What I learned about writing – It is not what we say, it is how we say it

We’re back to words of wisdom: the true writer has nothing to say; what counts is the way he says it.

Does this mean everything we write must be compelling? Certainly, that remark I once read on the front of a thriller novel I once bought simply because of it, holds true. The remark, “Grabs the reader by the scruff of the neck and drags them through to the last crowded page”.

And oddly enough it was true, I read the book in a single sitting.

It also lit the fire under me to write spy novels, too.

I’m guessing the whole point of the simple few words is to make us writers sit up and think about how we’re going to engage the reader.

I read a lot, and it’s generally the first few pages that will draw me in or turn me off. I had written quite a few stories, and it took me a while to realise that boring introductory stuff can be spread sparingly through the pages, whilst all the edge-of-the-seat stuff is going on around it.

I call it writing the James Bond start, that from the first sentence you’ve been dropped into an erupting volcano, and you’ve got about fifteen seconds to work out how to get out of it. Of course, there is that circling helicopter gunship firing machine guns at you at the same time, shredding the parachute that just caught fire.

It’s why, going way back in cinema land in the previous century, the serials that ran before the main picture always had a cliffhanger ending.

The same should apply, in a sense, to the story, always leaving it in such a way that the reader has to read on.

I try.

An excerpt from “Mistaken Identity” – a work in progress

The odds of any one of us having a doppelganger are quite high. Whether or not you got to meet him or her, or be confronted by them was significantly lower. Except of course, unless you are a celebrity.

It was a phenomenon remarkable only for the fact, at times, certain high-profile people, notorious or not, had doubles if only to put off enemies or the general public. Sometimes we see people in the street, people who look like someone we knew, and made the mistake of approaching them like a long lost friend, only to discover an embarrassed individual desperately trying to get away for what they perceive is a stalker or worse.

And then sometimes it is a picture that looms up on a TV screen, an almost exact likeness of you. At first, you are fascinated, and then according to the circumstances, and narrative that is attached to that picture, either flattered or horrified.

For me one turned to the other when I saw an almost likeness of me flash up on the screen when I turned the TV on in my room. What looked to be my photo, with only minor differences, was in the corner of the screen, the newsreader speaking in rapid Italian, so fast I could only translate every second or third word.

But the one word I did recognize was murder. The photo of the man up on the screen was the subject of an extensive manhunt. The crime, the murder of a woman in the very same hotel I was staying, and it was being played out live several floors above me. The gist of the story, the woman had been seen with, and staying with the man who was my double, and, less than an hour ago, the body had been discovered by a chambermaid.

The killer, the announcer said, was believed to be still in the hotel because the woman had died shortly before she had been discovered.

I watched, at first fascinated at what I was seeing. I guess I should have been horrified, but at that moment it didn’t register that I might be mistaken for that man.

Not until another five minutes had passed, and I was watching the police in full riot gear, with a camera crew following behind, coming up a passage towards a room. Live action of the arrest of the suspected killer the breathless commentator said.

Then, suddenly, there was a pounding on the door. On the TV screen, plain to see, was the number of my room.
I looked through the peephole and saw an army of police officers. It didn’t take much to realize what had happened. The hotel staff identified me as the man in the photograph on the TV and called the police.

Horrified wasn’t what I was feeling right then.

It was fear.

My last memory was the door crashing open, the wood splintering, and men rushing into the room, screaming at me, waving guns, and when I put my hands up to defend myself, I heard a gunshot.

And in one very confused and probably near-death experience, I thought I saw my mother and thought what was she doing in Rome?

I was the archetypal nobody.

I lived in a small flat, I drove a nondescript car, had an average job in a low profile travel agency, was single, and currently not involved in a relationship, no children, and according to my workmates, no life.

They were wrong. I was one of those people who preferred their own company, I had a cat, and travelled whenever I could. And I did have a ‘thing’ for Rosalie, one of the reasons why I stayed at the travel agency. I didn’t expect anything to come of it, but one could always hope.

I was both pleased and excited to be going to the conference. It was my first, and the glimpse I had seen of it had whetted my appetite for more information about the nuances of my profession.

Some would say that a travel agent wasn’t much of a job, but to me, it was every bit as demanding as being an accountant or a lawyer. You were providing a customer with a service, and arguably more people needed a travel agent than a lawyer. At least that was what I told myself, as I watched more and more people start using the internet, and our relevance slowly dissipating.

This conference was about countering that trend.

The trip over had been uneventful. I was met at the airport and taken to the hotel where the conference was being held with a number of other delegates who had arrived on the same plane. I had mingled with a number of other delegates at the pre conference get together, including one whose name was Maryanne.

She was an unusual young woman, not the sort that I usually met, because she was the one who was usually surrounded by all the boys, the life of the party. In normal circumstances, I would not have introduced myself to her, but she had approached me. Why did I think that may have been significant? All of this ran through my mind, culminating in the last event on the highlight reel, the door bursting open, men rushing into my room, and then one of the policemen opened fire.

I replayed that last scene again, trying to see the face of my assailant, but it was just a sea of men in battle dress, bullet proof vests and helmets, accompanied by screaming and yelling, some of which I identified as “Get on the floor”.

Then came the shot.

Why ask me to get on the floor if all they were going to do was shoot me. I was putting my hands up at the time, in surrender, not reaching for a weapon.

Then I saw the face again, hovering in the background like a ghost. My mother. Only the hair was different, and her clothes, and then the image was going, perhaps a figment of my imagination brought on by pain killing drugs. I tried to imagine the scene again, but this time it played out, without the image of my mother.

I opened my eyes took stock of my surroundings. What I felt in that exact moment couldn’t be described. I should most likely be dead, the result of a gunshot wound. I guess I should be thankful the shooter hadn’t aimed at anything vital, but that was the only item on the plus side.

I was in a hospital room with a policeman by the door. He was reading a newspaper, and sitting uncomfortably on a small chair. He gave me a quick glance when he heard me move slightly, but didn’t acknowledge me with either a nod, or a greeting, just went back to the paper.

If I still had a police guard, then I was still considered a suspect. What was interesting was that I was not handcuffed to the bed. Perhaps that only happened in TV shows. Or maybe they knew I couldn’t run because my injuries were too serious. Or the guard would shoot me long before my feet hit the floor. I knew the police well enough now to know they would shoot first and ask questions later.

On the physical side, I had a large bandage over the top left corner of my chest, extending over my shoulder. A little poking and prodding determined the bullet had hit somewhere between the top of my rib cage and my shoulder. Nothing vital there, but my arm might be somewhat useless for a while, depending on what the bullet hit on the way in, or through.

It didn’t feel like there were any broken or damaged bones.

That was the good news.

On the other side of the ledger, my mental state, there was only one word that could describe it. Terrified. I was looking at a murder charge and jail time, a lot of it. Murder usually had a long time in jail attached to it.

Whatever had happened, I didn’t do it. I know I didn’t do it, but I had to try and explain this to people who had already made up their minds. I searched my mind for evidence. It was there, but in the confused state brought on by the medication, all I could think about was jail, and the sort of company I was going to have.

I think death would have been preferable.

Half an hour later, maybe longer, I was drifting in an out of consciousness, a nurse, or what I thought was a nurse, came into the room. The guard stood, checked her ID card, and then stood by the door.

She came over and stood beside the bed. “How are you?” she asked, first in Italian, and when I pretended I didn’t understand, she asked the same question in accented English.

“Alive, I guess,” I said. “No one has come and told what my condition is yet. You are my first visitor. Can you tell me?”

“Of course. You are very lucky to be alive. You will be fine and make a full recovery. The doctors here are excellent at their work.”

“What happens now?”

“I check you, and then you have a another visitor. He is from the British Embassy I think. But he will have to wait until I have finished my examination.”

I realized then she was a doctor, not a nurse.

My second visitor was a man, dressed in a suit the sort of which I associated with the British Civil Service.  He was not very old which told me he was probably a recent graduate on his first posting, the junior officer who drew the short straw.

The guard checked his ID but again did not leave the room, sitting back down and going back to his newspaper.

My visitor introduced himself as Alex Jordan from the British Embassy in Rome and that he had been asked by the Ambassador to sort out what he labelled a tricky mess.

For starters, it was good to see that someone cared about what happened to me.  But, equally, I knew the mantra, get into trouble overseas, and there is not much we can do to help you.  So, after that lengthy introduction, I had to wonder why he was here.

I said, “They think I am an international criminal by the name of Jacob Westerbury, whose picture looks just like me, and apparently for them it is an open and shut case.”  I could still hear the fragments of the yelling as the police burst through the door, at the same time telling me to get on the floor with my hands over my head.

“It’s not.  They know they’ve got the wrong man, which is why I’m here.  There is the issue of what had been described as excessive force, and the fact you were shot had made it an all-round embarrassment for them.”

“Then why are you here?  Shouldn’t they be here apologizing?”

“That is why you have another visitor.  I only took precedence because I insisted I speak with you first.  I have come, basically to ask you for a favour.  This situation has afforded us with an opportunity.  We would like you to sign the official document which basically indemnifies them against any legal proceedings.”

Curious.  What sort of opportunity was he talking about?  Was this a matter than could get difficult and I could be charged by the Italian Government, even if I wasn’t guilty, or was it one of those hush hush type deals, you do this for us, we’ll help you out with that.  “What sort of opportunity?”

“We want to get our hands on Jacob Westerbury as much as they do.  They’ve made a mistake, and we’d like to use that to get custody of him if or when he is arrested in this country.  I’m sure you would also like this man brought into custody as soon as possible so you will stop being confused with him.  I can only imagine what it was like to be arrested in the manner you were.  And I would not blame you if you wanted to get some compensation for what they’ve done.  But.  There are bigger issues in play here, and you would be doing this for your country.”

I wondered what would happen if I didn’t agree to his proposal.  I had to ask, “What if I don’t?”

His expression didn’t change.  “I’m sure you are a sensible man Mr Pargeter, who is more than willing to help his country whenever he can.  They have agreed to take care of all your hospital expenses, and refund the cost of the Conference, and travel.  I’m sure I could also get them to pay for a few days at Capri, or Sorrento if you like, before you go home.  What do you say?”

There was only one thing I could say.  Wasn’t it treason if you went against your country’s wishes?

“I’m not an unreasonable man, Alex.  Go do your deal, and I’ll sign the papers.”

“Good man.”

After Alex left, the doctor came back to announce the arrival of a woman, by the way she had announced herself, the publicity officer from the Italian police. When she came into the room, she was not dressed in a uniform.

The doctor left after giving a brief report to the civilian at the door. I understood the gist of it, “The patient has recovered excellently and the wounds are healing as expected. There is no cause for concern.”

That was a relief.

While the doctor was speaking to the civilian, I speculated on who she might be. She was young, not more than thirty, conservatively dressed so an official of some kind, but not necessarily with the police. Did they have prosecutors? I was unfamiliar with the Italian legal system.

She had long wavy black hair and the sort of sultry looks of an Italian movie star, and her presence made me more curious than fearful though I couldn’t say why.

The woman then spoke to the guard, and he reluctantly got up and left the room, closing the door behind him.
She checked the door, and then came back towards me, standing at the end of the bed. Now alone, she said, “A few questions before we begin.” Her English was only slightly accented. “Your name is Jack Pargeter?”

I nodded. “Yes.”

“You are in Rome to attend the Travel Agents Conference at the Hilton Hotel?”

“Yes.”

“You attended a preconference introduction on the evening of the 25th, after arriving from London at approximately 4:25 pm.”

“About that time, yes. I know it was about five when the bus came to collect me, and several others, to take us to the hotel.”

She smiled. It was then I noticed she was reading from a small notepad.

“It was ten past five to be precise. The driver had been held up in traffic. We have a number of witnesses who saw you on the plane, on the bus, at the hotel, and with the aid of closed circuit TV we have established you are not the criminal Jacob Westerbury.”

She put her note book back in her bag and then said, “My name is Vicenza Andretti and I am with the prosecutor’s office. I am here to formally apologize for the situation that can only be described as a case of mistaken identity. I assure you it is not the habit of our police officers to shoot people unless they have a very strong reason for doing so. I understand that in the confusion of the arrest one of our officers accidentally discharged his weapon. We are undergoing a very thorough investigation into the circumstances of this event.”

I was not sure why, but between the time I had spoken to the embassy official and now, something about letting them off so easily was bugging me. I could see why they had sent her. It would be difficult to be angry or annoyed with her.

But I was annoyed.

“Do you often send a whole squad of trigger happy riot police to arrest a single man?” It came out harsher than I intended.

“My men believed they were dealing with a dangerous criminal.”

“Do I look like a dangerous criminal?” And then I realized if it was mistaken identity, the answer would be yes.

She saw the look on my face, and said quietly, “I think you know the answer to that question, Mr. Pargeter.”

“Well, it was overkill.”

“As I said, we are very sorry for the circumstances you now find yourself in. You must understand that we honestly believed we were dealing with an armed and dangerous murderer, and we were acting within our mandate. My department will cover your medical expenses, and any other amounts for the inconvenience this has caused you. I believe you were attending a conference at your hotel. I am very sorry but given the medical circumstances you have, you will have to remain here for a few more days.”

“I guess, then, I should thank you for not killing me.”

Her expression told me that was not the best thing I could have said in the circumstances.

“I mean, I should thank you for the hospital and the care. But a question or two of my own. May I?”

She nodded.

“Did you catch this Jacob Westerbury character?”

“No. In the confusion created by your arrest he escaped. Once we realized we had made a mistake and reviewed the close circuit TV, we tracked him leaving by a rear exit.”

“Are you sure it was one of your men who shot me?”

I watched as her expression changed, to one of surprise.

“You don’t think it was one of my men?”

“Oddly enough no. But don’t ask me why.”

“It is very interesting that you should say that, because in our initial investigation, it appeared none of our officer’s weapons had been discharged. A forensic investigation into the bullet tells us it was one that is used in our weapons, but…”

I could see their dilemma.

“Have you any enemies that would want to shoot you Mr Pargeter?”

That was absurd because I had no enemies, at least none that I knew of, much less anyone who would want me dead.

“Not that I’m aware of.”

“Then it is strange, and will perhaps remain a mystery. I will let you know if anything more is revealed in our investigation.”

She took an envelope out of her briefcase and opened it, pulling out several sheets of paper.

I knew what it was. A verbal apology was one thing, but a signed waiver would cover them legally. They had sent a pretty girl to charm me. Perhaps using anyone else it would not have worked. There was potential for a huge litigation payout here, and someone more ruthless would jump at the chance of making a few million out of the Italian Government.

“We need a signature on this document,” she said.

“Absolving you of any wrong doing?”

“I have apologized. We will take whatever measures are required for your comfort after this event. We are accepting responsibility for our actions, and are being reasonable.”

They were. I took the pen from her and signed the documents.

“You couldn’t add dinner with you on that list of benefits?” No harm in asking.

“I am unfortunately unavailable.”

I smiled. “It wasn’t a request for a date, just dinner. You can tell me about Rome, as only a resident can. Please.”

She looked me up and down, searching for the ulterior motive. When she couldn’t find one, she said, “We shall see once the hospital discharges you in a few days.”

“Then I’ll pencil you in?”

She looked at me quizzically. “What is this pencil me in?”

“It’s an English colloquialism. It means maybe. As when you write something in pencil, it is easy to erase it.”

A momentary frown, then recognition and a smile. “I shall remember that. Thank-you for your time and co-operation Mr. Pargeter. Good morning.”

© Charles Heath 2015-2021

365 Days of writing, 2026 – My second story 4

More about my second novel – First Dig Two Graves

So, not all second books are sequels, but in this case, it is.

Not to the first book that was written last year, but for one that I wrote some years ago.

The Devel You Don’t.

This one is called First Dig Two Graves.

At the end of the first book in the series, Alistair, Zoe, the assassin’s handler, was killed.

As far as he was concerned, Zoe had reneged on the contract to kill a target, and for that, she had to be punished, just to let the rest of the team know they could not decide arbitrarily who or whom they would not kill.

For her sins, Zoe had been captured and was about to be executed when John, the man who wanted to become her boyfriend, turned up on a reckless and unplanned rescue mission.

But as ad-hoc operations go, it was one that was very successful.  Zoe, though badly injured, aided John in a do-or-die escape.

Alistair learned to his chagrin that a badly injured Zoe and an untrained, well-meaning friend trumped overconfidence.

Of course, Alistair’s death does not go unnoticed, and his mother, a renowned and very capable ex-KGB agent with connections, wants to avenge his death.  Her influence reaches as far as the upper echelons of the State’s intelligence services, and requests from her would never be ignored.

Such a request for assistance is made; resources are allocated, and so starts the next book in the series.

It’s all about revenge.

Of course, nothing to do with Zoe or John, or their relationship, runs smoothly, and once again in pursuit of the impossible, he makes it his mission in life to win over the assassin-on-sabbatical.

But first, he must find her and sort through the lies and treachery of his best friend, who is also looking for Zoe, but for entirely different reasons.

The story behind the story – Echoes from the Past

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

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

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

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

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

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

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

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

Originally it was not set anywhere in particular.

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

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

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

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

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

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

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

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

And, of course, I wanted a happy ending.

Except for the bad guys.

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

365 Days of writing, 2026 – 23

Day 23 – The subtle art of getting a message across

The Subtle Art of Getting a Message Across

(And Why You Should Stop Preaching to the Converted)

If you’ve ever read a post, an op‑ed, or a social‑media thread that felt more like a sermon than a conversation, you know the feeling: the message lands in a vacuum, heard only by those who already agree, while everyone else scrolls past, rolls their eyes, or—worst of all—writes back with a snarky “thanks, Captain Obvious.”

It’s a common trap for writers, marketers, and anyone trying to influence opinions: preaching to the converted. You assume your audience already shares your worldview, and you end up sounding like a church bulletin rather than a compelling storyteller. The result? Your ideas get stuck in an echo chamber, your reach stalls, and the people who could benefit most from your insight remain untouched.

In this post, we’ll explore:

  1. Why preaching to the converted is a dead‑end.
  2. How to spot the symptoms in your own writing.
  3. Practical techniques for widening your net without diluting your voice.
  4. A quick checklist to keep you honest.

Let’s turn that echo chamber into a lively town square.


1. The Hidden Cost of Talking to the Choir

What It Looks LikeWhy It Fails
“All true leaders know X, Y, and Z. If you’re still doing A, you’re obviously clueless.”Assumes agreement – readers who don’t already see themselves as “leaders” feel dismissed.
“As we all know, climate change is real, and we must act now.”No invitation – skeptics are met with a wall of affirmation, not a door to dialogue.
“If you love productivity hacks, you’ll love this new framework.”Self‑selection bias – you’re preaching to an audience that already bought into the premise.

The core problem is audience mismatch. When you talk only to those who already nod along, you:

  • Limit impact – only a fraction of the potential readers engage.
  • Reinforce tribalism – echo chambers tighten, making it harder to bridge divides.
  • Waste energy – perfecting a sermon for a crowd that’s already convinced feels like polishing a trophy you’ll never win.

The antidote? Write as if you’re inviting a stranger into a conversation, not delivering a lecture to a congregation.


2. Diagnose Your Own Writing: Are You Preaching?

a. The “We All Know” Test

If you can replace “we all know” with “some people think,” you’ve probably slipped into preaching.

Original: “We all know that the best way to boost ROI is by cutting costs.”
Revised: “Many marketers believe that cutting costs can boost ROI, but there are other angles worth exploring.”

b. The “Assumed Identity” Check

Ask yourself: Does my reader already identify as X? If the answer is “no,” you need to re‑frame.

Original: “If you’re a seasoned entrepreneur, you already understand the power of pivoting.”
Revised: “Even if you’re just starting out, the concept of pivoting can be a game‑changer.”

c. The “Zero‑Tolerant” Scale

Do you use absolutes like “always,” “never,” “must,” or “should” without qualification? Absolutes tend to alienate.

Original: “You must stop using email for lead generation.”
Revised: “Consider whether email is the best tool for your current lead‑generation goals.”

If any of these red flags light up, you’re on the preaching‑to‑the‑converted track.


3. How to Speak to the Unconverted (Without Selling Out)

1. Start With Curiosity, Not Conviction

Instead of stating the conclusion first, pose a question that acknowledges the reader’s perspective.

Preachy: “The truth is, remote work kills collaboration.”
Curious: “What impact does remote work have on collaboration, and how can teams preserve synergy?”

2. Use Stories as Bridges

Stories are the universal language. Show, don’t tell. A personal anecdote or a case study with relatable characters invites empathy, even from sceptics.

Example: “When I first tried the Pomodoro technique, I was skeptical. After three weeks, I realized it helped me finish my thesis without the usual midnight panic. Here’s how you can adapt it for any project.”

3. Offer Evidence, Not Edicts

Give data, cite sources, and explain the reasoning behind your claim. Let the reader see the logic rather than being handed a verdict.

Instead of: “SEO is dead.”
Try: “Recent studies from Moz and Ahrefs show a 30% decline in organic traffic for sites that ignore user intent. Here’s what that means for your SEO strategy.”

4. Invite the Reader to Test the Idea

A call to experiment rather than a command lowers defensiveness.

“Try swapping your usual morning coffee for a 10‑minute walk. Track your focus for a week and see if you notice any difference.”

5. Acknowledge Counterarguments

Show that you understand the other side. A brief, respectful nod to opposing views builds credibility.

“Some argue that rapid iteration leads to sloppy products. While that’s a valid concern, incorporating a lightweight QA step can keep quality high without sacrificing speed.”

6. Use Inclusive Language

Words like “we,” “us,” and “together” can be powerful—but only when they truly include the reader. Pair them with clarifying qualifiers.

“We—whether you’re a freelancer or part of a large corporation—face the same challenge of balancing creativity with deadlines.”


4. The One‑Minute Checklist Before Publishing

✅ CheckWhat to Look For
Audience GapHave I assumed the reader already agrees?
Open‑Ended IntroDoes the opening pose a question or scenario?
Story > StatementIs there at least one anecdote or case study?
EvidenceDo I cite data, sources, or personal experiments?
InvitationHave I encouraged the reader to try something?
CounterpointHave I respectfully acknowledged an opposing view?
Inclusive LanguageDoes “we” really include them, not just me?

If you can answer “yes” to every line, you’ve likely avoided preaching to the choir.


5. A Mini‑Exercise: Rewrite a Preachy Paragraph

Original (Preachy):

“If you’re serious about personal finance, you must start budgeting today. Anyone who doesn’t track every dollar is basically throwing money away.”

Revised (Conversational):

“Wondering how to get a better handle on your money? Many people find that tracking their spending—whether through a simple spreadsheet or an app—offers surprising insights. Give it a try for a week and see where your dollars actually go; you might be surprised by the small changes that add up.”

Notice the shift from imperative to suggestion, the inclusion of a low‑bar entry point, and the invitation to experiment.


6. Closing Thought: Influence Is a Conversation, Not a Sermon

The most persuasive writing feels less like a lecture hall and more like a coffee‑shop chat where both parties leave a little wiser. By recognising the echo chamber, checking our assumptions, and crafting content that invites curiosity, we can reach new audiences without compromising our core message.

Next time you sit down to write, ask yourself: Am I preaching, or am I inviting? The answer will determine whether your words echo in a closed room or ripple across a broader community.

Happy writing—and may your messages travel farther than the choir they were meant for.


Preaching to the converted limits reach and reinforces echo chambers.

  • Spot the habit with “we all know,” assumed identities, and absolutes.
  • Replace them with curiosity, stories, evidence, experiments, and respectful counterpoints.
  • Use the one‑minute checklist before you hit “publish.”

Your audience is waiting—just open the door.

What I learned about writing – Reference books

Today, we’re tackling the subject of reference books for writers, the sort that teach us the rudiments of grammar, style, how-to, and how not to write.

Short of getting a complete idiot’s guide, which may or may not help, the sort of books that tell you how to write a novel in a week, month, or year may be equally amusing. It may have worked for the author, but when it comes to another individual, I’m not so sure it helps.

For me, I collected a wide range of how-to and references to aid in writing and read a great many articles in magazines, all of which helped in small ways. I kept my own references, and out of those notes are bits and pieces I add to my blog for people to read or ignore as they wish.

No one ever likes the idea of being told what to do, except when it comes to a publisher’s editor, because in the end, we all want our book published and to hold that final product in our hands and say, I did that.

As a magazine, I find Writer’s Digest is quite good if it is still published. I used to get it, but the subscription lapsed a few years back. Others are Poets and Writers, and The Paris Review.

Books that I found useful: A Style Manual, Self-Editing for Fiction Writers, A Compendium of Good Writing, the Oxford Essential Guide to Writing, and quite a collection of dictionaries and thesauruses, the best of which is the Oxford Shorter Dictionary, though how the word shot got in the title is beyond me.

And then there are the obligatory books on writing by famous authors such as Stephen King and Patricia Highsmith, just to name two.

365 Days of writing, 2026 – 23

Day 23 – The subtle art of getting a message across

The Subtle Art of Getting a Message Across

(And Why You Should Stop Preaching to the Converted)

If you’ve ever read a post, an op‑ed, or a social‑media thread that felt more like a sermon than a conversation, you know the feeling: the message lands in a vacuum, heard only by those who already agree, while everyone else scrolls past, rolls their eyes, or—worst of all—writes back with a snarky “thanks, Captain Obvious.”

It’s a common trap for writers, marketers, and anyone trying to influence opinions: preaching to the converted. You assume your audience already shares your worldview, and you end up sounding like a church bulletin rather than a compelling storyteller. The result? Your ideas get stuck in an echo chamber, your reach stalls, and the people who could benefit most from your insight remain untouched.

In this post, we’ll explore:

  1. Why preaching to the converted is a dead‑end.
  2. How to spot the symptoms in your own writing.
  3. Practical techniques for widening your net without diluting your voice.
  4. A quick checklist to keep you honest.

Let’s turn that echo chamber into a lively town square.


1. The Hidden Cost of Talking to the Choir

What It Looks LikeWhy It Fails
“All true leaders know X, Y, and Z. If you’re still doing A, you’re obviously clueless.”Assumes agreement – readers who don’t already see themselves as “leaders” feel dismissed.
“As we all know, climate change is real, and we must act now.”No invitation – skeptics are met with a wall of affirmation, not a door to dialogue.
“If you love productivity hacks, you’ll love this new framework.”Self‑selection bias – you’re preaching to an audience that already bought into the premise.

The core problem is audience mismatch. When you talk only to those who already nod along, you:

  • Limit impact – only a fraction of the potential readers engage.
  • Reinforce tribalism – echo chambers tighten, making it harder to bridge divides.
  • Waste energy – perfecting a sermon for a crowd that’s already convinced feels like polishing a trophy you’ll never win.

The antidote? Write as if you’re inviting a stranger into a conversation, not delivering a lecture to a congregation.


2. Diagnose Your Own Writing: Are You Preaching?

a. The “We All Know” Test

If you can replace “we all know” with “some people think,” you’ve probably slipped into preaching.

Original: “We all know that the best way to boost ROI is by cutting costs.”
Revised: “Many marketers believe that cutting costs can boost ROI, but there are other angles worth exploring.”

b. The “Assumed Identity” Check

Ask yourself: Does my reader already identify as X? If the answer is “no,” you need to re‑frame.

Original: “If you’re a seasoned entrepreneur, you already understand the power of pivoting.”
Revised: “Even if you’re just starting out, the concept of pivoting can be a game‑changer.”

c. The “Zero‑Tolerant” Scale

Do you use absolutes like “always,” “never,” “must,” or “should” without qualification? Absolutes tend to alienate.

Original: “You must stop using email for lead generation.”
Revised: “Consider whether email is the best tool for your current lead‑generation goals.”

If any of these red flags light up, you’re on the preaching‑to‑the‑converted track.


3. How to Speak to the Unconverted (Without Selling Out)

1. Start With Curiosity, Not Conviction

Instead of stating the conclusion first, pose a question that acknowledges the reader’s perspective.

Preachy: “The truth is, remote work kills collaboration.”
Curious: “What impact does remote work have on collaboration, and how can teams preserve synergy?”

2. Use Stories as Bridges

Stories are the universal language. Show, don’t tell. A personal anecdote or a case study with relatable characters invites empathy, even from sceptics.

Example: “When I first tried the Pomodoro technique, I was skeptical. After three weeks, I realized it helped me finish my thesis without the usual midnight panic. Here’s how you can adapt it for any project.”

3. Offer Evidence, Not Edicts

Give data, cite sources, and explain the reasoning behind your claim. Let the reader see the logic rather than being handed a verdict.

Instead of: “SEO is dead.”
Try: “Recent studies from Moz and Ahrefs show a 30% decline in organic traffic for sites that ignore user intent. Here’s what that means for your SEO strategy.”

4. Invite the Reader to Test the Idea

A call to experiment rather than a command lowers defensiveness.

“Try swapping your usual morning coffee for a 10‑minute walk. Track your focus for a week and see if you notice any difference.”

5. Acknowledge Counterarguments

Show that you understand the other side. A brief, respectful nod to opposing views builds credibility.

“Some argue that rapid iteration leads to sloppy products. While that’s a valid concern, incorporating a lightweight QA step can keep quality high without sacrificing speed.”

6. Use Inclusive Language

Words like “we,” “us,” and “together” can be powerful—but only when they truly include the reader. Pair them with clarifying qualifiers.

“We—whether you’re a freelancer or part of a large corporation—face the same challenge of balancing creativity with deadlines.”


4. The One‑Minute Checklist Before Publishing

✅ CheckWhat to Look For
Audience GapHave I assumed the reader already agrees?
Open‑Ended IntroDoes the opening pose a question or scenario?
Story > StatementIs there at least one anecdote or case study?
EvidenceDo I cite data, sources, or personal experiments?
InvitationHave I encouraged the reader to try something?
CounterpointHave I respectfully acknowledged an opposing view?
Inclusive LanguageDoes “we” really include them, not just me?

If you can answer “yes” to every line, you’ve likely avoided preaching to the choir.


5. A Mini‑Exercise: Rewrite a Preachy Paragraph

Original (Preachy):

“If you’re serious about personal finance, you must start budgeting today. Anyone who doesn’t track every dollar is basically throwing money away.”

Revised (Conversational):

“Wondering how to get a better handle on your money? Many people find that tracking their spending—whether through a simple spreadsheet or an app—offers surprising insights. Give it a try for a week and see where your dollars actually go; you might be surprised by the small changes that add up.”

Notice the shift from imperative to suggestion, the inclusion of a low‑bar entry point, and the invitation to experiment.


6. Closing Thought: Influence Is a Conversation, Not a Sermon

The most persuasive writing feels less like a lecture hall and more like a coffee‑shop chat where both parties leave a little wiser. By recognising the echo chamber, checking our assumptions, and crafting content that invites curiosity, we can reach new audiences without compromising our core message.

Next time you sit down to write, ask yourself: Am I preaching, or am I inviting? The answer will determine whether your words echo in a closed room or ripple across a broader community.

Happy writing—and may your messages travel farther than the choir they were meant for.


Preaching to the converted limits reach and reinforces echo chambers.

  • Spot the habit with “we all know,” assumed identities, and absolutes.
  • Replace them with curiosity, stories, evidence, experiments, and respectful counterpoints.
  • Use the one‑minute checklist before you hit “publish.”

Your audience is waiting—just open the door.

365 Days of writing, 2026 – 22

Day 22 – Using better words

Elevate Your Writing: Replacing Overused Words With Purpose (Without Sounding Like You’re Trying Too Hard)

Introduction:
Let’s face it: words like “good,” “bad,” “very,” and “thing” are writing crutches. We use them when our mental thesaurus hits a roadblock. But overused words don’t just make your prose feel lazy—they can also turn a compelling idea into a bland blur. The secret to engaging writing isn’t about stringing together the most obscure vocabulary (though a sprinkle of that can help). It’s about choosing words that work harder for you. This isn’t about sounding clever—just clearer, more vivid, and authentically thoughtful.


Why We Fall into the “Word Rut”

We all do it. When we’re tired, stressed, or simply in a hurry, our brains default to the most familiar tools at hand. But just like using “very” to spice up a basic adjective, slapping a thesaurus-derived word onto a sentence for the sake of it doesn’t elevate your message. In fact, it can backfire. Ever read a sentence that feels like someone dressed their words up for a party, but the content wasn’t invited to? That’s what happens when you prioritise sound over meaning.


5 Common Words to Upgrade (With Examples That Don’t Sound Forced)

  1. “Good” → Be Specific
    • Overused: “This was a good movie.”
    • Better: “The film was hauntingly atmospheric, with a plot that lingered long after the credits rolled.”
      Why it works: Instead of using a vague adjective, focus on sensory details or emotional impact. Replace “good” with descriptors like “compelling,” “nuanced,” or “luminous.”
  2. “Bad” → Explain How or Why
    • Overused: “The policy is bad for the environment.”
    • Better: “The policy exacerbates deforestation by relaxing critical regulatory safeguards.”
      Why it works: Specificity shows you’ve analysed the issue, not just thrown out an opinion. Words like “harmful,” “detrimental,” or “counterproductive” can anchor your argument.
  3. “Very” → Use Stronger Adjectives
    • Overused: “I was very frustrated by the delay.”
    • Better: “The delay left me seething with irritation.”
      Why it works: Adverbs like “very” often highlight weak adjectives. Replace the pair with a punchier verb or descriptor: “absurd,” “exasperating,” or “unacceptable.”
  4. “Thing” → Know What You Mean
    • Overused: “There are a few things to consider here.”
    • Better: “Several key factors demand attention: budget constraints, team capacity, and timeline realism.”
      Why it works: “Thing” is a placeholder for ideas you haven’t fully fleshed out yet. Replace it by naming what’s actually important.
  5. “Stuff” → Be Exact
    • Overused: “I’ve got a lot of stuff to do.”
    • Better: “I need to finalise the report, schedule client calls, and prepare for tomorrow’s presentation.”
      Why it works: Specificity builds credibility. If “stuff” is unavoidably casual, try “tasks,” “materials,” or “details,” depending on context.

How to Use Better Words Without Falling into the “Try-Hard” Trap

  1. Know Your Audience: A research paper deserves technical precision; a text to your friend calling off lunch doesn’t.
  2. Write First, Polish Later: Let your ideas flow in the first draft. Use more precise language during revisions.
  3. Read Aloud, Then Edit: Awkward phrasing sticks out when you hear it. Trim any word that feels like it’s showing off.
  4. Learn Through Context: Read authors whose style you admire. Notice how they balance simplicity and flair.

The Final Word

Using better words isn’t about impressing anyone—just about expressing yourself more clearly, honestly, and vividly. It’s about caring enough to let your voice be distinct, not generic. So the next time you catch yourself typing “good,” “bad,” or “stuff,” pause. Ask: What am I really trying to say? Then choose a word that does the heavy lifting. Your readers—and your writing—will thank you.

P.S. Need a quick fix? Keep a list of go-to replacements handy (think: exceptionalnuanceddetrimentalnuancedpragmatic). But remember: the best word is still the one that feels right for the moment.

What I learned about writing – How to Keep Your Readers Hooked

How to Keep Your Readers Hooked: Proven Concepts and Methods to Maintain Attention

In today’s fast-paced digital world, capturing—and keeping—a reader’s attention is one of the greatest challenges for any writer. With endless distractions, shrinking attention spans, and an ocean of competing content, even the most insightful ideas can get lost if they don’t grab interest from the first sentence.

As a professional blogger, your success depends not just on what you say, but on how you present it. In this post, we’ll explore key concepts and actionable methods to help you captivate your audience from the headline to the final line.


1. Start with a Strong Hook

Your first sentence is your make-or-break moment. Think of it like a movie’s opening scene: if it doesn’t intrigue, people will click away.

Methods to hook readers:

  • Ask a compelling question: “What if you could double your productivity in just one week?”
  • Share a surprising fact or statistic: “Studies show the average reader decides whether to keep reading within 15 seconds.”
  • Tell a relatable story: Begin with a brief anecdote that mirrors the reader’s experience.

The goal? Evoke curiosity or emotion so powerful that scrolling past becomes unthinkable.


2. Know Your Audience Deeply

You can’t keep someone’s attention if you’re not speaking their language. Understanding your audience’s pain points, goals, tone preferences, and reading habits is essential.

How to apply this:

  • Use language and examples that reflect their world.
  • Address their frustrations directly—“Tired of writing blogs that get zero engagement?”
  • Personalise your tone: a tech-savvy crowd might appreciate jargon, while beginners need clarity and simplicity.

When readers feel seen, they stay engaged.


3. Structure for Scannability

Most readers don’t read every word—they skim. A wall of text is a skimmer’s worst enemy.

Effective structural techniques:

  • Use subheadings to break content into digestible sections.
  • Short paragraphs (1-3 sentences) improve readability.
  • Bullet points and numbered lists highlight key takeaways.
  • Bold or italicise key phrases for emphasis.

Logical flow is key. Guide readers smoothly from one idea to the next using clear transitions.


4. Embrace Storytelling

The human brain is wired for stories. Facts inform, but stories engage, resonate, and linger.

Ways to weave storytelling into your blog:

  • Open with a personal experience.
  • Use case studies or client stories to illustrate points.
  • Build narrative tension—present a problem, then walk through the solution.

Even in educational content, a touch of narrative makes your message memorable.


5. Engage with Rhetorical Devices

Vary your sentence structure and use engaging language techniques to maintain rhythm and interest.

Examples:

  • Rhetorical questions: “But what if there was a better way?”
  • Rule of three: “Simple, powerful, effective.”
  • Contrast: “Most blogs fade into silence. Yours can spark a movement.”

These subtle devices keep the voice dynamic and the reader attentive.


6. Deliver Value Early and Often

Don’t make readers wait for the “good part.” Give them useful takeaways upfront, then continue rewarding them as they progress.

Best practices:

  • Share a quick win in the first few paragraphs.
  • Use actionable tips throughout.
  • End sections with mini-conclusions or reflections.

When readers feel they’re gaining value, they’re more likely to stick around.


7. Use Visuals and White Space

A blog isn’t just words—it’s an experience. Strategic visuals and layout choices enhance engagement.

Tips:

  • Insert relevant images, infographics, or charts to break up text.
  • Use ample white space to prevent visual clutter.
  • Include pull quotes or callout boxes for emphasis.

Remember: what the eye sees influences how long the mind stays.


8. End with a Call to Action

Never let a reader reach the end wondering, “Now what?” A strong conclusion with a clear next step keeps the conversation going.

Examples:

  • “Try this tip today and see the difference.”
  • “Leave a comment: What’s your biggest blogging challenge?”
  • “Share this post with someone who needs to read it.”

This closes the loop and invites further engagement.


Conclusion: Attention Is Earned, Not Given

Capturing attention isn’t about tricks—it’s about respect. Respect your reader’s time, intelligence, and curiosity. Use these methods not to manipulate, but to connect: to make your content easy to read, meaningful to experience, and impossible to ignore.

The most powerful tool you have? Authenticity. When your passion shines through, attention follows naturally.

So the next time you sit down to write, ask yourself: “Is this something I’d want to read?” If the answer is yes—and you’ve applied these principles—your readers will say yes too.


Your Turn: What’s one technique you use to keep your readers engaged? Share in the comments below—we’re all learning together.

365 Days of writing, 2026 – 22

Day 22 – Using better words

Elevate Your Writing: Replacing Overused Words With Purpose (Without Sounding Like You’re Trying Too Hard)

Introduction:
Let’s face it: words like “good,” “bad,” “very,” and “thing” are writing crutches. We use them when our mental thesaurus hits a roadblock. But overused words don’t just make your prose feel lazy—they can also turn a compelling idea into a bland blur. The secret to engaging writing isn’t about stringing together the most obscure vocabulary (though a sprinkle of that can help). It’s about choosing words that work harder for you. This isn’t about sounding clever—just clearer, more vivid, and authentically thoughtful.


Why We Fall into the “Word Rut”

We all do it. When we’re tired, stressed, or simply in a hurry, our brains default to the most familiar tools at hand. But just like using “very” to spice up a basic adjective, slapping a thesaurus-derived word onto a sentence for the sake of it doesn’t elevate your message. In fact, it can backfire. Ever read a sentence that feels like someone dressed their words up for a party, but the content wasn’t invited to? That’s what happens when you prioritise sound over meaning.


5 Common Words to Upgrade (With Examples That Don’t Sound Forced)

  1. “Good” → Be Specific
    • Overused: “This was a good movie.”
    • Better: “The film was hauntingly atmospheric, with a plot that lingered long after the credits rolled.”
      Why it works: Instead of using a vague adjective, focus on sensory details or emotional impact. Replace “good” with descriptors like “compelling,” “nuanced,” or “luminous.”
  2. “Bad” → Explain How or Why
    • Overused: “The policy is bad for the environment.”
    • Better: “The policy exacerbates deforestation by relaxing critical regulatory safeguards.”
      Why it works: Specificity shows you’ve analysed the issue, not just thrown out an opinion. Words like “harmful,” “detrimental,” or “counterproductive” can anchor your argument.
  3. “Very” → Use Stronger Adjectives
    • Overused: “I was very frustrated by the delay.”
    • Better: “The delay left me seething with irritation.”
      Why it works: Adverbs like “very” often highlight weak adjectives. Replace the pair with a punchier verb or descriptor: “absurd,” “exasperating,” or “unacceptable.”
  4. “Thing” → Know What You Mean
    • Overused: “There are a few things to consider here.”
    • Better: “Several key factors demand attention: budget constraints, team capacity, and timeline realism.”
      Why it works: “Thing” is a placeholder for ideas you haven’t fully fleshed out yet. Replace it by naming what’s actually important.
  5. “Stuff” → Be Exact
    • Overused: “I’ve got a lot of stuff to do.”
    • Better: “I need to finalise the report, schedule client calls, and prepare for tomorrow’s presentation.”
      Why it works: Specificity builds credibility. If “stuff” is unavoidably casual, try “tasks,” “materials,” or “details,” depending on context.

How to Use Better Words Without Falling into the “Try-Hard” Trap

  1. Know Your Audience: A research paper deserves technical precision; a text to your friend calling off lunch doesn’t.
  2. Write First, Polish Later: Let your ideas flow in the first draft. Use more precise language during revisions.
  3. Read Aloud, Then Edit: Awkward phrasing sticks out when you hear it. Trim any word that feels like it’s showing off.
  4. Learn Through Context: Read authors whose style you admire. Notice how they balance simplicity and flair.

The Final Word

Using better words isn’t about impressing anyone—just about expressing yourself more clearly, honestly, and vividly. It’s about caring enough to let your voice be distinct, not generic. So the next time you catch yourself typing “good,” “bad,” or “stuff,” pause. Ask: What am I really trying to say? Then choose a word that does the heavy lifting. Your readers—and your writing—will thank you.

P.S. Need a quick fix? Keep a list of go-to replacements handy (think: exceptionalnuanceddetrimentalnuancedpragmatic). But remember: the best word is still the one that feels right for the moment.