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.

Writing a book in 365 days – 354/355

Days 354 and 355

Writing exercise

Your protagonist has just been retired from a solitary, action-packed life that had no room for family, friends, partners or holidays.

They have to reassimilate by thinking about prior family life, how they used to relax, relating the fish out of water start to, in the end, finding a way to live in a world they have no clue existed.

….

“I’m sorry,” Barnaby said in his usual matter-of-fact manner, “but this is the end. You have done your bit. Now it’s time to move on.”

Sitting next to Barnaby in the back of the limousine, I could not believe what I was hearing. “This is the end?”

“No. Just the end of your service. You have gone above and beyond. We are grateful, very grateful. But now it’s time to reintegrate back in the world.

“Where are we?”

“In the city we picked you up from all those years ago.”

“Cinnamon Falls?”

The linousine slowed, and then stopped. The shades went up on all the windows of the car, and I could see a park, the bandstand, and a row of dead-looking rose bushes. There was a layer of snow on the ground, and piled up by the side of the road.

“Your hometown.”

Was it? I was sure I came from some small backwater place, but it was so long ago, and I’d been to so many places, what I was looking at was as alien as if they had dropped me off on Mars.

“Sure as hell doesn’t look like anywhere I’d come from.”

“Well, our records don’t lie. You have your ID, which is your real name, documents to prove it, and a bank account with enough funds to tide you over till you find a job.”

“Job?”

“Yes. You know. A place where you go, toil for eight hours and then go home. You’ll get the hang of it.”

“And if I don’t?”

“Impossible. You’ve been trained to be anyone, anywhere, and do anything. I have complete faith in you.”

“Will I see you again, anyone again?”

“No. When you get out of the car, that’s it. We never existed. Now, it’s time to go.”

I could see there was no arguing with Barnaby. He had said, a long time ago, this time would come. It had. I opened the door. A cold blast of air came in.

I shrugged. “Thanks for the ride.”

I got out, took a last look at the old man, then closed the door. I watched the car drive off until it turned the corner and disappeared.

It was the first day of the rest of my life.

Cinnamon Falls was one of those small, forgettable little towns scattered about the Midwest.  My parents had been ranchers, their parents before them and so on.

Other family members were shopkeepers, soldiers on the frontier, and immigrants before that. 

Now, I had no idea who they were.

My parents had died very recently, my older brother, Sherman, and his wife, Madeleine, the proverbial childhood sweetheart he’d known from grade school, who were ranchers now, were the only family I knew.

The rest had died out or moved on.

I stood on the sidewalk and looked at the bandstand.  My first kiss was under that roof, a girl called Amy Deacon, the minister’s daughter.

He was a fire and brimstone preacher of the old school who castigated his flock every Sunday about sins, and the wrath of God.  Everyone was too scared not to turn up.

I wondered what had happened to her.  Married to Archie, her prom date no doubt.  I was going to ask her but somehow never got around to it.  She was my first love, the one that really hurt when it didn’t work out.

The first flakes of snow that had been chasing us into town started to fall, and it was going to get cold.  There was no time to look up whether Sherman, my brother, was still on the farm; that was a tomorrow job.

Today I’d get a room at the hotel and decide what to do tomorrow.

The Falls Motel was old and decrepit when I left 20 years ago, and hadn’t improved except for a coat of paint.

The sign had a missing ‘l’ in Falls, and the no vacancy sign had no ‘ancy’.  There were three cars outside the 20 rooms, which meant it was not full.

Darkness was setting in as I reached the front door, and it opened with a screech from the hinges.  Perhaps that was how the receptionist knew there was a customer.

Or not.  After a minute, I banged on the desk bell, the one that had a handwritten sign that said ‘ring for service’.  Not immediate service anyway.

A girl about 15 or so came out of the back room, swaying to music that I couldn’t hear.  Ear buds.

She pulled one out and said, “What do you want?”

The obvious, I thought.  “You do have rooms for the night, don’t you?”

She looked at me like I was from another planet.  “Duh.  You want a room?”

“Please.”

She shoved a book in front of me with a pen without a lid.  “Sign in.”

I put my name and no address because I didn’t have one, then scribbled a signature.

“Card or cash.”

“Cash.”  I pulled out my wallet.

“A hundred bucks.”

It was a bit more than the last time I stayed there.

She slapped a key with the number 10 attached to it.  “You want breakfast, the diner’s 200 yards up the road.  Leave by 10 am.”

By the time I got to the door, she was gone.

The snow was falling harder by the time I reached the door.  Two rooms I passed that had cars out the front had TVs blaring. 

When I opened the door, I was greeted by a combination of disuse and disinfectant.  It could be worse.  It could be better.

The bathroom had soap and shampoo, the bed had clean sheets, and the TV had CNN.  It was as much as anyone could hope for.

Like any time in a new or different city, I woke slightly disoriented.  It took a minute or two to remember who I was and why I was there.  Not on an operation, but as a cast-off.

It was still dark, but early, about the time I usually woke.  The snow had stopped, but the cold had become more intense.  I put the air conditioner on, but it only blew cold air.

I dressed and headed up to the diner.

It was once owned by a relative, but it was clear that someone else owned it now.  None of my relatives was Chinese.  I sat at the counter, and a middle-aged lady who looked like one of my grade teachers served coffee.

There were a half dozen customers, some sitting in booths, and the chef behind the servers was looking busy.  He shoved two plates of fried stuff on the servery and banged a bell.  The middle-aged lady collected and delivered them to a man and a woman in a booth.

They had been arguing quietly as I came in and were now looking at me.  Townspeople trying to identify a stranger, perhaps.

The middle-aged lady returned.  “From outta town?”

“Yes and no.  I’ll have the special.”

It didn’t say what it was, but it was one of three items on the menu board above the servery.

She wrote it down and gave it to the chef.

The coffee was oddly good.

A police car pulled up outside the diner in a specially marked parking space and a Deputy got out.  He was slightly older than me, bigger and stronger and in his tailored uniform looked good.

Ben Frasher.  Dad was a sheriff; his dad was a sheriff, it was how things worked.  Ben, though, had been a wild youth, so it was a surprise to see he had followed in his father’s footsteps.

He adjusted the uniform after getting out, holstered the gun, looked at his reflection on the car window, and then came in.

A younger girl, a waitress, comes bounding out of the back.  “Deputy Frasher, the usual?”

He smiled.  “Of course, Daisy.”  A nod to the middle-aged lady, a quick look around at the customers, and then stopping at me.

I’d changed considerably in 20 years, and he might not recognise me.

“Jack Dawson?”  There was incredulity in his tone.

“It might not be.”

“But there again, it might.  When did you get back?”

To him, it seemed like it was only yesterday I left town.

“Last night.”

He came over and sat on the seat next to mine.  I would have preferred he hadn’t but he was the law.

“Been home?”

“No.”

“Going home?”

“Depends.”

My brother was either going to welcome me or shoot me.  He had threatened the latter when I told him I had to go.  It wasn’t for the reasons he thought it was, and definitely not the lies certain people spread after I was gone.

20 years was a long time, maybe they’d forgotten, but knowing this town, I doubted it.

“You won’t be welcome.”

An understatement.  “It’s been a long time.”

“I can take you, if you like.  It might help prevent trouble.”

It might, or I might not get there.  The Frashers, father and sons, never liked us.  “I’ve got to collect a car and take myself.  Thanks for offering.”

The young waitress put a takeaway cup of coffee on the counter in front of him and smiled.

He nodded in her direction.  “Thanks, Daisy.”  He picked it up and walked slowly towards the door, then stopped and turned.  “No trouble.  This is a peaceful town now.”

It was odd that he thought that I would be the one to start any trouble when, on the first instance, in what could only be described as an ambush, father and son Frasher came after my brother and me based on a lie.

And if anything, the only one in our family who had the right to pick up a shotgun and use it, it would be me, not my brother.  We both knew who the problem was and who took the fall, but it was how they spun the story after I left.

I was never expected to come back.  I never expected that I would be deposited back in my hometown. 

Maybe Barnaby didn’t know what he had done, but that was hard to believe when he often bragged that he knew everything and could be trusted.  This was just the sort of stunt he would pull, either as a test or an active scenario.

It was not a test.

It was a scenario that was designed to take a problem off his hands.

The middle-aged server dropped a takeaway coffee on the counter in front of me.  “It’s cold out, and you’ll need it.”

“You weren’t one of my grade teachers, were you?  Miss Penman?”  I thought I recognised her.

She smiled.  “My mother.  You’re Jack Dawson.  She always said you were one of the good ones.  I didn’t believe for a moment you were the one who burned the Frasher barn down.  They haven’t improved over the years, doubt they ever will.  You were lucky to escape this place.”

She picked up the empty plate.  “Don’t hang around.  Go see your brother, then leave quietly.  The town is not the same any more.”

I’d seen that expression before, many times.  Fear.  And sadness.

“I’m not planning on staying.  I wasn’t planning on visiting, but sometimes shit happens.”

“That it does.”

The car rental place had three cars out front.  The storefront had been recently painted, and the windows looked new.

It looked to me like they’d been replaced, and a closer look, before going in showed glass fragments inside, under the ledge.

Intimidation?

The man behind the counter was not a local.  The car company was a branch of a well known brand.  He looked up as I came in.

“How can I help you?”

“I have a car booked.”

“Name?”

“Dawson.”

He looked at his computer and frowned.  “This tells me you cancelled the booking.”

“Ten minutes ago?”

He looked at the screen.  He shook his head and didn’t look at me.

“Frasher called you.  Which car was set aside?”

“The red Acura.”

I held out my hand.  “Don’t mess with the people who made the booking.  Frasher is about to find that out.”

He took the key off the wall rack and gave it to me.  “There’s no excess if you have an accident.  Try to return it in the same condition as you picked it up.  A full tank of gas would be appreciated.  Have a nice day, Mr Dawson.”

Before I got in the car, I looked up and down the street.  Next block, tucked in behind a Ford, was a cruiser.  Watching and waiting.

The Frashers were worried.  My return caused them more angst than my family simply because  I was the one who knew the truth.

I got in the car, pulled out of the parking space and onto the main road that passed through the town, and then on to the cross road five miles outside of town.

The police cruiser followed me, keeping pace.

At the intersection where the lane to what used to mt home and the main road in and out of town, two cruisers and a large Suburban, the vehicle of choice for the current sheriff, blocked the three roads.

Another cruiser joined the one behind me, and when I stopped, about five cars from the road block, they stopped a similar distance behind me.

An odd thought popped into my head: if I had a gang, they could be robbing the main street shops right now because all the police were here.

I typed a message on the phone and sent it to the one number in my contact list, then got out of the car.  I did not have a weapon like I would usually, so it was an unusual feeling.

It is, I thought, what it is.  not the time to be worrying about consequences.

The sheriff and his mentors did likewise; those other than the sheriff waited by their cars, weapons drawn but not pointing them at me.

Yet.

I walked to the front of my car and leaned against the bonnet, hands where they could see them.  Deputies in this country had a reputation for shooting first and asking questions later. 

The sheriff walked five steps towards me and stopped.

“Sheriff Frasher,” I said in my most congenial tone.  What came out sounded like I was being strangled.

“Jack.”  He shifted his weight from foot to foot, as if his boots were new and hurting his feet.  Then, “You need to turn around and go back to the airport, and back to where you came from.  This town doesn’t need or want you.”

“I think that’s more about you not wanting me here, Sheriff.”

“I want what’s best for the town.  That means not having you here to stir up trouble.”

I looked around at the deputies by their vehicles.  Three of them were Frashers.  I guess anyone could be a Deputy these days.

“I’m not here to stir up trouble.  I’m just here to see my brother, but with all this attention, I have to wonder why you don’t want me to see him.”

“He might not want to see you.”

True, but the sheriff could not know that for sure.  “Well, be that as it may, I will still be visiting my brother.”

“Just… ” His cell phone started ringing. 

I saw him look at the screen with a perplexed expression before answering.  The stiffening of the shoulders and the almost standing to attention told me this was neither a conversation he wanted, but, most of all, wasn’t expecting.

To tell the truth, neither was I, nor at least not as soon as this.  But then Barnarby always knew how to put the wind up people, people whom others never dared to try.

I heard the sheriff distinctly say no several times, and ‘of course’ once near the end of the conversation.

A few seconds later, it was over.  After another long, mournful glare at the screen, he put the phone back in his pocket.

Then he looked at me with a curious expression. 

“Just who the hell are you?”

“No one.  I’m sure if you looked me up, you would find no trace of me from the day I left this town till I arrived back yesterday.”

“Then how…”

“That is a long story.”

A sudden gust of wind came from the north, bringing with it the promise of more snow.  It was not the time to be standing around talking.

I shivered, partly because of the cold, but mostly from a momentary memory of another time, in another country, with similar people, people obsessed with wealth and power.

Frasher was either too stupid or too stubborn to let this go.

“Enlighten me.”

I sighed.  Light snow started to fall out of the sky.  The wind picked up, and a blizzard was in the offing.  I left in a blizzard; to me, it was an omen.

“Giles Bentley, Sheriff.”  I held up my cell phone.  “You have a choice.  Now.  In five minutes, you won’t.  I’m sure you and your deputies have better things to do.”

He still didn’t look happy, but then, once I mentioned the name that had not been mentioned before, he didn’t have much of a choice.  And given his expression, he knew he had overstepped.

“Wrap it up, boys, and get back to work.  Now.”

They didn’t need to be told twice.  The snow was coming down much thicker and settling on everything.  In another half hour, we would be snowed in.

I got back in my car and started the engine.  By the time I was ready to drive, all but the Sheriff’s vehicle had gone.  A last look at me, he got in his vehicle and moved to the side of the road.

As I drove past, I could see him on his cell phone, talking and gesturing, like a man who knew his time was up.

Everybody had a piper they had to pay.  Frasher was no exception.  Barnaby was no exception.  Neither was I.  There was always someone above our pay grade pulling strings.

My father made a mistake 20 years ago, and I paid the price for that mistake.  No one but my father and Giles Bentley knew exactly what it was, and Frasher had been the one to oversee it.

Lies had been told by all three to cover it up.

I was never supposed to return to Cinnamon Falls, but Frasher senior and my father had both died recently, and Barnaby decided that I should not be punished any more.

It was the subject of a text I received just as I was about to finally get to sleep.  Typical poor timing that was Barnaby’s melodic operandi.

I hadn’t been retired.  I had been released, my sentence over.  My troubles were over. 

I drove those last five miles, wondering if I could ever just close my eyes and sleep peacefully, the sort of sleep where you weren’t expecting trouble, where you no longer had to look over your shoulder.  A 20-year habit that would be hard to break.

I drove under the sign that announced you were entering the Excelsior Ranch, the Dawson family home for over a hundred and fifty years, reputedly won by Alexander Dawson in a card game.

Such stories were told and retold until they became just that, stories with no basis in fact; they just sounded good on paper.

The thing is, it was true, we had the piece of paper, signed by the hapless Bentley, the gambler and wastrel relative, who lost it in a card game, a document witnessed by a Frasher.

It was a story that changed depending on who told it.  Now it didn’t matter.  All promises and obligations were discharged.  The Excelsior belonged to the Dawsons.  The County Sheriff would always be a Frasher, and the Bentleys they had a presidential candidate that didn’t need a scandal.

I felt sorry for Sheriff Frasher.  Well, maybe not.  The Grashers always were dumb as dog shit.

I stopped the car at the bottom of the stairs leading up to the verandah where Sherman and Madeleine were waiting.

I got out, and for a moment the snow stopped swirling.  Long enough for me to get up the stairs and under cover.

“Jack.”  Sherman held out his hand.

“Sherman.”  I took it, and we shook hands like two men sealing a deal.

Then it was hugs all round until I saw Amy Deacon standing back.  She smiled and said, in her usual laconic manner, “You are a sight for sore eyes, young Jack.”

I was home, once and for all.

©  Charles Heath  2025

Another excerpt from ‘Betrayal’; a work in progress

My next destination in the quest was the hotel we believed Anne Merriweather had stayed at.

I was, in a sense, flying blind because we had no concrete evidence she had been there, and the message she had left behind didn’t quite name the hotel or where Vladimir was going to take her.

Mindful of the fact that someone might have been following me, I checked to see if the person I’d assumed had followed me to Elizabeth’s apartment was still in place, but I couldn’t see him. Next, I made a mental note of seven different candidates and committed them to memory.

Then I set off to the hotel, hailing a taxi. There was the possibility the cab driver was one of them, but perhaps I was slightly more paranoid than I should be. I’d been watching the queue, and there were two others before me.

The journey took about an hour, during which time I kept an eye out the back to see if anyone had been following us. If anyone was, I couldn’t see them.

I had the cab drop me off a block from the hotel and then spent the next hour doing a complete circuit of the block the hotel was on, checking the front and rear entrances, the cameras in place, and the siting of the driveway into the underground carpark. There was a camera over the entrance, and one we hadn’t checked for footage. I sent a text message to Fritz to look into it.

The hotel lobby was large and busy, which was exactly what you’d want if you wanted to come and go without standing out. It would be different later at night, but I could see her arriving about mid-afternoon, and anonymous among the type of clientele the hotel attracted.

I spent an hour sitting in various positions in the lobby simply observing. I had already ascertained where the elevator lobby for the rooms was, and the elevator down to the car park. Fortunately, it was not ‘guarded’ but there was a steady stream of concierge staff coming and going to the lower levels, and, just from time to time, guests.

Then, when there was a commotion at the front door, what seemed to be a collision of guests and free-wheeling bags, I saw one of the seven potential taggers sitting by the front door. Waiting for me to leave? Or were they wondering why I was spending so much time there?

Taking advantage of that confusion, I picked my moment to head for the elevators that went down to the car park, pressed the down button, and waited.

The was no car on the ground level, so I had to wait, watching, like several others, the guests untangling themselves at the entrance, and an eye on my potential surveillance, still absorbed in the confusion.

The doors to the left car opened, and a concierge stepped out, gave me a quick look, then headed back to his desk. I stepped into the car, pressed the first level down, the level I expected cars to arrive on, and waited what seemed like a long time for the doors to close.

As they did, I was expecting to see a hand poke through the gap, a latecomer. Nothing happened, and I put it down to a television moment.

There were three basement levels, and for a moment, I let my imagination run wild and considered the possibility that there were more levels. Of course, there was no indication on the control panel that there were any other floors, and I’d yet to see anything like it in reality.

With a shake of my head to return to reality, the car arrived, the doors opened, and I stepped out.

A car pulled up, and the driver stepped out, went around to the rear of his car, and pulled out a case. I half expected him to throw me the keys, but the instant glance he gave me told him was not the concierge, and instead brushed past me like I wasn’t there.

He bashed the up button several times impatiently and cursed when the doors didn’t open immediately. Not a happy man.

Another car drove past on its way down to a lower level.

I looked up and saw the CCTV camera, pointing towards the entrance, visible in the distance. A gate that lifted up was just about back in position and then made a clunk when it finally closed. The footage from the camera would not prove much, even if it had been working, because it didn’t cover the life lobby, only in the direction of the car entrance.

The doors to the other elevator car opened, and a man in a suit stepped out.

“Can I help you, sir? You seem lost.”

Security, or something else. “It seems that way. I went to the elevator lobby, got in, and it went down rather than up. I must have been in the wrong place.”

“Lost it is, then, sir.” I could hear the contempt for Americans in his tone. “If you will accompany me, please.”

He put out a hand ready to guide me back into the elevator. I was only too happy to oblige him. There had been a sign near the button panel that said the basement levels were only to be accessed by the guests.

Once inside, he turned a key and pressed the lobby button. The doors closed, and we went up. He stood, facing the door, not speaking. A few seconds later, he was ushering me out to the lobby.

“Now, sir, if you are a guest…”

“Actually, I’m looking for one. She called me and said she would be staying in this hotel and to come down and visit her. I was trying to get to the sixth floor.”

“Good. Let’s go over the the desk and see what we can do for you.”

I followed him over to the reception desk, where he signalled one of the clerks, a young woman who looked and acted very efficiently, and told her of my request, but then remained to oversee the proceeding.

“Name of guest, sir?”

“Merriweather, Anne. I’m her brother, Alexander.” I reached into my coat pocket and pulled out my passport to prove that I was who I said I was. She glanced cursorily at it.

She typed the name into the computer, and then we waited a few seconds while it considered what to output. Then, she said, “That lady is not in the hotel, sir.”

Time to put on my best-confused look. “But she said she would be staying here for the week. I made a special trip to come here to see her.”

Another puzzled look from the clerk, then, “When did she call you?”

An interesting question to ask, and it set off a warning bell in my head. I couldn’t say today, it would have to be the day she was supposedly taken.

“Last Saturday, about four in the afternoon.”

Another look at the screen, then, “It appears she checked out Sunday morning. I’m afraid you have made a trip in vain.”

Indeed, I had. “Was she staying with anyone?”

I just managed to see the warning pass from the suited man to the clerk. I thought he had shown an interest when I mentioned the name, and now I had confirmation. He knew something about her disappearance. The trouble was, he wasn’t going to volunteer any information because he was more than just hotel security.

“No.”

“Odd,” I muttered. “I thought she told me she was staying with a man named Vladimir something or other. I’m not too good at pronouncing those Russian names. Are you sure?”

She didn’t look back at the screen. “Yes.”

“OK, now one thing I do know about staying in hotels is that you are required to ask guests with foreign passports their next destination, just in case they need to be found. Did she say where she was going next?” It was a long shot, but I thought I’d ask.

“Moscow. As I understand it, she lives in Moscow. That was the only address she gave us.”

I smiled. “Thank you. I know where that is. I probably should have gone there first.”

She didn’t answer; she didn’t have to, her expression did that perfectly.

The suited man spoke again, looking at the clerk. “Thank you.” He swivelled back to me. “I’m sorry we can’t help you.”

“No. You have more than you can know.”

“What was your name again, sir, just in case you still cannot find her?”

“Alexander Merriweather. Her brother. And if she is still missing, I will be posting a very large reward. At the moment, you can best contact me via the American Embassy.”

Money is always a great motivator, and that thoughtful expression on his face suggested he gave a moment’s thought to it.

I left him with that offer and left. If anything, the people who were holding her would know she had a brother, that her brother was looking for her, and equally that brother had money.

© Charles Heath – 2018-2025

Writing a book in 365 days – My Story

Time to move on – perhaps a sequel?

The Second Chapter: To Sequel or Not to Sequel?

Every writer dreams of publishing the book—the novel that captures hearts, lands on bestseller lists, and finally sees their name in print. But once the final page is turned and the final edit approved, a new question often creeps in, quiet but persistent: What about a sequel? Or a prequel?

For some, the journey doesn’t end with one book. For others, the idea of expanding their world feels unnecessary or even overwhelming. So where’s the line? Does every author have a second book in them? And more importantly, how do we know when a standalone story deserves to become a series?

Does Everyone Have a Second Book In Them?

In short—yes, but maybe not the same way.

Every storyteller has more tales to tell. Whether it’s within the same universe, through new characters, or a return to old favourites—there’s always more to explore. But here’s the truth: having a second story idea isn’t the same as having a necessary sequel.

A sequel shouldn’t exist simply because the first book sold well. It must earn its place. It should deepen the themes, evolve the characters, or expand a world in a way that feels organic—not forced. A prequel, meanwhile, must offer something the original didn’t: untold motivations, hidden histories, or emotional context that reframes the entire narrative.

Not every book needs to be part of a trilogy. In fact, some of the most powerful stories are those that end with finality. Consider The Great Gatsby or To Kill a Mockingbird. These stories are complete, and their strength lies in closure. Adding a sequel wouldn’t enhance them—it might even dilute their impact.

When Do You Know a Story is Meant to Be More Than One?

The shift from standalone to series often starts unconsciously.

Maybe it’s a character whose arc feels unfinished. Perhaps it’s a world so richly imagined that the first book only scratched the surface. Or it could be a central conflict that can’t be fully resolved in one narrative arc.

Here are a few signs your book might be destined for more:

  • Your characters won’t let you go. They start speaking in your head again. They have unfinished business—even if they don’t realise it yet.
  • The world feels alive. Readers ask, “What happens next?” or “What was it like before?” That curiosity is a signal.
  • The stakes grow beyond the personal. If the first book dealt with individual survival, but the world itself is now at risk—congratulations, you’ve laid the foundation for a series.
  • You’ve left intentional threads. Foreshadowing a larger mythology, introducing mysterious factions, or dropping cryptic lore can all be clues you’re building for more.

Timing matters too. Some authors plan series from the start—George R.R. Martin mapped out A Song of Ice and Fire with multiple volumes in mind. Others, like J.K. Rowling, realised the story was bigger than expected only after Harry Potter and the Philosopher’s Stone exploded in popularity.

But here’s the secret: you don’t have to know from page one. You can begin writing a standalone and let the story tell you where it wants to go. Trust the process. Listen to your instincts. And don’t rush to monetize your success with a sequel that isn’t ready.

How Long Before We Begin?

That depends on why you want to return.

If the story is still burning in you—go ahead. Start drafting ideas, notes, and character journals. But if you’re writing a sequel just because fans demand it or you feel obligated, take a breath. Step away.

Many authors benefit from a cooling-off period. A year. Two. Time to reflect, gain perspective, and return with fresh eyes. Think of it this way: your first book was a discovery. Your sequel should be deeper, wiser, and more intentional.

Some writers begin thinking about a sequel during the final edits of Book One. Others wait until they’ve written something entirely new. There’s no right timeline—only the right reason.

Final Thoughts: Is a Second Book Necessary?

No. But it can be meaningful.

A sequel or prequel shouldn’t be a cash grab or a filler. It should feel inevitable—like the story demanded continuation. Whether it’s one more chapter in an epic saga or a deep dive into a character’s past, the second book must stand on its own merit.

So ask yourself:

  • Does this story need more?
  • Am I returning for the right reasons?
  • Do I have something meaningful to add?

If the answer is yes—then welcome to the next chapter. Your audience is waiting. And who knows? Maybe your second book will be the one that changes everything.

Now, tell me—do you have a sequel in you?

Writing a book in 365 days – My Story

Time to move on – perhaps a sequel?

The Second Chapter: To Sequel or Not to Sequel?

Every writer dreams of publishing the book—the novel that captures hearts, lands on bestseller lists, and finally sees their name in print. But once the final page is turned and the final edit approved, a new question often creeps in, quiet but persistent: What about a sequel? Or a prequel?

For some, the journey doesn’t end with one book. For others, the idea of expanding their world feels unnecessary or even overwhelming. So where’s the line? Does every author have a second book in them? And more importantly, how do we know when a standalone story deserves to become a series?

Does Everyone Have a Second Book In Them?

In short—yes, but maybe not the same way.

Every storyteller has more tales to tell. Whether it’s within the same universe, through new characters, or a return to old favourites—there’s always more to explore. But here’s the truth: having a second story idea isn’t the same as having a necessary sequel.

A sequel shouldn’t exist simply because the first book sold well. It must earn its place. It should deepen the themes, evolve the characters, or expand a world in a way that feels organic—not forced. A prequel, meanwhile, must offer something the original didn’t: untold motivations, hidden histories, or emotional context that reframes the entire narrative.

Not every book needs to be part of a trilogy. In fact, some of the most powerful stories are those that end with finality. Consider The Great Gatsby or To Kill a Mockingbird. These stories are complete, and their strength lies in closure. Adding a sequel wouldn’t enhance them—it might even dilute their impact.

When Do You Know a Story is Meant to Be More Than One?

The shift from standalone to series often starts unconsciously.

Maybe it’s a character whose arc feels unfinished. Perhaps it’s a world so richly imagined that the first book only scratched the surface. Or it could be a central conflict that can’t be fully resolved in one narrative arc.

Here are a few signs your book might be destined for more:

  • Your characters won’t let you go. They start speaking in your head again. They have unfinished business—even if they don’t realise it yet.
  • The world feels alive. Readers ask, “What happens next?” or “What was it like before?” That curiosity is a signal.
  • The stakes grow beyond the personal. If the first book dealt with individual survival, but the world itself is now at risk—congratulations, you’ve laid the foundation for a series.
  • You’ve left intentional threads. Foreshadowing a larger mythology, introducing mysterious factions, or dropping cryptic lore can all be clues you’re building for more.

Timing matters too. Some authors plan series from the start—George R.R. Martin mapped out A Song of Ice and Fire with multiple volumes in mind. Others, like J.K. Rowling, realised the story was bigger than expected only after Harry Potter and the Philosopher’s Stone exploded in popularity.

But here’s the secret: you don’t have to know from page one. You can begin writing a standalone and let the story tell you where it wants to go. Trust the process. Listen to your instincts. And don’t rush to monetize your success with a sequel that isn’t ready.

How Long Before We Begin?

That depends on why you want to return.

If the story is still burning in you—go ahead. Start drafting ideas, notes, and character journals. But if you’re writing a sequel just because fans demand it or you feel obligated, take a breath. Step away.

Many authors benefit from a cooling-off period. A year. Two. Time to reflect, gain perspective, and return with fresh eyes. Think of it this way: your first book was a discovery. Your sequel should be deeper, wiser, and more intentional.

Some writers begin thinking about a sequel during the final edits of Book One. Others wait until they’ve written something entirely new. There’s no right timeline—only the right reason.

Final Thoughts: Is a Second Book Necessary?

No. But it can be meaningful.

A sequel or prequel shouldn’t be a cash grab or a filler. It should feel inevitable—like the story demanded continuation. Whether it’s one more chapter in an epic saga or a deep dive into a character’s past, the second book must stand on its own merit.

So ask yourself:

  • Does this story need more?
  • Am I returning for the right reasons?
  • Do I have something meaningful to add?

If the answer is yes—then welcome to the next chapter. Your audience is waiting. And who knows? Maybe your second book will be the one that changes everything.

Now, tell me—do you have a sequel in you?

Writing a book in 365 days – 353

Day 353

Introduction: Why Your Choice of Software Matters

Writing isn’t just about putting words on a page; it’s a craft that demands focus, organisation, and the right set of tools to bring ideas to life. The software you choose can:

  • Boost productivity – by cutting down on manual formatting and navigation.
  • Protect your creative flow – by offering distraction‑free modes and version control.
  • Scale with your project – from a single‑page article to a 500‑page novel or a multi‑chapter research thesis.

With a flood of options on the market, two camps dominate the conversation:

  1. Dedicated writing software (think Scrivener, Ulysses, yWriter).
  2. Run‑of‑the‑mill word processors (Microsoft Word, Google Docs, Apple Pages).

Let’s dive deep into the strengths, weaknesses, and ideal use‑cases for each, so you can make an informed decision that aligns with your workflow.


1. Dedicated Writing Software – The Specialist’s Toolkit

1.1 What Makes a “Dedicated” App Different?

Dedicated writing apps are built from the ground up for long‑form, project‑based writing. They go beyond the classic “type‑and‑print” paradigm and provide:

FeatureWhy It Matters
Project‑level organization (folders, corkboards, outline view)Keeps chapters, scenes, research, and notes in one place without endless scrolling.
Distraction‑free modesFull‑screen or “typewriter” view clears the screen of UI clutter, helping you stay in the zone.
Version control & snapshotsCapture a “snapshot” of a chapter at any point and revert without losing later edits.
Export versatilityExport to ePub, Kindle, PDF, Word, plain text, and even manuscript‑ready formats with a single click.
Metadata & taggingAttach custom fields (e.g., POV, status, word count) for advanced sorting and filtering.

1.2 Scrivener – The Industry Standard

“If you write a novel, a screenplay, or a dissertation, Scrivener is the Swiss Army knife you never knew you needed.” — John H., bestselling author

Pros

✔️Scrivener Highlights
Robust BinderDrag‑and‑drop chapters, scenes, and research PDFs into a hierarchical tree.
Corkboard & OutlinerVisualize story arcs with index cards; rearrange with a mouse swipe.
Split‑Screen EditingView two documents side‑by‑side (e.g., manuscript + notes).
Built‑in TemplatesPre‑made templates for novels, scripts, non‑fiction, and academic papers.
Cross‑PlatformmacOS, Windows, iOS (sync via Dropbox).

Cons

❌Potential Drawbacks
Learning CurveThe sheer number of features can overwhelm newcomers.
Price$49 (Mac/Windows) + $29 (iOS) – a one‑time purchase, but higher than a free Google account.
CollaborationNot designed for real‑time co‑authoring (though you can share exported files).

1.3 Other Notable Dedicated Apps

AppIdeal ForStandout Feature
Ulysses (macOS/iOS)Bloggers, journalists, Apple‑centric writersSeamless iCloud sync + Markdown simplicity
yWriter (Windows)Screenwriters & novelists on a budgetFree, robust scene‑based organization
Storyist (macOS/iOS)Fiction & script writersIntegrated storyboard & script formatting

2. Run‑of‑the‑Mill Word Processors – The Everyday Workhorse

2.1 Microsoft Word – The Classic Giant

Word has been the default for decades, and its capabilities have expanded far beyond a simple text editor.

Pros

✔️Word Strengths
Universal CompatibilityAlmost every publisher, editor, and academic institution expects a .docx file.
Advanced FormattingStyles, footnotes, cross‑references, tables of contents – all built‑in.
Track Changes & CommentsIdeal for collaborative editing with editors or co‑authors.
Add‑ins & MacrosCustomize with VBA scripts for repetitive tasks.
Desktop & Online VersionsUse the full‑featured desktop app or the cloud‑based Word Online.

Cons

❌Word Weaknesses
Project Management LacksNo native folder‑like binder; you’ll need to open multiple files or use a master document (which can be unstable).
Distraction‑Heavy UIRibbon, sidebars, and toolbars can pull focus away from writing.
Limited Export OptionsNot as straightforward to output to ePub or Kindle format without third‑party plugins.

2.2 Google Docs – The Cloud‑Centric Contender

Google Docs is the go‑to for real‑time collaboration, especially in remote teams or classrooms.

Pros

✔️Google Docs Benefits
Real‑Time CollaborationMultiple users can edit simultaneously with live cursors.
Automatic Cloud SavesNo risk of losing work due to hardware failure.
Add‑Ons MarketplaceExtend functionality (e.g., citation managers, grammar checkers).
Access AnywhereBrowser‑based; works on any OS with internet.
Free TierGenerous storage via Google Drive.

Cons

❌Google Docs Limitations
Limited Formatting & StylesComplex manuscript formatting (e.g., long TOCs) can be clunky.
No Built‑In Project ViewYou’ll need to manage individual files manually in Drive.
Offline ModeWorks, but requires setup; performance can be slower offline.
Export FormatsPrimarily PDF, Word, plain text; no native ePub/KDP export.

2.3 When Word Processors Shine

ScenarioRecommended Tool
Academic Papers (APA/MLA/Chicago)Word (styles, citations, footnotes)
Team Reports or Shared DocsGoogle Docs (real‑time editing)
Short‑Form Content (blog posts, newsletters)Either – choose based on collaboration needs
Final Manuscript Formatting for PublishersWord (industry standard)

3. Decision Matrix – Matching Tool to Writer Type

Writer ProfilePrimary NeedsBest Fit
Novelist (300‑500+ pages, heavy outlining)Project organization, scene tracking, flexible exportScrivener (or Ulysses for Mac/iOS)
ScreenwriterScript formatting, beat boards, quick revisionsFinal Draft (industry) or Scrivener (script template)
Academic ResearcherCitation management, footnotes, large reference libraryWord (with EndNote/Zotero) or Google Docs + add‑on
Freelance BloggerFast drafting, SEO collaboration, easy publishingGoogle Docs (collab) or Word (if you prefer offline)
Non‑fiction Author (multiple chapters, interviews, PDFs)Mixed media integration, flexible export, version snapshotsScrivener
Team of EditorsReal‑time comments, change tracking, simultaneous editingGoogle Docs (or Word Online)

4. Practical Tips to Get the Most Out of Your Chosen Software

  1. Start with a Template – Most dedicated apps ship with ready‑made templates that handle margins, headers, and chapter styles. Save time by customising once and reusing.
  2. Leverage Cloud Sync – Even if you love Scrivener, store your project folder in Dropbox or OneDrive to protect against hardware loss.
  3. Combine Tools – Write first drafts in a distraction‑free environment (Scrivener, Ulysses, or even a plain‑text editor), then import into Word for final formatting and submission.
  4. Use Keyboard Shortcuts – Learn the top 10 shortcuts for your platform; they shave seconds off every page.
  5. Backup Regularly – Set up an automatic backup schedule (e.g., weekly zip of your project folder) regardless of cloud storage.

5. Bottom Line: There Is No One‑Size‑Fits‑All Answer

  • If your writing is project‑heavy, non‑linear, and you need robust organisation, dedicated software like Scrivener (or its Mac‑centric cousins) is the clear winner.
  • If you work primarily in teams, need instant collaboration, or are delivering polished documents to publishers or academia, Microsoft Word or Google Docs will serve you better.

My personal recommendation? Use a hybrid workflow: draft and outline in Scrivener for its unrivalled project management, then export your manuscript to Word for final polishing, formatting, and sharing. For collaborative pieces, switch to Google Docs during the editing phase, then bring the clean version back into Word.


Bonus: Quick Comparison Chart

FeatureScrivenerUlyssesMicrosoft WordGoogle Docs
Project Binder✅✅❌❌
Distraction‑Free Mode✅✅❌❌
Real‑Time Collaboration❌❌✅ (online)✅
Advanced Export (ePub, Kindle)✅✅❌ (needs add‑on)❌
Citation ManagementLimitedLimited✅ (via add‑ins)✅ (via add‑ons)
Price (as of 2026)$49 (one‑time)$49.99/yr$149.99 (Microsoft 365)Free (Google Workspace)
Learning CurveModerateLowLowLow

Take Action Today

  1. Identify your primary writing goal (novel, article, thesis, team report).
  2. Match the goal to the software using the matrix above.
  3. Download a free trial (Scrivener offers a 30‑day trial; Word has a 60‑day Microsoft 365 trial).
  4. Test a small project—write a single chapter or a 1,000‑word article. Observe how the tool fits your workflow.
  5. Commit to the software that feels like an extension of your creative mind, not a barrier.

Happy writing! 🚀

Writing a book in 365 days – 353

Day 353

Introduction: Why Your Choice of Software Matters

Writing isn’t just about putting words on a page; it’s a craft that demands focus, organisation, and the right set of tools to bring ideas to life. The software you choose can:

  • Boost productivity – by cutting down on manual formatting and navigation.
  • Protect your creative flow – by offering distraction‑free modes and version control.
  • Scale with your project – from a single‑page article to a 500‑page novel or a multi‑chapter research thesis.

With a flood of options on the market, two camps dominate the conversation:

  1. Dedicated writing software (think Scrivener, Ulysses, yWriter).
  2. Run‑of‑the‑mill word processors (Microsoft Word, Google Docs, Apple Pages).

Let’s dive deep into the strengths, weaknesses, and ideal use‑cases for each, so you can make an informed decision that aligns with your workflow.


1. Dedicated Writing Software – The Specialist’s Toolkit

1.1 What Makes a “Dedicated” App Different?

Dedicated writing apps are built from the ground up for long‑form, project‑based writing. They go beyond the classic “type‑and‑print” paradigm and provide:

FeatureWhy It Matters
Project‑level organization (folders, corkboards, outline view)Keeps chapters, scenes, research, and notes in one place without endless scrolling.
Distraction‑free modesFull‑screen or “typewriter” view clears the screen of UI clutter, helping you stay in the zone.
Version control & snapshotsCapture a “snapshot” of a chapter at any point and revert without losing later edits.
Export versatilityExport to ePub, Kindle, PDF, Word, plain text, and even manuscript‑ready formats with a single click.
Metadata & taggingAttach custom fields (e.g., POV, status, word count) for advanced sorting and filtering.

1.2 Scrivener – The Industry Standard

“If you write a novel, a screenplay, or a dissertation, Scrivener is the Swiss Army knife you never knew you needed.” — John H., bestselling author

Pros

✔️Scrivener Highlights
Robust BinderDrag‑and‑drop chapters, scenes, and research PDFs into a hierarchical tree.
Corkboard & OutlinerVisualize story arcs with index cards; rearrange with a mouse swipe.
Split‑Screen EditingView two documents side‑by‑side (e.g., manuscript + notes).
Built‑in TemplatesPre‑made templates for novels, scripts, non‑fiction, and academic papers.
Cross‑PlatformmacOS, Windows, iOS (sync via Dropbox).

Cons

❌Potential Drawbacks
Learning CurveThe sheer number of features can overwhelm newcomers.
Price$49 (Mac/Windows) + $29 (iOS) – a one‑time purchase, but higher than a free Google account.
CollaborationNot designed for real‑time co‑authoring (though you can share exported files).

1.3 Other Notable Dedicated Apps

AppIdeal ForStandout Feature
Ulysses (macOS/iOS)Bloggers, journalists, Apple‑centric writersSeamless iCloud sync + Markdown simplicity
yWriter (Windows)Screenwriters & novelists on a budgetFree, robust scene‑based organization
Storyist (macOS/iOS)Fiction & script writersIntegrated storyboard & script formatting

2. Run‑of‑the‑Mill Word Processors – The Everyday Workhorse

2.1 Microsoft Word – The Classic Giant

Word has been the default for decades, and its capabilities have expanded far beyond a simple text editor.

Pros

✔️Word Strengths
Universal CompatibilityAlmost every publisher, editor, and academic institution expects a .docx file.
Advanced FormattingStyles, footnotes, cross‑references, tables of contents – all built‑in.
Track Changes & CommentsIdeal for collaborative editing with editors or co‑authors.
Add‑ins & MacrosCustomize with VBA scripts for repetitive tasks.
Desktop & Online VersionsUse the full‑featured desktop app or the cloud‑based Word Online.

Cons

❌Word Weaknesses
Project Management LacksNo native folder‑like binder; you’ll need to open multiple files or use a master document (which can be unstable).
Distraction‑Heavy UIRibbon, sidebars, and toolbars can pull focus away from writing.
Limited Export OptionsNot as straightforward to output to ePub or Kindle format without third‑party plugins.

2.2 Google Docs – The Cloud‑Centric Contender

Google Docs is the go‑to for real‑time collaboration, especially in remote teams or classrooms.

Pros

✔️Google Docs Benefits
Real‑Time CollaborationMultiple users can edit simultaneously with live cursors.
Automatic Cloud SavesNo risk of losing work due to hardware failure.
Add‑Ons MarketplaceExtend functionality (e.g., citation managers, grammar checkers).
Access AnywhereBrowser‑based; works on any OS with internet.
Free TierGenerous storage via Google Drive.

Cons

❌Google Docs Limitations
Limited Formatting & StylesComplex manuscript formatting (e.g., long TOCs) can be clunky.
No Built‑In Project ViewYou’ll need to manage individual files manually in Drive.
Offline ModeWorks, but requires setup; performance can be slower offline.
Export FormatsPrimarily PDF, Word, plain text; no native ePub/KDP export.

2.3 When Word Processors Shine

ScenarioRecommended Tool
Academic Papers (APA/MLA/Chicago)Word (styles, citations, footnotes)
Team Reports or Shared DocsGoogle Docs (real‑time editing)
Short‑Form Content (blog posts, newsletters)Either – choose based on collaboration needs
Final Manuscript Formatting for PublishersWord (industry standard)

3. Decision Matrix – Matching Tool to Writer Type

Writer ProfilePrimary NeedsBest Fit
Novelist (300‑500+ pages, heavy outlining)Project organization, scene tracking, flexible exportScrivener (or Ulysses for Mac/iOS)
ScreenwriterScript formatting, beat boards, quick revisionsFinal Draft (industry) or Scrivener (script template)
Academic ResearcherCitation management, footnotes, large reference libraryWord (with EndNote/Zotero) or Google Docs + add‑on
Freelance BloggerFast drafting, SEO collaboration, easy publishingGoogle Docs (collab) or Word (if you prefer offline)
Non‑fiction Author (multiple chapters, interviews, PDFs)Mixed media integration, flexible export, version snapshotsScrivener
Team of EditorsReal‑time comments, change tracking, simultaneous editingGoogle Docs (or Word Online)

4. Practical Tips to Get the Most Out of Your Chosen Software

  1. Start with a Template – Most dedicated apps ship with ready‑made templates that handle margins, headers, and chapter styles. Save time by customising once and reusing.
  2. Leverage Cloud Sync – Even if you love Scrivener, store your project folder in Dropbox or OneDrive to protect against hardware loss.
  3. Combine Tools – Write first drafts in a distraction‑free environment (Scrivener, Ulysses, or even a plain‑text editor), then import into Word for final formatting and submission.
  4. Use Keyboard Shortcuts – Learn the top 10 shortcuts for your platform; they shave seconds off every page.
  5. Backup Regularly – Set up an automatic backup schedule (e.g., weekly zip of your project folder) regardless of cloud storage.

5. Bottom Line: There Is No One‑Size‑Fits‑All Answer

  • If your writing is project‑heavy, non‑linear, and you need robust organisation, dedicated software like Scrivener (or its Mac‑centric cousins) is the clear winner.
  • If you work primarily in teams, need instant collaboration, or are delivering polished documents to publishers or academia, Microsoft Word or Google Docs will serve you better.

My personal recommendation? Use a hybrid workflow: draft and outline in Scrivener for its unrivalled project management, then export your manuscript to Word for final polishing, formatting, and sharing. For collaborative pieces, switch to Google Docs during the editing phase, then bring the clean version back into Word.


Bonus: Quick Comparison Chart

FeatureScrivenerUlyssesMicrosoft WordGoogle Docs
Project Binder✅✅❌❌
Distraction‑Free Mode✅✅❌❌
Real‑Time Collaboration❌❌✅ (online)✅
Advanced Export (ePub, Kindle)✅✅❌ (needs add‑on)❌
Citation ManagementLimitedLimited✅ (via add‑ins)✅ (via add‑ons)
Price (as of 2026)$49 (one‑time)$49.99/yr$149.99 (Microsoft 365)Free (Google Workspace)
Learning CurveModerateLowLowLow

Take Action Today

  1. Identify your primary writing goal (novel, article, thesis, team report).
  2. Match the goal to the software using the matrix above.
  3. Download a free trial (Scrivener offers a 30‑day trial; Word has a 60‑day Microsoft 365 trial).
  4. Test a small project—write a single chapter or a 1,000‑word article. Observe how the tool fits your workflow.
  5. Commit to the software that feels like an extension of your creative mind, not a barrier.

Happy writing! 🚀

“The Things we do for Love”, the story behind the story

This story has been ongoing since I was seventeen, and just to let you know, I’m 72 this year.

Yes, it’s taken a long time to get it done.

Why, you might ask.

Well, I never gave it much interest because I started writing it after a small incident when I was 17, and working as a book packer for a book distributor in Melbourne

At the end of my first year, at Christmas, the employer had a Christmas party, and that year, it was at a venue in St Kilda.

I wasn’t going to go because at that age, I was an ordinary boy who was very introverted and basically scared of his own shadow and terrified by girls.

Back then, I would cross the street to avoid them

Also, other members of the staff in the shipping department were rough and ready types who were not backwards in telling me what happened, and being naive, perhaps they knew I’d be either shocked or intrigued.

I was both adamant I wasn’t coming and then got roped in on a dare.

Damn!

So, back then, in the early 70s, people looked the other way when it came to drinking, and of course, Dutch courage always takes away the concerns, especially when normally you wouldn’t do half the stuff you wouldn’t in a million years

I made it to the end, not as drunk and stupid as I thought I might be, and St Kilda being a salacious place if you knew where to look, my new friends decided to give me a surprise.

It didn’t take long to realise these men were ‘men about town’ as they kept saying, and we went on an odyssey.  Yes, those backstreet brothels where one could, I was told, have anything they could imagine.

Let me tell you, large quantities of alcohol and imagination were a very bad mix.

So, the odyssey in ‘The things we do’ was based on that, and then the encounter with Diana. Well, let’s just say I learned a great deal about girls that night.

Firstly, not all girls are nasty and spiteful, which seemed to be the case whenever I met one. There was a way to approach, greet, talk to, and behave.

It was also true that I could have had anything I wanted, but I decided what was in my imagination could stay there.  She was amused that all I wanted was to talk, but it was my money, and I could spend it how I liked.

And like any 17-year-old naive fool, I fell in love with her and had all these foolish notions.  Months later, I went back, but she had moved on, to where no one was saying or knew.

Needless to say, I was heartbroken and had to get over that first loss, which, like any 17-year-old, was like the end of the world.

But it was the best hour I’d ever spent in my life and would remain so until I met the woman I have been married to for the last 48 years.

As Henry, he was in part based on a rebel, the son of rich parents who despised them and their wealth, and he used to regale anyone who would listen about how they had messed up his life

If only I’d come from such a background!

And yes, I was only a run away from climbing up the stairs to get on board a ship, acting as a purser.

I worked for a shipping company and they gave their junior staff members an opportunity to spend a year at sea working as a purser on a cargo ship that sailed between Melbourne, Sydney and Hobart in Australia.

One of the other junior staff members’ turn came, and I would visit him on board when he would tell me stories about life on board, the officers, the crew, and other events. These stories, which sounded incredible to someone so impressionable, were a delight to hear.

Alas, by that time, I had tired of office work and moved on to be a tradesman at the place where my father worked.

It proved to be the right move, as that is where I met my wife.  Diana had been right; love would find me when I least expected it.

lovecoverfinal1

Writing a book in 365 days – 352

Day 352

Great Fiction Writers Don’t Just Tell Stories—They Leave You Changed

There’s a quiet magic in the best fiction—a kind that doesn’t announce itself with flashy prose or intricate plots, but lingers long after the last page is turned. You close the book, set it down, and somehow feel… heavier. Not weighed down, but fulfilled—as though you’ve absorbed something essential, something that wasn’t there when you began.

Great fiction writers don’t write for themselves. They write for you—the reader. And the greatest among them give you more than entertainment or escape. They give you something.

What Is That “Something”?

It’s not always easy to name. It might be a sudden clarity about human nature—why your father acted the way he did, or why forgiveness is harder than anger. It could be an aching empathy for someone unlike yourself, conjured through a character so vividly drawn that their pain feels like memory. It might be the unsettling truth that you’re not as alone in your fears or dreams as you thought.

That something is the residue of real art: emotional weight, intellectual insight, or a quiet shift in perspective. It’s the feeling you get after reading Toni Morrison’s Beloved, or finishing a Chekhov story, or stepping out of the world of George Eliot’s Middlemarch. You’re changed. You carry the story with you, not as memorised lines, but as lived experience.

And that’s the hallmark of a true artist: they offer their work not as a monument to their own genius, but as a gift to the reader’s soul.

The Writer’s True Purpose: Not Self-Expression, But Soul-Transmission

So many aspiring writers believe their job is to express themselves—to pour out their thoughts, traumas, or clever wordplay onto the page. And while honesty and authenticity matter, the goal cannot stop there. Great fiction isn’t exhibition; it’s invitation.

When you write to express yourself, the work orbits inward. But when you write for the reader, it expands outward—reaching, resonating, transforming. The best writers understand this intuitively. They labor not to impress, but to impact. They revise not for elegance alone, but for emotional precision—because they know a single well-placed sentence can alter someone’s understanding of love, loss, or what it means to be human.

Think of Harper Lee handing Scout Finch to the world—not as a self-indulgent character study, but as a lens through which generations would confront race, justice, and moral courage. Or consider Kazuo Ishiguro, whose restrained narratives coil around memory and dignity, leaving readers quietly devastated—and wiser.

These writers didn’t write to soothe their own egos. They wrote to give you something to carry.

Your Work Is Not About You—And That’s the Point

If you’re writing fiction to be seen, praised, or validated, you’re writing in the wrong direction. Real art doesn’t seek applause. It seeks resonance.

When you shift your focus from What do I want to say? to What does the reader need to feel, see, or understand?, your writing transforms. Your characters deepen. Your themes gain weight. You begin to sculpt stories that don’t just entertain, but endure.

Every choice—of voice, of silence, of detail—becomes an offering. The description of a worn kitchen table isn’t just set dressing; it’s a vessel for memory. A character’s hesitation isn’t just pacing—it’s a reflection of universal doubt.

This reorientation is humbling. It asks you to let go of the need to be clever, shocking, or profound on the surface. Instead, it calls you to serve the story—and, through it, the reader.

Walk Into the Light, Leave With Weight

The finest novels, the unforgettable stories, don’t leave you lighter. They leave you fuller. You walk into them seeking diversion, and you walk out carrying a new emotional memory, a truth you didn’t have before.

So if you’re serious about writing fiction that matters, remember this: your work is not yours. It never was. It belongs to the reader—the one who will read your words late at night, who will underline a passage, who will feel less alone because of something you wrote.

Let that be your compass. Write not for your name on a cover, but for the weight you leave in someone’s chest. Because great fiction doesn’t just live on the page. It lives in the reader—long after the book is closed.

And that’s how art becomes legacy.

Writing a book in 365 days – 352

Day 352

Great Fiction Writers Don’t Just Tell Stories—They Leave You Changed

There’s a quiet magic in the best fiction—a kind that doesn’t announce itself with flashy prose or intricate plots, but lingers long after the last page is turned. You close the book, set it down, and somehow feel… heavier. Not weighed down, but fulfilled—as though you’ve absorbed something essential, something that wasn’t there when you began.

Great fiction writers don’t write for themselves. They write for you—the reader. And the greatest among them give you more than entertainment or escape. They give you something.

What Is That “Something”?

It’s not always easy to name. It might be a sudden clarity about human nature—why your father acted the way he did, or why forgiveness is harder than anger. It could be an aching empathy for someone unlike yourself, conjured through a character so vividly drawn that their pain feels like memory. It might be the unsettling truth that you’re not as alone in your fears or dreams as you thought.

That something is the residue of real art: emotional weight, intellectual insight, or a quiet shift in perspective. It’s the feeling you get after reading Toni Morrison’s Beloved, or finishing a Chekhov story, or stepping out of the world of George Eliot’s Middlemarch. You’re changed. You carry the story with you, not as memorised lines, but as lived experience.

And that’s the hallmark of a true artist: they offer their work not as a monument to their own genius, but as a gift to the reader’s soul.

The Writer’s True Purpose: Not Self-Expression, But Soul-Transmission

So many aspiring writers believe their job is to express themselves—to pour out their thoughts, traumas, or clever wordplay onto the page. And while honesty and authenticity matter, the goal cannot stop there. Great fiction isn’t exhibition; it’s invitation.

When you write to express yourself, the work orbits inward. But when you write for the reader, it expands outward—reaching, resonating, transforming. The best writers understand this intuitively. They labor not to impress, but to impact. They revise not for elegance alone, but for emotional precision—because they know a single well-placed sentence can alter someone’s understanding of love, loss, or what it means to be human.

Think of Harper Lee handing Scout Finch to the world—not as a self-indulgent character study, but as a lens through which generations would confront race, justice, and moral courage. Or consider Kazuo Ishiguro, whose restrained narratives coil around memory and dignity, leaving readers quietly devastated—and wiser.

These writers didn’t write to soothe their own egos. They wrote to give you something to carry.

Your Work Is Not About You—And That’s the Point

If you’re writing fiction to be seen, praised, or validated, you’re writing in the wrong direction. Real art doesn’t seek applause. It seeks resonance.

When you shift your focus from What do I want to say? to What does the reader need to feel, see, or understand?, your writing transforms. Your characters deepen. Your themes gain weight. You begin to sculpt stories that don’t just entertain, but endure.

Every choice—of voice, of silence, of detail—becomes an offering. The description of a worn kitchen table isn’t just set dressing; it’s a vessel for memory. A character’s hesitation isn’t just pacing—it’s a reflection of universal doubt.

This reorientation is humbling. It asks you to let go of the need to be clever, shocking, or profound on the surface. Instead, it calls you to serve the story—and, through it, the reader.

Walk Into the Light, Leave With Weight

The finest novels, the unforgettable stories, don’t leave you lighter. They leave you fuller. You walk into them seeking diversion, and you walk out carrying a new emotional memory, a truth you didn’t have before.

So if you’re serious about writing fiction that matters, remember this: your work is not yours. It never was. It belongs to the reader—the one who will read your words late at night, who will underline a passage, who will feel less alone because of something you wrote.

Let that be your compass. Write not for your name on a cover, but for the weight you leave in someone’s chest. Because great fiction doesn’t just live on the page. It lives in the reader—long after the book is closed.

And that’s how art becomes legacy.