365 Days of Writing, 2026 – 219

Day 219 – Writers must read

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Study the Competition So You Can Beat Them: The Ultimate Guide to Competitive Intelligence

In the world of business, going in blind is a recipe for failure. Whether you are launching a startup, running an established e-commerce store, or creating content, you cannot operate in a vacuum.

If your goal is to grow your market share, increase conversions, and ultimately win, you need to know who you are up against. As the ancient military strategist Sun Tzu wrote in The Art of War: “If you know the enemy and know yourself, you need not fear the result of a hundred battles.”

In modern business, we call this competitive intelligence.

Studying your competition isn’t about copying what they do—in fact, that’s a surefire way to blend in instead of stand out. Instead, it’s about analyzing their strengths, exploiting their weaknesses, and finding the gaps in the market that they are leaving wide open.

Here is a step-by-step masterclass on how to study your competition so you can beat them at their own game.


Step 1: Identify Who Your Real Competitors Are

Before you can study your rivals, you need to know who they actually are. Many business owners make the mistake of only looking at direct competitors. To get a true edge, you need to look at three distinct categories:

  1. Direct Competitors: These are businesses offering the same product or service to the same target audience. (e.g., Coca-Cola and Pepsi).
  2. Indirect Competitors: These offer different products or services, but they solve the same customer problem. (e.g., If you sell movie tickets, your indirect competitor might be a streaming service like Netflix).
  3. Aspirational/Future Competitors: These are the industry leaders or disruptors who might not be targeting you today, but whose business models you want to emulate or eventually overtake.

Action Item: Make a list of your top 5 direct competitors and top 3 indirect competitors. These will be the focus of your analysis.


Step 2: Reverse-Engineer Their Digital Presence

Once you know who you are tracking, it’s time to put on your detective hat. The internet makes it easier than ever to audit your competitors’ strategies. Here is where you should look:

1. Analyze Their Website and User Experience (UX)

Go through your competitor’s website as if you were a customer.

  • How easy is it to navigate?
  • What is their value proposition? (What do they claim makes them special right on their homepage?)
  • What does their checkout or conversion funnel look like? Where do they friction points exist?

2. Audit Their SEO and Content Strategy

Organic traffic is gold. Use tools like Ahrefs, SEMrush, or Ubersuggest to see what your competitors are doing right in search engines:

  • What keywords are they ranking for?
  • Which of their blog posts or landing pages get the most organic traffic?
  • Where are they getting their backlinks from?

3. Monitor Their Social Media and Paid Ads

Look at how they communicate with their audience.

  • Organic Social: Which platforms are they most active on? What kind of content gets the most engagement (videos, carousels, memes, case studies)?
  • Paid Ads: Use tools like the Meta Ad Library and the Google Ads Transparency Center to see what ads your competitors are currently running. What offers are they promoting? What angles are they using in their ad copy?

Step 3: Read Their Customer Reviews (The Goldmine)

This is perhaps the most powerful—and underutilized—tactic in competitive intelligence. Your competitors’ customer reviews are a roadmap to their weaknesses.

Go to platforms like Trustpilot, G2, Amazon, Google Business Profile, and Yelp, and look specifically at the 1-star, 2-star, and 3-star reviews of your competitors.

Ask yourself:

  • What are customers constantly complaining about? (e.g., “Poor customer service,” “Shipping takes too long,” “The software is too buggy”).
  • What did they wish the product did that it currently doesn’t?

How to use this to win: Take the exact complaints your competitors’ customers have and make them your core selling propositions. If your competitor’s customers hate their slow support, build your brand around 24/7, lightning-fast customer service.


Step 4: Conduct a SWOT Analysis

Now that you’ve gathered data on your competitors’ products, marketing, and customer feedback, it’s time to synthesize it. Create a SWOT Analysis for your top competitors, mapping out their:

  • Strengths: What are they exceptionally good at? (e.g., massive budget, strong brand recognition).
  • Weaknesses: Where do they fall short? (e.g., poor mobile UX, lack of personalization).
  • Opportunities: What market trends are they ignoring that you can capitalize on?
  • Threats: What external factors could hurt them (and potentially affect you)?

By comparing their SWOT analysis to your own, you will clearly see your “Unique Value Proposition” (UVP)—the exact reason why a customer should choose you over them.


Step 5: Innovate, Don’t Imitate

The biggest trap in studying your competition is falling into the copycat syndrome.

If you simply mimic what your competitors are doing, you will always be one step behind. They set the rules of the game, and you are just following them.

Instead, use competitive intelligence to differentiate.

  • If everyone in your industry uses a formal, corporate tone, try being conversational, witty, and human.
  • If your competitors sell complex, bloated software, build a solution that is hyper-minimalist and user-friendly.
  • If they focus solely on features, focus on the transformation and emotional outcome your customer experiences.

Final Thoughts: Competitive Intelligence is a Continuous Process

Studying your competition is not a one-time task you check off your to-do list. Markets shift, algorithms change, and new startups emerge every single day.

Make competitive analysis a habit. Set aside an hour every month to check in on your top rivals, review their new ad campaigns, and see how their customer sentiment is shifting.

When you truly understand the battlefield, you stop reacting to what your competitors do—and start forcing them to react to you.

…

PI Walthenson’s second case – A case of finding the ‘Flying Dutchman’.

Known only to a few, there is a legend that a ship named the ‘Flying Dutchman’ left Nazi Germany in the last weeks of the war and set sail for America, escorted by U-boats, under a different name. Aboard was a trove of treasure and gold worth a ‘king’s ransom’.

It was said that it had been sent to a group of American Nazis to create the Fourth Reich at an appropriate time. Over the years, many expeditions off the coast had searched, but found no trace of the vessel or the treasure.

In other words, it was just a legend created to boost tourism.

…

Fast forward to 2024. Our intrepid private detective, Harry Walthenson, overhears a conversation at Grand Central Station. It was the oddness of the message that caught his attention. An investigation turned up nothing out of the ordinary, and he thinks no more about it.

Then Harry is kidnapped, interrogated, and asked questions over and over about a date and a place, why he went there, and when he could not give satisfactory answers, he was beaten half to death and left for dead on a rubbish heap. He was lucky that it was a living space for homeless men; otherwise, he would have died.

In the aftermath, he once again gives it no more thought.

…

After resolving his first case successfully, there’s no rest. Harry’s angry mother comes to his office and demands that he find out where his father has gone. She believes he has run off with a mistress, not for the first time.

Perhaps it was not the wisest decision she has made, because Harry promises to investigate, and adds that she might not like what he finds.

He soon discovered he does not like what he finds, that his father’s friends, a cabal formed at University, have two who are his mother’s current lovers, and another, a criminal blackmailing his father.

Felicity, now his partner, working on a different case, and trying to get answers, uncovers a crime family involved in guarding a disused warehouse on the docks, where she believes Harry had been taken for interrogation, and subsequently dumped nearby to die.

Why are they up to? What is so important that the empty warehouse needs guarding? Who is employing them?

Harry, following up on the death of the blackmailer, traces his death back to an enforcer employed by his grandfather. His mother’s grandfather was a pre-war industrialist who made his fortune in war munitions and shipbuilding.

He was also a member of the American Nazi party.

When Harry also discovers a logbook belonging to a so-called wartime Liberty ship the “Paul Revere” in brackets ‘Freiheitskämpfer’, hidden by his father, and written in a code that is not readily identifiable.

It is no longer a matter of a father who has run off with his mistress; it is a very frightened man in fear of his life, running from a group who will stop at nothing to get the logbook back. And when Harry discovers a family connection to the group, it becomes a race against time to decode the log and find his father before his grandfather does.

…

Coming soon: Harry Walthenson’s new adventure – A case of finding the ‘Flying Dutchman’

What I learned about writing – The “Practice Makes Perfect” Myth

(and Why It Still Works—for Writing)

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The “Practice Makes Perfect” Myth (and Why It Still Works—for Writing)

“If you do anything seriously long enough, you’ll get better.”

That sentence feels like an old‑school mantra you might have heard from a coach, a music teacher, or a parent. It’s comforting, almost inevitable—just keep at it and the results will follow.

But does the rule hold true for writers? And what does it mean when we say “good writing is contagious”?

In this post I’ll unpack the science behind long‑term practice, show why writing is a uniquely contagious skill, and give you a toolbox of concrete, battle‑tested tips to turn “doing it longer” into real, measurable improvement.


1. The Core Truth: Time + Deliberate Practice = Skill Growth

FactWhat It Means for Writers
Neuroplasticity – The brain rewires itself with repeated activity.The more you write, the stronger the neural pathways that support storytelling, grammar, and voice.
Deliberate Practice – Not just “doing the thing,” but practicing with feedback and specific goals.Writing a 500‑word blog post isn’t enough; you must target weak spots (e.g., pacing, dialogue) and refine them deliberately.
Deliberate Practice – Not just “doing the thing,” but practising with feedback and specific goals.10,000 hours of mindless typing won’t help. Ten hours of focused revision, critique, and study can trump 100 hours of “just writing.”
Plateaus Are Normal – Skill acquisition follows a sigmoid curve: rapid early gains, a plateau, then a second surge after a breakthrough.Expect periods where progress feels stagnant. Use them to experiment, read, or rest—don’t quit.

Bottom line: Time alone isn’t enough. You need deliberate, feedback‑rich practice to convert hours into mastery.


2. Good Writing Is Contagious – Why It Spreads

  1. Social Proof: Readers (and fellow writers) gravitate toward high‑quality prose. When a piece shines, it sets a new benchmark in its community.
  2. Mirror Neurons: We neurologically mimic the style and tone we consume, especially when we admire the source. Reading great sentences trains our own “inner ear.”
  3. Collective Learning: Writing groups, workshops, and online forums create a feedback loop where one person’s improvement lifts the entire cohort.
  4. Cultural Momentum: Think of the “New Journalism” wave of the ’60s or the rise of flash fiction on Twitter—once a few voices cracked the code, the style proliferated.

In short, exposure to excellent writing accelerates your own growth—if you allow it to.


3. The Pitfalls of “Just Writing More”

Common MisconceptionWhy It FailsHow to Fix It
“I write 2,000 words a day, so I’m improving.”Quantity without reflection reinforces bad habits.After each session, flag 1–2 things you’d change (e.g., redundancy, weak verb).
“I’ll get better after I finish my novel.”Long‑term projects can hide small‑scale weaknesses.Break the novel into bite‑size “skill drills” (e.g., one chapter focused on dialogue).
“Feedback is optional; I trust my gut.”Our internal editor is notoriously biased.Schedule regular external reviews—beta readers, editors, or a critique partner.
“I’ll read only what I like.”Comfort zones limit exposure to new structures, vocab, and perspectives.Add a “genre‑stretch” reading slot each week (e.g., poetry if you write nonfiction).

4. Actionable Blueprint: Turn Hours Into Better Writing

Below is a step‑by‑step system you can adopt today. It’s modular—pick what fits your schedule and skill level, then iterate.

A. Build a Structured Writing Routine

ComponentFrequencyTip
Micro‑Write (10–15 min)Daily, first thing in the morningWrite a single sentence, a vivid description, or a quick dialogue exchange. No editing, just raw output.
Focused Session (45–90 min)3–4× per weekChoose a skill goal (e.g., “show, don’t tell”). Work on a specific piece that targets that goal.
Review & Revise (30 min)Immediately after each focused sessionHighlight 2–3 improvement points; rewrite the same passage with those in mind.
Reading Sprint (30 min)Daily or every other dayRead a passage from a writer you admire and take notes on what makes it work (sentence rhythm, word choice, structure).
Feedback Loop (1 hr)WeeklySend your work to a critique partner or post in a writing forum. Write a response to each piece of feedback, outlining what you’ll try next.

Why it works: The routine mixes production, analysis, and external input—the three pillars of deliberate practice.

B. “Contagion” Tactics – Let Good Writing Infect You

  1. Curated Reading Lists
    • Classic craft: “The Elements of Style,” “On Writing” (King).
    • Genre deep‑dive: 5 seminal works from each genre you write.
    • Modern bite‑size: Follow Twitter accounts that tweet micro‑essays or haiku.
  2. Imitation Exercises
    • Pick a paragraph you love. Rewrite it in your own voice while preserving the structure and rhythm.
    • Swap the genre (turn a news article into a short story).
  3. Community Immersion
    • Join a weekly critique circle (online or local).
    • Participate in writing challenges (NaNoWriMo, 30‑day flash fiction).
    • Comment thoughtfully on other writers’ blogs—explaining what you liked forces you to articulate good writing principles.
  4. Mentor‑Mode Writing
    • Write as if you’re teaching a class. Draft a short guide on a writing technique; the act of explaining refines your own understanding.

C. Metric‑Based Progress Tracking

MetricToolHow to Interpret
Word‑per‑hour outputTimer + word countAim for a stable range; spikes may indicate “flow” days, drops may signal fatigue.
Revision Ratio (original words ÷ final words)Drafts in Google DocsA decreasing ratio (e.g., 1.3 → 1.1) often signals tighter prose.
Feedback Score (e.g., 1‑5 rating from beta readers)Survey FormTrend upward? If flat, examine recurring criticism.
Reading Diversity Index (genres read per month)SpreadsheetHigher diversity correlates with more varied sentence structures.

Review these numbers every month and adjust your routine accordingly.


5. Real‑World Case Study: From “Stuck” to “Spitting Fire”

Writer: Maya, 34, freelance tech copywriter.

ProblemInterventionResult (3 months)
Drafts flooded with jargon; readers complained of “dry” tone.1️⃣ Daily 10‑min “show, don’t tell” micro‑write.
2️⃣ Weekly 30‑min reading of narrative non‑fiction (e.g., The Immortal Life of Henrietta Lacks).
3️⃣ Joined a local critique group focused on voice.
• Reduced average sentence length by 15 %.
• Client satisfaction score rose from 3.2 → 4.6/5.
• Secured a new contract for a storytelling‑heavy whitepaper series.

Maya’s story illustrates that structured, feedback‑rich practice beats sheer volume—and that reading narrative work made her own prose “contagiously” richer.


6. Quick‑Start Checklist (Print & Pin)

  •  Write a 10‑minute “seed” piece every morning (no edits).
  •  Pick one skill goal per week (e.g., stronger verbs).
  •  Read a 5‑minute passage from a master writer daily and annotate.
  •  Submit a draft for critique at least once a week.
  •  Imitate a favourite paragraph once a month, then rewrite it in a new genre.
  •  Log your metrics (output, revision ratio, feedback rating) every Friday.

7. The Bottom Line

Yes—if you do something seriously long enough, you will improve. But the quality of that “serious” effort is what determines how much you improve.

Good writing spreads like a good meme: you absorb it through reading, imitation, and community, and you amplify it by giving feedback and teaching.

By marrying deliberate practice with contagious exposure, you turn the simple mantra “write more” into a powerful, measurable growth engine.

Your next step? Choose one of the tactics above, commit to it for the next 30 days, and watch your prose evolve from “just getting longer” to “getting better.”

Happy writing—and may the contagion be ever in your favour!


If you found this post helpful, share it with fellow writers, and let us know which of the strategies you tried in the comments.

365 Days of Writing, 2026 – 218

Day 218 – The author’s imaginary world

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Building the Invisible Architecture: Why Every Novelist Must First Create a World They Believe In

“Every novelist must begin by creating himself a world, great or little, in which he can honestly believe.” — Joseph Conrad

When we open a novel, we aren’t just looking for a sequence of events. We are looking for a portal. We want to step out of the mundane architecture of our daily lives and inhabit somewhere else—whether that somewhere else is the misty decks of a 19th-century trading ship, the neon-lit alleys of a cyberpunk dystopia, or the quiet, devastating emotional landscape of a suburban kitchen.

But before a reader can ever step foot into that fictional realm, the author must build it, brick by invisible brick. And as Joseph Conrad famously noted, that process begins with belief.

If the writer doesn’t buy the reality of the world they are constructing, why should the reader?

Let’s explore what Conrad’s timeless wisdom means for modern novelists, world-building, and the psychological heavy lifting required to write fiction that resonates.


The Anatomy of Belief: What Does It Mean to “Believe” in Your World?

Belief in writing is not about magic systems, historical accuracy, or encyclopedic lore (though those things can help). It is about internal coherence and emotional truth.

When Conrad spoke of creating a world “great or little,” he wasn’t just talking about epic fantasy maps. A “little” world might be a single boarding house in Dublin, a courtroom during a three-day trial, or the strained silence across a breakfast table.

To believe in your world, you must know its gravity. You must understand:

  • The sensory reality: What does it smell like after a heavy rain? What is the quality of the light at 4:00 PM?
  • The unspoken rules: What do the inhabitants take for granted? What are the cultural taboos, economic pressures, and quiet griefs that shape their daily choices?
  • The moral pulse: Even if the author is entirely objective, the world must operate on a set of internal cause-and-effect dynamics where actions have real, believable consequences.

If you are writing a scene and you feel a twinge of artificiality—a sense that you are moving characters around like chess pieces just to get to the next plot point—you have stopped believing in your world. And the moment the author stops believing, the reader’s suspension of disbelief shatters like cheap glass.


World-Building is Self-Discovery

Notice the phrasing in Conrad’s quote: “creating himself a world.”

Before a novelist creates a world for the reader, they must create it for themselves. Writing a novel is an act of self-interrogation. The world you build often becomes a mirror for your own obsessions, fears, questions, and philosophies.

  • Tolkien didn’t just invent Middle-earth for the sake of an adventure; he built it out of a profound love for lost mythologies and philology, creating languages that necessitated a world to speak them.
  • Austen mapped the rigid, polite, and deeply economic marriage market of 19th-century England because she was keenly interested in the intersection of female autonomy, social survival, and genuine affection.

When you sit down to write, your fictional world is your testing ground. It is the ecosystem where you explore what you actually believe about human nature, power, love, and betrayal. If your heart isn’t invested in the truths of that ecosystem, your prose will lack the pulse of life.


The Danger of the “Cardboard Set”

We have all read books that feel like movie sets made of painted cardboard. The dialogue is snappy, the plot moves fast, but the moment a character leans against a wall, you feel like the whole thing might tip over.

This happens when a writer focuses entirely on mechanics rather than immersion. They outline the plot beats, design the twists, but fail to inhabit the space.

To avoid the cardboard set trap, adopt Conrad’s mindset:

  1. Dig deeper than the surface details. Don’t just invent a futuristic city; figure out where the garbage goes, who cleans the streets, and what people sing when they’re drunk.
  2. Let the world talk back. A believable world has momentum. When your characters make a choice, the world should react in ways that aren’t always convenient for your outline.
  3. Write for the senses, not just the intellect. Bring your scenes to life through texture, temperature, and tone.

How to Cultivate Radical Belief in Your Writing

If you are struggling to connect with your story-world, how do you bridge the gap? How do you reach that state of honest belief?

  • Write toward the unknown: Don’t plan every single square inch before you start. Leave room for discovery. Sometimes, believing in your world means exploring it alongside your characters, letting it surprise you.
  • Anchor the fantastical in the visceral: If you are writing high fantasy or hard sci-fi, ground the extraordinary in ordinary human experiences. A dragon rider still gets a sore back; a starship captain still worries about aging or estranged children.
  • Interrogate your own cynicism: If you find yourself rolling your eyes at your own plot developments, stop. Figure out why. Fix the underlying logic until you can nod to yourself and say, Yes, that is how this world works.

Final Thoughts: The Invitation to the Reader

Writing a novel is an act of supreme audacity. You are essentially asking a complete stranger to sit in a quiet room, look at a series of black symbols on a white page, and hallucinate an entire reality for several hours.

The only way that magic trick works is if your own conviction is absolute.

When you create a world—whether it spans galaxies or exists entirely within the confines of a single room—you must believe in it first. Pour your curiosity, your empathy, and your attention into its soil. Because when you honestly believe in the world you’ve made, the reader won’t just visit it—they will live in it.


Are you currently building a fictional world? What is the hardest part of making it feel real to you—the physical details, the emotional stakes, or the internal logic? Let us know in the comments below!

…

365 Days of Writing, 2026 – 218

Day 218 – The author’s imaginary world

…

Building the Invisible Architecture: Why Every Novelist Must First Create a World They Believe In

“Every novelist must begin by creating himself a world, great or little, in which he can honestly believe.” — Joseph Conrad

When we open a novel, we aren’t just looking for a sequence of events. We are looking for a portal. We want to step out of the mundane architecture of our daily lives and inhabit somewhere else—whether that somewhere else is the misty decks of a 19th-century trading ship, the neon-lit alleys of a cyberpunk dystopia, or the quiet, devastating emotional landscape of a suburban kitchen.

But before a reader can ever step foot into that fictional realm, the author must build it, brick by invisible brick. And as Joseph Conrad famously noted, that process begins with belief.

If the writer doesn’t buy the reality of the world they are constructing, why should the reader?

Let’s explore what Conrad’s timeless wisdom means for modern novelists, world-building, and the psychological heavy lifting required to write fiction that resonates.


The Anatomy of Belief: What Does It Mean to “Believe” in Your World?

Belief in writing is not about magic systems, historical accuracy, or encyclopedic lore (though those things can help). It is about internal coherence and emotional truth.

When Conrad spoke of creating a world “great or little,” he wasn’t just talking about epic fantasy maps. A “little” world might be a single boarding house in Dublin, a courtroom during a three-day trial, or the strained silence across a breakfast table.

To believe in your world, you must know its gravity. You must understand:

  • The sensory reality: What does it smell like after a heavy rain? What is the quality of the light at 4:00 PM?
  • The unspoken rules: What do the inhabitants take for granted? What are the cultural taboos, economic pressures, and quiet griefs that shape their daily choices?
  • The moral pulse: Even if the author is entirely objective, the world must operate on a set of internal cause-and-effect dynamics where actions have real, believable consequences.

If you are writing a scene and you feel a twinge of artificiality—a sense that you are moving characters around like chess pieces just to get to the next plot point—you have stopped believing in your world. And the moment the author stops believing, the reader’s suspension of disbelief shatters like cheap glass.


World-Building is Self-Discovery

Notice the phrasing in Conrad’s quote: “creating himself a world.”

Before a novelist creates a world for the reader, they must create it for themselves. Writing a novel is an act of self-interrogation. The world you build often becomes a mirror for your own obsessions, fears, questions, and philosophies.

  • Tolkien didn’t just invent Middle-earth for the sake of an adventure; he built it out of a profound love for lost mythologies and philology, creating languages that necessitated a world to speak them.
  • Austen mapped the rigid, polite, and deeply economic marriage market of 19th-century England because she was keenly interested in the intersection of female autonomy, social survival, and genuine affection.

When you sit down to write, your fictional world is your testing ground. It is the ecosystem where you explore what you actually believe about human nature, power, love, and betrayal. If your heart isn’t invested in the truths of that ecosystem, your prose will lack the pulse of life.


The Danger of the “Cardboard Set”

We have all read books that feel like movie sets made of painted cardboard. The dialogue is snappy, the plot moves fast, but the moment a character leans against a wall, you feel like the whole thing might tip over.

This happens when a writer focuses entirely on mechanics rather than immersion. They outline the plot beats, design the twists, but fail to inhabit the space.

To avoid the cardboard set trap, adopt Conrad’s mindset:

  1. Dig deeper than the surface details. Don’t just invent a futuristic city; figure out where the garbage goes, who cleans the streets, and what people sing when they’re drunk.
  2. Let the world talk back. A believable world has momentum. When your characters make a choice, the world should react in ways that aren’t always convenient for your outline.
  3. Write for the senses, not just the intellect. Bring your scenes to life through texture, temperature, and tone.

How to Cultivate Radical Belief in Your Writing

If you are struggling to connect with your story-world, how do you bridge the gap? How do you reach that state of honest belief?

  • Write toward the unknown: Don’t plan every single square inch before you start. Leave room for discovery. Sometimes, believing in your world means exploring it alongside your characters, letting it surprise you.
  • Anchor the fantastical in the visceral: If you are writing high fantasy or hard sci-fi, ground the extraordinary in ordinary human experiences. A dragon rider still gets a sore back; a starship captain still worries about aging or estranged children.
  • Interrogate your own cynicism: If you find yourself rolling your eyes at your own plot developments, stop. Figure out why. Fix the underlying logic until you can nod to yourself and say, Yes, that is how this world works.

Final Thoughts: The Invitation to the Reader

Writing a novel is an act of supreme audacity. You are essentially asking a complete stranger to sit in a quiet room, look at a series of black symbols on a white page, and hallucinate an entire reality for several hours.

The only way that magic trick works is if your own conviction is absolute.

When you create a world—whether it spans galaxies or exists entirely within the confines of a single room—you must believe in it first. Pour your curiosity, your empathy, and your attention into its soil. Because when you honestly believe in the world you’ve made, the reader won’t just visit it—they will live in it.


Are you currently building a fictional world? What is the hardest part of making it feel real to you—the physical details, the emotional stakes, or the internal logic? Let us know in the comments below!

…

What I learned about writing – Introduction: Why Your Choice of Software Matters

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

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

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

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

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


1. Dedicated Writing Software – The Specialist’s Toolkit

1.1 What Makes a “Dedicated” App Different?

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

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

1.2 Scrivener – The Industry Standard

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

Pros

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

Cons

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

1.3 Other Notable Dedicated Apps

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

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

2.1 Microsoft Word – The Classic Giant

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

Pros

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

Cons

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

2.2 Google Docs – The Cloud‑Centric Contender

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

Pros

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

Cons

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

2.3 When Word Processors Shine

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

3. Decision Matrix – Matching Tool to Writer Type

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

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

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

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

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

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


Bonus: Quick Comparison Chart

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

Take Action Today

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

Happy writing! 🚀

365 Days of Writing, 2026 – 217

Day 217 – What constitutes a strong first line

…

Hook, Line, and Sinker: What Makes a Masterpiece First Line (And Why Readers Can’t Look Away)

You have about three seconds.

In the age of endless scrolling, infinite browser tabs, and shrinking attention spans, a reader’s finger hovers constantly over the back button or the swipe-up gesture. Whether you’re writing a sprawling epic fantasy, a punchy B2B blog post, or a gripping journalistic exposé, your opening line is your one and only bouncer. It either opens the velvet rope or tells the reader to move along.

So, what constitutes a strong first line—one that makes it utterly impossible for the reader not to know more?

Let’s break down the psychology of the irresistible hook, analyse some of the greatest opening lines in literature and non-fiction, and look at how you can weaponise your own introductions.


The Anatomy of an Irresistible First Line

A great first line doesn’t just sound pretty (though rhythm and cadence certainly help). It performs specific psychological heavy-lifting. It usually achieves at least one—if not all—of the following:

  1. It creates an “Information Gap”: Coined by economist George Loewenstein, the “information gap theory” states that curiosity happens when we feel a gap between what we know and what we want to know. A great opening line introduces a puzzle, a paradox, or an abrupt shift in reality that demands resolution.
  2. It establishes an unmistakable voice: Tone is the personality of your writing. A strong first line immediately signals who is speaking and how they see the world, whether that voice is cynical, lyrical, urgent, or darkly comedic.
  3. It drops the reader in media res: Great openers rarely start with throat-clearing, weather reports, or background exposition. They throw the reader into the deep end of the pool and let them figure out how to swim.

5 Types of Powerful First Lines (With Examples)

To understand how to craft your own magnetic openers, let’s look at five distinct archetypes of killer first lines and dissect why they work.

1. The Audacious Declaration

This type of opening makes a bold, sometimes shocking claim that forces the reader to sit up straight. It challenges conventional wisdom or immediately stakes out a controversial stance.

  • The Example: “Happy families are all alike; every unhappy family is unhappy in its own way.” — Leo Tolstoy, Anna Karenina
  • Why it works: Tolstoy doesn’t ease you into 19th-century Russian aristocracy; he drops a sweeping, absolute philosophical maxim. It immediately prompts the reader’s brain to object: Are all happy families really alike? Let me read on to see what he means. It frames the entire novel as an exploration of human misery and complexity.

2. The Unsettling Fact or Paradox

Nothing halts a scroll faster than a statement that defies logic or makes you slightly uncomfortable. It creates an instant cognitive itch that only reading the next sentence can scratch.

  • The Example: “It was a bright cold day in April, and the clocks were striking thirteen.” — George Orwell, 1984
  • Why it works: Notice the sleight of hand. Orwell lulls you into a sense of normalcy with “a bright cold day in April”—and then shatters reality with “the clocks were striking thirteen.” Without a single word of exposition, you instantly understand that something is deeply, chillingly wrong with this world. You must read on to find out what kind of society operates on a thirteen-hour clock.

3. The Confession or Secret

We are hardwired to lean in when someone whispers a secret. Starting a piece with a deeply personal confession—or an implication of guilt—creates instant intimacy and urgency.

  • The Example: “Caller ID does not adequately protect us from the people we already know.” — Lionel Shriver, We Need to Talk About Kevin
  • Why it works: This line is brilliant because it takes a mundane, modern technology (Caller ID) and twists it into a source of dread. It implies violence, domestic tension, and inescapable trauma right out of the gate. We know immediately that the narrator is hiding from someone, and the suspense is instantly palpable.

4. The Action-Packed Drop (In Media Res)

Instead of starting at the beginning, start in the middle of the chaos. This forces the reader to play catch-up, assembling the puzzle pieces in real-time.

  • The Example: “The man in black fled across the desert, and the gunslinger followed.” — Stephen King, The Dark Tower: The Gunslinger
  • Why it works: With just twelve words, King establishes pursuit, high stakes, stark geography, and two opposing forces. Who is the man in black? Why is he fleeing? Who is the gunslinger? You don’t know yet, but the kinetic energy of the sentence drags you across the desert sand behind them.

5. The Deadpan Absurdity

Humor and shock value are close cousins. When a narrator states something wildly bizarre with complete, deadpan seriousness, the reader is hooked by sheer curiosity and dark delight.

  • The Example: “You better not never tell nobody but God.” — Alice Walker, The Colour Purple
  • Why it works: This line is devastatingly intimate. Written in vernacular, it instantly establishes the protagonist’s youth, vulnerability, and the immense weight of the secret she is about to share. It feels illicit to read it, which makes looking away impossible.

How to Write Your Own Killer First Line

Knowing what a great first line looks like is one thing; reverse-engineering one for your own piece is another. When you are editing your introduction, run your opening sentence through this checklist:

  • Cut the throat-clearing: Delete any introductory phrases like “In today’s fast-paced world…” or “It has often been said that…” Start with the noun or the action.
  • Check the rhythm: Read your first line aloud. Does it have a musicality to it? Does it land with a punch, or does it trail off?
  • Ask: “So what?”: If your first line is “Content marketing is important for businesses,” your reader will yawn. If it is “Your content strategy is actively repelling your best customers,” your reader will panic—and keep reading.
  • Save it for last: Often, you won’t find your killer first line until you’ve finished writing the entire piece. Once you know what your story or article is actually about, go back to the top and write an opening that serves as the ultimate gateway.

The Bottom Line

A great first line is a promise. It’s a pact between you and the reader that says: If you give me your time, I will reward you with something extraordinary.

Master the art of the hook, and you’ll never have to worry about losing your audience before the journey has even begun.

…

365 Days of Writing, 2026 – 217

Day 217 – What constitutes a strong first line

…

Hook, Line, and Sinker: What Makes a Masterpiece First Line (And Why Readers Can’t Look Away)

You have about three seconds.

In the age of endless scrolling, infinite browser tabs, and shrinking attention spans, a reader’s finger hovers constantly over the back button or the swipe-up gesture. Whether you’re writing a sprawling epic fantasy, a punchy B2B blog post, or a gripping journalistic exposé, your opening line is your one and only bouncer. It either opens the velvet rope or tells the reader to move along.

So, what constitutes a strong first line—one that makes it utterly impossible for the reader not to know more?

Let’s break down the psychology of the irresistible hook, analyse some of the greatest opening lines in literature and non-fiction, and look at how you can weaponise your own introductions.


The Anatomy of an Irresistible First Line

A great first line doesn’t just sound pretty (though rhythm and cadence certainly help). It performs specific psychological heavy-lifting. It usually achieves at least one—if not all—of the following:

  1. It creates an “Information Gap”: Coined by economist George Loewenstein, the “information gap theory” states that curiosity happens when we feel a gap between what we know and what we want to know. A great opening line introduces a puzzle, a paradox, or an abrupt shift in reality that demands resolution.
  2. It establishes an unmistakable voice: Tone is the personality of your writing. A strong first line immediately signals who is speaking and how they see the world, whether that voice is cynical, lyrical, urgent, or darkly comedic.
  3. It drops the reader in media res: Great openers rarely start with throat-clearing, weather reports, or background exposition. They throw the reader into the deep end of the pool and let them figure out how to swim.

5 Types of Powerful First Lines (With Examples)

To understand how to craft your own magnetic openers, let’s look at five distinct archetypes of killer first lines and dissect why they work.

1. The Audacious Declaration

This type of opening makes a bold, sometimes shocking claim that forces the reader to sit up straight. It challenges conventional wisdom or immediately stakes out a controversial stance.

  • The Example: “Happy families are all alike; every unhappy family is unhappy in its own way.” — Leo Tolstoy, Anna Karenina
  • Why it works: Tolstoy doesn’t ease you into 19th-century Russian aristocracy; he drops a sweeping, absolute philosophical maxim. It immediately prompts the reader’s brain to object: Are all happy families really alike? Let me read on to see what he means. It frames the entire novel as an exploration of human misery and complexity.

2. The Unsettling Fact or Paradox

Nothing halts a scroll faster than a statement that defies logic or makes you slightly uncomfortable. It creates an instant cognitive itch that only reading the next sentence can scratch.

  • The Example: “It was a bright cold day in April, and the clocks were striking thirteen.” — George Orwell, 1984
  • Why it works: Notice the sleight of hand. Orwell lulls you into a sense of normalcy with “a bright cold day in April”—and then shatters reality with “the clocks were striking thirteen.” Without a single word of exposition, you instantly understand that something is deeply, chillingly wrong with this world. You must read on to find out what kind of society operates on a thirteen-hour clock.

3. The Confession or Secret

We are hardwired to lean in when someone whispers a secret. Starting a piece with a deeply personal confession—or an implication of guilt—creates instant intimacy and urgency.

  • The Example: “Caller ID does not adequately protect us from the people we already know.” — Lionel Shriver, We Need to Talk About Kevin
  • Why it works: This line is brilliant because it takes a mundane, modern technology (Caller ID) and twists it into a source of dread. It implies violence, domestic tension, and inescapable trauma right out of the gate. We know immediately that the narrator is hiding from someone, and the suspense is instantly palpable.

4. The Action-Packed Drop (In Media Res)

Instead of starting at the beginning, start in the middle of the chaos. This forces the reader to play catch-up, assembling the puzzle pieces in real-time.

  • The Example: “The man in black fled across the desert, and the gunslinger followed.” — Stephen King, The Dark Tower: The Gunslinger
  • Why it works: With just twelve words, King establishes pursuit, high stakes, stark geography, and two opposing forces. Who is the man in black? Why is he fleeing? Who is the gunslinger? You don’t know yet, but the kinetic energy of the sentence drags you across the desert sand behind them.

5. The Deadpan Absurdity

Humor and shock value are close cousins. When a narrator states something wildly bizarre with complete, deadpan seriousness, the reader is hooked by sheer curiosity and dark delight.

  • The Example: “You better not never tell nobody but God.” — Alice Walker, The Colour Purple
  • Why it works: This line is devastatingly intimate. Written in vernacular, it instantly establishes the protagonist’s youth, vulnerability, and the immense weight of the secret she is about to share. It feels illicit to read it, which makes looking away impossible.

How to Write Your Own Killer First Line

Knowing what a great first line looks like is one thing; reverse-engineering one for your own piece is another. When you are editing your introduction, run your opening sentence through this checklist:

  • Cut the throat-clearing: Delete any introductory phrases like “In today’s fast-paced world…” or “It has often been said that…” Start with the noun or the action.
  • Check the rhythm: Read your first line aloud. Does it have a musicality to it? Does it land with a punch, or does it trail off?
  • Ask: “So what?”: If your first line is “Content marketing is important for businesses,” your reader will yawn. If it is “Your content strategy is actively repelling your best customers,” your reader will panic—and keep reading.
  • Save it for last: Often, you won’t find your killer first line until you’ve finished writing the entire piece. Once you know what your story or article is actually about, go back to the top and write an opening that serves as the ultimate gateway.

The Bottom Line

A great first line is a promise. It’s a pact between you and the reader that says: If you give me your time, I will reward you with something extraordinary.

Master the art of the hook, and you’ll never have to worry about losing your audience before the journey has even begun.

…

What I learned about writing: Great Fiction Writers Don’t Just Tell Stories—They Leave You Changed

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

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

What Is That “Something”?

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

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

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

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

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

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

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

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

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

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

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

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

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

Walk Into the Light, Leave With Weight

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

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

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

And that’s how art becomes legacy.

365 Days of Writing, 2026 – 216

Day 216 – Writing Exercise

…

I remember the days when our town was like a sleepy hollow surrounded by prairies and mountains. 

We had everything we needed, and the town grew at the pace that matched the natural population growth.  It was quite literally that sort of town where everyone knew everyone else.

The Murphys ran the sheriff’s department, the Watersons were mayors or civic officers, the Ravellers ran the bank, and Blacks started as the blacksmith and now took care of the farm machinery and engineering.  We were, for all intents and purposes, self-sufficient.

Then, little by little, that autonomy started to disappear.  The fast food outlets came; a shopping mall was built, and then realtors came and built estates, claiming our town was just the place to live, away from the city rat race.

Then times changed, and the economy failed, and people found themselves struggling.  It was not just us; it was everywhere.

That’s when the Montgomerys came.

…

My father was conservative, not exactly against change, just change that radically affected his way of life.  He and a few others opposed the mall, the resort being built on the old Anderson ranch, and the radical redesigns of the main street.

He had watched the fast food places turn the children away from the people food, the new hotels turn the people into gamblers and drinkers, and the out-of-towners who were moving into the new estates increase the crime rate.
.
And the new people brought the drug scourge.

In five years the sheriff’s office had gone from a shop front with the sheriff and two deputies to ten deputies and three detectives, and a modern two-story building with a compound and jail space for twenty.

In those same five years, the original families that built our town started leaving.

My father deplored what was happening, even more so when there was nothing he could do about it.  Our Sunday family gathering had turned into a gathering of the so-called founding fathers, dwindling rapidly.

Most had either died out or sold out.  And in the case of my generation, with the advent of the internet and the ease of getting information, most have left to seek their fortune in the big cities, tempted by the fortunes that could be made.

He also resisted the buyout offers of his land, now very prime real estate, and held up a multi-million-dollar new resort being developed by the Montomery Corporation run by Archibald Montgomery.

A self-made man, he was quite literally larger than life.  No one knew why he left New York, only that he landed in our town by mistake and took a shine to it.

His foothold started with building a castle on the old Herbertson ranch, the first of the old guard to sell out.  From there he regaled the old founders with parties and then offers, buying up properties for cents on the dollar, legally and sometimes not.

He went from hero to monster in the blink of an eye.  About the same time, it was realised he had bought half the town and surrounding farms.  And with that sort of influence, he all but owned the mayor and the sheriff.

Then there was Archie Montgomery junior.

I finished high school with him, the eldest son, and the heir apparent.  He believed he owned the town, and everything else, and everyone was his slave to do his bidding.

Those who didn’t found themselves on the wrong end of the stick.

That’s how the Thompsons, my family, became the thorn in the side that neither the father nor the prodigal son wanted or needed.

And both were the subject of conversation at lunch.

…

I looked around the tables at the twenty-two members left from the founding fathers group.  The latest casualty: the town sheriff for the last 20 years, just getting voted out and replaced by one of Montgomery’s acolytes.

He was glad to retire, just not about who replaced him.  The mayor, or ex-mayor, was sitting next to him, having been deposed on the same election day.  Politically, the wind had shifted, and the representatives in Congress that had protected us for so long had been swept away, replaced by, well, my father had an expression that wasn’t repeatable.

Montgomery had finally won, as he said he would.

Jacob Waterson, sixth-generation resident, the last of a long line of town mayors, was sad.  He had seen what was happening, and like the rest of us, could do nothing about it.

“It’s time we all just left and left them to it.  We can only hold out so long.  I mean, if torching the Franz property was a message, then who will be next?”

Old man Franz had refused to sell.  Then suddenly his place burned down with him in it, and the investigation came back that old man Franz had basically caused the fire himself.  Old wiring and out-of-date appliances.  He had been warned.

The thing is, he had the wiring replaced.  He just didn’t tell those who needed to know except us.  It was like he knew what was going to happen.

“That fire was not caused by an electrical fault.”

The ex-sheriff was adamant and was checking the crime scene himself.  No one in the county was interested, a measure of how far Montgomery’s influence had reached.

“That would be me, I’m guessing,” my father said.  “Those hundred head of missing cattle turned up on the other side of the country, sold to a meat processor, with our brand overstamped.  It was very cleverly done, almost unnoticeable.”

I’d seen the photos sent by the meat works when they noticed an irregularity.  Too late to stop the slaughter.  Too late to do anything about it.

“It’s time.  We’re retiring in Florida.  We got just enough to buy a condo and spend a few years cruising.  Take the offer and get out, Jake.”

The sheriff was still recovering from an ambush attack that left his deputy dead and him a hospital case.  He would have gone back to work if he was fit, but then he lost the election.

The campaign to depose him was very dirty.  Politics was threaded through even the minor elections, and that was driving the politicised landscape, a problem we never had before the developers and new arrivals.

Pity.

I guess it was time for all of us to retire.

The conversation focussed on who was next, not what we could do about it, and I think that was the measure of our impotence.  There was just not enough of us to make a change.

That’s when a lone voice at the table spoke, my sister Marianne. “They haven’t won; they were never going to win.” 

An odd ethereal silence fell over the room.

“In a sense they have,” our father said.

“Not where it matters, as they will soon discover.”

“What do you mean?” Her mother looked worried.  Marianne had suffered a bad few months recently with the Montgomery juniors’ bullying.

The daughter was as bad as the son.

“I put a curse on the whole family “

That was something else about Marianne that had worried me.  A week or two ago I had accidentally walked in on her and four of her friends sitting inside a pentagram chanting what sounded like Latin.

Several books around them had what were supposedly spells, one she said would bring down hellfire and damnation on the Montgomeries.

Wishful thinking, I’d said, but if it made her feel better…

“Yes, dear,” her mother said.  She was going to, as she had in the face of increasing agitation, just ignore it as a phase.

Then added her two cents’ worth to the conversation, “Perhaps it’s time we moved on.  Nothing lasts forever, as much as we hoped it would.”

I was sure a few of those sitting around the table hoped the curse would work.

The silence lasted about another minute and a half before Harvey, one of the ranch hands, came bursting into the room and went over to our father.  I heard him mutter in his ear, “There’s a fire in the town, it’s bad.”

Several of the men around the table were volunteer firefighters, surprised they hadn’t got the callout.

In a matter of seconds, Marianne and I were the only two left in the room. I would have joined the exodus, but I suspected there was more to this curse thing.

She had a curious, if not demonic, expression.

“What did you do?”  A very bad feeling came over me.

“We ensured that Montgomery will never forget that despite his blind faith in his invincibility, he is as vulnerable as anyone else.  Wealth and power cannot prevent the inevitability of moral justice.”

Now she was scaring me.  Her conversations were scathing at best, every sentence starting or ending with a like or but.

She stood.  “Come.”  She held out her hand towards me.  “Let us go and witness the very essence of retribution.”

I found it impossible to resist the invitation. 

Perhaps she was a witch.

…

A crowd had gathered.  Deputies had put up a tape line to keep them back.

As we got close, we could see the smoke billowing into the air, and on the breeze, that acrid aroma of the smoke.

The fire was in the library, attached to City Hall, old sandstone buildings built at the turn of the last century, but they were a fire hazard, so much wood and paper.

Flames were coming out of the windows and the roof.  Three fire engines were fighting a losing battle, fire hoses snaking in all directions and men running, dressed in fireproof suits and breathing apparatus.

As we took up a position between two of the new families, their kids more interested in the fire trucks than the fire, we were joined by several of her friends, the girls who had been with her in the pentagram.

None spoke, but I got the feeling they knew something about what was happening.

Then we all heard a shout, coming from outside the front entrance to the library, where a firefighter in full protective gear stumbled out the doorway. “There are people inside. I heard the screams; there’s nothing we could do.  It’s horrible.”

He collapsed, and two other firefighters came over and helped him over to the ambulance.

I knew then that it had to be a member or members of the Montgomery family.  How they got in there, why they were in there, if they were in there, was a question more than just me would be asking.

Especially if they died in that fire.

And whether it was proven that the fire was not from natural causes and was started by someone.

I looked at my sister.  Her expression was unreadable, the sort of expressionless face one would expect from a poker player.  Her friends were not so good at hiding their feelings.

“You called this retribution,” I said quietly beside her.

I watched two suited firemen go into the building, and the come back out just as flames leapt through the door after them.

It was followed by a heavy cracking sound, and I think that was the roof crashing down.

No one was going to be saved, whoever was in there.

“God answered our prayers.  The Montgomerys are a scourge on the landscape.  If it was them, then it’s good riddance.  I’ve seen enough.”  She looked at the other girls.  “Let’s go to the church and pray for their souls “

…

It was two days before the fire died out and the investigators went in.  It took a week after that for a partial report to be leaked to the townsfolk.

Apparently my sister’s only fault was that she had cursed the family, and everyone knew she was not a witch, so she was taking credit for something she hadn’t done.

The problem was, there wasn’t anyone who could be found in the residue, as it had been expected they’d find bones or partial bones.

The firefighters had sworn he heard cries for help behind the wall of flames.

The thing is, they couldn’t find anyone, missing or otherwise, in the wreckage.  But missing people there were: the whole Montgomery family.

Their cars were missing, and key possessions were missing, and their bank accounts were emptied.  There was just no reason why they should leave now.

The thing is, people who had been aligned with the Montgonerys took a step back and then decided they were no longer aligned with them, and came to the former mayor and asked him to reinvent the town, back to the way it was.

No, we didn’t exactly get our town back; we had gone down a path there was no coming back from.  We just had to live with it, and keep going.

And for a while it was good.

Then rumours circulated that the Montgomerys had died in the fire, all of them.  Despite reports that the Montgomeries had been seen in the next County the day after the fire was extinguished.

Nothing made sense, and it became town folklore.

Until…

…

I was sitting in the lawyers’ office; the one overlooking the park outside city hall.  The one they had renovated after that eventful fire sixty years ago, almost to the day.

Robert Penthaven, son of the son of the man who tended my father’s affairs, had called me and said there were details about my sister’s passing that needed clearing up.

The last time I had to sit in the chair was after my father died and my sister and I inherited the ranch.  She wasn’t interested, having long moved away, but retained her interest in it. 

I thought it was to formalise the passing of her interest to me.  I was passing mine to my son, who thankfully wanted to be a rancher and not relocate to the city.

I’d waited almost a half hour and thought I’d nodded off because, as softly as he tried to close the door it woke me with a start.

“Sorry,” he said, dropping into the more comfortable chair behind the desk.  “Simple things take much longer these days.”

He opened a drawer in the desk and pulled out a file, a quite thick file.  An envelope was clipped to the cover.  He unclipped it and slid it across the table.  “For you, after she died.”

“Words from the grave.”

“Or grave words, maybe.  She was a curious one, your sister.  I never quite knew when she was joking or when she wasn’t.”

“Did she tell you she was a witch?”

“Among other things.  She once said she was the keeper of secrets, and one in particular, one that she said she would take to the grave.  We are all a bit like that; things happen, and we wish to forget.  Perhaps that letter might shed some light.”

“Or tell me it’s time to stand on my own two feet.  Older siblings are like that.”

I picked up the envelope and held it in my hand.  One sheet, three at the most.  The question was whether I wanted to read it.

I shrugged and opened it.  Robert stood.  “I’ll be outside if you need me.”  He went out and closed the door behind him.

I unfolded the sheets.  Two.  Written in her spidery writing, almost illegible.  She had wanted to be a doctor and settled for nurse practitioner. 

She would have made a great doctor.

Kyle,

There are beginnings, there are endings, and all the rest is the consequences of life.

Sometimes it is not the life you wanted, but simply the life you get according to your choices.

I never knew what I really wanted, but it wasn’t to be raped by Archie Montgomery.  Nor did any of my friends.  We became The Five, who could have become victims.

We did not.

We decided to rid the world of a problem.

This is not a confession.  We did not sin against natural justice.  A thoroughly bad person was tried in God’s eyes and received the punishment he was due.

He burned in hell.

The shame of it was that his family tried to save him, and died in vain.  It was not what we wanted; we had nothing to do with their deaths, and had they left well alone, they would have lived.

I can’t say they’re in a better place.

I can’t say we ended up in a better place, but as far as I’m concerned, I have atoned for my sins.

He never hurt another girl.

That family never hurt another soul.

Our town did not miss them, as they did not miss The Five.  It was no longer our town. 

If they ever pull down the library and dig new foundations, they will find them, all seven.  Let’s hope that it’s not in your lifetime.  It won’t be in mine, or the rest of The Five. 

We have all moved on, hopefully to a better place.

Keep the secret or not, it’s up to you, but I suspect that age-old statement ‘let sleeping dogs lie’ might be appropriate here.

May your life be happy and content.  The ranch is yours to leave to Kyle Junior, as it should be.

Meg.

I think I sat there staring at the pages without seeing them, feeling the tears running down my cheeks, now understanding the enigma my sister had become.

If she had told me that fateful night we were standing outside the burning library, I would not have believed her, and I don’t think I did now.  There was a long list of those who wanted all of the dead.  It would be easy to claim responsibility now when I couldn’t cross-examine her.

But what’s done is done. 

The sleeping dogs would lie.

…

©  Charles Heath  2026