365 Days of writing, 2026 – 185/186

Days 185 and 186 – Writing exercise

Investigating death was a ‘thing” that some people took seriously, and others took as a challenge.

For them, it was about the numbers, the appearance of solving crimes, so the public could feel safe, to win that imaginary contest of who could solve the most crimes, and celebrate it on Friday night at the pub.

For others, like me, it was about justice.  It was about finding that person who committed the crime, not the most likely candidate buried under a trove of circumstantial evidence.

The pity of it was that our helicopter Detective Chief Superintendent was a numbers man, temporarily stopping in at our station on his way to bigger and better things.

He didn’t like to be thorough and methodical, and he definitely didn’t like me.  That’s why when he put his head out the door and saw that I was the only detective in the room, I could feel rather than see the sigh.

Or maybe that was because he should be down the pub with the rest of the team celebrating the extraordinary closure rate for this month.

“Burgess.”

I looked up.  “Sir.”

“Sending you a straightforward case.  The old man had apparently died in his sleep.  One of us to look in, dot the i’s.  I’ll send you the file.”

When the Chief Inspector says straightforward, there’s always an underlying suggestion not to make more out of it than there was.

The problem was that nothing in our line of work was straightforward.  Not if justice was to be served.

People die in their sleep all the time.  What’s unusual is that most of those who did were discovered in the morning, not at 5 pm.

I arrived at the house, one of twelve similar terrace houses, in a street of a hundred or so.  Most had been updated, and small manicured gardens.

Darkness had arrived on a cold, wet, wintry night where everyone would have preferred to be somewhere else, preferably warm.

The street seemed to be full of blue flashing lights and panda cars, but it was deceptive.  The house was cordoned off, and the crime scene crew were ready to go.

First responders had arrived at or near five, and checked the building, pulled the girl who discovered the body and the doctor she had called before she called the police.

Those were the people I would speak to first. 

The co-ordinator was at the door, an officer who had been doing the job for as long as I had been at the station, and was good at it.  He would have secured the scene and ensured that nothing had been touched since the first responder had arrived.

“Larry.”

He just finished the call and swivelled sideways.

“Detective Inspector Burgess.  If you’re here, your boss doesn’t think it’s open and shut.”

“The other detectives are busy, and I’m hoping it is.  Is it?”

“On appearances, yes, but we both know how it usually goes, winter, rain, freezing cold, and wanting to get out of it.”

“Privileges of rank, I’m afraid.  They’re off celebrating the crime numbers.”

Larry was as thrilled about it as I am.  “Hello, your assistant has arrived.”

I turned to look back the way I came.  It was not the Detective Sergeant I was expecting, but one of the Chief Superintendent’s ‘modern methods’ detectives, fast-tracking a new system.

It was the ‘achievement-based’ Superintendent’s way of keeping me on the straight and narrow.

“Buchanan.”

“Sir, Chief Super just gave me the highlights.  You’d think people would be more considerate.”

Yes, you would, but it was not something I would say within earshot of the girl who found him.  It was a typical Buchanan comment.

“I’m sure it wasn’t done to inconvenience you.”  I went back to Larry.  “What can you tell us?”

“The deceased is a man named Devlin McConnaughy, aged 75, living alone, and according to the doctor, was dead when the girl arrived.  The girl is Mr McConnaughy’s granddaughter.  She arrived about 5 pm, a routine stop by on her way out to meet her friends for dinner.  She had a key and visited three or four times a week.  When she found him and couldn’t rouse him, she called the doctor, then the police, when he said McConnaught was dead, about 5:15 pm.  The first responders got her about 5:29.   The teams have been notified and are standing by.”

“We can look at the scene?”

“Just about.  Just waiting on word that we won’t be trooping in like a herd of elephants.”

I’d heard about crime scenes being contaminated by people who were either not trained properly or didn’t care.  We still didn’t know if this was a crime scene.  The crime scene investigators’ preliminary run-through would determine that.  I’d seen a few getting dressed.  I’d be going in in one of those white suits myself.

Buchanan took that as a cue to get suits for us, and hopefully, there was a spot inside to put them on.  Outside was wet, and we didn’t need wet boots plodding through the house.”

“Your thoughts?  You’ve seen the body.”

“And the state of the house, but you’ll see what I mean soon enough.  It looks like he died in his sleep.  The girl had to move him slightly to check if he was still alive, but it looked to be a reasonable assumption based on appearances.  He’s very heavy, and she couldn’t move him far.  I’m hoping there’s nothing sinister otherwise; this is going to be a long night.”

A long night indeed.

….

We got the OK to go in, and the forensic teams followed us in.

This house was old, decrepit and overgrown.  The owner hadn’t bothered, or couldn’t maintain the place, and the outside gave an indication of the state of the inside.

A lifetime of hoarding.

It was difficult to get from the front door to the bedroom, trying not to knock over piles of books, boxes and newspapers.

The preliminary team had set a path to follow that would least impact on the scene.

Further into the house, at the end of the passage, was a kitchen and a rear exit.  On each side, there were rooms, a sitting room, bedrooms, a bathroom, and the old man’s room.

In the bedroom, equally piled up with books and boxes, there was a body on the bed and a paramedic standing to one side.

I looked at the body, scrunched up as though his last moments alive were very painful.  Death was never pretty. 

Larry nodded to the paramedics.

“Visually, there is no evidence of foul play.  There was a doctor in attendance when we arrived.  He advised us that the man was deceased, but did not have an explanation as to what killed him, other than it had been quick.  We sent him out after a short discussion about his actions on arrival.  The man’s granddaughter is with the doctor outside. She is the person who first discovered the body, called the doctor, then the emergency services.”

Larry looked at me.  “Any further questions?”

“No.  We’ll have to wait for the coroner and a post-mortem.”

“They should be here any moment.  It’s a busy night.”

“Good.  It’ll give me time to talk to the doctor and the granddaughter.”

I looked around the room, looking for obvious signs that someone else had been in the room, or that the killer, if there was one, had broken in to get to the man. 

It was beginning to look like a very big if.  The Superintendent might get his wish, that it was an open and shut case.

No obvious clues were lying around, and I was not seeing any obvious signs of murder, bruising, blunt force trauma or anything suspicious.  There were no bullet or knife wounds.

There was careless discarded pill sheets and a nasal spray on the bedside table, all of which forensics would sweep up and test.

Similarly, in the bathroom cabinet, there were more pills, about six different types, including one I knew to be heart medication.  He had high blood pressure.  A heart attack then might not be unexpected.  He also had other cold and influenza medications.  Perhaps he had recently been ill.  It was cold and miserable.

The coroner would have more to say on that.

I think I was disappointed.

There was just a contorted body with a lifeless expression and dead eyes.  It was rather creepy.

Dotting the i’s, Buchanan and I went outside and found the doctor and granddaughter waiting patiently. 

That was a first; most of the people detained by the first responders were very vocal about having to wait around, and in this weather, these two should have been more annoyed.

I know I would be.

Coming out the front door, I looked around at the few neighbours who had gathered to see what was happening.  The uniformed officers would have got statements from all of them.

Sometimes it is said that the killer would hang around after the murder as a bystander waiting for the police.  My assessment of everyone in the small groups was that none of them fitted the profile.

At the moment, it was a motiveless murder.  The only two with a possible opportunity were the granddaughter and the doctor.  An old man, living alone?  What did he have that others might covet?

The house.  Even in its current state in this neighbourhood, it had to be worth a lot.  Was there anything in the house?  If there was a will lying around, the forensic teams would find it.

But there was the granddaughter and the doctor. 

They were standing just up from the door, sheltering under a small verandah roof.  In that spot, there was protection from the elements, except the cold.

The rain had turned into a steady drizzle.

I shivered.  The ghost of the old man is finally leaving?

The two were expecting me.  I sent Buchanan off with the doctor.  I stayed with the girl.  The granddaughter was about 20ish and more conservative than a lot of 20-year-olds I’d seen, especially the daughters of my sister.

She had been crying, so it was safe to assume she had cared about the old man.

I introduced myself, “Detective Inspector Burgess.  You are?”

“Christine Davies, the man’s granddaughter.  I was looking in on my grandfather as I do most Fridays, and found him like that.  Dead.  It’s horrible.”

More tears flowed, and her grief was genuine.

It was horrible and for most a frightening experience.  I could imagine how she felt, and even having seen more than my share of dead people, it doesn’t make you immune to the horror of it.

“I’m sorry for your loss.  Just a couple of questions.  You have a key to the door?”

“Yes.  I come on average three times a week, sometimes more, to check on him.  No one else does, nor does it seem they care.  He was recently in the hospital for a few days, had his appendix removed.”

“The last time?”

“Two days ago.  He called and asked if I could drop in.  He said he misplaced a card and asked me to look for it.”

“A card?”

“Those cards the bank gives you to use rather than go to the branch.  He asked me to set up his internet banking account. He didn’t like the idea of a card replacing his money or the idea that he didn’t have to go to the bank, but I convinced him that the world was moving on and he had to catch up.  He reckoned it was the first step in them stealing your money.”

Or someone else, like a craft granddaughter. Ostensibly, she had access to his accounts if she set them up.  We had the computer and phone and would find out.

“Did you find the card?”

“No.  He got me to go back to the bank and sort them out.  He was feeling a little tired.  He didn’t look well, and I said I’d get the doctor to call.”

She gave me the details so I could check.

“Did you call the doctor?”

“Yes, but he was busy and couldn’t get here until today.  I called him first to make sure he was not still alive because I tried what they do on TV, you know, the pulse in the neck thing, but I got nothing.  He came quickly and confirmed he was dead.  That’s when I called the emergency services.”

“Did you check to see if anyone else had been there, or was there any sign of a break-in?”

“Everything looked the same, though, as you’ve no doubt seen, the place is a bit of a mess, but I’ve been trying to clean it up a bit.  I just went in the usual way, the front door, called out that it was me, and when he didn’t answer, went down the passage to his room.”

“Did anyone else have a key?”

“Just about everyone, I mean, his children.  There are five, including my mother.  Once my grandmother died, they all lost interest in visiting.  Or should I say when they realised there was no money in her will for any of them?  Not that there was much anyway.  He’s not rich.”

“He owns this house?”

“It’s a dump.  It can’t be worth that much.  I tried to convince him that he would be better off in an old folks home with other people and be cared for, but he said it would be like being in jail.”

“Did he tell you you might benefit from a will?”

She made a face when she realised the implications of that seemingly innocent question.

“Or did I coerce him into leaving me this place, and then kill him for it?  I mean, seriously.  I was the only one who cared what happened to him. You think I wanted it for the so-called pot of gold at the end of the rainbow?  I told him to leave whatever he had for cancer research.  A couple of years back, he was diagnosed with cancer, but they got it in time, and he has been free of it, although I feared it might have come back.  He said he was fine, but you can’t tell.”

I didn’t know much about it.  She seemed honest, but then, in my experience, some people have that knack of coming across exactly the opposite of what they are.  Perhaps the cancer had come back and killed him.

She gave her details on how to contact her for any follow-up questions and then let her go.

By that time, Buchanan had finished with the doctor and confirmed the recent cancer diagnosis, the coroner had arrived and could not shed any more light on the body until after the post-mortem, and I  left, leaving Buchanan to clean up.

At that point, it was the proverbial open and shut case.

The call from the Chief Superintendent was not unexpected because Buchanan would have reported to him the moment I left the scene.

He asked, and I told him that it seemed like a death by natural causes, because no one at the scene had made a different determination.

That would only come after a post-mortem and blood work. That would be available the next day.  He did question whether either was necessary in such circumstances, and I said we were dotting the i’s just as had requested.

It did not earn me any brownie points.

The fact that the granddaughter said that any of his family members might have killed him for his money was a very familiar story.  Sex and money were the two most popular reasons for killing someone, and neither seemed likely.

Unless the will and he’d been secreting millions away somewhere.  The granddaughter did think he had, but she would not be the first person, seemingly innocent, to lie to me

At the moment, it was sitting on the benefit of the doubt.  That might change in the next day or so.

Until then, rest was not going to come easily.  Something was nagging at the back of my neck.  A detail I should know and couldn’t remember. Perhaps I was making more of it than I should.

I went back to the office and did an internet dive into all things Devlin McConnaughy, and found very little.  It could wait until the next day.

….

Buchanan was in before I was, which to me was unusual.  I could smell the hand of the Superintendent’s in this new work ethic.

The other detectives followed me in slowly, some of them worse for wear.  None bothered to ask me why I hadn’t turned up; I had ceased talking to most of them over the last six months.

The feeling of hatred was mutual.

My desk had an analysis of Devlin’s phone and computer.  The sum total of nothing except a portal to the bank, and internet searches for holidays.

Given the nature of the holidays, it seemed they were more likely made by the granddaughter. 

We agreed to disagree

The interviews were typed up and put in a file sitting on mt desk.  Still no autopsy report or of the blood work, so we were still waiting for results.

Real policing was not a nine-to-five job, and there was no such thing as weekends.  Truth be told, you really couldn’t have a life, not in the early years of a detective’s career.

I had devoted early on that it wouldn’t be fair to subject someone else to the sacrifices that had to be made.  It was why my older comrades found it difficult to get a decent work-life balance, and the divorce rate was much higher than for any other occupation.

Or at least it seemed that way to me.

But, given my choices, it was not unusual to find me in at the office or volunteering on workdays when others wished to be at home with their families.

This day was no exception.

There was a report on the laptop? The phone, the neighbourhood interviews and I had the notes to write up the one I had conducted.

There was no post-mortem yet, which would arrive soon. 

Was I expecting anything?

There was very little evidence collected at the house.  They had found a copy of the will, and I was going to check with the solicitor.  It left a substantial amount to the granddaughter and reasonable amounts to the children.  A clause said that if any of them contested it, it would be held over until it was adjudicated by the courts.

The value of the house as an inheritance was a viable motive.  If it were a suspicious death. 

I had copies of his bank accounts, three, one a working account, one a savings account and one an investment account.  There was not enough in any of them to warrant killing the man for his money.

The house was owned by him, and we would have to talk to a real estate agent to get an approximate value.

I looked in my email and found a preliminary toxicology report with nothing unusual.  So, no drug overdosing, self-inflicted or otherwise.  Suicide was always on the list, and had to be ticked off.

An hour later, the post mortem came in, and it confirmed that Devlin had a heart attack and had been on painkiller medication for what looked to be a recent accident that scarred his leg.

It had nothing to do with his death.

The phone rang. 

Burgess.  “The body last night.  Verdict?”

There was only one verdict he wanted to hear.

“Nothing points to murder.  Heart attack and died.”

“Good.  Wrap it up.”

“Yes, sir.”

End of the discussion.  I put all the papers back in the file and left it in my in tray.  It could wait until Monday morning.  I would interview the solicitor, meet the granddaughter’s parents, and talk to the granddaughter again.

There was something not right.  Something about this case resonated with something I had read about, a few years ago, on the tail end of the COVID pandemic.

I was going for a walk in the park to clear my head.  I had a lot of searching and reading to do.

The trouble with quick clearance rates is that sometimes justice is not served.  The Devlin McCannaughy case was one.

But over the next few days, listening to all of the members of that family argue and squabble over the spoils, and furious that the granddaughter got nearly everything, the accusations were just that, accusations.

The lawyer knew all about the will and the reasons behind it.  So apparently did all those in line time inherit.  There was no motive for any of them other than the main beneficiary.

The trouble was, I could find no evidence to support my theory, and solid evidence was required before there would be any prosecution.

Did I think the granddaughter was guilty of murdering her grandfather for the money?  She didn’t steal from him, not like the children did; it was her mother who had stolen her father’s card and taken money out of the account.

We could prosecute her for theft, but the amount was almost irrelevant and not worth the court’s time.

How did the granddaughter do it?

By the nasal spray.  I had read about a case, one I had used in a paper I wrote about the perfect murder.  The thing is, she would need medical knowledge of what toxin to use and not leave a trace.  I had ordered another tox screen, but we didn’t know what we were looking for.

Motive and opportunity, but not the means.  Even though it was only her prints on the nasal spray beside the bed, one taken from the bathroom cabinet, there was a simple explanation, one given freely when I interviewed her.

She collected and gave him his medication. Yes, he had high blood pressure, and yes, he had minor heart problems, but nothing that would kill him.

When I gave the report to the Chief Superintendent, he just laughed and told me I was not working for MI5 and I should keep my conspiracy theories to myself.

Of course I did, but fate eventually intervened.  The Chief Superintendent was found dead in a sleazy motel, dead because of a heart attack.

Everyone drew the same conclusion.

©  Charles Heath  2026

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 unexpected detour

The Unexpected Detour: Trading Familiar Fame for Fresh Inspiration

We are creatures of habit, especially when those habits have led to success. When we find our niche—that specific genre, that particular skill set, that familiar market where our reputation is solid—we settle in. We build our brand around it, we become known for it, and we reap the rewards of what I like to call “pout fame”—the reputation we tirelessly poured ourselves into earning.

But what happens when the GPS suddenly recalculates? What happens when a project falls through, a client demands a skill you rarely use, or a personal experience shoves you, politely or otherwise, onto an entirely different path?

The detour is mandatory. The question is: do you treat it as a road bump or a reconnaissance mission?


The Comfort (and Constraint) of the Known Road

For a professional writer, artist, or entrepreneur, the familiarity of the known path is powerful. If you are the established authority on historical fiction, stepping sideways to write a children’s book feels like a monumental risk or, worse, a waste of time. If you’re a renowned brand strategist, taking a temporary gig managing a local community centre seems completely off-brand.

We cling to our niche because it represents safety, predictability, and income. We fear that if we take our focus off the main product, the audience will forget us, or worse, perceive us as unfocused.

The irony is that this commitment to the familiar eventually becomes the most fertile ground for creative drought. When you do the same thing in the same way for too long, the machine might keep moving, but the spark fades. You are solving the same problems, using the same mental muscles, and drawing from the same well of inspiration.

This is precisely why the unintentional interlude is a gift.

The Power of the Accidental Assignment

The unexpected detour forces you to use different muscles. It is a creative palette cleanser.

Perhaps you, known for gritty memoirs, suddenly find yourself ghostwriting a guide on sustainable gardening. Perhaps your expertise in complex data architecture leads you to a temporary volunteer role organising a major arts festival. These interludes are not your core business, so the pressure is different, the stakes feel lower, and that pressure release is key to unlocking new thought patterns.

When you are led down another path, two crucial things happen:

1. You Gain New Data Sets

Every experience, especially those outside our comfort zone, feeds the creative core. The language you learn while writing about gardening might provide the perfect metaphor for a struggling relationship in your next memoir. The logistical problem-solving required for the arts festival might provide a brilliant structural framework for your next white paper.

The inspiration you gain from the detour is often fuel for your established genre—just in a subtler, richer form. It’s not about abandoning your genre; it’s about making your genre deeper.

2. You Break the Creative Feedback Loop

Our brains love efficient pathways. When we write in a genre (or work in a field) for years, we develop grooves. The unintentional interlude yanks the needle out of the groove. It forces you to think like a beginner again, look up new terminology, and engage with a world that doesn’t operate by your established rules. This struggle is where innovation resides.

The Crossroad: Take It or Take a Holiday?

The core question remains: When this unexpected inspiration strikes, do you embrace it completely, or is the detour simply a sign that you need a vacation?

Often, we frame creative exploration as a necessary rest. We believe that if we aren’t focusing on our ‘main thing,’ we must be taking a holiday. But this is a false dichotomy.

The Creative Detour is a Form of Necessary Rest.

If the unexpected path genuinely energises you, if it sparks ideas and makes you feel excited about the act of creating again, take it.

This is not a distraction; it is an investment in creative renewal. The mistake is equating productive time only with the activities that directly generated your “pout fame.” The new path might not lead to immediate income in your usual stream, but it will prevent the greater cost: burnout and creative stagnation.

If the detour feels like a chore, if it drains you, or if the new inspiration feels thin and forced—then you need a holiday. You need genuine downtime, silence, and recovery.

The differentiator is always energy. Does this unexpected road drain your reserves or replenish them?

Permission to Deviate

The most successful creators rarely stay tethered to a single, narrow output. They allow themselves to be influenced by the tangential, the accidental, and the unfamiliar. They treat their career not as a single railway line, but as a vast, interconnected landscape.

So, the next time life or work pushes you onto an unpaved road—whether you were led willingly or otherwise—don’t resist the scenery. Don’t immediately try to navigate back to the familiar highway just because it’s faster.

Look out the window. Collect the data. Listen to the new language.

The greatest inspiration for your next masterpiece might not be found in the genre you dominate, but in the unintentional interlude that showed you the world through brand new eyes. Take the inspiration. The holiday can wait until the tank is actually empty.

365 Days of writing, 2026 – My Second Story 27

More about my second novel

It sounds like it’s a start on the blurb…

Like any book that is the second in a series, there is that inevitable question – What am I going to write about now?

You’re fighting off the, everyone had at least one book in them, and sitting down staring at that blank page because maybe your character has found the woman of his dreams, and there’s no need to chase anymore.

Who said Zoe had any interest in settling down?

She has missed getting out there and doing a job she is good at.

But rather than have her hunting people down, I thought it would be better if she were the one being hunted.

The thing is, she had managed to make more than one enemy over the years. And given the bounty, it brings old foes and fellow assassins out of the woodwork and into her path.

And a few people she had left behind, intentionally or otherwise.

But, the least expected, armed with a pair of dogged private detectives, is her newest friend, and want-to-be boyfriend.

She should have realised that he was not going to go away like he was supposed to.

But, here’s the thing…

People on both sides are looking for her, each with very different reasons, but all have the same intention…

Revenge.

365 Days of writing, 2026 – My Second Story 27

More about my second novel

It sounds like it’s a start on the blurb…

Like any book that is the second in a series, there is that inevitable question – What am I going to write about now?

You’re fighting off the, everyone had at least one book in them, and sitting down staring at that blank page because maybe your character has found the woman of his dreams, and there’s no need to chase anymore.

Who said Zoe had any interest in settling down?

She has missed getting out there and doing a job she is good at.

But rather than have her hunting people down, I thought it would be better if she were the one being hunted.

The thing is, she had managed to make more than one enemy over the years. And given the bounty, it brings old foes and fellow assassins out of the woodwork and into her path.

And a few people she had left behind, intentionally or otherwise.

But, the least expected, armed with a pair of dogged private detectives, is her newest friend, and want-to-be boyfriend.

She should have realised that he was not going to go away like he was supposed to.

But, here’s the thing…

People on both sides are looking for her, each with very different reasons, but all have the same intention…

Revenge.

What I learned about writing – The happy ending debate

The Happy Ending Debate: Is It All About Where You Stop the Story?

We’ve all been there. Lost in a book, glued to a screen, investing our emotions in characters and their journeys. As the story nears its end, a quiet hope stirs within us: Please, let them be happy. We crave resolution, comfort, and the satisfaction of knowing that, in this fictional world at least, good triumphs and love prevails.

But should every story culminate in a neat, tidy, and unequivocally happy ending? And more profoundly, is the ‘happiness’ of an ending simply a matter of where the author chooses to draw the final curtain?

The Allure of the Sunny Conclusion

There’s no denying the power and appeal of a happy ending. They offer:

  • Escapism: Life is often messy and unpredictable. Stories with joyous resolutions provide a much-needed mental break, a reminder that things can turn out well.
  • Hope: They validate our belief in perseverance, the triumph of good over evil, and the idea that our own struggles might eventually lead to brighter days.
  • Satisfaction: A happy ending can feel like a reward for the emotional investment we’ve made, a pleasant closure to a captivating experience.

From classic fairy tales to blockbuster rom-coms, these endings serve a vital purpose, leaving us with a warm feeling and a sense that balance has been restored.

The Unflinching Gaze of Reality

However, limiting all narratives to happy conclusions would be a disservice to the vast spectrum of human experience. Sometimes, stories need to:

  • Reflect Reality: Life isn’t always fair, and not every conflict resolves harmoniously. Stories that acknowledge pain, loss, and unresolved tension can be incredibly powerful and resonant.
  • Provoke Thought: Tragic or ambiguous endings often linger longer in the mind, prompting deeper reflection on themes, choices, and consequences.
  • Offer Catharsis: Witnessing a character’s journey through suffering, even if it doesn’t end happily, can be a form of emotional release and understanding for the audience.
  • Teach and Warn: Some stories serve as cautionary tales or explorations of the darker sides of humanity, and a happy ending would undermine their core message.

Think of literary classics, historical dramas, or poignant independent films – their power often lies in their refusal to sugarcoat the human condition.

The Art of the Final Frame: Where Do You Stop?

This brings us to the most intriguing part of the debate: Is a happy ending simply a matter of narrative framing?

Consider this: Is a character’s failure truly the end, or is it merely the lowest point before a potential rise? Is a bittersweet goodbye truly sad, or is it a necessary step towards individual growth and new beginnings?

  • Life is Continuous: In reality, our stories don’t stop. A “happy ending” might just be a moment of respite before the next challenge, and a “tragic ending” could be the catalyst for profound change in others.
  • The Power of Hope: An ending doesn’t have to be happy to be hopeful. A character might face immense loss, but the final scene could show them finding a glimmer of purpose, taking a first step towards healing, or inspiring others to carry on. This isn’t happiness in the traditional sense, but it offers forward momentum.
  • The Reader’s Imagination: Sometimes, an author intentionally leaves an ending open, trusting the audience to imagine what comes next. What feels unresolved to one person might feel like an invitation for possibility to another. The “end” of the story is merely where the author stops narrating; the characters’ lives, in our minds, continue.
  • Satisfying vs. Happy: A story can have a satisfying ending without being strictly happy. It can be satisfying because it feels earned, logical, and true to the characters and themes, even if it’s painful or melancholic.

Crafting the Right Conclusion

Ultimately, whether a story should have a happy ending isn’t a universal rule, but a deliberate choice. It depends on:

  • The Genre: Rom-coms and fairytales thrive on happiness; noir and tragedies demand a different tone.
  • The Story’s Purpose: Is it meant to uplift, entertain, challenge, or reflect?
  • The Characters’ Journeys: Does a happy ending feel organic and earned, or forced and unrealistic, given what the characters have endured and become?

So, should every story have a happy ending? Probably not. But should every story offer some form of resolution, be it hopeful, cathartic, or thought-provoking? Absolutely.

The true magic lies in the storyteller’s ability to know precisely where to stop, leaving us not necessarily with boundless joy, but with a feeling that the journey was complete, meaningful, and true – even if the sun isn’t shining quite so brightly in that final frame.


What do you think? Do you prefer happy endings, or do you find more satisfaction in realistic or even tragic conclusions? Share your thoughts in the comments below!

365 Days of writing, 2026 – 184

Day 184 – Show, don’t tell

The Art of the Landscape: What Thomas Hardy Taught Ursula K. Le Guin About “Showing, Not Telling”

Every writer has heard the golden rule: “Show, don’t tell.”

It is the advice that launches a thousand creative writing workshops, yet it remains one of the most misunderstood concepts in literature. Does it mean you can never state an emotion? Does it mean your prose must be purely cinematic?

To find the true essence of this rule, we can look to a master of the craft, Ursula K. Le Guin. In her legendary essays on writing, Le Guin often pointed to a specific, masterful example of environmental storytelling: the opening chapter of Thomas Hardy’s The Return of the Native.

Here is how Hardy uses the landscape of Egdon Heath to redefine what it meant to “show” an entire world before a single character ever speaks.


The Trap of “Telling”

When beginners are told to “show,” they often interpret it as a directive to describe every micro-movement—“She clenched her fist, her knuckles turning white, showing her anger.”

While this is “showing,” it is literal and often clunky. True “showing” is about atmosphere, mood, and implication. It is about placing the reader in a space where they can feel the truth of the situation without being lectured by the author.

The Lesson from Egdon Heath

In the first chapter of The Return of the Native, Thomas Hardy does something radical. He doesn’t introduce a hero, a villain, or a dialogue-driven incident. Instead, he introduces the heath itself.

As Ursula K. Le Guin noted in her workshops, Hardy treats Egdon Heath not as a backdrop, but as a living, breathing participant in the story. He writes:

“The place became full of a watchful intentness now; for when other things sank brooding to sleep the heath appeared slowly to awake and listen.”

Hardy is doing something extraordinary here. He is “showing” the reader the tone of the entire novel before the plot begins. He doesn’t tell us, “The setting is oppressive, ancient, and indifferent to human suffering.” Instead, he describes the heath as a creature that “awaits” and “listens.”

Why Le Guin Admired This Approach

Le Guin championed this passage because it teaches writers that environment is character.

By spending pages describing the soil, the colours of the heath, the shadows, and the way the light dies over the horizon, Hardy creates a sense of foreboding. He shows the reader that the human lives within this book will be small, fragile, and ultimately at the mercy of this vast, prehistoric landscape.

If Hardy had simply told us, “The story takes place in a lonely, haunting part of England where people struggle against nature,” the reader would have accepted it as a fact. But by showing it—by making the heath look, act, and “feel”—the reader experiences that loneliness in their own bones.

Three Ways to Apply the “Hardy-Le Guin” Method

If you want to move beyond the surface-level interpretation of “show, don’t tell,” try these three strategies:

1. Use the Setting to Establish Stakes

Don’t just have your characters walk through a room. Have the room reflect the state of the story. If a marriage is failing, show the dust on the mantle or the way the light doesn’t quite reach the chairs. Make your setting a reflection of your underlying themes.

2. Let the Landscape “Listen”

Hardy gave the heath a sense of “watchful intentness.” What is your setting doing? Is the city you are writing in hostile? Does the forest feel like it’s holding its breath? Giving your setting semi-sentient traits can anchor your reader in the mood of the piece instantly.

3. Trust the Reader’s Intelligence

Hardy didn’t need to summarise the history of Egdon Heath. He trusted the reader to pick up the vibe of the place through the sensory language he used. When you write, pull back on the adjectives and lean into the gestures of your environment.

The Takeaway

“Show, don’t tell” isn’t about avoiding exposition; it’s about making your exposition experiential.

As Ursula K. Le Guin taught, the best writers don’t just dump information on the reader. They build a world so tactile and evocative that the “meaning” of the story is felt long before it is understood. Take a page from Hardy: ignore the plot for a moment, look at the world you’ve built, and ask yourself—is my setting just a stage, or is it alive?

365 Days of writing, 2026 – 184

Day 184 – Show, don’t tell

The Art of the Landscape: What Thomas Hardy Taught Ursula K. Le Guin About “Showing, Not Telling”

Every writer has heard the golden rule: “Show, don’t tell.”

It is the advice that launches a thousand creative writing workshops, yet it remains one of the most misunderstood concepts in literature. Does it mean you can never state an emotion? Does it mean your prose must be purely cinematic?

To find the true essence of this rule, we can look to a master of the craft, Ursula K. Le Guin. In her legendary essays on writing, Le Guin often pointed to a specific, masterful example of environmental storytelling: the opening chapter of Thomas Hardy’s The Return of the Native.

Here is how Hardy uses the landscape of Egdon Heath to redefine what it meant to “show” an entire world before a single character ever speaks.


The Trap of “Telling”

When beginners are told to “show,” they often interpret it as a directive to describe every micro-movement—“She clenched her fist, her knuckles turning white, showing her anger.”

While this is “showing,” it is literal and often clunky. True “showing” is about atmosphere, mood, and implication. It is about placing the reader in a space where they can feel the truth of the situation without being lectured by the author.

The Lesson from Egdon Heath

In the first chapter of The Return of the Native, Thomas Hardy does something radical. He doesn’t introduce a hero, a villain, or a dialogue-driven incident. Instead, he introduces the heath itself.

As Ursula K. Le Guin noted in her workshops, Hardy treats Egdon Heath not as a backdrop, but as a living, breathing participant in the story. He writes:

“The place became full of a watchful intentness now; for when other things sank brooding to sleep the heath appeared slowly to awake and listen.”

Hardy is doing something extraordinary here. He is “showing” the reader the tone of the entire novel before the plot begins. He doesn’t tell us, “The setting is oppressive, ancient, and indifferent to human suffering.” Instead, he describes the heath as a creature that “awaits” and “listens.”

Why Le Guin Admired This Approach

Le Guin championed this passage because it teaches writers that environment is character.

By spending pages describing the soil, the colours of the heath, the shadows, and the way the light dies over the horizon, Hardy creates a sense of foreboding. He shows the reader that the human lives within this book will be small, fragile, and ultimately at the mercy of this vast, prehistoric landscape.

If Hardy had simply told us, “The story takes place in a lonely, haunting part of England where people struggle against nature,” the reader would have accepted it as a fact. But by showing it—by making the heath look, act, and “feel”—the reader experiences that loneliness in their own bones.

Three Ways to Apply the “Hardy-Le Guin” Method

If you want to move beyond the surface-level interpretation of “show, don’t tell,” try these three strategies:

1. Use the Setting to Establish Stakes

Don’t just have your characters walk through a room. Have the room reflect the state of the story. If a marriage is failing, show the dust on the mantle or the way the light doesn’t quite reach the chairs. Make your setting a reflection of your underlying themes.

2. Let the Landscape “Listen”

Hardy gave the heath a sense of “watchful intentness.” What is your setting doing? Is the city you are writing in hostile? Does the forest feel like it’s holding its breath? Giving your setting semi-sentient traits can anchor your reader in the mood of the piece instantly.

3. Trust the Reader’s Intelligence

Hardy didn’t need to summarise the history of Egdon Heath. He trusted the reader to pick up the vibe of the place through the sensory language he used. When you write, pull back on the adjectives and lean into the gestures of your environment.

The Takeaway

“Show, don’t tell” isn’t about avoiding exposition; it’s about making your exposition experiential.

As Ursula K. Le Guin taught, the best writers don’t just dump information on the reader. They build a world so tactile and evocative that the “meaning” of the story is felt long before it is understood. Take a page from Hardy: ignore the plot for a moment, look at the world you’ve built, and ask yourself—is my setting just a stage, or is it alive?

What I learned about writing – Exploring our dreams

Unlocking the Night: Exploring the Mystical and the Mundane in Our Dreams

The moment our conscious minds drift into slumber, a new world unfurls. A world where gravity is optional, where the familiar can morph into the surreal, and where echoes of our waking lives mingle with the utterly bizarre. Dreams. They’ve captivated, puzzled, and inspired humanity for millennia, sparking endless debate about their true nature. Are they celestial messages whispered from beyond, or simply the chaotic rumblings of our own sleeping brains?

For many, dreams are indeed magical journeys. They offer an escape from the mundane, transporting us to fantastical landscapes, reuniting us with lost loved ones, or allowing us to fly through star-dusted skies. These are the dreams that linger, leaving us with a sense of wonder and a touch of longing for the ephemeral reality we briefly inhabited. They can feel profoundly significant, imbued with a wisdom or a warning that feels almost otherworldly. Think of the ancient interpretations, where dreams were seen as direct communications from deities or omens of the future. This perspective imbues our dreamscapes with a powerful, almost spiritual, aura.

On the other hand, the realm of psychology offers a compelling alternative: dreams as eruptions of the subconscious. Freud famously theorised that dreams are the “royal road to the unconscious,” a space where repressed desires, unresolved conflicts, and hidden anxieties can manifest in symbolic form. From this viewpoint, those fleeting images and nonsensical narratives are not random but are rather the deeply buried parts of ourselves fighting for attention. That recurring dream of being chased might not be a premonition of danger, but a symbolic representation of avoidance in our waking life. Understanding these subconscious eruptions can be a powerful tool for self-discovery and personal growth.

But how do we bridge these two seemingly disparate interpretations? And more importantly, how do we glean meaning from the often elusive tapestry of our dreams? For a growing number of individuals, the answer lies in a simple yet profound practice: keeping a dream journal.

The act of writing down your dreams, no matter how fragmented or strange they may seem, is an incredibly potent way to engage with your nocturnal adventures. It’s like catching fireflies in a jar – you’re capturing fleeting moments of light and then examining them more closely in the quiet of the morning.

Here’s why a dream journal can be so transformative:

  • Enhanced Recall: Dreams are notoriously fleeting. The moment you wake up, the images begin to fade. By immediately jotting down what you remember, you’re preserving these valuable fragments before they vanish into the ether. Even a few keywords or a fleeting image can trigger fuller memories later.
  • Pattern Recognition: Over time, you’ll start to notice recurring themes, symbols, and emotions in your dreams. This is where the real magic of a journal unfolds. Are you frequently encountering water? Are there specific people who keep appearing? These patterns can offer profound insights into your current emotional state, your subconscious concerns, and even your deepest aspirations.
  • Symbol Interpretation: While some dream symbols are universal, many are deeply personal. By seeing your symbols laid out in your journal, you can begin to decipher their unique meaning to you. What does that specific colour, that peculiar object, or that strange location represent in your personal lexicon?
  • Bridging the Gap: A dream journal can act as a bridge between the magical and the mundane. You can still appreciate the fantastical journeys while simultaneously seeking the underlying psychological messages. It allows for both wonder and introspection.
  • Boosting Creativity: Many artists, writers, and musicians draw inspiration directly from their dreams. A well-maintained dream journal can be a treasure trove of unique ideas, unexpected plot twists, and evocative imagery, fueling your creative endeavours.

Whether you view your dreams as whimsical escapades or as vital messages from your inner self, the practice of keeping a dream journal offers a tangible way to connect with this mysterious and often overlooked aspect of your existence. So, next time you wake with a phantom sensation or a lingering image, grab a notebook and pen. You might just be on the verge of unlocking a hidden world within yourself.

What are your thoughts on dreams? Do you keep a dream journal? Share your experiences in the comments below!

365 Days of writing, 2026 – 183

Day 183 – Words of Wisdom

The Symbiotic Cycle: Why Writing and Living Are Inseparable

“I shall live badly if I do not write, and I shall write badly if I do not live.” — Françoise Sagan

When the French novelist Françoise Sagan uttered these words, she wasn’t just talking about the craft of writing; she was defining the heartbeat of the creative process. For many, writing is a profession, a hobby, or a necessary outlet. But for the serious practitioner, writing is a metabolism. It is the process of converting life into art and art back into fuel for life.

But what does this delicate, circular balance actually mean for those of us who struggle to find time for both? Let’s break down the symbiotic relationship between lived experience and the written word.


Part I: “I shall live badly if I do not write”

For the dedicated writer, writing is not an extracurricular activity. It is a psychological hygiene practice. When we don’t write, the internal static—the observations, the frustrations, the fleeting moments of beauty—begins to clog our internal machinery.

  • Writing as Processing: Life is chaotic. We encounter grief, joy, and existential absurdity in rapid succession. Writing turns the abstract feelings of our day-to-day existence into something tangible. Without this outlet, we often “live badly” because we are carrying the weight of unexamined experiences.
  • The Clarity of Thought: Joan Didion famously said, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means.” When you fail to write, you lose your internal compass. Writing forces you to articulate your values, which in turn helps you live with greater intention.

Part II: “I shall write badly if I do not live”

The flip side of Sagan’s coin is equally dangerous. If you retreat into a hermetically sealed room to write, believing that “inspiration” will strike you in isolation, your work will eventually suffer. This is the “Ivory Tower” trap.

  • The Well Must Be Refilled: You cannot pour from an empty cup. If your life is devoid of risk, conversation, sunlight, failure, and connection, your writing will begin to taste like stale water. Great writing requires the raw material of reality—the sensory details of a subway ride, the awkwardness of a first date, or the frustration of a broken-down car.
  • Empathy Requires Experience: Fiction and non-fiction alike rely on the writer’s ability to understand the human condition. If you don’t engage with the world, your characters become flat and your philosophy becomes theoretical. To write with depth, you must allow yourself to be hurt, surprised, and changed by the world outside your desk.

Part III: Finding the Equilibrium

How do we balance the need for the solitude of the page with the need for the chaos of the street?

  1. Immerse to Write: Give yourself periods of “active intake.” Read, travel, listen to podcasts, or volunteer. Make your life “messy” enough to give you something to analyse.
  2. Withdraw to Create: Set non-negotiable windows of time where the world is locked out. Use this time to distil what you’ve gathered.
  3. The Feedback Loop: Treat your life as research. When you are living, look for the “story”—what is the core emotion of this interaction? When you are writing, look for the “truth”—does this sentence reflect the way I truly feel, or is it just a cliché?

The Final Word

Françoise Sagan understood that a writer who stops living becomes a technician, and a person who stops writing becomes a passive observer of their own life.

To live well, you must synthesise your experience into meaning. To write well, you must be brave enough to step out into the world and get your boots dirty. So, go out and live a life worth writing about—then come home and put it on the page.


Are you struggling to balance your creative output with your daily life? Share your thoughts on how you keep your “well” full in the comments below.