365 Days of writing, 2026 – 37

Day 37 – Do writers need to be interested in everything

Is the Accomplished Writer Someone Who Is Interested in Everything?


Introduction

When you flip through the pages of a novel that feels almost cinematic, or when a nonfiction essay makes you see the world in a new light, you’re often witnessing the work of a writer who seems to know everything. From the delicate anatomy of a hummingbird’s wing to the gritty economics of a 19th‑century railway boom, the writer’s knowledge appears boundless.

That impression fuels a common myth: “If you want to be an accomplished writer, you must be interested in everything.”

Is this hyper‑curiosity a prerequisite for literary greatness, or merely a romantic exaggeration? In this post, we’ll unpack the myth, explore the real relationship between curiosity and craft, and give you practical takeaways for your own writing journey.


1. The Appeal of the “Jack‑of‑All‑Trades” Writer

1.1. Breadth as a Narrative Engine

A wide knowledge base gives a writer an arsenal of storytelling tools. When you can weave together disparate subjects—say, a scientist’s obsession with quantum entanglement and a chef’s pursuit of umami—you create surprising juxtapositions that keep readers hooked.

  • Example: Don DeLillo’s novels are peppered with references to pop culture, physics, and corporate jargon, turning his prose into a kaleidoscope of modern life.
  • Result: Readers feel that the author “gets” the world, and they trust the narrative to transport them across it.

1.2. Credibility and Authority

When a writer can cite accurate details, it builds legitimacy. In nonfiction, especially, expertise (or the appearance of it) can be the difference between a bestseller and a footnote.

  • Example: Malcolm Gladwell isn’t a psychologist, sociologist, or historian, yet he commands authority because he consistently digests research from each field and reframes it in accessible stories.

2. Why “Everything” Is a Misleading Goal

2.1. The Curse of the “Polymath‑Trap”

Trying to master everything leads to shallow knowledge, which can manifest as:

  • Superficiality: Dropping jargon without context, leaving readers confused.
  • Inconsistent Voice: Switching tones every time you switch subjects erodes narrative cohesion.

“A writer who knows a little about many things is often less effective than a writer who knows a lot about one thing.” – Haruki Murakami (paraphrased)

2.2. Depth Trumps Breadth in Most Genres

  • Literary Fiction: The emotional truth of a character’s inner life often outweighs how many facts you can slip in.
  • Genre Writing (e.g., mystery, sci‑fi): World‑building thrives on focused expertise. A detective novel benefits more from a deep dive into police procedure than from an encyclopedic survey of kitchen appliances.

2.3. The Opportunity Cost of Over‑Curiosity

Every hour you spend chasing a new hobby is an hour you could be honing your prose, revising drafts, or reading the works that inspired you. The best writers allocate their curiosity strategically, not indiscriminately.


3. What Successful Writers Actually Do

WriterPrimary InterestsHow They Leverage Curiosity
Toni MorrisonAfrican‑American history, music, mythologyIntegrated cultural memory into layered narratives.
Neil GaimanFolklore, comics, filmCross‑medium storytelling, creating a mythic voice.
J.K. RowlingClassical mythology, alchemy, educationBuilt a richly detailed magical world anchored in real‑world concepts.
Rebecca SolnitGeography, politics, art historyCombines seemingly unrelated topics to reveal hidden connections.
George R.R. MartinMedieval history, anthropology, linguisticsConstructs a believable fantasy realm through meticulous research in specific fields.

Key Takeaway: Each writer has a core constellation of interests that they explore deeply, while allowing peripheral curiosities to spark fresh ideas.


4. The Science of Curiosity and Creativity

  • Neuroscience: Studies show that divergent thinking—the ability to generate many possible solutions—strengthens when the brain forms connections across unrelated concepts.
  • Psychology: The “Broaden‑and‑Build” theory (Barbara Fredrickson) posits that positive emotions, often triggered by curiosity, expand our mental repertoire, giving us more raw material for creative work.

In plain terms: Being curious does help you write better—but you don’t need to be curious about everything. You just need enough variety to keep the mental pathways open.


5. How to Cultivate a Productive Curiosity (Without Going Overboard)

  1. Identify Your “Anchor Interests.”
    • List 3–5 subjects you love (e.g., vintage photography, urban gardening, Renaissance art).
    • Make a habit of reading news, books, or podcasts in these areas weekly.
  2. Adopt a “Research‑First” Mindset for Projects.
    • Before you start a story, ask: What knowledge does the world need?
    • Set a research budget (e.g., 5 hours) and focus on depth, not breadth.
  3. Cross‑Pollinate Intentionally.
    • Pair two unrelated interests (e.g., marine biology + corporate law) and brainstorm story premises.
    • Use the “Random Prompt” method: Write a one‑sentence logline that forces you to combine the two.
  4. Limit Consumption, Amplify Production.
    • For every hour spent watching a documentary, write at least 300 words.
    • This “ratio rule” ensures curiosity fuels output rather than replaces it.
  5. Maintain a “Curiosity Journal.”
    • Jot down fleeting questions (“Why do some birds migrate at night?”).
    • Review monthly; pick one that resonates and research it thoroughly.

6. Frequently Asked Questions

QuestionShort Answer
Do I need a formal education in every field I write about?No. A disciplined research process and a willingness to ask experts can substitute for a degree.
Can I become a bestselling author by focusing on a single niche?Absolutely. Ernest Hemingway famously limited his subject matter to war, hunting, and love, yet his work is timeless.
Is it okay to write about topics I’m not an expert in?Yes, if you do thorough research, credit your sources, and avoid misrepresentation.
How do I avoid “information overload” when I’m curious?Set clear limits on research time per project, and prioritize depth over quantity.
Should I read only within my genre to stay “focused”?No. Reading outside your genre fuels innovation, but keep a balance so you don’t lose sight of genre conventions.

7. Bottom Line: Curiosity, Not Everything, Makes the Accomplished Writer

  • Curiosity is the engine. It drives you to ask questions, seek stories, and discover connections.
  • Depth is the fuel. Master a few subjects enough to write with authority and nuance.
  • Focus is the map. Align your curiosity with the story you’re telling, rather than letting it wander aimlessly.

An accomplished writer is not a person who knows everything, but a person who knows how to learn what they need, when they need it, and then transform that knowledge into compelling prose.


Action Plan: 3 Steps to Start Today

  1. Pick Your Anchor: Write down three topics you could talk about for hours.
  2. Schedule a Research Sprint: Allocate a 2‑hour block this week to dig deep into one of those topics—read a scholarly article, watch a documentary, or interview an expert.
  3. Write a Mini‑Story: Using the new knowledge, craft a 500‑word piece that integrates the information organically.

Repeat the cycle, and watch your writing evolve from “interesting” to illuminating.


Closing Thought

The next time you admire a writer who seems to have woven the universe into their pages, remember: they didn’t achieve that by trying to master everything. They mastered the art of selective curiosity—knowing what to explore, how deep to go, and, most importantly, how to turn that exploration into a story that matters.

If you adopt that mindset, you’ll be well on your way to joining the ranks of accomplished writers—without ever having to become a walking encyclopedia.

Happy writing!


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365 Days of writing, 2026 – 36

Day 36 – Obsessions become inspiration

Turning an Obsession Into Art: How Watching Soap Operas Can Fuel Your Next Story or Play


Introduction

What if the very thing you can’t stop binge‑watching—whether it’s a daily soap opera, a true‑crime documentary, or an endless stream of cooking shows—could become the secret weapon behind your next compelling narrative?

Obsessions are often dismissed as distractions, but for writers, they can be information goldmines. The key is learning how to harvest the patterns, emotions, and structures that keep you glued to the screen, and then re‑engineer them into something fresh, resonant, and uniquely yours.

In this post, we’ll explore:

  1. Why obsessions work – the psychological and creative science behind them.
  2. What soap operas teach us about drama, pacing, and character.
  3. A step‑by‑step framework for turning a viewing habit into a polished story or stage play.
  4. Real‑world examples of writers who turned their fixations into masterpieces.
  5. Practical tips & pitfalls to keep you on track.

Grab a notebook (or open a fresh Google Doc) and let’s turn that guilty pleasure into a creative engine.


1. The Power of Obsession: Why It’s a Writer’s Secret Weapon

A. Cognitive Magnetism

When you repeatedly expose yourself to a particular genre or medium, your brain builds schema—mental frameworks that help you predict what will happen next. This predictive ability frees up cognitive bandwidth for higher‑order thinking: spotting the gaps, subverting expectations, and layering new ideas onto familiar structures.

B. Emotional Hook

Obsessions aren’t just intellectual; they’re emotional. The excitement you feel when a cliff‑hanger resolves, the empathy you develop for a long‑running protagonist—these feelings stick in your memory. Emotional resonance is the lifeblood of any story, and an obsession supplies a ready‑made well of feeling to draw from.

C. Knowledge Accumulation

Every episode you watch deposits data: character arcs, dialogue cadence, set dressing, pacing cues, and even the “rules” that govern the fictional world. Over weeks or months, this repository becomes a research library that you can reference without ever opening a textbook.

Bottom line: An obsession turns you into a subject‑matter specialist while simultaneously priming you to think like a storyteller.


2. Soap Operas as a Masterclass in Drama

If you’re sceptical about using soap operas—a genre sometimes dismissed as “lowbrow”—look closer. The format is a compressed drama laboratory:

ElementWhat Soap Operas Do WellHow It Translates to Writing
Character DepthLong‑term arcs let characters evolve over years.Gives you a model for layered, believable growth.
Cliff‑HangersEvery episode ends on a hook that forces the next viewing.Teaches you how to structure tension and release.
Dialogue RhythmRapid, overlapping conversations mimic real speech.Shows you how to craft snappy, realistic dialogue.
Plot InterweavingMultiple storylines intersect, diverge, and reconverge.Provides a blueprint for complex, multi‑threaded plots.
Emotional CoreStakes are amplified (family secrets, betrayals, love).Demonstrates how to raise emotional stakes without melodrama.
Production ConstraintsLimited budgets force creative staging.Inspires resourceful world‑building on a modest scale.

Even the most cynical critic can acknowledge that soap operas are engineered for maximum emotional throughput—exactly what you want when you sit down to write a story that grabs readers from the first line.


3. From Viewing to Writing: A Practical Framework

Below is a six‑step workflow that turns any obsessive viewing habit into a solid narrative foundation. Feel free to adapt the timeline to fit your schedule (the steps can be compressed into a weekend or stretched over months).

Step 1: Log the Details

  • Create a “Soap‑Log” spreadsheet with columns for episode title, air date, key conflict, main characters, and standout line of dialogue.
  • Tag recurring motifs (e.g., “secret twins,” “return from the dead,” “corporate takeover”).
  • Note personal reactions: what made you laugh, cringe, or feel a pang of sympathy?

Why? The act of recording forces you to observe rather than consume passively, training you to spot narrative mechanics.

Step 2: Identify the Core Mechanics

  • Pattern‑hunt: Which plot devices appear most often? (e.g., “misunderstood love letters”).
  • Structure analysis: Break down a typical episode into beats (inciting incident → rising action → climax → resolution). Use Dan Harmon’s Story Circle or a three‑act template as a reference.

Result: A toolbox of building blocks you can mix, match, and remix.

Step 3: Extract Universal Themes

  • Even the most outlandish storylines tap into fundamental human concerns: power, love, betrayal, and redemption.
  • Write a list of theme statements, such as “the desire for belonging can drive people to deception.”

Why it matters: Themes give your work depth beyond plot mechanics, ensuring it resonates beyond the soap fan base.

Step 4: Subvert and Re-Contextualise

  • Choose one familiar soap trope (e.g., the “evil step‑mother”) and flip it: perhaps the step‑mother is the heroic caretaker in a dystopian future.
  • Change the setting dramatically: move the drama from a small town in Texas to a floating city on a gas giant.

Goal: Keep the emotional pull of the original while delivering something fresh.

Step 5: Draft a Mini‑Pilot

  • Write a 10‑page pilot (or a one‑act play) that incorporates at least three of the identified beats, one subverted trope, and a clear thematic thread.
  • Use the soap‑log as a cheat sheet for dialogue rhythm and cliff‑hanger placement.

Tip: Aim for a tight inciting incident in the first 5 pages—this is the hook that made you binge‑watch the soap in the first place.

Step 6: Iterate with Feedback

  • Share the draft with a mix of soap fans and non‑fans. Ask: “Did the stakes feel real?” and “Did any moment feel cliché?”
  • Revise based on the overlap—what resonates with both groups is the sweet spot where niche expertise meets universal appeal.

What I learned about writing – What will you do to finish that book?

Me? Well, I’m not that dedicated but…

An organised writer will set aside time for all the processes he or she needs to do in a day, in order to get the job done.

We’re talking time management, or a scale I couldn’t even begin to imagine. But if you want to write a book in a reasonable timeframe, then you have to plan.

To me, if I was going to go down that path, I would need to know the following:

Book genre, a working title, approximate length in words, break down the parts of the story into what will eventually become chapters, know most of the characters and their functions, and spoiler alert, what a possible ending might be.

For me, for instance, the book is a thriller, it is about 80,000 words, and it will have between 80 and 100 chapters. From there, if I plan to write 2,000 words a day, it would take 40 days, but more realistically, if I write 500 words a day, it would be 160 days or six months. Taking time out, the average time it would take to write would be about one year.

Then, there’s that little matter of what you are prepared to do to finish it.

Will you go at it, day after day, until the first draft is finished? Having a plan, setting out the plot lines and writing to them, perhaps.

If you write like I do, by the seat of my pants, then all that goes out the window.

I use the NANOWRIMO method, of writing 50,000 words in a month, with no breaks, and providing the ideas keep coming, which they generally do. My books often start as short stories, and then carry on. I have done this once a year for the last seven years.

The thing is, once you start, you have to finish. If you don’t, that germ of an idea that starts turning into words will stagnate, then become impossible. And if those around you cannot support you, I’m sure you can find an attic somewhere on the internet where you can lock yourself away until it is done.

“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

365 Days of writing, 2026 – 36

Day 36 – Obsessions become inspiration

Turning an Obsession Into Art: How Watching Soap Operas Can Fuel Your Next Story or Play


Introduction

What if the very thing you can’t stop binge‑watching—whether it’s a daily soap opera, a true‑crime documentary, or an endless stream of cooking shows—could become the secret weapon behind your next compelling narrative?

Obsessions are often dismissed as distractions, but for writers, they can be information goldmines. The key is learning how to harvest the patterns, emotions, and structures that keep you glued to the screen, and then re‑engineer them into something fresh, resonant, and uniquely yours.

In this post, we’ll explore:

  1. Why obsessions work – the psychological and creative science behind them.
  2. What soap operas teach us about drama, pacing, and character.
  3. A step‑by‑step framework for turning a viewing habit into a polished story or stage play.
  4. Real‑world examples of writers who turned their fixations into masterpieces.
  5. Practical tips & pitfalls to keep you on track.

Grab a notebook (or open a fresh Google Doc) and let’s turn that guilty pleasure into a creative engine.


1. The Power of Obsession: Why It’s a Writer’s Secret Weapon

A. Cognitive Magnetism

When you repeatedly expose yourself to a particular genre or medium, your brain builds schema—mental frameworks that help you predict what will happen next. This predictive ability frees up cognitive bandwidth for higher‑order thinking: spotting the gaps, subverting expectations, and layering new ideas onto familiar structures.

B. Emotional Hook

Obsessions aren’t just intellectual; they’re emotional. The excitement you feel when a cliff‑hanger resolves, the empathy you develop for a long‑running protagonist—these feelings stick in your memory. Emotional resonance is the lifeblood of any story, and an obsession supplies a ready‑made well of feeling to draw from.

C. Knowledge Accumulation

Every episode you watch deposits data: character arcs, dialogue cadence, set dressing, pacing cues, and even the “rules” that govern the fictional world. Over weeks or months, this repository becomes a research library that you can reference without ever opening a textbook.

Bottom line: An obsession turns you into a subject‑matter specialist while simultaneously priming you to think like a storyteller.


2. Soap Operas as a Masterclass in Drama

If you’re sceptical about using soap operas—a genre sometimes dismissed as “lowbrow”—look closer. The format is a compressed drama laboratory:

ElementWhat Soap Operas Do WellHow It Translates to Writing
Character DepthLong‑term arcs let characters evolve over years.Gives you a model for layered, believable growth.
Cliff‑HangersEvery episode ends on a hook that forces the next viewing.Teaches you how to structure tension and release.
Dialogue RhythmRapid, overlapping conversations mimic real speech.Shows you how to craft snappy, realistic dialogue.
Plot InterweavingMultiple storylines intersect, diverge, and reconverge.Provides a blueprint for complex, multi‑threaded plots.
Emotional CoreStakes are amplified (family secrets, betrayals, love).Demonstrates how to raise emotional stakes without melodrama.
Production ConstraintsLimited budgets force creative staging.Inspires resourceful world‑building on a modest scale.

Even the most cynical critic can acknowledge that soap operas are engineered for maximum emotional throughput—exactly what you want when you sit down to write a story that grabs readers from the first line.


3. From Viewing to Writing: A Practical Framework

Below is a six‑step workflow that turns any obsessive viewing habit into a solid narrative foundation. Feel free to adapt the timeline to fit your schedule (the steps can be compressed into a weekend or stretched over months).

Step 1: Log the Details

  • Create a “Soap‑Log” spreadsheet with columns for episode title, air date, key conflict, main characters, and standout line of dialogue.
  • Tag recurring motifs (e.g., “secret twins,” “return from the dead,” “corporate takeover”).
  • Note personal reactions: what made you laugh, cringe, or feel a pang of sympathy?

Why? The act of recording forces you to observe rather than consume passively, training you to spot narrative mechanics.

Step 2: Identify the Core Mechanics

  • Pattern‑hunt: Which plot devices appear most often? (e.g., “misunderstood love letters”).
  • Structure analysis: Break down a typical episode into beats (inciting incident → rising action → climax → resolution). Use Dan Harmon’s Story Circle or a three‑act template as a reference.

Result: A toolbox of building blocks you can mix, match, and remix.

Step 3: Extract Universal Themes

  • Even the most outlandish storylines tap into fundamental human concerns: power, love, betrayal, and redemption.
  • Write a list of theme statements, such as “the desire for belonging can drive people to deception.”

Why it matters: Themes give your work depth beyond plot mechanics, ensuring it resonates beyond the soap fan base.

Step 4: Subvert and Re-Contextualise

  • Choose one familiar soap trope (e.g., the “evil step‑mother”) and flip it: perhaps the step‑mother is the heroic caretaker in a dystopian future.
  • Change the setting dramatically: move the drama from a small town in Texas to a floating city on a gas giant.

Goal: Keep the emotional pull of the original while delivering something fresh.

Step 5: Draft a Mini‑Pilot

  • Write a 10‑page pilot (or a one‑act play) that incorporates at least three of the identified beats, one subverted trope, and a clear thematic thread.
  • Use the soap‑log as a cheat sheet for dialogue rhythm and cliff‑hanger placement.

Tip: Aim for a tight inciting incident in the first 5 pages—this is the hook that made you binge‑watch the soap in the first place.

Step 6: Iterate with Feedback

  • Share the draft with a mix of soap fans and non‑fans. Ask: “Did the stakes feel real?” and “Did any moment feel cliché?”
  • Revise based on the overlap—what resonates with both groups is the sweet spot where niche expertise meets universal appeal.

365 Days of writing, 2026 – 35

Day 35 – Poetry

The Paradox of Poetry: Unpacking Elizabeth Bishop’s Insight

Elizabeth Bishop, a Pulitzer Prize-winning poet, once astutely observed, “Writing poetry is an unnatural act. It takes great skill to make it seem natural.” This statement may seem counterintuitive, as poetry is often associated with spontaneity and emotional expression. However, Bishop’s words reveal a profound truth about the craft of poetry, one that warrants closer examination. In this blog post, we’ll delve into the complexities of writing poetry, exploring why it can be considered an unnatural act, and what it takes to make it seem natural.

The Unnatural Act of Writing Poetry

On the surface, poetry appears to be a natural extension of human language, a way to express thoughts, emotions, and experiences through words. However, the process of crafting a poem is often a deliberate and calculated one. Poets must carefully select and arrange words, considering factors like meter, rhyme, imagery, and syntax, to convey their intended meaning. This self-conscious process can feel unnatural, as it requires a level of manipulation and control that doesn’t always come easily.

Furthermore, poetry often involves distilling complex emotions and ideas into concise, precise language, which can be a challenging and artificial process. Poets must navigate the tension between authenticity and artifice, striving to capture the essence of their subject matter while also shaping it into a cohesive, aesthetically pleasing form. This balancing act can make writing poetry feel like an unnatural act, as it demands a high degree of craftsmanship and attention to detail.

The Skill of Making it Seem Natural

So, how do poets overcome the unnatural aspects of writing poetry and make it seem natural? According to Bishop, it takes great skill. This skill encompasses a range of abilities, including:

  1. Mastering form and technique: Poets must develop a deep understanding of poetic forms, such as sonnets, free verse, or haikus, and learn to wield them effectively. This involves experimenting with different structures, rhythms, and language patterns to find the right fit for their message.
  2. Developing a unique voice: A poet’s voice is the distinctive tone, style, and perspective they bring to their work. Cultivating a unique voice requires a deep understanding of one’s own experiences, emotions, and observations, as well as the ability to express them in a way that feels authentic and relatable.
  3. Using language effectively: Poets must be skilled in the use of language, able to select words, images, and metaphors that evoke the desired response in the reader. This involves a keen sense of observation, a rich vocabulary, and a willingness to experiment with language.
  4. Editing and revision: The process of writing poetry is often iterative, with poets refining their work through multiple drafts and revisions. This involves being willing to cut, reshape, and rework lines, stanzas, and entire poems to achieve the desired effect.

By honing these skills, poets can create poetry that seems natural, effortless, and spontaneous, even when it’s the result of careful crafting and revision. The best poetry appears to flow from the poet’s heart and mind with ease, concealing the hard work and dedication that went into its creation.

Conclusion

Elizabeth Bishop’s observation that “writing poetry is an unnatural act” may seem paradoxical, but it highlights the complex, nuanced nature of the craft. While poetry is often associated with natural expression and spontaneity, the process of writing it can be deliberate, calculated, and artificial. However, with great skill and dedication, poets can overcome these challenges and create work that seems natural, authentic, and beautiful. By embracing the unnatural aspects of writing poetry and developing the skills necessary to master the craft, poets can produce poetry that resonates with readers and leaves a lasting impression.

What I learned about writing – Why do we persist in writing?

It’s another reminder that we should never give up, despite the advice that’s sometimes given by our peers, not exactly saying it, but alluding to the fact that some do, and some don’t and that the talented should not.

But … do we know we’re talented, and even if we are, after a myriad or plethora of rejections, the temptation to walk away might be there.

Except…

If you’re like me, you’re not in it for the wealth and fame. Yes, wealth and fame would be nice; just an adequate living would be better, but most of us aren’t likely to give up our day jobs any time soon.

I write because I love writing. I like inventing characters and throwing everything, but the kitchen sink, at them. Maybe that’s where I’m going wrong. I should throw in the kitchen sink.

Kidding.

And I publish a lot of those stories on this blog, and people are reading them because I get a few comments every day, and most of them are positive, and even if they are not, yes, you can’t please everyone, I take them as constructive criticism.

So the next time someone advises you that writing just might not be your vocation, write them a story and tell them they’re wrong.

365 Days of writing, 2026 – 35

Day 35 – Poetry

The Paradox of Poetry: Unpacking Elizabeth Bishop’s Insight

Elizabeth Bishop, a Pulitzer Prize-winning poet, once astutely observed, “Writing poetry is an unnatural act. It takes great skill to make it seem natural.” This statement may seem counterintuitive, as poetry is often associated with spontaneity and emotional expression. However, Bishop’s words reveal a profound truth about the craft of poetry, one that warrants closer examination. In this blog post, we’ll delve into the complexities of writing poetry, exploring why it can be considered an unnatural act, and what it takes to make it seem natural.

The Unnatural Act of Writing Poetry

On the surface, poetry appears to be a natural extension of human language, a way to express thoughts, emotions, and experiences through words. However, the process of crafting a poem is often a deliberate and calculated one. Poets must carefully select and arrange words, considering factors like meter, rhyme, imagery, and syntax, to convey their intended meaning. This self-conscious process can feel unnatural, as it requires a level of manipulation and control that doesn’t always come easily.

Furthermore, poetry often involves distilling complex emotions and ideas into concise, precise language, which can be a challenging and artificial process. Poets must navigate the tension between authenticity and artifice, striving to capture the essence of their subject matter while also shaping it into a cohesive, aesthetically pleasing form. This balancing act can make writing poetry feel like an unnatural act, as it demands a high degree of craftsmanship and attention to detail.

The Skill of Making it Seem Natural

So, how do poets overcome the unnatural aspects of writing poetry and make it seem natural? According to Bishop, it takes great skill. This skill encompasses a range of abilities, including:

  1. Mastering form and technique: Poets must develop a deep understanding of poetic forms, such as sonnets, free verse, or haikus, and learn to wield them effectively. This involves experimenting with different structures, rhythms, and language patterns to find the right fit for their message.
  2. Developing a unique voice: A poet’s voice is the distinctive tone, style, and perspective they bring to their work. Cultivating a unique voice requires a deep understanding of one’s own experiences, emotions, and observations, as well as the ability to express them in a way that feels authentic and relatable.
  3. Using language effectively: Poets must be skilled in the use of language, able to select words, images, and metaphors that evoke the desired response in the reader. This involves a keen sense of observation, a rich vocabulary, and a willingness to experiment with language.
  4. Editing and revision: The process of writing poetry is often iterative, with poets refining their work through multiple drafts and revisions. This involves being willing to cut, reshape, and rework lines, stanzas, and entire poems to achieve the desired effect.

By honing these skills, poets can create poetry that seems natural, effortless, and spontaneous, even when it’s the result of careful crafting and revision. The best poetry appears to flow from the poet’s heart and mind with ease, concealing the hard work and dedication that went into its creation.

Conclusion

Elizabeth Bishop’s observation that “writing poetry is an unnatural act” may seem paradoxical, but it highlights the complex, nuanced nature of the craft. While poetry is often associated with natural expression and spontaneity, the process of writing it can be deliberate, calculated, and artificial. However, with great skill and dedication, poets can overcome these challenges and create work that seems natural, authentic, and beautiful. By embracing the unnatural aspects of writing poetry and developing the skills necessary to master the craft, poets can produce poetry that resonates with readers and leaves a lasting impression.

365 Days of writing, 2026 – 34

Day 34 – Writing exercise – The day she left me was the day I found myself.

Josephine was one of those people who could appear in your life and make it feel like you had known them forever.

Not that many appeared in my life because I was one of those kids who had that background created by bad experiences practically from the day I was born.

My mother was a reasonable person, herself scarred by the suicide of her father, leaving a gaping hole in her suddenly shattered world.

My father was, before the war, an odd but likeable chap who suffered from the war with undiagnosed 5 and slowly went mad with paranoia and battle scars.

How they met, how they got along, and what eventually happened was always going to happen.  I just wish that I wasn’t the one to find them, not when I was 12, battling middle school and everything entailed with pre-teens.

Two things happened when I moved the high school.  My grandmother took over my care after a battle with the authorities and the child welfare system.  Josephine McAndrews arrived without fanfare and suddenly became the focal point of teachers and students alike.

Especially the boys, which I thought was odd because the previous year all the boys universally agreed girls were ‘yuck’.

I didn’t have time to notice.  Or more to the point, I didn’t care.  I spent the time between schools, not trying to figure out what I was going to do, but helping my grandfather on his small farm.

Then I had to switch from herding cows, getting the milking done, tending the chickens, and maintaining the fruit trees and vegetable patch.

Then go to school.

It took a month before I realised that Josephine MacAndrews had arrived, and that she was in the same grade.  Even if I had known she was there, she would not have been a priority to welcome her or even talk to her.

There were plenty of other boys throwing themselves at her feet.

Lunch time was my quiet time, a seat in the back of the cafeteria.  Because of the farm’s physical tasks, I was not one of the weaker kids; the ones the sport types made life hell.  They tried, but my grandfather taught me self-defence, and I only had to use it once.

I also declined the invitation to play football, which some believed was stupid, but I didn’t see the point of it.  It didn’t mean the coach would stop asking, so I was learning quickly how to dodge him.

That was the back of the cafeteria, behind a row of plants acting as a divider.

That didn’t deter the intermediate Miss McAndrews, recently self appointed reporters for the school newspaper.

Looking for a place to sit, ignoring a half dozen clear invitations, she decided to sit opposite me.  I knew who she was; everyone seemed to know her life story, and then some.

I tried to ignore her, but when I looked up, hoping she was gone, she was still there.

“You seem preoccupied,” she said.

“I was minding my own business.”  I tried not to make it sound like she was annoying me.

My grandmother had told me at the start of the school year that it was time for me to be more sociable, and that girls did exist and I could talk to them.  It wasn’t, she said, going to kill me.

I begged to differ.

“Do you know who I am?”

It wasn’t spoken haughtily, but it wasn’t a good line to use.  Not on me anyway.

“That’s a line I’d expect from a self-entitled brat trying to sound like they’re better than me.  You might be, but you could try breaking it differently.”

“Is that as a self-entitled brat, or that I am better than you, though I’m not sure in what way.”

If I was expecting her to get up and leave in disgust, it didn’t work.  It in fact caused her to smile, not the fake smile most of the girls had suddenly acquired, moving from fifteen to sixteen, but something that resembled amiable.

“You’ll make a good lawyer.”

“Is that a compliment?”

“It is what it is.”

She looked me up and down.  “You’re not like the rest of them here, are you?”

“I am.  Same age, same insecurities, same daft behaviour that everyone else gets up to.  I just choose not to play the games involved with being friends at the expense of others.  I hate everyone equally.”

She gave me another measured look, then said, “I hate to say it, but I’m beginning to like you.  You’re not going to lie to my face because you want something.”

Yes, that was another lesson my grandfather taught me.  Everyone wants something, and every little piece of you you give away is one less piece of yourself you have in your armoury.

I didn’t understand what it meant until recently.  People could be nice or horrible.  It was a choice.  Most people choose not to embrace nice.

“You have nothing I want.”

“Good to know.  Now, if you have a specific and compelling reason why I can’t sit here, I’ll be happy to leave.  If you don’t…”

“I don’t own this table, nor do I have the right to tell you what or what not to do.  If you like peace and quiet, this will be the place.”

“Then I shall stay.  Peace and quiet will be a change.”

I did have acquaintances, as distinct from friends.  Friends were people who ended up betraying you; acquaintances could be discarded when necessary.

Jack was borderline between the two because his company was tolerable, and his philosophy was the same as mine.  Get through school and work on his parents’ farm.  He was not a scholar, not that I was much better, but I helped him where I could.

Josephine didn’t turn up at my table every day, just now and then, and when Jack thought I had her on a string, he’d join us.  He developed an affection for her, but it was clear she was not interested.

As the weeks and months passed, I could see she was not sure how to survive such a provincial school, considering the implied prestige of the last school she attended.  She was not bitter about the change in circumstances, but it was a thing.

I wasn’t interested in her romantically, but there was a nagging interest in what her story was.  I wasn’t buying the cover story, the one everyone quoted, that economic circumstances had caused her father’s company to collapse and they were left with nothing but a mountain of debt and a bad reputation.

It was also believed her mother came from our patch and had a piece of land and a house bequeathed to her, and it would have to do until her father could turn things around.

It was a plausible story, but though the basics might be true, that they had no money and they had a house and land out this way, the question was why they were here, when all people who lived here wanted to do was get out and go somewhere, anywhere else.

Or it was just my imagination.

We were back after Christmas, and the snow was feet thick, and the cold was intense enough to keep us at home for a few days.

It was clearly not what she was used to.

I asked a question, and for once she answered truthfully.  How did I know?  She had tells, and one was what happened to her expression just before she told a lie, or perhaps a white lie.  Often, she would think before she answered.  That told me she was working on an answer that most people would accept.

She had said she came from New York.  I could tell that she had come from California because of her attitude towards and experience with snow and freezing temperatures.

Her last name wasn’t McAndrews either, another little hesitation in a moment when her mind was somewhere else.  Liars needed to have good memories.

That little gem I learned from my mother, who was, of course, referring to my father.  He could never get his story straight.

My best guess?  Witness protection. The only negative is why draw attention to yourself, because clearly, they had been quite wealthy.

Or again, too much television and a wild imagination.  Whatever the truth, I would keep it to myself.

Lunch was quiet, with some of the students still unable to get out of their properties, so the cafeteria was not its usual hubbub of activity.

Jack was hovering, speaking to other members of the athletic squad, having just joined it to widen his circle of acquaintances.  The fact that he could throw a discus a long way helped.  He took the crown for the longest throw ever at the school, and that was with very little training.

Josephine came in with a group of girls known as the pom poms, the cheerleaders.  It was elitist, and getting in was to survive a ritual of humiliations.  Josephine so far had declined to join them.

It was odd, though, because girls had to beg them to join; it was exactly the opposite for Josephine; they were chasing her.

A few minutes later, she’d abandoned them and wandered over to annoy me.   Well, not exactly annoy me, but I preferred to eat alone.

I looked up as she sat down.  “Their latest offer not tempting you?”

She looked puzzled for a moment.  “Oh, the try-hards?  Why would anyone want to put themselves through that?”

“First dibs on the good-looking guys?”

She smiled, a curious expression.  “Do you think I’m that shallow?”

“You’re sixteen going on twenty-five, a teenager, and a girl.”

“And the boy equivalent is sixteen going on five and a one-track mind.  It’s the same everywhere, I guess.  Growing up is just horrible.”

“Pretty much.  Bit different here to there?”

“Not really.  Less snooty bitches, perhaps more attitude.  I’ll survive.  What’s it like at your place?  We have been shovelling snow just to get out the front door.”

“It wasn’t like that in New York?”

There it was, the hesitation, that moment where she was running scenarios, what would I believe?

“Not exactly.  There was snow, just not as much.  And not as cold.”

Hovering Jack had taken a little longer to wind up his conversation, then come over.  She had been watching him out of the corner of her eye, and her demeanour changed.

He sat next to me

I saw a look pass between them, and it made me shiver, and not in a good way.  I gathered up my things and stood.

“I have a school thing I want to ask you, can you walk with me?” I said to her.

She waited for just the right amount of time before saying, “Of course, anything I can do to help.”  She took a few seconds longer to organise and put things in her bag, then stood, not wanting to look like she was in a hurry.

She smiled at Jack, then joined me, walking slowly out of the room.

Neither of us spoke until we were some distance from the block.

“Is he annoying you?” I finally asked.  It was not my business, but there was something not right.

“Not exactly, but it’s a vibe I get when he’s around.  I don’t feel safe.”

It was not the first time I’d heard it, but I thought nothing of it.  Jack was just being Jack

“He and I are much alike.”

“No.  I feel safe with you, the big brother I never had.”

“Even through the disdain you perceived that?”

“Disdain.  I thought it was a self-protection thing in case you got to like me.”

Interesting assessment.  With a grain of truth.  Perhaps it’s why I did it with everyone, just to keep them at arm’s length.

“You’re not going to be around long enough for that to happen. Falling in love is a process that takes time, getting to know each other.”

“How do you know?”

“The thing about someone like me is that I’m not distracted by all the chatter around me.  I listen. I analyse.  I wonder, and sometimes jump to conclusions.  Living in a violent situation where most of the time it was just the expectation rather than the beatings, I retreated into many different imaginary worlds.  This one, here, with my grandparents is the best so far.”

“Am I in any one of those imaginary worlds?”

“Rapunzel some days, Guinevere others.”

“Rescuing a damsel in distress, or partaking in forbidden love.  Interesting.”

It wasn’t quite how I saw it. She had long plaited blonde hair, though it was not her natural colour, and she acted like she was the queen of everything.

“I needed rescuing, thanks.  And you’re right.  My parents hate this place.”

“And you?”

“I don’t belong here.  You know that, as I suspect you know more about me than anyone in this place.  If you have been listening, as you say, then you will have noticed the little slips.  I can’t be on my guard the whole time, and I can’t relax.”

She wasn’t going to say any more, but it was an admission, one no one else would ever hear.  But even so, it didn’t make me feel special.

“Then perhaps for the rest of your sojourn we shall just be acquaintances.  I’m surprised by the number of kids who seem to want more at this age.  My grandmother said back in her time, girls and boys had to be chaperoned, but there wasn’t social media or cable television back then, throwing morality to the wind.  I guess not all progress is good.”

“For the record, I don’t have social media at all.  I have a burner phone with two numbers in it.  I can’t give it to you, so no late-night phone calls.”

We reached the block where the next class was. “Thanks again for the rescue.  I appreciate it more than you can know.”

“Do you want me to deal with him?”

“No.  I have to fight my own battles.  But thanks for the offer.”

It was something I was thinking about, some months later, as we were rolling into summer, and for the first time, thinking about a girl.

Just one.  And ironically, the one I would never get a chance with.  She had said as much, and I heard her.  She was leaving.

She told me over lunch.  Matter of fact.  Except for one catch in her voice at the end.  Had she practised it so many times, only to be brought undone in the final delivery?

My imagination again, I thought.

And staring at the roof, I was surprised that anyone could have penetrated the walls that I had carefully built around me.

It hurt, like that first love should.

I was just dropping off when my cell phone buzzed.  An unknown number.  Normally, I wouldn’t answer, but a sixth sense told me it was trouble.

I pressed the green answer button, and a voice exploded, “Come and get me, please, now, hurry.”  Two gunshots, then nothing.

Josephine.

I knew where she lived.  Not everyone did.  Anderson’s Lane, about 800 years across the paddocks.  Half a mile, two and a half minutes, less if I could run like the wind.

But I had to stop for the rifle in the barn.  A full minute; fumbles included, and hoped like hell it didn’t cost her her life.

I loaded it on the run, just like I was trained.  I didn’t think I’d ever need to.

Three minutes.  I could see headlights way off in the distance; someone had rung the sheriff’s office, and it would take time for the deputy to get organised.

I approached carefully and could see a man in the doorway, gun in hand, aimed and ready to shoot.  I shot his gun hand and then his leg.  He would be too busy stemming the bleeding.

I ran past him, looking blankly at me.

“A fucking kid,” I heard him mutter, then put loud, “incoming.”

I felt the presence at the top of the stairs before I saw the shadow and shot twice, and then watched the body fall down the stairs.

Then, “behind you,” and I turned, saw the man going for his gun, and shot him just as he got it into his hand.

Josephine had literally come out of the wall and then collapsed into my arms, sobbing.  “They’re dead, they’re dead.”

I put the gun on the sideboard just as the deputy’s car slid to a stop across the gravel and the door opened.

A glance into the living room showed her two parents shot dead in their chairs, the television on a John Wayne western.

The rest was a blur.

The sheriff arrived at the same time as my grandparents.  Despite her testimony, I spent about an hour in handcuffs, the deputy perhaps rightly or wrongly believing I was the assassin, but it was all cleared up in an instant when the forensic team, who arrived by helicopter, cleared me of any wrongdoing.

Josephine refused to leave me the whole time, on that very fine line between sanity and hysteria.  Had I not got there, she swore she would have died.  I wasn’t going to tell her she should have remained hidden.

We were lucky.

She was taken to a secret location, and I was sent home.  No one told us anything, except that we were never to talk about what just happened.  Ever.

I didn’t think I’d see her again.

Two days later, having been told to stay home, the sheriff came.  He gave us the official story that her father had a mental breakdown, killed his wife, daughter and then himself.  There was no mention of the two assassins.

It was a tragedy that could not have been prevented.

Then the sheriff took me to see Josephine.  She had not wanted to leave without seeing me.  I was surprised.

It was at another house, closer to town, which I presumed to be an FBI safe house.  The guys there looked like agents, the suits, the dark glasses, the serious demeanour.  So much for anonymity.

She was in a room out the back, a clear view to the river, a mile of pristine snow, with a light fall adding to the pile.  She came over as soon as the door shut and hugged me very tightly, and I could feel her tears as she cried.  Tears of relief, tears of loss.

I knew what that felt like.

All I could do was hold her tightly like I needed to when it happened to me, and I never got the chance.  At least she would not end up in the welfare system.  For her, at my age, it would have been horrific.

It took a while for her recover.  The whole process would take a lot longer.

“Thank you.”

“No need.  Anyone would do the same.”

“But they didn’t.  You did.  It was brave.  I owe you my life.”

“Is this going to be a thing?”

She glared at me.  “I’m trying to be serious.”

“You need to take a breath, revel in the fact you are alive, and believe me, old enough not to finish up in hell.”

“Your parents?”

“The story they are putting about you.  It happened.  I found them.  I may have despised them, but it was still a very profound shock.  You will feel it for a long time.”

“I’m sorry.”

“Don’t be.  Time for you to concentrate on the new you, again.”

“I’ll miss you.”

“A distant memory in a few weeks, like the town, the school and the try-hards.”

“I won’t forget you.”

“I hope not.  For someone I tried very hard not to like, you have a way of getting under people’s skin.”

“So you did like me?”

“A little, maybe.  But it was always going to be a trap shoot in the end.  I was right about you.  Witness protection.”

“Without the protection, but yes.  Now I get to disappear.  But I have your cell number, and one day, when you least expect it, I will call.  Maybe not quite so dramatically, but I will call.  We have a bond that will never be broken.”

She reached up and kissed me on my cheek, and then looked into my eyes.  I should have averted mine, but I didn’t.

They say you always remember that first kiss.

A few minutes later, I watched her leave.  Knowing her had changed my life.  Falling in love with her, that was the day I found myself.

©  Charles Heath  2026

What I learned about writing – Idioms and hackneyed phrases

There are many opinions on writing, for instance:

Never begin a sentence with a conjunction

Dispense with Literary elegance, erudition and sophistication

and the big one, banish jargon, hackneyed phrases and needless Latin.

WTF – needless Latin? I never went to a posh English Grammar school, so I wouldn’t know Latin from a Haggis.

I have to say, when I was at school reading books like Billy Bunter’s Adventures, I wanted to go to a boarding school, have a half-day holiday on Wednesday, and sneak off to the nearby village to stuff my face with all manner of cakes.

Can’t say I liked to play ‘Rugger’ though. Sport is not my thing.

But…

It’s not always a good idea to use one, especially if the readers are not familiar with them. It might work with a local readership, but when you’re striving for an international audience, don’t confuse them.

Black as the ace of spades might work, but a bird in the hand is worth two in the bush is completely indecipherable.

As for my writing, there is always a possibility one might sneak in, and if it does, you can always find what it means by Googling it.