has a past with the assassin, making their interactions fraught with tension and unresolved emotions.
  • A forbidden love: Their relationship is taboo, either due to the assassin’s profession or the love interest’s connections to her targets.
  • A cat-and-mouse game: The love interest is also a skilled operative, leading to a thrilling game of espionage and one-upmanship.

To keep the romance engaging, make sure to:

  • Develop the love interest: Give them their own backstory, motivations, and conflicts to create a well-rounded character.
  • Balance action and romance: Ensure that the romance doesn’t overshadow the main plot or the assassin’s character development.
  • Keep it unpredictable: Avoid predictable tropes and surprising twists to keep readers invested in the relationship.

By incorporating these elements, you’ll create a female assassin who defies stereotypes and captivates readers with her complexity and depth. Remember to stay true to your character’s voice and agency, and don’t be afraid to push boundaries and explore new themes. With a richly nuanced protagonist and a gripping narrative, your story will stand out in the world of assassin fiction.

365 Days of writing, 2026 – 16

Day 16 – The right characters for the story

How to Find the Right Characters for Your Story: Moving Beyond Stereotypes

In the world of storytelling—whether you’re crafting a suspenseful spy thriller, a gritty crime drama, or an intimate character-driven novel—the characters you choose make or break the narrative. We’ve all read (or watched) stories where the suave, indestructible spy slips through laser grids and dispatches villains with one-handed elegance. And sure, that’s fun. But after a while, we start to wonder: is that all there is?

It’s fine if your spy is a one-man, indestructible killing machine. James Bond, Jason Bourne, and Ethan Hunt have paved the way—and earned their place in pop culture. But isn’t that kind of character one-dimensional? Can’t they feel fear, doubt, or regret? And what about the criminals they pursue? Are they simply evil for the sake of drama, or do they have motives, dreams, and inner conflicts of their own?

If we want our stories to resonate, to linger in readers’ minds long after the final page, we need to go deeper. We need to find the right characters—not just the flashy ones.

Step 1: Start with Motivation, Not Archetype

The easiest path to a cardboard cutout character is to begin with a trope: the stoic hero, the seductive femme fatale, the deranged villain. Instead, ask: What does this character want—and why?

A spy doesn’t just save the world because it’s Tuesday. Maybe they’re driven by guilt over a past failure. Or perhaps they’re trying to protect someone they love. Even a hardened intelligence agent might secretly fear that their actions have made them less human.

Similarly, a criminal isn’t evil just because the plot demands it. What led them down this path? Was it poverty, betrayal, a system that failed them? A villain who believes they’re the hero of their own story is infinitely more compelling than one who twirls a moustache and cackles into the void.

Step 2: Embrace Contradictions

Real people are full of contradictions—and so should your characters be.

Imagine a hitman who volunteers at an animal shelter on weekends. A corrupt cop who’s raising their nephew alone and wants to give him a better life. A genius terrorist who plays classical piano and writes love letters to their mother.

These contradictions humanise. They force readers to question their assumptions. And that’s where deeper engagement begins.

When we give characters opposing impulses—love and fear, duty and desire, cruelty and compassion—we unlock psychological depth. These are the traits that make characters memorable.

Step 3: Avoid Monolithic Labels

Criminals are not inherently villainous. Heroes aren’t inherently good. Moral alignment should be fluid, not fixed.

Consider real-world complexities. A man who robs banks to pay for his daughter’s medical treatment isn’t a saint, but can we call him purely evil? A soldier who follows orders may be “just doing their job,” but what happens when those orders cross ethical lines?

By challenging stereotypes, you invite nuance. A spy doesn’t have to be emotionally detached—they might be hyper-observant precisely because they’re lonely. A femme fatale doesn’t need to manipulate for power; maybe she’s been manipulated her whole life and is finally seizing control.

Step 4: Let Characters Evolve

The right characters aren’t static. They change—sometimes subtly, sometimes dramatically. Growth (or regression) is key to authenticity.

Your indestructible spy might start out as a cold operative, but what if, over the course of the story, they begin to question the cost of their actions? What if they hesitate before pulling the trigger—and that hesitation changes everything?

Likewise, a criminal might start as an antagonist but reveal layers of vulnerability, forcing the protagonist (and reader) to reevaluate what “justice” really means.

Step 5: Listen to Your Characters

Many writers say their characters “tell them what to do.” That might sound mystical, but it’s really about immersion. Once you’ve built a foundation, let go of control. Ask: What would this person really do in this situation? Even if it derails your outline, that authenticity breathes life into fiction.

Sometimes the right character reveals themselves not in grand monologues, but in quiet moments—a hesitation before a lie, a nervous habit, a song they hum when alone.


Final Thought: The Right Character Isn’t Perfect—They’re Human

Finding the right characters for your story isn’t about casting a hero who fits the mould. It’s about creating people we recognise—flawed, conflicted, and real. Even in the most fantastical settings, emotional truth is what connects us.

So next time you’re tempted to write the flawless spy or the irredeemable villain, pause. Ask yourself:
Who are they when no one is watching?
What keeps them awake at night?
What do they wish they could change?

Answer those questions, and you won’t just find the right characters for your story—you’ll create ones your readers will never forget.

If I only had one day to stop over in – New York – what would I do?

A One-Day Stopover in New York: Making Memories at the Unforgettable High Line

Travelling, by its very nature, is about discovery. But what do you do when time is truly limited? Imagine this: You’re sitting on a transatlantic flight, mid-Atlantic, with a layover in New York City. Your window seat offers a bird’s-eye view of the East River, and the next 24 hours are yours to craft a moment you’ll remember. One place. One day. One memory. What do you choose?

If you’re like me, you’ll go where the past and present dance together, where nature defies urban grit, and where art whispers to the soul—The High Line.

Why the High Line?

The High Line is a 1.45-mile-long elevated linear park built on a disused railway track. Converted from an industrial relic to a lush, living mosaic of wildflowers, art, and urban soul, it’s the epitome of New York’s reinvention. Unlike museums that demand hours or skyscrapers that require reservations, the High Line is free, open-air, and designed for the kind of slow, sensory experience that sticks with you long after the plane takes off.

What to Do (and See) in One Day

1. Walk the Wild Path
Start at the southernmost point near Gansevoort Street, where the park blends with the Meatpacking District. The path is a tapestry of native plants and grasses, curated to feel like a meadow in the sky. As you stroll, pause at Spur—a small extension of the park with a glass-walled café and breathtaking views of the Hudson Yards and the Hudson River. It’s like watching the city from a secret balcony.

2. Encounter Living Art
The High Line isn’t just a garden; it’s an art gallery in motion. Over a dozen open-air installations line the route, from Marcel Duchamp’s Bicycle Wheel to the whimsical Curl by Sarah Sze. The programming changes seasonally, so even if you’ve been before, there’s always something new. Pro tip: Keep an eye out for the Chambers Street Poetry Spots—poems etched into the paving stones, blending literature with the cityscape.

3. Marvel at the City’s Skyline
The park’s vantage points are priceless. At the Hudson Yards Terminal, look down into the massive Vessel structure and the glowing facades of the area’s towers. At the Diller–vonn Imhoff Courtyard, see the juxtaposition of modern art with the Lower West Side. And when the sun sets, don’t miss the Standard High Line rooftop—order a cocktail and watch the Empire State Building glisten in the distance.

4. Sip and Savour
Post-walk, refuel with a coffee at The Porch, the Spur’s airy café, or enjoy a globally inspired snack from The High Line’s food kiosks (they rotate seasonal vendors). For a deeper dive, venture to nearby Chelsea Market across the 10th Avenue Connector for soups, sushi, or sweet treats.

5. End with a Ferry Ride
Time your exit at the northern end near 34th Street. Take the Hudson River Ferry (free with a MetroCard) for a 20-minute voyage past the Statue of Liberty, the Vessel, and the glittering East River. It’s the perfect finale—a different perspective of the city, one that feels like a hidden New York only insiders know.

Why This Day Stands Out

The High Line isn’t just a place; it’s an experience of contrasts. It’s the crunch of gravel underfoot versus the silence of a hidden garden. It’s a city that breathes, where art and ecology thrive in harmony. Unlike ticking off landmarks, this stopover invites you to feel the pulse of New York, not just observe it.

When your time runs out, and you’re back in the airport, you’ll leave with more than photos: You’ll have memories of the way the sunlight filtered through the willows, the scent of wild thyme in the air, and the realisation that even in the most crowded city in America, there’s a place to find peace.

A one-day stopover in New York should be memorable. With the High Line, it will be.

What I learned about writing – Three rough, flawed drafts are better than nothing

Find Your Voice by Writing—Not by Waiting

Why Practice, Not Planning, Is the True Path to a Unique Writing Voice

There’s a myth that haunts every aspiring writer: Before I can write, I need to get it right.

We tell ourselves we need to study the masters—their sentence structures, their narrative arcs, their perfect dialogue. We pore over query letter templates, craft elaborate character backstories, and plan chapter outlines with military precision. We believe that if we can just prepare enough, analyse enough, or emulate enough, then—then—we’ll finally have a voice worth sharing.

But here’s the truth no one wants to admit:
Your voice doesn’t come from planning. It comes from writing.

Not from reading how Stephen King builds tension.
Not from reverse-engineering a Margaret Atwood paragraph.
Not from polishing a pitch before the first sentence of your novel exists.

Your voice develops through practice—through showing up and putting words on the page, even when they’re messy, clichéd, or downright terrible.

The Myth of the Perfect Start

We often treat our writing like a performance we must rehearse endlessly before stepping on stage. We think we need to “find” our voice before we begin, as if it’s a hidden object buried under research and technique. But voice isn’t something you discover in books or templates.

Voice is born in the doing.

It’s in the flawed first draft where you overwrite dramatic scenes.
It’s in the clumsy dialogue that somehow reveals a character’s vulnerability.
It’s in the thousand bad sentences that eventually—inevitably—teach you what a good one feels like.

The only way to develop a voice is to write enough that the artifice falls away. When you’ve filled notebooks with false starts and deleted 20,000 words, something shifts. You stop trying to sound like someone else. You stop asking, What would my favourite author do? and start trusting, This is what I think. This is how I say it.

Why Practise Beats Planning Every Time

Studying technique has its place—it’s valuable. But technique is a tool, not the source of your voice. You can study every brushstroke of Van Gogh’s paintings, but you’ll never paint like him by analysis alone. You paint like yourself by painting—by making mistakes, by experimenting, by trying and failing and trying again.

Writing is the same.

Each sentence you write—whether brilliant or banal—shapes your natural rhythm, your tone, your perspective. Even “bad” writing teaches you more than passive study ever can. It reveals your tics, your obsessions, your blind spots, and eventually, your strengths.

Voice emerges through accumulation. Through repetition. Through the invisible, daily work of putting words in order.

Embrace the Awful First Draft

Anne Lamott famously wrote about the “Shitty First Draft”—and she wasn’t being harsh. She was being honest. Most great writing begins as a mess. And that’s not a failure. It’s a necessity.

When you accept that your early work will be imperfect, you free yourself to write anything. You stop waiting for permission. You stop curating your thoughts to fit someone else’s idea of “good.” You begin to trust your instincts—and that’s where voice lives.

So stop waiting.

Stop over-planning.
Stop over-analysing.
Stop waiting for confidence.

Just write.

Write when you’re uninspired. Write when you’re uncertain. Write when you’re convinced it’s all garbage. Write especially when it’s garbage.

Because on the other side of those messy, imperfect pages is you—your authentic voice, emerging not from a plan, but from practice.

The Only Assignment That Matters

Your only job today isn’t to write beautifully.
It’s to write.

Put words on paper.
Make mistakes.
Fail forward.

Your voice isn’t waiting to be found.
It’s waiting to be used.

And it will grow—stronger, truer, and unmistakably yours—every time you let it speak.