Tag: Books

Third son of a Duke – The research behind the story – 23

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

…

WWI Troop Arrival and Orders in Egypt (April 1915)

The journey of an Englishman returning from Australia to enlist, travelling through the Suez Canal in April 1915, places him squarely within the initial stages of the British Empire’s military buildup in Egypt.

1. Nearest Port and Ship Delivery

The most likely final disembarkation port for troop transport ships arriving in Egypt via the Suez Canal in April 1915 was Alexandria.

  • Suez Canal Route: The ship would pass through the Suez Canal and enter the Mediterranean Sea via Port Said. While Port Said was a vital coaling and resupply station at the northern entrance of the Canal, it was primarily a commercial port and a critical point for Canal defence.
  • The Main Base: Alexandria was the primary, large-capacity deep-water port on the Mediterranean coast and served as the main base and logistic hub for the British, Australian, and New Zealand (ANZAC) forces in Egypt. Troops destined for the extensive training camps in the Cairo area (like Mena Camp near the Pyramids) were routinely disembarked at Alexandria due to its superior facilities for handling large numbers of men, horses, and materiel.

In short, the ship would transit the Canal at Port Said, but the soldier would be delivered to Alexandria.

2. Travel to Cairo and Training Camps

Yes, he would almost certainly need to go to Cairo first, or at least pass through the major military transit points near it, before reaching the training camps near the Pyramids (Mena Camp).

  • From Alexandria to Cairo: Upon disembarking at Alexandria, soldiers were typically immediately loaded onto troop trains for the several-hour journey inland. The main line ran directly to Cairo, where the primary base hospitals, advanced supply depots, and major military command were located.
  • Mena Camp: The famous Mena Camp, situated right next to the Giza Pyramids, was the principal training ground for incoming forces. Transportation from the Cairo railway station or a nearby transit point would be organised to move him to his specific unit in the camp.

3. Reporting with Special Orders

If the enlisted Englishman had “special orders,” his reporting procedure would be immediately elevated and separated from the standard mass of recruits.

  • Standard Procedure: A typical enlisted man would report to the Adjutant or a Regimental Sergeant Major (RSM) of the unit he was assigned to, who would be waiting at the port or the reception depot in Cairo.
  • Special Orders Procedure: A soldier with special orders would likely be carrying them in a sealed document intended for high-level staff. He would report to:
    1. The Base Commandant or Staff Officer on Arrival: The first stop would be the Base Commandant or the senior Staff Officer of the disembarkation port (Alexandria). He would present his orders and be immediately directed to the appropriate authority.
    2. General Officer Commanding (G.O.C.)’s Headquarters: His orders would likely route him directly to the General Officer Commanding, Egypt (G.O.C. Egypt), or the Staff Officer representing the GOC at GHQ (General Headquarters) in Cairo. In April 1915, the overall command in Egypt was likely under the purview of General Sir John Maxwell, who was responsible for the troops and defenses of Egypt. If the special orders related to the imminent Gallipoli campaign, he might be directed to the headquarters of the Australian and New Zealand Army Corps (ANZAC) or the Mediterranean Expeditionary Force (MEF), both of which had Staff Officers operating out of the Cairo command structure.

In summary, his path would be: Australia → Suez Canal → Disembark at Alexandria → Troop Train to Cairo → Report to GHQ Staff (or his unit in the Mena Camp area).

Research for the writing of a thriller – 4

Background material used in creating a location, an explosive situation, and characters to bring it alive – the story – A Score to Settle

…

A Cover story that just might work

…

The Art of the Enduring Cover: Hiding in Plain Sight Among the Press

In the shadowy world of espionage, where every move is calculated and every word weighed, what’s the ultimate weapon? It’s not always a silenced pistol or a high-tech gadget. Often, it’s something far more subtle, more pervasive, and infinitely more powerful: the perfect cover.

Forget the trench coats and dark alleys. Our consummate spy understands that true invisibility isn’t about disappearing; it’s about blending in so seamlessly that you become part of the background noise. And what better place to be both seen and simultaneously overlooked than amidst a burgeoning press corps at a high-stakes international conference?

The Brilliance of the Verifiable Narrative

Our operative isn’t just carrying a fake ID; they possess an enduring cover, a meticulously crafted persona so robust it can withstand scrutiny. This isn’t a flimsy backstory; it’s solid, researchable, and verifiable. Think about it: a legitimate journalist, working for a credible (perhaps even slightly obscure but real) publication, with a publication history, a social media presence, and a genuine reason to be asking questions.

Their reason for being in the country and at this specific conference isn’t suspicious; it’s expected. They are here to cover the proceedings, to report on the speeches, to interview delegates – all legitimate journalistic pursuits. This isn’t just a disguise; it’s an entire, living, breathing narrative, allowing them to move freely, to probe, to listen, and to observe with an air of professional legitimacy. They are, quite literally, hiding in plain sight.

A Sea of Familiar Faces

The beauty of this particular cover is amplified by the environment. A major international conference attracts a swarm of media. A cacophony of camera clicks, flashing lights, and whispered interviews creates a perfect smokescreen. Our spy isn’t just a journalist; they are one of many.

And within this bustling throng, there are familiar faces. Some are undoubtedly genuine journalists, passionate about their craft. But others? Perhaps they are like our operative, wearing their press credentials as a cloak. Or perhaps they are simply career conference-hoppers, their faces known from one event to the next, adding another layer of visual camouflage. The sheer volume of press personnel makes it easier to track targets, pass messages, or simply observe without drawing undue attention. Who is genuinely chasing a story, and who is chasing something else entirely? The lines are deliciously blurred.

Bypassing Bureaucracy

Another significant advantage of this carefully constructed media persona is its utility in navigating local challenges. A legitimate press pass and a verifiable mission can be a powerful diplomatic tool. Dealing with local police, security forces, or even just navigating restricted zones becomes less difficult. A simple flash of the press badge often smooths over minor inconveniences, allowing access where others might be questioned, or providing a believable excuse for being in a particular area at an unusual hour. “Just chasing a late-breaking story, officer,” carries more weight when backed by a plausible cover.

The Unseen Gaze

But even the most pristine cover isn’t a cloak of invisibility. Our spy, for all their cleverness, operates with an acute awareness of an ever-present reality: there is surveillance.

From the moment they cleared customs to every elevator ride, every whispered conversation in a hotel lobby, and every seemingly innocuous stroll through the conference hall, eyes and ears are active. Cameras pan, microphones hum, and specialists observe. The challenge isn’t just to avoid detection, but to operate knowing detection is a constant threat. The enduring cover isn’t about eliminating surveillance; it’s about making sure that what surveillance sees is exactly what you want it to see – a diligent, though perhaps slightly eccentric, member of the press.

In the intricate dance of international intrigue, the journalist’s notebook becomes a shield, the camera lens a silent observer, and the bustling press corps, the ultimate sanctuary. For the consummate spy, the greatest deception often lies in simply being exactly where they’re expected to be, doing exactly what they’re expected to do, while pursuing a truth far deeper than any headline could ever capture.

The story behind the story – Echoes from the Past

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

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

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

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

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

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

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

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

Originally it was not set anywhere in particular.

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

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

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

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

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

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

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

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

And, of course, I wanted a happy ending.

Except for the bad guys.

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

Research for the writing of a thriller – 4

Background material used in creating a location, an explosive situation, and characters to bring it alive – the story – A Score to Settle

…

A Cover story that just might work

…

The Art of the Enduring Cover: Hiding in Plain Sight Among the Press

In the shadowy world of espionage, where every move is calculated and every word weighed, what’s the ultimate weapon? It’s not always a silenced pistol or a high-tech gadget. Often, it’s something far more subtle, more pervasive, and infinitely more powerful: the perfect cover.

Forget the trench coats and dark alleys. Our consummate spy understands that true invisibility isn’t about disappearing; it’s about blending in so seamlessly that you become part of the background noise. And what better place to be both seen and simultaneously overlooked than amidst a burgeoning press corps at a high-stakes international conference?

The Brilliance of the Verifiable Narrative

Our operative isn’t just carrying a fake ID; they possess an enduring cover, a meticulously crafted persona so robust it can withstand scrutiny. This isn’t a flimsy backstory; it’s solid, researchable, and verifiable. Think about it: a legitimate journalist, working for a credible (perhaps even slightly obscure but real) publication, with a publication history, a social media presence, and a genuine reason to be asking questions.

Their reason for being in the country and at this specific conference isn’t suspicious; it’s expected. They are here to cover the proceedings, to report on the speeches, to interview delegates – all legitimate journalistic pursuits. This isn’t just a disguise; it’s an entire, living, breathing narrative, allowing them to move freely, to probe, to listen, and to observe with an air of professional legitimacy. They are, quite literally, hiding in plain sight.

A Sea of Familiar Faces

The beauty of this particular cover is amplified by the environment. A major international conference attracts a swarm of media. A cacophony of camera clicks, flashing lights, and whispered interviews creates a perfect smokescreen. Our spy isn’t just a journalist; they are one of many.

And within this bustling throng, there are familiar faces. Some are undoubtedly genuine journalists, passionate about their craft. But others? Perhaps they are like our operative, wearing their press credentials as a cloak. Or perhaps they are simply career conference-hoppers, their faces known from one event to the next, adding another layer of visual camouflage. The sheer volume of press personnel makes it easier to track targets, pass messages, or simply observe without drawing undue attention. Who is genuinely chasing a story, and who is chasing something else entirely? The lines are deliciously blurred.

Bypassing Bureaucracy

Another significant advantage of this carefully constructed media persona is its utility in navigating local challenges. A legitimate press pass and a verifiable mission can be a powerful diplomatic tool. Dealing with local police, security forces, or even just navigating restricted zones becomes less difficult. A simple flash of the press badge often smooths over minor inconveniences, allowing access where others might be questioned, or providing a believable excuse for being in a particular area at an unusual hour. “Just chasing a late-breaking story, officer,” carries more weight when backed by a plausible cover.

The Unseen Gaze

But even the most pristine cover isn’t a cloak of invisibility. Our spy, for all their cleverness, operates with an acute awareness of an ever-present reality: there is surveillance.

From the moment they cleared customs to every elevator ride, every whispered conversation in a hotel lobby, and every seemingly innocuous stroll through the conference hall, eyes and ears are active. Cameras pan, microphones hum, and specialists observe. The challenge isn’t just to avoid detection, but to operate knowing detection is a constant threat. The enduring cover isn’t about eliminating surveillance; it’s about making sure that what surveillance sees is exactly what you want it to see – a diligent, though perhaps slightly eccentric, member of the press.

In the intricate dance of international intrigue, the journalist’s notebook becomes a shield, the camera lens a silent observer, and the bustling press corps, the ultimate sanctuary. For the consummate spy, the greatest deception often lies in simply being exactly where they’re expected to be, doing exactly what they’re expected to do, while pursuing a truth far deeper than any headline could ever capture.

Third son of a Duke – The research behind the story – 22

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

…

There are historical records and evidence that the RMS Orontes did leave Australian ports carrying passengers in April 1915. While the ship was later formally requisitioned as a troopship, it continued to operate on the Australia-UK mail and passenger service during the early part of the war, though under significantly changed conditions. 

The April 1915 voyage of the RMS Orontes 

  • Brisbane departure: The Orontes left Brisbane on April 4, 1915.
  • Adelaide stop: On April 16, 1915, the ship stopped in the Outer Harbor at Port Adelaide. An article in the newspaper The Advertiser reports that after a few hours’ stay to take on mail and some passengers, the ship continued its “homeward” voyage.
  • Passengers and purpose: The Adelaide newspaper also noted that among the passengers on this specific sailing were 22 medical men and 29 nurses headed for England, highlighting the wartime nature of the travel. 

An itinerary for the April 1915 voyage

Based on the available records, here is a likely itinerary for the RMS Orontes on its April 1915 voyage from Australia to London:

  • Early April 1915: The ship likely originated its journey in the eastern states of Australia.
  • April 4, 1915: Departed Brisbane.
  • Mid-April 1915 (before April 16): Departed from Sydney and Melbourne.
  • April 16, 1915: Made a brief stop at Adelaide’s Outer Harbor to take on mail and some passengers before continuing on.
  • Late April 1915: Called at Fremantle, as was standard for the UK-Australia route. In March 1915, the Orontes had stopped at Fremantle, suggesting it was part of its regular route.
  • En route via Port Said: The Orient Line’s Australia route, which the Orontes served, traveled via the Suez Canal and Port Said. A stop here was standard for fueling and logistics, and it also put the vessel in the heart of a war zone, increasing the danger of the journey.
  • Mid-May 1915: The ship would have continued its journey through the Mediterranean and around the Iberian Peninsula to its final destination in London. 

Key takeaway

While the voyage was not under a formal military requisition like later in the war, the circumstances were profoundly shaped by World War I. Travel was far from routine, with a heavy emphasis on essential service and mail delivery. The presence of medical personnel bound for England highlights the military undertones of even seemingly “civilian” voyages during this period. 

Writing a book in 365 days – 339

Day 339

Unlock Your Potential: The Power of Joining a Writer’s Group

Writing is often a solitary pursuit. Hunched over a keyboard, staring at a blank page, or lost in the quiet hum of creativity—these moments define the life of a writer. But what if there was a way to transform isolation into inspiration? Enter writers’ clubs, workshops, or writing groups: vibrant communities that offer more than just feedback. They become the bedrock of growth, connection, and resilience for writers at any stage of their journey. Let’s explore the transformative benefits of joining such a group.

1. Constructive Feedback and a Fresh Perspective

One of the most immediate benefits of joining a writing group is the constructive feedback you receive. While self-editing is essential, external perspectives can unveil blind spots. For example, a fellow writer might notice an inconsistency in a character’s motivation or suggest a pacing adjustment you hadn’t considered. Workshops often foster a culture of honesty and kindness, helping you refine your work with specific, actionable insights.

Moreover, reading others’ work exposes you to diverse styles, genres, and techniques. This cross-pollination of ideas can spark creativity and broaden your own writing toolkit.

2. Motivation, Accountability, and Discipline

The writing process can be inconsistent. Deadlines slip, self-doubt creeps in, and distractions abound. A writer’s group provides structure and accountability. Regular meetings, shared writing goals (like word counts or drafting timelines), and peer encouragement create a rhythm that keeps you on track.

Imagine committing to write 500 words a week, knowing your group will check in on your progress. Suddenly, the task feels personal and collaborative. The shared energy of a room (or virtual space) filled with fellow writers can reignite your passion on even the toughest days.

3. Learning and Skill Development

Writing groups often double as learning hubs. Many workshops include writing exercises, mini-lessons on grammar or storytelling techniques, or guest speakers who share industry tips. For instance, a member might lead a session on dialogue writing, or the facilitator could guide a critique focused on character development.

Even informal exchanges—discussing a favourite novel or dissecting a challenging scene—can deepen your understanding of the craft. The more you engage, the sharper your skills become.

4. Networking and Collaboration Opportunities

Connections matter. By joining a writing group, you become part of a network of like-minded individuals. These relationships can lead to collaborations—co-authoring a story, editing each other’s manuscripts, or even finding a publishing agent through introductions.

Additionally, many groups host or share information about contests, publications, or local literary events. For emerging writers, these opportunities can be invaluable for visibility and growth.

5. Emotional Support and Validation

Writing is an emotionally charged endeavour. Rejection letters, “fix-it” feedback, and the pressure to publish can wear you down. A writer’s group offers emotional support, a safe space to vent, celebrate small wins, and process setbacks.

Feeling part of a community combats the isolation many writers face. Sharing your struggles with others who “get it” fosters resilience and reminds you that your voice matters.

6. Access to Resources and Creative Stimulation

Many groups curate resources: writing prompts, book recommendations, or even shared tools like grammar checkers. Some offer access to exclusive workshops or masterclasses. Online groups, in particular, can connect you to global experts and trends in the literary world.

The collaborative brainstorming sessions are gold, too. A tired plot idea revived by a group member’s unexpected twist, or a new genre explored through peer encouragement—these moments keep creativity alive.

7. Building Confidence and Overcoming Self-Doubt

Imposter syndrome is common among writers. Hearing peers praise your work or admit they struggle with similar doubts can be incredibly validating. Over time, the supportive environment of a writing group helps you trust your voice and embrace your unique style.

Additionally, sharing your writing aloud in a group setting helps build confidence in your work—and your ability to receive feedback without defensiveness.

Find Your Tribe: Where to Start

Still unsure? Begin by searching for local writing groups through libraries, community centres, or platforms like Meetup and Eventbrite. If in-person isn’t possible, online writing communities (e.g., Reddit’s r/writing, Scribophile) offer equally rich interactions. For the bold, consider starting your own group!

Final Thoughts

A writer’s group isn’t just a place to “get feedback.” It’s a village of collaborators, cheerleaders, and mentors who help you grow both personally and professionally. By joining such a community, you invest in your craft—and your confidence. So, take the leap. Share your work, lean on others, and watch your writing thrive in ways you never imagined.

What’s your favourite benefit of a writing group? Share your experiences in the comments below!

Ready to connect? Explore local or online writing groups today and unlock the power of collective creativity. 📝

Writing a book in 365 days – 339

Day 339

Unlock Your Potential: The Power of Joining a Writer’s Group

Writing is often a solitary pursuit. Hunched over a keyboard, staring at a blank page, or lost in the quiet hum of creativity—these moments define the life of a writer. But what if there was a way to transform isolation into inspiration? Enter writers’ clubs, workshops, or writing groups: vibrant communities that offer more than just feedback. They become the bedrock of growth, connection, and resilience for writers at any stage of their journey. Let’s explore the transformative benefits of joining such a group.

1. Constructive Feedback and a Fresh Perspective

One of the most immediate benefits of joining a writing group is the constructive feedback you receive. While self-editing is essential, external perspectives can unveil blind spots. For example, a fellow writer might notice an inconsistency in a character’s motivation or suggest a pacing adjustment you hadn’t considered. Workshops often foster a culture of honesty and kindness, helping you refine your work with specific, actionable insights.

Moreover, reading others’ work exposes you to diverse styles, genres, and techniques. This cross-pollination of ideas can spark creativity and broaden your own writing toolkit.

2. Motivation, Accountability, and Discipline

The writing process can be inconsistent. Deadlines slip, self-doubt creeps in, and distractions abound. A writer’s group provides structure and accountability. Regular meetings, shared writing goals (like word counts or drafting timelines), and peer encouragement create a rhythm that keeps you on track.

Imagine committing to write 500 words a week, knowing your group will check in on your progress. Suddenly, the task feels personal and collaborative. The shared energy of a room (or virtual space) filled with fellow writers can reignite your passion on even the toughest days.

3. Learning and Skill Development

Writing groups often double as learning hubs. Many workshops include writing exercises, mini-lessons on grammar or storytelling techniques, or guest speakers who share industry tips. For instance, a member might lead a session on dialogue writing, or the facilitator could guide a critique focused on character development.

Even informal exchanges—discussing a favourite novel or dissecting a challenging scene—can deepen your understanding of the craft. The more you engage, the sharper your skills become.

4. Networking and Collaboration Opportunities

Connections matter. By joining a writing group, you become part of a network of like-minded individuals. These relationships can lead to collaborations—co-authoring a story, editing each other’s manuscripts, or even finding a publishing agent through introductions.

Additionally, many groups host or share information about contests, publications, or local literary events. For emerging writers, these opportunities can be invaluable for visibility and growth.

5. Emotional Support and Validation

Writing is an emotionally charged endeavour. Rejection letters, “fix-it” feedback, and the pressure to publish can wear you down. A writer’s group offers emotional support, a safe space to vent, celebrate small wins, and process setbacks.

Feeling part of a community combats the isolation many writers face. Sharing your struggles with others who “get it” fosters resilience and reminds you that your voice matters.

6. Access to Resources and Creative Stimulation

Many groups curate resources: writing prompts, book recommendations, or even shared tools like grammar checkers. Some offer access to exclusive workshops or masterclasses. Online groups, in particular, can connect you to global experts and trends in the literary world.

The collaborative brainstorming sessions are gold, too. A tired plot idea revived by a group member’s unexpected twist, or a new genre explored through peer encouragement—these moments keep creativity alive.

7. Building Confidence and Overcoming Self-Doubt

Imposter syndrome is common among writers. Hearing peers praise your work or admit they struggle with similar doubts can be incredibly validating. Over time, the supportive environment of a writing group helps you trust your voice and embrace your unique style.

Additionally, sharing your writing aloud in a group setting helps build confidence in your work—and your ability to receive feedback without defensiveness.

Find Your Tribe: Where to Start

Still unsure? Begin by searching for local writing groups through libraries, community centres, or platforms like Meetup and Eventbrite. If in-person isn’t possible, online writing communities (e.g., Reddit’s r/writing, Scribophile) offer equally rich interactions. For the bold, consider starting your own group!

Final Thoughts

A writer’s group isn’t just a place to “get feedback.” It’s a village of collaborators, cheerleaders, and mentors who help you grow both personally and professionally. By joining such a community, you invest in your craft—and your confidence. So, take the leap. Share your work, lean on others, and watch your writing thrive in ways you never imagined.

What’s your favourite benefit of a writing group? Share your experiences in the comments below!

Ready to connect? Explore local or online writing groups today and unlock the power of collective creativity. 📝

First Dig Two Graves

A sequel to “The Devil You Don’t”

…

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

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

It leaves Zoe in completely unfamiliar territory.

…

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

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

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

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

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

Third son of a Duke – The research behind the story –

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

…

What would a British-born passenger need to do to get passage on a passenger ship from Brisbane, Australia, to Port Said in Egypt or London in April 1915

By April 1915, getting passage on a ship from Australia to England was extremely difficult for any civilian, even for a British-born person. The outbreak of World War I had transformed the shipping industry, with most civilian passenger liners being requisitioned by the military. The few civilian passages that did exist were subject to strict wartime regulations, and a person would need a compelling and approved reason to travel. 

The process of securing passage

  1. Find a suitable ship: Normal commercial passenger routes operated by companies like P&O had been almost completely absorbed into the war effort. Any remaining civilian passages were extremely limited and likely had to be booked directly with the shipping company’s Australian office. Availability would have been scarce and prioritised for official purposes. Newspapers sometimes published limited shipping intelligence, but these were often for military transports or vessels moving cargo.
  2. Obtain official approval: Under the Australian War Precautions Act, travel was no longer a simple commercial transaction. A British-born passenger would need to apply for official permission to leave the country. The Australian military would review the application to ensure the journey was not a security risk and was for a valid, pressing reason. Permission would likely only be granted for essential purposes related to the war effort, government business, or extreme family emergencies.
  3. Provide a valid reason for travel: The burden of proof would be on the traveller. Reasons considered valid for travel might include:
    • Urgent family affairs: A severe illness, death of a close family member, or urgent estate matters in Britain.
    • War-related work: Civilian work in munitions or other support roles vital to the war effort.
    • Government or diplomatic duties: Official travel for the British or Australian governments.
  1. Submit to increased scrutiny: All passengers would face rigorous security checks and surveillance by military authorities. Travel on a military transport would mean abiding by naval discipline and strict security rules for the duration of the journey.
  2. Book the passage and pay the high fare: Even with a valid reason, securing a berth was rare and expensive due to the scarcity of ships. Fares would have been costly, and a berth would have been difficult to book on the limited number of vessels not completely filled with troops. 

Writing a book in 365 days – 338

Day 338

Don’t Be Obsessed, Be Obsessedly Curious: The Balanced Art of Writing a Compelling Play

Playwriting is a thrilling dance between creativity and discipline. It’s a craft that demands passion, yet many aspiring playwrights believe they must be obsessively consumed by their work to succeed. But here’s the truth: you don’t need to be obsessive to write a great play. Instead, what you need is curiosity, patience, and a toolkit of strategies to bring your vision to life. Let’s explore why obsession isn’t the answer—and how to write a play that lingers in the hearts of audiences long after the curtain falls.

The Myth of the “Obsessed Artist”

Pop culture loves the image of the tormented artist locked in a studio for months, surviving on coffee and sheer willpower. But this myth is a red herring. While dedication is key, obsession—borderline compulsion, neglecting self-care, or losing balance—can lead to burnout, poor writing, and even health issues.

Consider this: Great plays are born from sustainable creativity, not self-destruction. Playwrights like Lynn Nottage and David Mamet thrived by setting boundaries, sleeping, and nourishing their minds with diverse experiences. The goal isn’t to “die for your art” but to live for it in a way that fuels your creativity without stealing your joy.

5 Strategies to Write a Compelling Play (Without Going Crazy)

1. Start with a Core Question, Not a Plot

Every great play is driven by an emotional or philosophical “what if?” Ask yourself:

  • What story haunts me?
  • What truth am I desperate to explore?
    Your answer might be as simple as, “What if a single mother lost her job and had to choose between her kids and a dream?” That question becomes the heartbeat of your play. Build your plot and characters to answer it—or, better yet, to challenge it.

2. Craft Nuanced Characters, Not Stereotypes

Audiences don’t want perfect heroes or villains. They want characters who feel human: flawed, vulnerable, and complicated.

  • Give each character a hidden motive. (Example: A grieving father might lash out, but his rage masks guilt.)
  • Avoid monologues that “explain” everything—let their actions and subtext do the work.

3. Fuel the Fire with Conflict and Stakes

Conflict isn’t just a punchy line—it’s the engine of drama. Ask:

  • What do my characters want?
  • What’s stopping them?
  • What do they stand to lose?

Think of Glengarry Glen Ross by David Mamet: The fight for a car sales job isn’t just about money—it’s about dignity. Raise the stakes by making the cost of failure personal.

4. Dialogue That Bites: Less Is More

Play dialogue should echo real speech—but with purpose.

  • Trim the filler: Delete “ums” and “you know.”
  • Subtext is your friend: Let characters say one thing but mean another. (This is how Shakespeare’s Ophelia truly speaks.)
  • Conflict in soundbites: Short, sharp lines pack more punch than long speeches.

Need help? Try the “Rewrite as a Screenplay” method: If your lines would feel at home on a Zoom call, they’re not dramatic enough.

5. Edit Ruthlessly and Collaborate Relentlessly

First drafts are drafts for a reason. Let them simmer, then revise with a surgeon’s precision.

  • Cut scenes that don’t serve the core question.
  • Work with others: Read your play aloud to beta readers, actors, or writers’ groups. Fresh ears catch what you miss.

Remember: Even August Wilson revised his plays 20+ times. Perfection isn’t a starting point—it’s a destination.

The Secret Sauce: Curiosity Over Compulsion

The key to writing a compelling play isn’t marathon sessions fueled by espresso but consistency and exploration. Take walks, read poetry, or attend stranger’s conversations. Inspiration isn’t just about being a “crazy artist”—it’s about living with open eyes and ears.

And when you feel stuck? Pace yourself. A daily 30-minute writing habit can build a masterpiece faster than a week-long caffeine-fueled sprint followed by burnout.

Final Thought: Write to Be Free, Not Trapped

A play is a mirror held up to life. It doesn’t have to be born of obsessive frenzy—just honest curiosity. The stage is for stories that matter, not for self-imposed suffering. So write from your deepest joys, fears, and questions. And remember: Your best work will come when you’re energised to tell it—not exhausted by the process.

Now go. Let the world see what makes you uniquely human. The audience is waiting. 🎭

Need more playwriting tips? Join our monthly writing workshops or follow us for weekly tips on balancing creativity and sanity in the arts. You’ve got this!