Day 72  – Focus, concentration – and the cat!

…

Focus and Concentration in a Distracted World

(And Why Your Cat Might Be the Secret Weapon – or the Worst Saboteur)

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1. Why Focus Matters More Than Ever

In 2024‑2025 the average knowledge‑worker juggles seven digital tools, nine instant‑messaging channels, and a relentless stream of notifications. The result? A mental‑energy drain that feels like trying to read a novel while the TV is playing the soundtrack of a busy airport.

When you can focus—that state of deep, uninterrupted attention—your brain operates in its most efficient mode:

Benefit	What It Looks Like
Higher quality output	Fewer errors, richer ideas
Speedier completion	Tasks that once took 2 h now finish in 1 h
Reduced stress	Less “I’m behind” anxiety
Better memory retention	Information sticks after a single deep‑work session

But achieving that sweet spot isn’t a given. It’s a skill that must be deliberately cultivated, and like any skill it runs into obstacles.

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2. The Biggest Obstacles to Deep Focus

#	Obstacle	How It Sabotages You	Quick Fix
1	Digital Overload	Pop‑ups, email pings, Slack threads, and endless scrolling hijack the prefrontal cortex, forcing it into task‑switching mode.	Turn off non‑essential notifications, batch‑check email 2‑3× per day, use “focus‑mode” extensions (e.g., Freedom, LeechBlock).
2	Multitasking Myth	Switching costs ~23 seconds per switch and erodes memory. The brain never truly “does” two things at once.	Adopt single‑tasking: block 90‑minute “focus windows” and commit to one deliverable per block.
3	Physical Environment	Clutter, poor lighting, uncomfortable seating, and temperature fluctuations raise cortisol, making it hard to settle into concentration.	Declutter the desk, invest in ergonomic furniture, use a 6000 K “focus” light, and keep the room at 20‑22 °C.
4	Internal Noise	Stress, rumination, and low‑grade anxiety flood the mind with “background chatter.”	Practice a 2‑minute mindful breathing reset before each work block; keep a “worry journal” to offload intrusive thoughts.
5	Biological Rhythms	Working against your circadian peaks (e.g., tackling analytical work at 3 a.m.) lowers cognitive bandwidth.	Map your personal “chronotype” and schedule high‑cognition tasks during your natural peak (usually mid‑morning for most).
6	The “Cat Effect”	A sudden, adorable interruption that pulls you away from the screen.	(See the next section – it can be both a curse and a cure.)

While many of these obstacles can be mitigated with tools and habits, the Cat Effect is a special case because it blends the emotional with the environmental in a way few other distractions do.

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3. The “Cat Effect”: Remedy or Curse?

3.1 What Exactly Is the Cat Effect?

In productivity circles, the Cat Effect describes the phenomenon where a feline (or any beloved pet) jumps onto your keyboard, sits on your paperwork, or simply meows for attention at the moment you’re deep in concentration. It’s a classic meme: a cat perched on a laptop with the caption “I’m working, don’t disturb.”

But beyond the humour, the Cat Effect raises a genuine question: Can an unpredictable, affectionate animal actually improve focus, or does it merely sabotage it?

3.2 The Science Behind “Cute Interruption”

Research Insight	Takeaway
Oxytocin boost – Petting a cat releases oxytocin, a hormone linked to reduced stress and heightened focus. (Study: Journal of Behavioral Medicine, 2023)	A brief cuddle can reset the nervous system, making it easier to return to work refreshed.
Micro‑break theory – Short, intentional breaks improve cognitive performance. The Pomodoro Technique (25 min work + 5 min break) is backed by neuroscience.	A cat’s “interruption” can act as a natural micro‑break, provided it’s timed right.
Attention residue – Switching tasks leaves “residue” that can linger up to 20 minutes, impairing subsequent performance. (Lleras et al., 2022)	If the cat’s demand leads to an unplanned, longer break, you incur the cost of attention residue.
Positive affect – Positive emotions broaden thinking and foster creativity (Fredrickson, 2021).	The joy a cat brings can expand your creative bandwidth after the interaction.

Bottom line: The Cat Effect can be both a remedy and a curse—it hinges on how and when the interruption happens.

3.3 When It Becomes a Remedy

1. Scheduled “Pet Pomodoros” – Set a timer for 45 minutes of deep work, then allocate a 5‑minute “cat cuddle” break. The cat learns the pattern, and you get a stress‑busting oxytocin hit.
2. Pre‑work Warm‑up – Spend 2‑3 minutes playing with your cat before you begin a focus block. This releases built‑up tension and signals to your brain that you’re entering a calm state.
3. Mindful Observation – Instead of shooing the cat away, observe its behaviour for a breath‑count (inhale 4, hold 4, exhale 4). You turn the distraction into a mini‑meditation.

3.4 When It Turns Into a Curse

• Unplanned, Prolonged Attention – If your cat decides to nap on your keyboard for 10 minutes, you lose momentum and may need to restart a task.
• Emotional Over‑Attachment – Guilt or anxiety about leaving the cat alone can cause you to pre‑emptively check on it, fracturing the focus block.
• Multiple Pets – Two or more cats (or a cat + dog) amplify the probability of chaotic interruptions, making the environment too volatile for deep work.

3.5 A Practical Decision Tree

               Is the cat demanding attention?
                       /          
                 Yes (short)   Yes (long)
                  /                
   Is it < 2 min & 5‑min break?  Is it >5 min?
          |                         |
    Allow micro‑break    Gently redirect cat
          |                         |
   Resume work (oxytocin)   Use “cat‑free” zone

If the cat’s request is brief (under 2 minutes) and you’re already scheduled for a short break, embrace it. Anything longer? Redirect—a separate cat‑play area, a treat puzzle, or a scheduled “cat time” later in the day.

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4. Building a Focus‑Friendly Ecosystem (Cat‑Friendly Edition)

1. Create a Dedicated “Focus Zone”
   • Use a separate room or a visual barrier (e.g., a bookshelf) that signals “do not disturb.”
   • Add a cat perch just outside the zone so your feline can still be near you without hijacking your keyboard.
2. Leverage Technology
   • Noise‑cancelling headphones with a “focus playlist” (Binaural beats, 60 bpm).
   • Smart lighting that mimics daylight during peak hours and dims after your scheduled break.
3. Set Boundaries with Your Pet
   • Training cue: Teach your cat a “go to bed” command for when you need uninterrupted time.
   • Timed play sessions: 10 minutes of interactive toys (laser pointer, feather wand) right before you start a focus block.
4. Optimise Physical Health
   • Hydration: Keep a water bottle at your desk; dehydration reduces concentration by up to 30 %.
   • Movement: A 30‑second stretch every 30 minutes combats the “couch‑potato” effect of sitting too long.
5. Mind‑Body Reset Ritual
   • 2‑minute breathing: Inhale for 4, hold for 4, exhale for 4.
   • Gratitude snap: Look at something you’re grateful for (often, that’s your cat) for 5 seconds—instant positive affect.

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5. A Sample Day That Harnesses the Cat Effect

Time	Activity	Cat Strategy
07:30‑08:00	Morning routine (coffee, stretch)	Play with cat for 5 min, then give a treat in a separate corner.
08:00‑09:45	Deep work block (project planning)	Focus cue: “Do not disturb” sign + headphones. If cat jumps, count to 5, gently guide it to the perch.
09:45‑10:00	Micro‑break	Cat cuddle – 5 min of petting, oxytocin boost.
10:00‑11:30	Focus block (writing)	Same focus cue. If cat stays on the desk, redirect with a puzzle feeder.
11:30‑12:00	Lunch + Playtime	Dedicated 30‑min interactive session with cat; burn energy for the rest of the day.
13:00‑14:30	Focus block (analysis)	Headphones on, “focus zone.” Cat on perch, watching you.
14:30‑14:35	Quick stretch + breathing	No cat interaction; keep the rhythm of work.
14:35‑15:45	Wrap‑up & review	Give cat a final cuddle before shutting down the computer.

Result: You experience two intentional cat‑driven micro‑breaks that enhance focus, while preventing unscheduled, disruptive interruptions.

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6. The Takeaway

• Focus is a muscle that needs regular, deliberate training.
• Digital, physical, and internal distractions are the primary obstacles; each can be managed with clear habits, environment tweaks, and self‑care.
• The Cat Effect is a double‑edged sword:
  • Remedy when it serves as a short, pleasurable micro‑break that releases oxytocin and resets stress.
  • Curse when it leads to prolonged, unplanned interruptions that create attention residue.
• The secret lies in predictability: schedule pet time, train boundaries, and design a workspace that welcomes the cat—but only on its terms.

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Ready to Test the Cat Effect?

1. Pick one focus block today (e.g., 90 minutes).
2. Set a clear cat‑break rule (≤2 minutes, then back to work).
3. Track the outcome – Did you feel more refreshed? Did productivity improve?

Share your results in the comments! Whether you’re a solo freelancer, a remote team leader, or a cat‑loving student, mastering the balance between focus and feline affection can be the game‑changer you didn’t know you needed.

Happy focusing—and happy cat‑cuddling! 

Day 71 – Luck

…

Writing Is a Blend of Drafts, Practice, Patience… and (Yes) Luck
How much does luck really matter, and can you manufacture your own?

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1. The Four Pillars of the Writing Process

Pillar	What It Looks Like in Practice	Why It Matters
Draft	A messy, imperfect first version that never sees the light of day.	Gets ideas out of your head and onto paper before they evaporate.
Practice	Writing daily, experimenting with genre, studying the craft.	Turns raw talent into reliable skill; the more you write, the better you become at spotting what works.
Patience	Allowing stories to simmer, waiting for feedback, revising until the narrative sings.	Prevents rushed, half‑baked work and gives you the space to notice subtle improvements.
Luck	The right eyes on the right piece at the right time.	Bridges the gap between “good enough” and “published, celebrated, paid.”

Most writers feel comfortable dissecting the first three. They’re concrete, measurable, and—most importantly—controllable. Luck, on the other hand, feels ethereal, like a gust of wind you can’t predict or direct. Yet, it’s a factor that many successful authors (and their agents, editors, and readers) cite as a turning point in their careers.

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2. Luck: Myth, Mystery, or Measurable Influence?

a. The “Right Person” Phenomenon

The story you’ll hear a thousand times: “I sent my manuscript to 50 agents, and the 51st said yes.”

• Statistical reality: If an agent receives 200 submissions a week and picks one, the odds are 0.5 % per submission. That’s a very real, quantifiable element of luck.
• Why it matters: Even a superb manuscript can sit in the abyss of an overburdened inbox forever without that serendipitous glance.

b. Timing is Everything

A dystopian novel released in 2024 lands in a saturated market; a similar story in 2008 rides the wave of post‑9/11 anxiety and becomes a bestseller.

• External factors: Cultural mood, current events, emerging trends, even algorithm changes on platforms like Amazon or TikTok.
• The luck factor: Being in sync with the zeitgeist often feels like luck, but it’s also a product of awareness and timing.

c. Network Effects

A friend shares your article on LinkedIn, it goes viral, and a publishing house reaches out.

• The roulette wheel: Who you know, where you post, which forum you frequent—these are chance encounters that can catapult a piece from obscurity to spotlight.

Bottom line: Luck isn’t a mystical force; it’s the intersection of your work with unpredictable external variables. And that intersection is not completely out of your control.

---

3. Engineering Your Own Luck

If luck is a probability, you can raise the odds. Below are proven tactics that writers use to manufacture their own good fortune.

 Show Up Consistently (The Visibility Engine)

• Why it works: The more you publish—whether it’s blog posts, flash fiction, or LinkedIn threads—the higher the chance one piece lands in the right feed at the right moment.
• Action step: Commit to a minimum output (e.g., 500 words a day or one medium‑length article per week). Use a content calendar to keep yourself accountable.

 Target the Right Gatekeepers

• Research before you pitch: Identify agents, editors, or influencers whose recent purchases align with your genre or theme.
• Personalise: Mention a specific piece they’ve championed and explain why your manuscript complements it.
• Result: You’re no longer sending a blind shot in the dark; you’re aiming at a moving target you’ve studied.

 Leverage “Micro‑Virality” Platforms

• Twitter, TikTok, Substack, Medium: These ecosystems reward shareable, bite‑sized content. A well‑crafted hook can earn thousands of impressions overnight.
• Tip: Repurpose a chapter excerpt into a 280‑character “teaser” or a 30‑second video reading. Cross‑post to maximise reach.

 Build a Community First

• Why it matters: A loyal readership will champion your work, give honest feedback, and amplify your voice.
• How: Host virtual writing circles, participate in genre‑specific Discord servers, or run a monthly newsletter with exclusive drafts.
• Outcome: When you finally release a book, you already have a built‑in launch squad.

 Collect Data, Iterate, and Scale

• Track metrics: Open rates, click‑throughs, submission response rates.
• A/B test subject lines, cover designs, query letters.
• Refine: Treat each launch as an experiment; the data reveals which “luck‑generating” tactics actually work for you.

 Stay Informed About Industry Shifts

• Subscribe to trade newsletters (Publishers Weekly, The Bookseller, etc.).
• Attend virtual conferences and note emerging trends (e.g., the rise of interactive fiction or AI‑assisted storytelling).
• Result: You can anticipate the next wave and position your manuscript to ride it—turning what looks like luck into strategic timing.

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4. A Real‑World Example: From “Luck” to “Preparedness + Opportunity”

Case Study – Maya Patel, debut sci‑fi author

1. Draft & Practice: Wrote three full manuscripts over four years, revising each based on beta‑reader feedback.
2. Patience: Held back on publishing, waiting for the right moment to submit to agents specialized in climate‑fiction.
3. Manufactured Luck:

• Joined a niche Discord for “eco‑thrillers.”
• Shared a 1,000‑word excerpt, which was retweeted by a popular environmental activist.
• The tweet caught the eye of an agent who listed “eco‑drama” as a current interest.
• Within two weeks, Maya’s manuscript was under contract.

Maya’s story illustrates that the “lucky” agent discovery was the result of deliberate community building and strategic exposure.

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5. The Mindset Shift: From “I’m Unlucky” to “I’m Luck-Optimising.”

Fixed‑Luck Thought	Luck‑Optimizing Reframe
“I never get noticed; it’s just bad luck.”	“I need more visibility points where luck can happen.”
“If I’m not published by 30, it’s fate.”	“I’ll create multiple launch pathways—self‑publish, serialized web‑novel, audiobooks.”
“Publishers are gatekeepers I can’t influence.”	“I can build relationships with them through consistent, high‑quality content.”

By treating luck as a resource you can attract rather than a random wind you must endure, you shift from passive resignation to active agency.

---

6. Quick‑Start Checklist: Crafting Your Own Luck

	Action
1	Set a daily word‑count goal and log it for 30 days.
2	Compile a list of 10 agents/editors who have sold books similar to yours.
3	Publish a 500‑word excerpt on two social platforms this week.
4	Join one writing community (Discord/Reddit/Slack) and contribute weekly.
5	Track the performance of each post (views, shares, comments).
6	Review data every two weeks; tweak headlines, posting times, or formats.
7	Pitch one query letter per week, using the personalized research you did.
8	Celebrate every small win—an extra comment, a retweet, a beta‑reader endorsement.

Consistently checking off these items builds “luck capital” that compounds over time.

---

7. The Bottom Line

Writing success is rarely a straight line from draft → practice → patience → publication. Luck—those unpredictable moments when the right person sees the right piece—plays a genuine role. But luck is not a cosmic lottery ticket you either draw or don’t. It’s a probability that you can raise dramatically by:

1. Increasing the number of opportunities (more drafts, more posts, more pitches).
2. Targeting the right people (research, personalisation).
3. Timing your releases (stay current, watch industry trends).
4. Cultivating a community that will champion your work.

When you combine solid craft with a systematic “luck‑building” strategy, you turn the nebulous element of fortune into a replicable part of your writing business.

Remember: “Luck is what happens when preparation meets opportunity.”—Seneca (or at least a modern writer’s version of it).
So keep drafting, keep practicing, keep being patient, and then engineer the circumstances where luck can finally knock on your door.

---

Ready to boost your luck? Drop a comment below with the first step you’ll take today, and let’s hold each other accountable. Happy writing! 

Day 71 – Luck

…

Writing Is a Blend of Drafts, Practice, Patience… and (Yes) Luck
How much does luck really matter, and can you manufacture your own?

---

1. The Four Pillars of the Writing Process

Pillar	What It Looks Like in Practice	Why It Matters
Draft	A messy, imperfect first version that never sees the light of day.	Gets ideas out of your head and onto paper before they evaporate.
Practice	Writing daily, experimenting with genre, studying the craft.	Turns raw talent into reliable skill; the more you write, the better you become at spotting what works.
Patience	Allowing stories to simmer, waiting for feedback, revising until the narrative sings.	Prevents rushed, half‑baked work and gives you the space to notice subtle improvements.
Luck	The right eyes on the right piece at the right time.	Bridges the gap between “good enough” and “published, celebrated, paid.”

Most writers feel comfortable dissecting the first three. They’re concrete, measurable, and—most importantly—controllable. Luck, on the other hand, feels ethereal, like a gust of wind you can’t predict or direct. Yet, it’s a factor that many successful authors (and their agents, editors, and readers) cite as a turning point in their careers.

---

2. Luck: Myth, Mystery, or Measurable Influence?

a. The “Right Person” Phenomenon

The story you’ll hear a thousand times: “I sent my manuscript to 50 agents, and the 51st said yes.”

• Statistical reality: If an agent receives 200 submissions a week and picks one, the odds are 0.5 % per submission. That’s a very real, quantifiable element of luck.
• Why it matters: Even a superb manuscript can sit in the abyss of an overburdened inbox forever without that serendipitous glance.

b. Timing is Everything

A dystopian novel released in 2024 lands in a saturated market; a similar story in 2008 rides the wave of post‑9/11 anxiety and becomes a bestseller.

• External factors: Cultural mood, current events, emerging trends, even algorithm changes on platforms like Amazon or TikTok.
• The luck factor: Being in sync with the zeitgeist often feels like luck, but it’s also a product of awareness and timing.

c. Network Effects

A friend shares your article on LinkedIn, it goes viral, and a publishing house reaches out.

• The roulette wheel: Who you know, where you post, which forum you frequent—these are chance encounters that can catapult a piece from obscurity to spotlight.

Bottom line: Luck isn’t a mystical force; it’s the intersection of your work with unpredictable external variables. And that intersection is not completely out of your control.

---

3. Engineering Your Own Luck

If luck is a probability, you can raise the odds. Below are proven tactics that writers use to manufacture their own good fortune.

 Show Up Consistently (The Visibility Engine)

• Why it works: The more you publish—whether it’s blog posts, flash fiction, or LinkedIn threads—the higher the chance one piece lands in the right feed at the right moment.
• Action step: Commit to a minimum output (e.g., 500 words a day or one medium‑length article per week). Use a content calendar to keep yourself accountable.

 Target the Right Gatekeepers

• Research before you pitch: Identify agents, editors, or influencers whose recent purchases align with your genre or theme.
• Personalise: Mention a specific piece they’ve championed and explain why your manuscript complements it.
• Result: You’re no longer sending a blind shot in the dark; you’re aiming at a moving target you’ve studied.

 Leverage “Micro‑Virality” Platforms

• Twitter, TikTok, Substack, Medium: These ecosystems reward shareable, bite‑sized content. A well‑crafted hook can earn thousands of impressions overnight.
• Tip: Repurpose a chapter excerpt into a 280‑character “teaser” or a 30‑second video reading. Cross‑post to maximise reach.

 Build a Community First

• Why it matters: A loyal readership will champion your work, give honest feedback, and amplify your voice.
• How: Host virtual writing circles, participate in genre‑specific Discord servers, or run a monthly newsletter with exclusive drafts.
• Outcome: When you finally release a book, you already have a built‑in launch squad.

 Collect Data, Iterate, and Scale

• Track metrics: Open rates, click‑throughs, submission response rates.
• A/B test subject lines, cover designs, query letters.
• Refine: Treat each launch as an experiment; the data reveals which “luck‑generating” tactics actually work for you.

 Stay Informed About Industry Shifts

• Subscribe to trade newsletters (Publishers Weekly, The Bookseller, etc.).
• Attend virtual conferences and note emerging trends (e.g., the rise of interactive fiction or AI‑assisted storytelling).
• Result: You can anticipate the next wave and position your manuscript to ride it—turning what looks like luck into strategic timing.

---

4. A Real‑World Example: From “Luck” to “Preparedness + Opportunity”

Case Study – Maya Patel, debut sci‑fi author

1. Draft & Practice: Wrote three full manuscripts over four years, revising each based on beta‑reader feedback.
2. Patience: Held back on publishing, waiting for the right moment to submit to agents specialized in climate‑fiction.
3. Manufactured Luck:

• Joined a niche Discord for “eco‑thrillers.”
• Shared a 1,000‑word excerpt, which was retweeted by a popular environmental activist.
• The tweet caught the eye of an agent who listed “eco‑drama” as a current interest.
• Within two weeks, Maya’s manuscript was under contract.

Maya’s story illustrates that the “lucky” agent discovery was the result of deliberate community building and strategic exposure.

---

5. The Mindset Shift: From “I’m Unlucky” to “I’m Luck-Optimising.”

Fixed‑Luck Thought	Luck‑Optimizing Reframe
“I never get noticed; it’s just bad luck.”	“I need more visibility points where luck can happen.”
“If I’m not published by 30, it’s fate.”	“I’ll create multiple launch pathways—self‑publish, serialized web‑novel, audiobooks.”
“Publishers are gatekeepers I can’t influence.”	“I can build relationships with them through consistent, high‑quality content.”

By treating luck as a resource you can attract rather than a random wind you must endure, you shift from passive resignation to active agency.

---

6. Quick‑Start Checklist: Crafting Your Own Luck

	Action
1	Set a daily word‑count goal and log it for 30 days.
2	Compile a list of 10 agents/editors who have sold books similar to yours.
3	Publish a 500‑word excerpt on two social platforms this week.
4	Join one writing community (Discord/Reddit/Slack) and contribute weekly.
5	Track the performance of each post (views, shares, comments).
6	Review data every two weeks; tweak headlines, posting times, or formats.
7	Pitch one query letter per week, using the personalized research you did.
8	Celebrate every small win—an extra comment, a retweet, a beta‑reader endorsement.

Consistently checking off these items builds “luck capital” that compounds over time.

---

7. The Bottom Line

Writing success is rarely a straight line from draft → practice → patience → publication. Luck—those unpredictable moments when the right person sees the right piece—plays a genuine role. But luck is not a cosmic lottery ticket you either draw or don’t. It’s a probability that you can raise dramatically by:

1. Increasing the number of opportunities (more drafts, more posts, more pitches).
2. Targeting the right people (research, personalisation).
3. Timing your releases (stay current, watch industry trends).
4. Cultivating a community that will champion your work.

When you combine solid craft with a systematic “luck‑building” strategy, you turn the nebulous element of fortune into a replicable part of your writing business.

Remember: “Luck is what happens when preparation meets opportunity.”—Seneca (or at least a modern writer’s version of it).
So keep drafting, keep practicing, keep being patient, and then engineer the circumstances where luck can finally knock on your door.

---

Ready to boost your luck? Drop a comment below with the first step you’ll take today, and let’s hold each other accountable. Happy writing! 

Day 70 – The nine-to-five effect

…

The 9‑to‑5 Grind: How a “Soul‑Destroying” Day Job Can Become the Secret Sauce Behind Award‑Winning Fiction

“The work we do for a living is the very material our imagination chews on while we’re trying to stay awake at the office.” – Anon.

If you’re a writer who spends eight-plus hours a day staring at a spreadsheet, fielding angry customers, or shuffling paperwork, you’ve probably wondered whether that soul‑sucking routine is killing your creative spark. The short answer? It’s not.

In fact, for many of the world’s most celebrated authors—including the master of psychological suspense, Patricia Highsmith—the very same grind that felt like a dead‑end at the time became the fuel, discipline, and grounding that later powered their best work. Below, we’ll unpack why the daily grind can be a surprisingly potent catalyst for literary greatness, and we’ll look at real‑life writers who turned their “day‑job drudgery” into literary gold.

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1. The “Soul‑Destroying” Job: Why It’s Not All Bad

Common Complaint	Hidden Benefit
Monotony – “It feels like I’m watching paint dry.”	Rhythmic structure. Repetitive tasks teach you timing, pacing, and the power of restraint—key ingredients in tight prose.
Lack of creative freedom – “I’m stuck following a script.”	Constraint breeds invention. When you can’t control your environment, you learn to make the most of the tiny windows you do control (a notebook on a lunch break, a restless mind on the commute).
Emotional exhaustion – “I’m drained by the time I get home.”	Emotional reservoir. The frustrations, absurdities, and small triumphs of office life provide a deep well of authentic human experience to mine later.
Time scarcity – “There’s never enough time to write.”	Time‑management mastery. Juggling deadlines forces you to carve out micro‑moments of focus, sharpening the skill of writing with brevity.
Identity dilution – “I feel like a cog, not a creator.”	Grounded perspective. A day job anchors you in the “real world,” preventing the echo chamber that can make fictional worlds feel detached from lived experience.

Think of the nine‑to‑five as a training ground rather than a trough. It may feel soul‑crushing in the moment, but the resilience you build, the people you observe, and the grit you develop often become the scaffolding for your most resonant stories.

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2. How the Day Job Turns Into Narrative Gold

1. Observation Lab – An office is a micro‑society. You see power dynamics, office politics, and the hidden rituals people perform to survive. Highsmith famously used the mundanity of a clerk’s life to study the banality of evil, later channelling it into the chilling psyche of Tom Ripley.
2. Character Templates – The “friend who never stops complaining,” the “manager who micromanages,” the “quiet intern who overhears everything.” Real people become ready‑made character sketches that feel instantly believable.
3. Dialogue Bank – The snappy exchange at the water cooler, the forced politeness of customer service calls, the frantic email threads—each is a masterclass in subtext, pacing, and voice.
4. Structural Discipline – Meeting deadlines and delivering consistent output teaches you to treat your manuscript like a project with milestones, not an amorphous dream.
5. Financial Safety Net – Money isn’t the only resource a steady job provides; it buys the psychological freedom to take creative risks later, without the pressure to “sell” immediately.

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3. Real‑World Proof: Writers Who Turned the Grind Into Glory

Writer	Day‑Job Drag	How It Informed Their Work	Notable Works/Accolades
Patricia Highsmith	Copy‑editor, office clerk, and later a full‑time mother with no literary income.	The repetitive, almost mechanical nature of clerical work sharpened her ability to depict the “quiet horror” of everyday life. Her protagonists often feel trapped in dead‑end jobs, mirroring her own experience.	The Talented Mr. Ripley (adapted into multiple films), Strangers on a Train (Oscar‑winning screenplay).
Raymond Carver	Warehouse loader, janitor, saw‑mill worker.	The stark, economical prose of minimalism mirrors the physical labor and scarcity of his jobs—every word had to earn its place, just as every broken piece of wood earned his paycheck.	What We Talk About When We Talk About Love (National Book Award finalist).
J.K. Rowling	Unpaid research assistant, later a single mother on welfare.	Living on the edge of financial collapse fueled the poverty‑and‑hope themes in the Harry Potter series; the bureaucracy she faced informed the Ministry of Magic’s absurdities.	Harry Potter series (multiple Booker‑type honors, 7‑time Hugo nominee).
Stephen King – The Teacher	High school English teacher (full‑time).	The daily rhythm of lesson planning and grading taught King the mechanics of suspense: pacing a lesson parallels pacing a chapter; the “classroom” is a micro‑stage for human drama.	Carrie (1974), The Shining (1977), The Dark Tower series (Hugo, World Fantasy).
Franz Kafka	Insurance clerk at the Workers’ Accident Insurance Institute.	Kafka’s legal‑bureaucratic prose directly mirrors the labyrinthine paperwork of his day job—The Trial is practically a love letter to (and indictment of) bureaucratic absurdity.	The Metamorphosis, The Castle (posthumous critical acclaim).
Toni Morrison	Editor at Random House (while writing).	Editing other authors’ manuscripts sharpened her ear for rhythm and voice; the corporate environment gave her a front‑row seat to the politics of representation.	Beloved (Pulitzer, Nobel).

Takeaway: None of these writers quit the day job because they loved it. They leveraged it—using the grind as a crucible for observation, discipline, and raw material.

---

4. Turning Your Own 9‑to‑5 Into a Writing Engine (Practical Steps)

1. Carry a Pocket Notebook
   A two‑minute break? Jot down a striking phrase you overheard, a facial expression that tells a story, or a sudden burst of emotion.
2. Set “Micro‑Writing” Goals
   • 5‑minute flash fiction during lunch.
   • One paragraph before you log off.
   • A single line of dialogue while waiting for the elevator.
3. Create a “Work‑to‑Write” Ratio
   Example: 90 % work, 10 % writing. When you see the 10 % slice, treat it like a sacrament—no scrolling, no emails, just writing.
4. Use the Commute as a Lab
   Audio‑record your thoughts (or a voice‑memo of a character’s monologue). Transcribe later; you’ll have a ready‑made scene while still stuck in traffic.
5. Harvest Office Archetypes
   Make a cheat‑sheet of “the boss,” “the gossip,” “the silent observer.” When you need a character, pull from your list and tweak a few details.
6. Schedule a “Reflection Day”
   Once a month, take a half‑day off (or use a vacation day) to sit with your notebook, reorganise ideas, and see what patterns emerge from your daily observations.
7. Remember the Paycheck’s Purpose
   The salary isn’t just a means to survive; it’s a portfolio that lets you fund research trips, attend workshops, and ultimately leave the day job when you’re ready.

---

5. The Psychological Flip: From “Soul‑Destroyer” to “Soul‑Maker”

Many writers describe a pivotal moment when they stop hating their day job and start using it. Here’s a quick mental reframing exercise:

1. Identify the Pain Point – “I hate the endless emails.”
2. Find the Narrative Parallel – “Characters stuck in a flood of unwanted information.”
3. Translate to Plot – “A protagonist receives a mysterious series of emails that slowly reveal a conspiracy.”
4. Create a Symbol – The email inbox becomes a metaphor for the subconscious, a place where buried secrets surface.

When you consciously map a nuisance onto a story element, the job stops being an opponent and becomes a collaborator.

---

6. The Endgame: When the Lights Go Out

Your day job may eventually fade—whether you quit, get promoted, or transition to freelance—but the lessons you learned never do:

• Structure – You now know how to break a massive manuscript into manageable sections.
• Observation – You can paint vivid settings with a single, well‑placed detail.
• Resilience – You’ve already survived the “soul‑destroying” grind; rejections and revisions will feel less brutal.

Patricia Highsmith herself once said, “The ordinary is an endless source of the extraordinary if you just look at it.” She didn’t escape the office to find inspiration; she stayed and listened—and the result was a body of work that still haunts readers decades later.

---

Bottom Line

The nine‑to‑five isn’t a curse; it’s a crucible. It strips away the illusion that writing lives in some ethereal realm and forces you to mine the real world for raw, unfiltered material. That material—filtered through discipline, observation, and a dash of rebellion—can become the backbone of award‑winning fiction.

So the next time you stare at your computer screen and feel the weight of a “soul‑destroying” task, remember:

Your desk is a front‑row seat to humanity.
Your inbox is a repository of dialogue.
Your paycheck is a safety net that lets you risk the stories that truly matter.

Embrace the grind, write in the margins, and let the ordinary become the extraordinary foundation of your next masterpiece.

Happy writing, and may your coffee be strong and your ideas stronger.

---

References & Further Reading

1. The Talented Mr. Ripley – Patricia Highsmith (1955) – analysis of occupational ennui in character development.
2. Reading Like a Writer – Francine Prose – chapters on “Writing from Experience.”
3. On Writing – Stephen King – King’s reflections on his teaching career and its influence on his narrative pacing.
4. The Art of Fiction – John Gardner – on using everyday life as a seed for fiction.

Want more stories of day‑job‑turned‑novelists? Subscribe to the newsletter for monthly case studies and actionable writing hacks!

Day 70 – The nine-to-five effect

…

The 9‑to‑5 Grind: How a “Soul‑Destroying” Day Job Can Become the Secret Sauce Behind Award‑Winning Fiction

“The work we do for a living is the very material our imagination chews on while we’re trying to stay awake at the office.” – Anon.

If you’re a writer who spends eight-plus hours a day staring at a spreadsheet, fielding angry customers, or shuffling paperwork, you’ve probably wondered whether that soul‑sucking routine is killing your creative spark. The short answer? It’s not.

In fact, for many of the world’s most celebrated authors—including the master of psychological suspense, Patricia Highsmith—the very same grind that felt like a dead‑end at the time became the fuel, discipline, and grounding that later powered their best work. Below, we’ll unpack why the daily grind can be a surprisingly potent catalyst for literary greatness, and we’ll look at real‑life writers who turned their “day‑job drudgery” into literary gold.

---

1. The “Soul‑Destroying” Job: Why It’s Not All Bad

Common Complaint	Hidden Benefit
Monotony – “It feels like I’m watching paint dry.”	Rhythmic structure. Repetitive tasks teach you timing, pacing, and the power of restraint—key ingredients in tight prose.
Lack of creative freedom – “I’m stuck following a script.”	Constraint breeds invention. When you can’t control your environment, you learn to make the most of the tiny windows you do control (a notebook on a lunch break, a restless mind on the commute).
Emotional exhaustion – “I’m drained by the time I get home.”	Emotional reservoir. The frustrations, absurdities, and small triumphs of office life provide a deep well of authentic human experience to mine later.
Time scarcity – “There’s never enough time to write.”	Time‑management mastery. Juggling deadlines forces you to carve out micro‑moments of focus, sharpening the skill of writing with brevity.
Identity dilution – “I feel like a cog, not a creator.”	Grounded perspective. A day job anchors you in the “real world,” preventing the echo chamber that can make fictional worlds feel detached from lived experience.

Think of the nine‑to‑five as a training ground rather than a trough. It may feel soul‑crushing in the moment, but the resilience you build, the people you observe, and the grit you develop often become the scaffolding for your most resonant stories.

---

2. How the Day Job Turns Into Narrative Gold

1. Observation Lab – An office is a micro‑society. You see power dynamics, office politics, and the hidden rituals people perform to survive. Highsmith famously used the mundanity of a clerk’s life to study the banality of evil, later channelling it into the chilling psyche of Tom Ripley.
2. Character Templates – The “friend who never stops complaining,” the “manager who micromanages,” the “quiet intern who overhears everything.” Real people become ready‑made character sketches that feel instantly believable.
3. Dialogue Bank – The snappy exchange at the water cooler, the forced politeness of customer service calls, the frantic email threads—each is a masterclass in subtext, pacing, and voice.
4. Structural Discipline – Meeting deadlines and delivering consistent output teaches you to treat your manuscript like a project with milestones, not an amorphous dream.
5. Financial Safety Net – Money isn’t the only resource a steady job provides; it buys the psychological freedom to take creative risks later, without the pressure to “sell” immediately.

---

3. Real‑World Proof: Writers Who Turned the Grind Into Glory

Writer	Day‑Job Drag	How It Informed Their Work	Notable Works/Accolades
Patricia Highsmith	Copy‑editor, office clerk, and later a full‑time mother with no literary income.	The repetitive, almost mechanical nature of clerical work sharpened her ability to depict the “quiet horror” of everyday life. Her protagonists often feel trapped in dead‑end jobs, mirroring her own experience.	The Talented Mr. Ripley (adapted into multiple films), Strangers on a Train (Oscar‑winning screenplay).
Raymond Carver	Warehouse loader, janitor, saw‑mill worker.	The stark, economical prose of minimalism mirrors the physical labor and scarcity of his jobs—every word had to earn its place, just as every broken piece of wood earned his paycheck.	What We Talk About When We Talk About Love (National Book Award finalist).
J.K. Rowling	Unpaid research assistant, later a single mother on welfare.	Living on the edge of financial collapse fueled the poverty‑and‑hope themes in the Harry Potter series; the bureaucracy she faced informed the Ministry of Magic’s absurdities.	Harry Potter series (multiple Booker‑type honors, 7‑time Hugo nominee).
Stephen King – The Teacher	High school English teacher (full‑time).	The daily rhythm of lesson planning and grading taught King the mechanics of suspense: pacing a lesson parallels pacing a chapter; the “classroom” is a micro‑stage for human drama.	Carrie (1974), The Shining (1977), The Dark Tower series (Hugo, World Fantasy).
Franz Kafka	Insurance clerk at the Workers’ Accident Insurance Institute.	Kafka’s legal‑bureaucratic prose directly mirrors the labyrinthine paperwork of his day job—The Trial is practically a love letter to (and indictment of) bureaucratic absurdity.	The Metamorphosis, The Castle (posthumous critical acclaim).
Toni Morrison	Editor at Random House (while writing).	Editing other authors’ manuscripts sharpened her ear for rhythm and voice; the corporate environment gave her a front‑row seat to the politics of representation.	Beloved (Pulitzer, Nobel).

Takeaway: None of these writers quit the day job because they loved it. They leveraged it—using the grind as a crucible for observation, discipline, and raw material.

---

4. Turning Your Own 9‑to‑5 Into a Writing Engine (Practical Steps)

1. Carry a Pocket Notebook
   A two‑minute break? Jot down a striking phrase you overheard, a facial expression that tells a story, or a sudden burst of emotion.
2. Set “Micro‑Writing” Goals
   • 5‑minute flash fiction during lunch.
   • One paragraph before you log off.
   • A single line of dialogue while waiting for the elevator.
3. Create a “Work‑to‑Write” Ratio
   Example: 90 % work, 10 % writing. When you see the 10 % slice, treat it like a sacrament—no scrolling, no emails, just writing.
4. Use the Commute as a Lab
   Audio‑record your thoughts (or a voice‑memo of a character’s monologue). Transcribe later; you’ll have a ready‑made scene while still stuck in traffic.
5. Harvest Office Archetypes
   Make a cheat‑sheet of “the boss,” “the gossip,” “the silent observer.” When you need a character, pull from your list and tweak a few details.
6. Schedule a “Reflection Day”
   Once a month, take a half‑day off (or use a vacation day) to sit with your notebook, reorganise ideas, and see what patterns emerge from your daily observations.
7. Remember the Paycheck’s Purpose
   The salary isn’t just a means to survive; it’s a portfolio that lets you fund research trips, attend workshops, and ultimately leave the day job when you’re ready.

---

5. The Psychological Flip: From “Soul‑Destroyer” to “Soul‑Maker”

Many writers describe a pivotal moment when they stop hating their day job and start using it. Here’s a quick mental reframing exercise:

1. Identify the Pain Point – “I hate the endless emails.”
2. Find the Narrative Parallel – “Characters stuck in a flood of unwanted information.”
3. Translate to Plot – “A protagonist receives a mysterious series of emails that slowly reveal a conspiracy.”
4. Create a Symbol – The email inbox becomes a metaphor for the subconscious, a place where buried secrets surface.

When you consciously map a nuisance onto a story element, the job stops being an opponent and becomes a collaborator.

---

6. The Endgame: When the Lights Go Out

Your day job may eventually fade—whether you quit, get promoted, or transition to freelance—but the lessons you learned never do:

• Structure – You now know how to break a massive manuscript into manageable sections.
• Observation – You can paint vivid settings with a single, well‑placed detail.
• Resilience – You’ve already survived the “soul‑destroying” grind; rejections and revisions will feel less brutal.

Patricia Highsmith herself once said, “The ordinary is an endless source of the extraordinary if you just look at it.” She didn’t escape the office to find inspiration; she stayed and listened—and the result was a body of work that still haunts readers decades later.

---

Bottom Line

The nine‑to‑five isn’t a curse; it’s a crucible. It strips away the illusion that writing lives in some ethereal realm and forces you to mine the real world for raw, unfiltered material. That material—filtered through discipline, observation, and a dash of rebellion—can become the backbone of award‑winning fiction.

So the next time you stare at your computer screen and feel the weight of a “soul‑destroying” task, remember:

Your desk is a front‑row seat to humanity.
Your inbox is a repository of dialogue.
Your paycheck is a safety net that lets you risk the stories that truly matter.

Embrace the grind, write in the margins, and let the ordinary become the extraordinary foundation of your next masterpiece.

Happy writing, and may your coffee be strong and your ideas stronger.

---

References & Further Reading

1. The Talented Mr. Ripley – Patricia Highsmith (1955) – analysis of occupational ennui in character development.
2. Reading Like a Writer – Francine Prose – chapters on “Writing from Experience.”
3. On Writing – Stephen King – King’s reflections on his teaching career and its influence on his narrative pacing.
4. The Art of Fiction – John Gardner – on using everyday life as a seed for fiction.

Want more stories of day‑job‑turned‑novelists? Subscribe to the newsletter for monthly case studies and actionable writing hacks!

Day 69 – Writing exercise

We don’t have a lot of time

…

This was the thing about end-of-world stuff.

You honestly believe that people could not be that stupid, and how simple it was to create the conditions where the only answer is nuclear Armageddon.

We go to the movies, we watch television shows that portray what it’s like before the war, during the war and then after the war, what we are calling World War 3.

If there’s a war, because some shows are about people building bunkers in anticipation of a war, and then when there wasn’t, they blew everything up anyway.

And sadly, that just about sums up what is happening to us now.

…

Let’s go back.  It wasn’t all that long ago.  We had a particular country in the Middle East deciding that it was sick of missiles randomly raining down on it.

Maybe that’s a bit of an exaggeration, but the intent was the same.  Certain Arab states didn’t like Israel, that certain country, so Israel started bombing the Palestinians. 

Meanwhile, elements in Yemen sent missiles, elements in Lebanon sent missiles, and a larger oil-rich country, Iran, financed all these splinter Arab groups.

Then there’s the Russians and the Ukrainians.  There’s the Chinese posturing over Taiwan.  The United States posturing over oil and terrorism, and the rest of the world, basically horrified, are nervously watching on.

We are in Australia, as far away from all this stuff as you could get, but we do have a problem.  Oil.  We import it all, so if the Middle East explodes, we will be in trouble.

We could live with posturing.  We could live with the superpowers flexing their muscles.  What we don’t want or need is a full-scale war that would become a black hole and suck everyone in.

We even said so, multiple times. Preceful negotiations, not bombs.

Did anyone listen….

…

I was reading a book, a work of fiction, written a few years ago now.

The premise ..

If someone blows up the oil pipelines in the Middle East, and a country on the borders of the Hormuz Strait decided to sink a few ships and block it, how long would it take for society to break down?

This book should be mandatory reading for every politician in the world because what happens when the scenario plays out is Armageddon.

No oil, no petrol, no cars or trucks, no deliveries.  No oil for the power station generators, no industry, no food moving.  People don’t store food.  They buy it daily.  When the food runs out…

Rationing?  Tell that to the guy with the gun, pointing it at you.  He’s desperate and will pull the trigger.  All semblance of sanity is finished.

You get the picture. Two weeks, anarchy, four goodbye to sanity and everything else.

I’m reading this book, and a newsflash comes on the screen.
.
Israel and America have bombed Iran.

Why?  They think the Iranians are about to launch a nuclear warhead. 

Where?  Israel, America?

Do they not know that if the Iranians exploded a nuclear bomb anywhere, there’s going to be retaliation?

I’m sitting staring at the TV screen in utter disbelief.

Of course, Iran is going to fire back, and because America is involved, they will retaliate against all the US bases in the other Arab States.

What was the reason for this seemingly unprovoked attack, other than the alleged nuclear weapon?

Pick one out of 157 random reasons, none quite a making up a coherent sentence.  We are told it will last two days, the war will be won, Iran will lose everything, the country will be taken back by the people, and everything will be fine.

That’s right, after the alleged nuclear bomb, the next reason was to kill the radical leadership and have the people revolt.

Two days at the most.  Bomb their nuclear facilities and some infrastructure, one of which was apparently next to a girl’s school, and it was hit instead with horrifying results.   But they did kill the leader.

I guess what happens next would be the same if the Iranians killed the President of the USA, and I hpe they weren’t thinking there would be no retaliation.

Admittedly, we all think that Iran is run a little too religiously, and that the regime is harsh in meting out punishment to dissenters and women, but it is a sovereign country, and no other country has the right to bomb them simply because we don’t like their religion or customs.

Of course, we in Australia denounced the attack as illegal, along with just about every sane country in the world.  But again, we are reminded that this is allegedly about killing the leadership and hoping for an uprising.

Yep.  Good luck with that.  Day two, the expert commentators, yes, like sport, we have commentators for wars, the experts are saying that in killing heads of state, they will be replaced, quite possibly with more radical heads of state, with the warning they will never forget what the enemy did.  And yes, there might be protesters in the streets, hoping for a change in government, but we’ll shoot them.

Day four, no to the regime change and no to surrender.  This war is just getting started. Reading between the lines, the Iranians saw this coming, have seen it coming for years, and have made appropriate arrangements.

And a little daunting on the side, the message sent to Israel and America, bring it on.

Day five, we are told Iran is a spent force, with no munitions, destroyed launching sites, and no leadership. 

Until a barrage of missiles lands in places where no missiles were expected, leaving a few dead soldiers for someone to explain how this had happened when their infrastructure had been, so-called, blasted to bits.

And no, just because it’s war and there are always casualties, it just doesn’t cut it when you tell a mother who has lost her son that they have to expect casualties in war, when they had been told no more wars, ending existing wars, and their President is the President of Peace.

This isn’t going to win anyone a Nobel Peace Prize any time soon.

The two-day, worst-case-scenario war is now a week along, and there is no end in sight.  Iran seems to have an inexhaustible supply of missiles.

That one week suddenly turns into two weeks, and the world is now panicking over the loss of oil getting through. Oil prices per barrel are rocketing, ships are not moving, insurance is withdrawn, and stock markets are tanking.

Here’s a thought. Let’s let Russia sell oil to ease the shortages. They won’t use the funds to fuel the war with Ukraine. Will they? Or supply intelligence to the Iranians. Or is China selling arms and missile defence systems?

And not forgetting their own little skirmish, it seems the initial efforts are not working, so let’s start bombing infrastructure.  Not outhouses and portable toilets, let’s start taking out gas and oil fields and make it hard for them to produce anything. Like their major gas field.

Haven’t they heard of retaliation?  You know when the other side goes for your stuff?

Obviously not.  But who didn’t expect Iran to target the other Arab countries’ infrastructure, and now it’s getting serious.

You can see a pattern forming here. Drop bombs on us, we sent missiles and drones back, you target our gas and oil fields, we will target yours. They even stand up and tell us in plain language what they’re going to do.

Week three, we don’t want to know.  Israel has bombarded and damaged a large Iranian facility.  And no, I didn’t hear them surrendering, I hear them going for American and Arab states’ gas and oil fields with the same intensity.

This is a war.  There are no good guys when it comes to running wars.  It’s about destroying the enemy, plain and simple.

OMG.

By this time, we are beginning to realise they’re using missiles which we apparently didn’t or can’t find or destroy because they’re, well, hidden, 500 meters below ground level, and therefore can launch barrages with impunity on friendly Arab states, and it seems longer range targets.

And if they can hit long-range targets, nothing is safe, no one is safe, and you have to think that this war is becoming the mother of all disasters.

So, here we are, each side bombing and destroying part of the other’s oil and gas-producing facilities, and now the world is suffering because of it. Where will it end?

Two world wars, and we apparently haven’t learned anything.

Three weeks, and we’re on a knife-edge. It’s that time when, turning on the TV to get the latest news, we are barraged with destruction and posturing.

And, this morning, an ultimatum. We are telling them they have 48 hours to surrender or they will be totally destroyed.

What?

An ultimatum that says, basically, you’re in a no-win situation. I can literally see the Iranian leadership behind closed doors, discussing the latest threat.

Imagining that they do not have nuclear weapons at their disposal would be a mistake. We want to believe they don;t but I suspect, as so a lot of others, they do.

The question is whether they would use them.

Is anyone, on either side, asking the question?

If you shoot, they shoot, and there will be nothing left.  There will be no world left for either side to claim any sort of victory. And all those who didn’t want to be involved will suffer the same fate.

Nuclear annihilation.

…

So, here’s the thing.

In many different TV shows where someone is backed into a corner, and there’s no way out, the only way outcome is the worst possible eventuality.

You see the people who finally realise that it’s a no-win situation, and try to calm things down, but it’s usually one person or a group in an isolated situation.  The damage, as catastrophic as it is, is confined.

When you corner someone into believing the only way out is annihilation, well, hold onto your hats because this is one in, all in.

And as is the nature of our society and its thirst for instant news, we’re going to see the end of the world in real time.

We may not die instantly like the lucky ones, no, we’ll get to die a lingering death, a day, or two, or a week.  Maybe a month, but the thought of that is too horrific to contemplate.

You just have to wonder who the madman is who will authorise the first strike.

The Iranians, the Israelis or the Americans?

In the end, it doesn’t matter.  They will condemn this planet to extinction. 

Somewhere out there, the aliens who put us here as an experiment will be saying, yep. What a bunch of nihilistic dumbasses.  Money will change hands as the bets are paid, and the universe will go about its business, happy that Elon Musk isn’t going to live on Mars, and the Chinese aren’t going to take over the moon.

And the self-immolation tendencies of the human race will not spread its disease through the universe.

Except…

Flip-flop has just flipped the 48-hour deadline to five days, and then it will be the infamous two weeks that never end.

The stock market was cratering. It needed to hear positive news, that peace is within reach.

Even if it isn’t. Maybe money with trump annihilation.

We all collectively hold our breath, knowing that inevitably the end of this world is coming, and we can blame the person who invented the atomic bomb.  I was going to say that it’s the aliens’ fault because they could have come and stopped all this nonsense before it started. 

I guess they tried when they landed at Area 51, but our ‘shoot first and ask questions later; basically basically sealed our fate.

So?

We have a four-day breather before everything starts over again.

Is it any wonder I do not like roller coasters?

  .