365 Days of writing, 2026 – 136/137

Days 136 and 137 – Writing Exercise

The first thing I could hear when consciousness returned was the swooshing sound.  It was an odd sound that lingered, causing puzzlement momentarily.

Until recognition kicked on.  A roof fan, turning slowly, regurgitates air that holds the aroma of mould.

The odd sensation, if it could be called that, was that silence wasn’t silent.  There were noises everywhere on the edge of my consciousness.

The fan was simply the loudest.

Noises that my mind, as it finally started working again, tried to identify because that will to survive had kicked in.

It needed to know where I was, why I was there, how long I had been there, and what had happened in the period just before.

Except my mind at that moment could only deal with one thing at a time.

The fact that I was alive.

It was dark, but when was darkness really darkness?  It wasn’t.  There was always some ambient light somewhere.  A crack, a hole, even a covered window could never stop even the tiniest of rays from getting through.

There was one, at the top, where the black paint had not been applied properly.  I focused on it, watched it get bigger, and then converted what was inky blackness into a lesser shade of black.

I was in a room.

I closed my eyes then opened them again.

There was something else.

Yes, on the periphery of my vision.  A blinking red dot.  I shifted my head slightly and saw it, perhaps the corner of the room, blink, blink, blink.

Steady.  Slow.  As if sending a message.  Of course, we are watching you.

Question: Who is the ‘we’?

Location established.

Not in imminent danger.

Breathe.

I was lying down on a reasonably soft surface, and carefully testing fingers, one arm then the other, one leg then the other.

No restraints.  No pain when moving any part.

Move head, no pain, so my incapacitation was not a result of being hit or shot.

Only possibility: drugged.

So…

Where was I before this happened?

It took a moment to process the memories, isolate the details.  I received an address, a house I had been to before several times, with a special code.

An urgent request for help.

At the last interview, I had been instructed to give the target a burner phone with one number, mine, and a code that would be routed to me with the location.

I went to the location, gained access to the building, and found the target sitting in a room bound to a chair.

Then nothing.

They, whoever they were, had been waiting for me.

That meant only one possibility:  the target was in on the ambush.

Here’s the thing.

If I were to do a threat assessment, based on one being low and ten being high, it was, at the moment, a three.

I was not bound, not gagged, not hurt.

Why?

Whoever was holding me in this room wanted me for something.

The lack of restraints told me they did not expect me to retaliate, which meant they had leverage, and they would speak to me before initiating anything.

Alternatively, running through possibilities, they could use this room as a means of conditioning, alternating hot and cold, intense lighting, flashing lights, loud and soft sounds, darkness, sleep deprivation, all so I would lose track of time.

Leading to interrogation, sometimes with violence.

Been there and done that.

They could know why I was there, they might not know the whole story, or they might want something else altogether.  I was a harbinger of secrets.  A prize target. 

For someone who wanted revenge for past deeds…

Or maybe I was just being sidelined while certain people got away.  It would set us back, and I would miss the deadline.

The room was suddenly bathed in light.  Not bright but enough to make everything distinctly clear.  After my eyes adjusted.

It was just an ordinary room, pale green walls, carpet with water stains on one side, a window painted black. A bed and nothing else.

The bedspread had seen better days.

The sheets and pillowcase matched.

It was not a hotel room.

“Mr Ryker.”  The voice was female, youngish, not angry, but not gloating.

The sound came from the roof, near the flashing red light.  The speaker was watching me.

“I’m going to open the door.  There is no point trying to escape.  If you do try, you will be shot.  I just want to ask some questions.”

Routine or otherwise?  While attached to electric wires, I could be shocked if I didn’t give a suitable answer.

“Go ahead,” I said, whether they believed I would stay put or not.

I sat on the side of the bed after considering my options for escape.  It was possible, but it was also suicidal.  It was a better option to see who my captor was, then reassess.

After a minute, the lock clicked, and the door opened.  I could see a guard, armed, ten feet back from the other side of the door.  Just outside a woman, nothing special to define her, in dress, in features, in language.

She looked, for all intents and purposes, like a schoolteacher or librarian.  That might have been a defining feature.  A tigress dressed up to look like a kitten.

“Mr Ryker, at last we meet.  You are a very elusive man.”

“Not that elusive, apparently.”  I gave my best impression of a defeated protagonist.

She smiled.  “Don’t despair.  You only made one mistake.  You cared.”

I shrugged.  There was a difference between caring and following orders, but I wasn’t going to explain the difference. 

What I wanted to know was how they knew about the call, or worse still, the location of the target that was used to draw me into their web.

“Come.  Walk with me.”

“Isn’t that risky.  I’m sure you know what I’m capable of?”

“You’re not going to risk Deborah’s life, are you?”

Was there a simple answer to that question?  If we could not keep her safe, there was only one other option. It was one I was not very happy about.

“In normal circumstances, Mr Ryker, I would agree with you.  But you stepped over that invisible line, didn’t you?”

I closed my eyes and took a few seconds to think about how different this might be if I had not taken that one step.  It was just one kiss, but it had a profound effect on me.

Against everything I had been taught.

One moment undid years of training and work ethic, loyalty to the job, and ignoring the distractions.

A shrug, then I stood and faced her.

“My boss always said, in this line of work, everyone has a use-by date.”

“That’s a bit harsh.  You make it sound like he thinks you are all sacrificial lambs.”

“Aren’t we?”

“Doesn’t have to be so.”  She took several steps back, leaving space for me to pass, and the guard would not lose direct line of sight.

I joined her.

There was a hint of lavender in the air.

I’d never seen her before, and of all the players from the briefing, and there were about a dozen, she was not one of them.

So much for thorough research.

“You’re wondering who I am, aren’t you?”

“Not just another pretty face, I imagine.”

“You think I have a pretty face?  I assure you, back when I was a teenager, I was the proverbial ugly duckling.”

High school, peer groups, the in girls making life hell for the ugly ducklings.  Revenge could be a bitch, and I wondered how many of her contemporaries were wishing they’d never met her.

“Not any more.”

It was a long passage with doors with numbers on them.  A dormitory, perhaps.  An old school.

At the end of the passage a large ornate staircase, with two sets of stairs to the level below, one on the left-hand side, and one on the right.

The wall opposite the balcony had windows, some glass, smeared with years of detritus, the centre Staines glass with a depiction of Christ of the cross and angels swirling.

Below looked dusty and littered with furniture that had been, if I were to guess, tossed by disaffected students or inmates.

Odd, no one had tried to hurl a desk or chair through the window.

It was impossible to see outside.

“What is this place?”

“A monument to the rich and powerful who strived hard to keep most of the population in poverty.”

“And when the revolution came, you simply traded one set of greedy bastards for another.  The people basically traded poverty for death.”

There was a flash of anger in her eyes.  “You think you’re better than us?”

“I think if you were to go back to your village and see how the people are, they would be no better off than they were a hundred and fifty years ago.  If I were to go back home to my village, we would be no better off than we were a hundred years ago.  The world revolves around the one per cent who own everything and the five per cent that run everything.  I’m sure you want for nothing, which makes this a hollow argument about ideology.”

What looked like someone counting to ten before exploding, she sucked in a deep breath and exhaled slowly.

“We will beg to differ.”

“Think what you like.  You’re totally wrong, and if your people taught you anything, it’s not to debate with the enemy.”

The smile returned, the first in her eyes remained.

Was I going to be the challenge she might be looking for? 

Several volleys of machine gun fire broke the tension, and her eyes betrayed her thoughts.

“What the…”

A single shot dropped the guard with the gun, and out of the shadows, one of Barrymore’s agents appeared.  Jocelyn or Josephine, I couldn’t remember her name.

Another two heavily armoured agents came up the stairs, guns pointed at my mysterious friend.

I saw Jocelyn put a hand to her ear and listen. The reply, “Clean up, move out.”

The two agents bound the girl and took her away.  She had not recovered from the shock.  I was still a little surprised myself.

“It works,” Jocelyn said.

She was referring to the device that had been implanted in me before the operation.  They needed a crash test dummy.  I volunteered.

If it hadn’t worked, it was quite literally a suicide mission.

“Is she anyone of consequence?”  I was referring to my captor.

“Just one of a dozen brainwashed agents he thinks can contribute to a better world.  It’s like a cult, with a maniacal leader and a bunch of acolytes.  Pity really.”  She slapped me on the shoulder. “Good work.  We got another assignment for you.  Not quite as easy as this one was.”

Crash test dummy or suicidal maniac? 

All in a day’s work.

©  Charles Heath  2026

What I learned about writing – Mortal danger and the story that saves you

The Scheherazade Challenge: If My Life (and Your Attention) Depended On It…

Let’s play a dangerous game, shall we?

Imagine, for a fleeting moment, that the weight of an ancient dynasty rests on your shoulders. The Sultan, broken by betrayal and consumed by cynicism, has vowed to take a new bride each night and execute her by dawn. And then, there’s you. A single, fragile life against the tide of his despair, with only one weapon: a story.

Not just any story. A story so compelling, so intricate, so profoundly human, that it can outwit the executioner, melt a frozen heart, and stretch the boundaries of time itself. Your very survival, the fate of all women in the kingdom, hinges on your ability to spin a tale that leaves the Sultan hanging on your every word, desperate for the next sunrise to reveal its continuation.

Now, take a deep breath. We’re not in a dusty, lamp-lit palace, and (thankfully) my head isn’t on a literal chopping block. But as a writer in this wild, wonderful, and wonderfully noisy digital age, there are still stakes. My “Sultan” is you, dear reader, scrolling through an endless bazaar of content. My “dawn” is the moment you might click away, drawn by the siren song of another tab. And my “life” (or at least, my creative soul and my ability to connect with you) depends on telling an amazing story.

So, if I were Scheherazade, faced with that impossible mandate, what tale would I weave?

It wouldn’t be a simple adventure, nor a flat romance. It would need layers, heart, and a message so subtle yet profound that it could soften the hardest of souls.

My Life-Saving Story: “The Loom of Whispers and the Cartographer of Hidden Threads”

My story would begin in a city unlike any other, not built of stone and mortar, but of stories themselves. Let’s call it Aethelgard, the City of Echoes. Its streets are paved with forgotten proverbs, its buildings rise from ancient legends, and the very air hums with the whispers of every life ever lived within its bounds.

Our protagonist would be Elara, not a warrior or a princess, but a reclusive Cartographer of Hidden Threads. Her unique gift (and burden) is that she can see the invisible, iridescent threads that connect every living being in Aethelgard. Each thread represents a shared experience, a glance exchanged, a kindness given, a betrayal suffered, a dream whispered in unison. Most people only see their own thread, a solitary line stretching from their heart. But Elara sees the entirety: a magnificent, terrifying, ever-shifting tapestry of countless lives interwoven.

The story would begin with a creeping malaise. Aethelgard, once vibrant, is losing its colour. Its echoes are fading. People are growing isolated, suspicious, convinced their own struggles are unique and paramount. The threads, once brilliantly intertwined, are fraying, even breaking. Elara knows the city is dying because its people are forgetting how deeply they are connected.

Her quest is not to slay a monster, but to mend the tapestry. She must journey not across lands, but through the stories themselves.

Each night, I would begin one of Elara’s “thread-following” expeditions:

  • Night One: She follows a flickering, almost invisible thread from a lonely old baker who believes no one cares for him. The thread leads her back through generations, revealing how his great-grandmother, a woman he never knew, once saved a merchant’s fortune with a single, anonymous act of kindness, and how that merchant’s lineage later funded the very orphanage where the baker himself found refuge as a child. The baker’s life, he would discover, was built on an ancient, forgotten thread of generosity.
  • Night Two: Elara traces a taut, angry thread between two feuding families, their hatred centuries old. As she follows it, she uncovers the true origin: not a grand slight, but a misinterpreted joke, a stolen flower, and a series of escalating misunderstandings, each fueled by pride and a refusal to truly listen. But she also finds faint counter-threads – moments of shared joy, unspoken longing for peace, nearly-forgiven transgressions – that still hum beneath the surface.
  • Night Three: She investigates a vibrant thread of innovation and creativity, discovering it’s not the solitary genius of a famous artist, but the culmination of countless, unacknowledged inspirations: a child’s forgotten drawing, a beggar’s hummed tune, a weaver’s discarded pattern, each contributing a vital, invisible strand to the masterpiece.

Through Elara’s journey, the Sultan (and you, dear reader) would witness the profound irony of human existence: we are all singular, yet inextricably bound. Our greatest joys and deepest pains are rarely our own alone. Every act, every word, every silence sends ripples through the great tapestry.

The “cliffhanger” each night wouldn’t be a sword fight, but a dawning realisation. Elara would be on the verge of revealing a crucial, heart-wrenching, or profoundly beautiful connection that implicates seemingly disparate characters, perhaps even hinting at the Sultan’s own lineage, his own perceived isolation, as being a part of this vast, interconnected web.

The story would be a mirror, reflecting the Sultan’s own life back at him – not judging, but revealing. It would show him that just as a breaking thread in the farthest corner of Aethelgard could unravel the entire city, so too did his own actions send tremors through the lives of everyone around him. It would demonstrate that true power comes not from severing connections, but from understanding and honouring them.

By the final night, the Sultan wouldn’t just be entertained; he would be transformed. He would see himself not as an isolated ruler, but as a vital, powerful weaver in the Loom of Whispers. And with that understanding, perhaps, the desire to cut threads would vanish, replaced by a profound respect for the intricate, beautiful, and utterly inescapable tapestry of life.

What about you? If your life depended on it, what story would you tell? And what hidden threads would you uncover?

365 Days of writing, 2026 – My Second Story 19

More about my second novel

Rupert follows Worthington and Arabella to and from the concert, and then observes them over dinner, wondering what it is that’s missing in his life until they go back to the room for the night.

To him, it seems like it’s just a sex weekend with cultural embellishments.

Until he spies Worthington on the move at two am, leaving the hotel on foot.  It turns into a meeting between him and two other men in the park before Worthington returns to the hotel, business concluded.

It has to be something to do with John and Zoe; otherwise, the meeting would have been in the hotel, not the deep recesses of the park.  Rupert has photographs and gives them to Sebastian for identification.

At least they now know the reason for Worthington being in Vienna.  Arabella just makes it look more casual.

John breaks his plan to Zoe over breakfast, and she is surprised.  It’s a good plan, and once she had dealt with the problems, it would be a go.

And, she added quite sombrely, if they all survive.

The bad news was that she would be leaving the next morning to visit an old friend, Dominica, who probably isn’t so friendly now, to get information.  And, no, she was not sure what would happen after that, but if she could, she would call him.

With the two men identified and the danger they presented, Sebastian had to move to plan B and set it up.  He deliberately doesn’t tell either of them because he knows they would strenuously object.

The plan:  sniper to shoot them from a building across the road, not to kill, but to slow them down.  It would be difficult to be out plotting when in the emergency ward of a hospital.

But, as usual, things don’t quite go to plan.  Worthington is hit and wounded, though not severely as Sebastian had hoped, but Arabella moved slightly just before he pulled the trigger, and he couldn’t see what happened, but what he could see, it looked very, very bad.

365 Days of writing, 2026 – My Second Story 19

More about my second novel

Rupert follows Worthington and Arabella to and from the concert, and then observes them over dinner, wondering what it is that’s missing in his life until they go back to the room for the night.

To him, it seems like it’s just a sex weekend with cultural embellishments.

Until he spies Worthington on the move at two am, leaving the hotel on foot.  It turns into a meeting between him and two other men in the park before Worthington returns to the hotel, business concluded.

It has to be something to do with John and Zoe; otherwise, the meeting would have been in the hotel, not the deep recesses of the park.  Rupert has photographs and gives them to Sebastian for identification.

At least they now know the reason for Worthington being in Vienna.  Arabella just makes it look more casual.

John breaks his plan to Zoe over breakfast, and she is surprised.  It’s a good plan, and once she had dealt with the problems, it would be a go.

And, she added quite sombrely, if they all survive.

The bad news was that she would be leaving the next morning to visit an old friend, Dominica, who probably isn’t so friendly now, to get information.  And, no, she was not sure what would happen after that, but if she could, she would call him.

With the two men identified and the danger they presented, Sebastian had to move to plan B and set it up.  He deliberately doesn’t tell either of them because he knows they would strenuously object.

The plan:  sniper to shoot them from a building across the road, not to kill, but to slow them down.  It would be difficult to be out plotting when in the emergency ward of a hospital.

But, as usual, things don’t quite go to plan.  Worthington is hit and wounded, though not severely as Sebastian had hoped, but Arabella moved slightly just before he pulled the trigger, and he couldn’t see what happened, but what he could see, it looked very, very bad.

What I learned about writing – Writing a story to astonish the reader

I was sitting down and wondering just what I could write that would create a sense of astonishment, or even shock the reader.

Then my news feed arced up and – well, I have to say I’m astonished.

At the state of American politics, and the lengths political parties will go to avoid getting caught, especially when they’ve been caught.

I utterly refuse to believe that the Democratic Party is to blame for absolutely everything in America. It takes a long time to completely stuff everything up, and both parties have a hand in all the problems.

It’s the same in Australia. We’ve got a lot of problems, but no one party has caused them; they are caused by both, and a lot to do with election cycles. No one wants to set in place the 10-year cycle it would take to fix things.

Then, I have to say it is the same everywhere.

The next thing that flashes up in the news cycle, pedophiles. OK, not the domain of one party, but everyone has a hand in this. And it is abhorrent, and we say we don’t tolerate it, but the fact is, politicians, judges, policemen, lawyers, doctors, priests and even presidents are complicit. The thing is, we all know they’re complicit, we want answers and arrests, and somehow it all gets buried.

Shock!

Or not.

It’s no surprise, no shock, and we are not even astonished when the politicians from the top down, and then the law enforcement officers, all lie, lie, lie, and then lie again.

And we let them.

There’s the shock, right there.

And the next shock? Nothing is going to happen. We’ll be talking about this in four years, and no one will be arrested. Someone might commit suicide (ha bloody ha), absolving the guilty.

If the Republicans are in power, it’s all the Democrats who are pedophiles, and if the Democrats are in power then it’s all the Republicans who are pedophiles, and when you can’t even believe in or trust your president, well, what hope is there for all those victims?

Oh, hang on, we seem to have forgotten about the victims. I was a victim. I know what it’s like to be abused. I know what it’s like not to get justice. I know what it’s like to listen to the lies of the perpetrator and watch him get away with it.

I cannot be shocked, surprised or astonished anymore.

What would shock me?

Just one of those turds being hung at noon in a public square as a reminder that it will not be tolerated.

Rant over!

365 Days of writing, 2026 – 135

Day 135 – Win the right contests

The Starving Artist Myth: Why You Should Chase Paychecks, Not Just Prestige

In the writing community, there’s a persistent, romanticised image of the “struggling artist.” We’re told that if we just sacrifice enough comfort—if we skip enough meals and keep our bank accounts sufficiently drained—we will somehow be more “authentic.”

But let’s be real for a second: You cannot write a masterpiece on an empty stomach.

If you are looking to build a sustainable writing career, you need to be strategic about where you invest your energy. When it comes to writing contests and submission calls, it’s time to stop chasing prestige and start prioritising your survival.

The Problem with “Prestige”

There is no denying the allure of a prestigious award. Seeing a fancy logo next to your name or receiving a pat on the back from a renowned institution feels incredible. It validates your talent and strokes your ego.

But here is the hard truth: Prestige does not pay the rent.

When you spend your limited writing time crafting pieces specifically to chase awards that offer nothing but a digital badge or a line on your resume, you are essentially working for free. Worse, you are trading the precious hours you could be spending on your long-form projects for a fleeting moment of hollow validation.

Why You Need to Prioritise the Prize

Writing is work. It is intellectual labour, and like any other form of labour, it deserves compensation.

When you seek out contests with cash prizes, you aren’t being “sell-out.” You are being a professional. That prize money serves a dual purpose:

  1. It keeps you fed: You need electricity, internet, and groceries to keep the creative engine running.
  2. It buys you time: If you can win a prize that covers a month’s worth of expenses, that is one month you don’t have to spend at a soul-sucking day job. It’s one month where you can focus entirely on that novel—the one that lives in your head and needs your undivided attention to finally make it onto the page.

The “Later” Philosophy

Don’t get me wrong—prestige has its place. But that place is later.

Once you have established your footing, once you have mastered your craft, and once you have a body of work that has been funded by the very industry you are trying to enter, then you can afford the luxury of chasing accolades.

But right now? Right now, you are building your foundation. You are cultivating the experiences, the discipline, and the financial stability required to produce your best work. You cannot reach the peak of the mountain if you are too malnourished to climb the first few hundred feet.

How to Strategise Your Submissions

Next time you find yourself browsing Submittable or a contest directory, try applying these three rules:

  • The Bottom Line: Does this contest offer a cash prize that would meaningfully impact my life or support my writing time? If the answer is no, skip it.
  • The Time-to-Value Ratio: If the entry fee is high and the prize is obscure prestige, save your money. Invest that entry fee into a book on craft or a subscription to a platform that actually helps your writing process.
  • The Novel Priority: Is this contest helping you build toward your larger goal (your novel), or is it a distraction? If it doesn’t align with your long-term creative vision, don’t let it siphon your energy.

Final Thoughts

Your voice is valuable, and your time is a finite resource. Treat your writing like the profession it is. Stop waiting for the world to notice you through a gold-leafed certificate and start focusing on the work that sustains your life.

Feed yourself first. The masterpiece will come, but it will come when you are strong enough to carry it to the finish line.

365 Days of writing, 2026 – 135

Day 135 – Win the right contests

The Starving Artist Myth: Why You Should Chase Paychecks, Not Just Prestige

In the writing community, there’s a persistent, romanticised image of the “struggling artist.” We’re told that if we just sacrifice enough comfort—if we skip enough meals and keep our bank accounts sufficiently drained—we will somehow be more “authentic.”

But let’s be real for a second: You cannot write a masterpiece on an empty stomach.

If you are looking to build a sustainable writing career, you need to be strategic about where you invest your energy. When it comes to writing contests and submission calls, it’s time to stop chasing prestige and start prioritising your survival.

The Problem with “Prestige”

There is no denying the allure of a prestigious award. Seeing a fancy logo next to your name or receiving a pat on the back from a renowned institution feels incredible. It validates your talent and strokes your ego.

But here is the hard truth: Prestige does not pay the rent.

When you spend your limited writing time crafting pieces specifically to chase awards that offer nothing but a digital badge or a line on your resume, you are essentially working for free. Worse, you are trading the precious hours you could be spending on your long-form projects for a fleeting moment of hollow validation.

Why You Need to Prioritise the Prize

Writing is work. It is intellectual labour, and like any other form of labour, it deserves compensation.

When you seek out contests with cash prizes, you aren’t being “sell-out.” You are being a professional. That prize money serves a dual purpose:

  1. It keeps you fed: You need electricity, internet, and groceries to keep the creative engine running.
  2. It buys you time: If you can win a prize that covers a month’s worth of expenses, that is one month you don’t have to spend at a soul-sucking day job. It’s one month where you can focus entirely on that novel—the one that lives in your head and needs your undivided attention to finally make it onto the page.

The “Later” Philosophy

Don’t get me wrong—prestige has its place. But that place is later.

Once you have established your footing, once you have mastered your craft, and once you have a body of work that has been funded by the very industry you are trying to enter, then you can afford the luxury of chasing accolades.

But right now? Right now, you are building your foundation. You are cultivating the experiences, the discipline, and the financial stability required to produce your best work. You cannot reach the peak of the mountain if you are too malnourished to climb the first few hundred feet.

How to Strategise Your Submissions

Next time you find yourself browsing Submittable or a contest directory, try applying these three rules:

  • The Bottom Line: Does this contest offer a cash prize that would meaningfully impact my life or support my writing time? If the answer is no, skip it.
  • The Time-to-Value Ratio: If the entry fee is high and the prize is obscure prestige, save your money. Invest that entry fee into a book on craft or a subscription to a platform that actually helps your writing process.
  • The Novel Priority: Is this contest helping you build toward your larger goal (your novel), or is it a distraction? If it doesn’t align with your long-term creative vision, don’t let it siphon your energy.

Final Thoughts

Your voice is valuable, and your time is a finite resource. Treat your writing like the profession it is. Stop waiting for the world to notice you through a gold-leafed certificate and start focusing on the work that sustains your life.

Feed yourself first. The masterpiece will come, but it will come when you are strong enough to carry it to the finish line.

What I learned about writing – Could you write a fantasy story to avoid getting too serious

For years, people used to tell me I was living in my own fantasy land.

What amazed me was that they could see into my mind that I wanted to be a knight in shining armour, a superhero, a billionaire who wanted for nothing, and a spy who beat the bad guys and won over the girl.

Of course, none of this could ever happen in reality, only in my imagination.

With the arrival of three grandchildren and being asked to take up child-minding, came the time to read them stories before they went to bed.

I used to think that the violence that was within those stories would keep any sane person up all night, but I was quick to realise that any sort of cartoon or fantasy story always carried an indecent level of violence.

Perhaps from a young age, we are supposed to be taught that good triumphs over evil and the bad guys always come off second best.

However….

After reading a lot of fairy tales to the girls, I thought to myself I could do better and decided to write my own.

A snotty, egotistical princess is about to be married off to the prince in the kingdom next door, and he isn’t very nice.  The thing is, no one likes her, and everyone is glad she’s going away to be with her prince.

She’s been betrothed since they were children, and that notion she could marry for love was dashed many years before.

But…

There’s a legend that comes once in a millennium called ‘the conflagration’, where the firstborn eldest daughter from one of the kingdoms in the realm is selected to become ‘the saviour’, who has to go on a quest to find the twelve pieces of the tablet needed to restore peace and order.

It just happens that after the invasion of her kingdom by another, that of her prince, soon to be husband, the conflagration begins. Her ‘knight in shining armour’ comes to collect her, only it is not marriage he has in mind.

Her father’s trusted Master-at-Arms is sent to save her from the prince and take her on the quest, sent to him in his dreams. The problem is, the king believes the Gods have made a mistake, but trusts his personal knight to guide her in her role.

Of course, the knight doesn’t believe she will get past the first task. For that reason, he doesn’t tell her the real reason why they are heading into the Kingdom of Magic. Not until it’s time to find the first artefact.

There are twelve to find, and by the time she locates the last piece of the puzzle, she transforms from the whiny, self-indulgent brat into a fearless leader.

Everything a saviour needed to be.

By the time the first draft was finished, it was 1,100 pages of the story called The Enchanted Horse.

Well, Mr Disney, I’ve just created your next Disney Princess, The Princess Marigold!

365 Days of writing, 2026 – 134

Day 134 – Getting there is important too

The Art of the Detour: Why the Journey Really Is the Destination

We are obsessed with “arriving.”

In our modern, high-speed lives, we treat travel like a logistical problem to be solved. We optimise for the shortest flight, the fastest highway route, and the most direct train line. We view the time spent in transit as a tax—a boring, uncomfortable middle-ground that we must pay in order to unlock the reward of our destination.

But what if we’ve got it backward? What if the destination is merely the period at the end of a long sentence’s worth of experience?

There is a profound, often overlooked truth in the adage: The journey is the destination. When we prioritise the “getting there,” travel shifts from a task into an art form. Here is why the road, the tracks, and the sky are often more important than the hotel lobby at the finish line.

The Myth of Through-Hiking Life

When we focus solely on the arrival, we live in a state of suspended animation. We are waiting for the vacation to start, waiting for the weekend to hit, waiting for the “real” life to begin.

When you prioritise the journey, however, you reclaim your time. You stop looking at your watch and start looking out the window. Whether it’s a winding coastal road in Italy or a cross-country Amtrak adventure, the journey forces a state of “positive boredom.” It clears the clutter of our digital lives, stripping away the emails and the notifications, leaving us with nothing but the rhythm of the movement and our own thoughts.

Serendipity Lives in the In-Between

The most memorable moments of travel rarely happen at the planned tourist attractions. They happen in the “in-between.”

Think about it: have you ever had a life-changing conversation with a stranger on a plane? Stumbled upon a roadside diner that serves the best pie you’ve ever tasted? Found a quiet, nameless overlook while your GPS recalculated a missed turn?

These moments are the dividends of a slow journey. When you take the long way, you invite the universe to surprise you. The “in-between” is where serendipity lives. A direct flight to Paris gets you to a croissant faster, but a slow train ride across the countryside introduces you to the landscape, the architecture, and the people that make Paris what it is.

The Psychology of Transition

There is a psychological necessity to the process. If you want to change your mindset, you need a buffer zone.

Travelling acts as a psychological decompression chamber. The time spent sitting in a car, train, or boat allows your brain to shift gears. You are physically detaching from the stresses of your home life and mentally preparing for the expansion of travel. If you teleported instantly to your destination, you’d likely arrive with your “home” brain still plugged in. The journey forces a transition, ensuring that by the time you arrive, you are actually ready to receive the experience.

How to Shift Your Focus

If you’ve spent your life rushing, how do you learn to savour the transit?

  • Ditch the “Most Efficient” Option: Next time you’re booking a trip, ask yourself, “Which way would be the most interesting?” instead of “Which way is the cheapest/fastest?”
  • Embrace Surface Travel: Whenever possible, choose trains over planes, or a scenic highway over an interstate. The lower your speed, the more world you get to see.
  • Build in “Gap Days”: Schedule a day of transit that has no deadline. If you get into a town at 2:00 PM, let that be the goal. If you see a beautiful village at 10:00 AM, stop for a few hours.
  • Curate Your Transit: Treat the journey as an activity. Bring the book you’ve been dying to read, the playlist you’ve been saving, or a journal to document the passing landscapes.

The Final Stop

The destination will always be there. The Eiffel Tower isn’t going anywhere; the beach will still be sand when you arrive. But the experience of the trip—the changing quality of light on the horizon, the shifting accents of the people at the rest stop, the feeling of crossing a border or a time zone—that is a fleeting, ephemeral moment that happens once.

Don’t just endure the trip. Experience it. Because when you look back on your life, you won’t remember the check-in time at your hotel. You’ll remember the way the sun hit the road, the songs you sang with the windows down, and the winding, dusty, beautiful path that led you exactly where you needed to be.

365 Days of writing, 2026 – 134

Day 134 – Getting there is important too

The Art of the Detour: Why the Journey Really Is the Destination

We are obsessed with “arriving.”

In our modern, high-speed lives, we treat travel like a logistical problem to be solved. We optimise for the shortest flight, the fastest highway route, and the most direct train line. We view the time spent in transit as a tax—a boring, uncomfortable middle-ground that we must pay in order to unlock the reward of our destination.

But what if we’ve got it backward? What if the destination is merely the period at the end of a long sentence’s worth of experience?

There is a profound, often overlooked truth in the adage: The journey is the destination. When we prioritise the “getting there,” travel shifts from a task into an art form. Here is why the road, the tracks, and the sky are often more important than the hotel lobby at the finish line.

The Myth of Through-Hiking Life

When we focus solely on the arrival, we live in a state of suspended animation. We are waiting for the vacation to start, waiting for the weekend to hit, waiting for the “real” life to begin.

When you prioritise the journey, however, you reclaim your time. You stop looking at your watch and start looking out the window. Whether it’s a winding coastal road in Italy or a cross-country Amtrak adventure, the journey forces a state of “positive boredom.” It clears the clutter of our digital lives, stripping away the emails and the notifications, leaving us with nothing but the rhythm of the movement and our own thoughts.

Serendipity Lives in the In-Between

The most memorable moments of travel rarely happen at the planned tourist attractions. They happen in the “in-between.”

Think about it: have you ever had a life-changing conversation with a stranger on a plane? Stumbled upon a roadside diner that serves the best pie you’ve ever tasted? Found a quiet, nameless overlook while your GPS recalculated a missed turn?

These moments are the dividends of a slow journey. When you take the long way, you invite the universe to surprise you. The “in-between” is where serendipity lives. A direct flight to Paris gets you to a croissant faster, but a slow train ride across the countryside introduces you to the landscape, the architecture, and the people that make Paris what it is.

The Psychology of Transition

There is a psychological necessity to the process. If you want to change your mindset, you need a buffer zone.

Travelling acts as a psychological decompression chamber. The time spent sitting in a car, train, or boat allows your brain to shift gears. You are physically detaching from the stresses of your home life and mentally preparing for the expansion of travel. If you teleported instantly to your destination, you’d likely arrive with your “home” brain still plugged in. The journey forces a transition, ensuring that by the time you arrive, you are actually ready to receive the experience.

How to Shift Your Focus

If you’ve spent your life rushing, how do you learn to savour the transit?

  • Ditch the “Most Efficient” Option: Next time you’re booking a trip, ask yourself, “Which way would be the most interesting?” instead of “Which way is the cheapest/fastest?”
  • Embrace Surface Travel: Whenever possible, choose trains over planes, or a scenic highway over an interstate. The lower your speed, the more world you get to see.
  • Build in “Gap Days”: Schedule a day of transit that has no deadline. If you get into a town at 2:00 PM, let that be the goal. If you see a beautiful village at 10:00 AM, stop for a few hours.
  • Curate Your Transit: Treat the journey as an activity. Bring the book you’ve been dying to read, the playlist you’ve been saving, or a journal to document the passing landscapes.

The Final Stop

The destination will always be there. The Eiffel Tower isn’t going anywhere; the beach will still be sand when you arrive. But the experience of the trip—the changing quality of light on the horizon, the shifting accents of the people at the rest stop, the feeling of crossing a border or a time zone—that is a fleeting, ephemeral moment that happens once.

Don’t just endure the trip. Experience it. Because when you look back on your life, you won’t remember the check-in time at your hotel. You’ll remember the way the sun hit the road, the songs you sang with the windows down, and the winding, dusty, beautiful path that led you exactly where you needed to be.