365 Days of writing, 2026 – 16

Day 16 – The right characters for the story

How to Find the Right Characters for Your Story: Moving Beyond Stereotypes

In the world of storytelling—whether you’re crafting a suspenseful spy thriller, a gritty crime drama, or an intimate character-driven novel—the characters you choose make or break the narrative. We’ve all read (or watched) stories where the suave, indestructible spy slips through laser grids and dispatches villains with one-handed elegance. And sure, that’s fun. But after a while, we start to wonder: is that all there is?

It’s fine if your spy is a one-man, indestructible killing machine. James Bond, Jason Bourne, and Ethan Hunt have paved the way—and earned their place in pop culture. But isn’t that kind of character one-dimensional? Can’t they feel fear, doubt, or regret? And what about the criminals they pursue? Are they simply evil for the sake of drama, or do they have motives, dreams, and inner conflicts of their own?

If we want our stories to resonate, to linger in readers’ minds long after the final page, we need to go deeper. We need to find the right characters—not just the flashy ones.

Step 1: Start with Motivation, Not Archetype

The easiest path to a cardboard cutout character is to begin with a trope: the stoic hero, the seductive femme fatale, the deranged villain. Instead, ask: What does this character want—and why?

A spy doesn’t just save the world because it’s Tuesday. Maybe they’re driven by guilt over a past failure. Or perhaps they’re trying to protect someone they love. Even a hardened intelligence agent might secretly fear that their actions have made them less human.

Similarly, a criminal isn’t evil just because the plot demands it. What led them down this path? Was it poverty, betrayal, a system that failed them? A villain who believes they’re the hero of their own story is infinitely more compelling than one who twirls a moustache and cackles into the void.

Step 2: Embrace Contradictions

Real people are full of contradictions—and so should your characters be.

Imagine a hitman who volunteers at an animal shelter on weekends. A corrupt cop who’s raising their nephew alone and wants to give him a better life. A genius terrorist who plays classical piano and writes love letters to their mother.

These contradictions humanise. They force readers to question their assumptions. And that’s where deeper engagement begins.

When we give characters opposing impulses—love and fear, duty and desire, cruelty and compassion—we unlock psychological depth. These are the traits that make characters memorable.

Step 3: Avoid Monolithic Labels

Criminals are not inherently villainous. Heroes aren’t inherently good. Moral alignment should be fluid, not fixed.

Consider real-world complexities. A man who robs banks to pay for his daughter’s medical treatment isn’t a saint, but can we call him purely evil? A soldier who follows orders may be “just doing their job,” but what happens when those orders cross ethical lines?

By challenging stereotypes, you invite nuance. A spy doesn’t have to be emotionally detached—they might be hyper-observant precisely because they’re lonely. A femme fatale doesn’t need to manipulate for power; maybe she’s been manipulated her whole life and is finally seizing control.

Step 4: Let Characters Evolve

The right characters aren’t static. They change—sometimes subtly, sometimes dramatically. Growth (or regression) is key to authenticity.

Your indestructible spy might start out as a cold operative, but what if, over the course of the story, they begin to question the cost of their actions? What if they hesitate before pulling the trigger—and that hesitation changes everything?

Likewise, a criminal might start as an antagonist but reveal layers of vulnerability, forcing the protagonist (and reader) to reevaluate what “justice” really means.

Step 5: Listen to Your Characters

Many writers say their characters “tell them what to do.” That might sound mystical, but it’s really about immersion. Once you’ve built a foundation, let go of control. Ask: What would this person really do in this situation? Even if it derails your outline, that authenticity breathes life into fiction.

Sometimes the right character reveals themselves not in grand monologues, but in quiet moments—a hesitation before a lie, a nervous habit, a song they hum when alone.


Final Thought: The Right Character Isn’t Perfect—They’re Human

Finding the right characters for your story isn’t about casting a hero who fits the mould. It’s about creating people we recognise—flawed, conflicted, and real. Even in the most fantastical settings, emotional truth is what connects us.

So next time you’re tempted to write the flawless spy or the irredeemable villain, pause. Ask yourself:
Who are they when no one is watching?
What keeps them awake at night?
What do they wish they could change?

Answer those questions, and you won’t just find the right characters for your story—you’ll create ones your readers will never forget.

365 Days of writing, 2026 – 16

Day 16 – The right characters for the story

How to Find the Right Characters for Your Story: Moving Beyond Stereotypes

In the world of storytelling—whether you’re crafting a suspenseful spy thriller, a gritty crime drama, or an intimate character-driven novel—the characters you choose make or break the narrative. We’ve all read (or watched) stories where the suave, indestructible spy slips through laser grids and dispatches villains with one-handed elegance. And sure, that’s fun. But after a while, we start to wonder: is that all there is?

It’s fine if your spy is a one-man, indestructible killing machine. James Bond, Jason Bourne, and Ethan Hunt have paved the way—and earned their place in pop culture. But isn’t that kind of character one-dimensional? Can’t they feel fear, doubt, or regret? And what about the criminals they pursue? Are they simply evil for the sake of drama, or do they have motives, dreams, and inner conflicts of their own?

If we want our stories to resonate, to linger in readers’ minds long after the final page, we need to go deeper. We need to find the right characters—not just the flashy ones.

Step 1: Start with Motivation, Not Archetype

The easiest path to a cardboard cutout character is to begin with a trope: the stoic hero, the seductive femme fatale, the deranged villain. Instead, ask: What does this character want—and why?

A spy doesn’t just save the world because it’s Tuesday. Maybe they’re driven by guilt over a past failure. Or perhaps they’re trying to protect someone they love. Even a hardened intelligence agent might secretly fear that their actions have made them less human.

Similarly, a criminal isn’t evil just because the plot demands it. What led them down this path? Was it poverty, betrayal, a system that failed them? A villain who believes they’re the hero of their own story is infinitely more compelling than one who twirls a moustache and cackles into the void.

Step 2: Embrace Contradictions

Real people are full of contradictions—and so should your characters be.

Imagine a hitman who volunteers at an animal shelter on weekends. A corrupt cop who’s raising their nephew alone and wants to give him a better life. A genius terrorist who plays classical piano and writes love letters to their mother.

These contradictions humanise. They force readers to question their assumptions. And that’s where deeper engagement begins.

When we give characters opposing impulses—love and fear, duty and desire, cruelty and compassion—we unlock psychological depth. These are the traits that make characters memorable.

Step 3: Avoid Monolithic Labels

Criminals are not inherently villainous. Heroes aren’t inherently good. Moral alignment should be fluid, not fixed.

Consider real-world complexities. A man who robs banks to pay for his daughter’s medical treatment isn’t a saint, but can we call him purely evil? A soldier who follows orders may be “just doing their job,” but what happens when those orders cross ethical lines?

By challenging stereotypes, you invite nuance. A spy doesn’t have to be emotionally detached—they might be hyper-observant precisely because they’re lonely. A femme fatale doesn’t need to manipulate for power; maybe she’s been manipulated her whole life and is finally seizing control.

Step 4: Let Characters Evolve

The right characters aren’t static. They change—sometimes subtly, sometimes dramatically. Growth (or regression) is key to authenticity.

Your indestructible spy might start out as a cold operative, but what if, over the course of the story, they begin to question the cost of their actions? What if they hesitate before pulling the trigger—and that hesitation changes everything?

Likewise, a criminal might start as an antagonist but reveal layers of vulnerability, forcing the protagonist (and reader) to reevaluate what “justice” really means.

Step 5: Listen to Your Characters

Many writers say their characters “tell them what to do.” That might sound mystical, but it’s really about immersion. Once you’ve built a foundation, let go of control. Ask: What would this person really do in this situation? Even if it derails your outline, that authenticity breathes life into fiction.

Sometimes the right character reveals themselves not in grand monologues, but in quiet moments—a hesitation before a lie, a nervous habit, a song they hum when alone.


Final Thought: The Right Character Isn’t Perfect—They’re Human

Finding the right characters for your story isn’t about casting a hero who fits the mould. It’s about creating people we recognise—flawed, conflicted, and real. Even in the most fantastical settings, emotional truth is what connects us.

So next time you’re tempted to write the flawless spy or the irredeemable villain, pause. Ask yourself:
Who are they when no one is watching?
What keeps them awake at night?
What do they wish they could change?

Answer those questions, and you won’t just find the right characters for your story—you’ll create ones your readers will never forget.

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

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

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

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

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

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

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

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

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

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

Horrified wasn’t what I was feeling right then.

It was fear.

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

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

I was the archetypal nobody.

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

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

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

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

This conference was about countering that trend.

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

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

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

Then came the shot.

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

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

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

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

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

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

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

That was the good news.

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

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

I think death would have been preferable.

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

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

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

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

“What happens now?”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Good man.”

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

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

That was a relief.

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

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

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

I nodded. “Yes.”

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

“Yes.”

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

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

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

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

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

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

But I was annoyed.

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

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

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

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

“Well, it was overkill.”

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

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

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

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

She nodded.

“Did you catch this Jacob Westerbury character?”

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

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

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

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

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

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

I could see their dilemma.

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

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

“Not that I’m aware of.”

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

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

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

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

“Absolving you of any wrong doing?”

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

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

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

“I am unfortunately unavailable.”

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

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

“Then I’ll pencil you in?”

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

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

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

© Charles Heath 2015-2021

365 Days of writing, 2026 – 15

Day 15 – How to keep on track

Staying on Track: How to Maintain Focus and Resist the Siren Call of Tangents in Your Writing

You’ve got the premise. The spark that ignited your novel, screenplay, or short story still glows brightly. You’ve outlined your plot, mapped your protagonist’s arc, and maybe even written the first few scenes. But then it happens—midway through chapter three, an exciting new character pops into your head. Or a fascinating subplot about ancient runes in the protagonist’s attic. Or a sudden urge to write a 1,000-word scene about your main character’s favourite coffee shop barista who definitely has a secret past.

Welcome to the writing life. Welcome to the beautiful, messy temptation of going off track.

Every writer knows this battle: the lure of the tangent. That moment when your imagination gallops ahead, eager to explore new territory—often at the expense of the story you set out to tell. So how do you stay focused? How do you keep your story on course when creativity keeps offering enticing detours?

Here’s how.


1. Remember Your “Why” — Revisit Your Premise

When the urge to veer strikes, pause. Take a breath. And re-read your original premise. Why did you start this story? What core idea, theme, or emotional journey drives it?

Ask yourself: Does this new idea serve the heart of the story? If the answer is no, no matter how brilliant the idea seems, it might be a distraction. You can always save it—more on that later.

Your premise is your anchor. Let it ground you when shiny new ideas try to pull you off course.


2. Use Your Outline as a Compass—Not a Cage

Even if you’re a discovery writer (“pantser”), having even a loose roadmap helps. Your outline doesn’t need to be rigid, but it should act as a compass pointing you toward your story’s destination.

When a tempting subplot or character appears, first consider: Where would this fit in the outline? Does it move the plot forward or deepen character development? Or is it just… interesting?

If it doesn’t serve a structural or emotional purpose, it’s probably a tangent. Not all tangents are bad, but they should earn their place in the narrative. If it doesn’t advance the plot, theme, or character arc—tread carefully.


3. Create a “Someday” Folder

Here’s the secret no one tells you: You don’t have to kill your darlings. You just have to postpone them.

Keep a “Someday” document—a digital notebook, a folder, a journal—where you stash every brilliant idea that doesn’t belong in this story. Character backstories, alternate endings, intriguing subplots, random world-building details—dump them here.

When you add to this folder, you’re honouring your creativity without derailing your progress. Later, you might realise this idea belongs in your next book, a side project, or a short story. You’ve just built a reservoir of inspiration.


4. Set Incremental Goals and Deadlines

Distraction often thrives in aimlessness. If you don’t have clear daily or weekly goals, your mind naturally wanders. “Write something” is too vague. “Write 500 words advancing the inciting incident” is focused.

Break your project into small, manageable tasks:

  • Flesh out Act 2 turning point
  • Rewrite the hospital scene with higher emotional stakes
  • Clarify the antagonist’s motivation

These micro-goals create momentum—and momentum keeps digressions at bay.

If you catch yourself daydreaming about a new character’s origin story during writing time, jot down one sentence in your “Someday” folder and return to your task. Reward focus with curiosity later.


5. Practice the “So What?” Test

When you’re tempted to add a scene, character, or subplot, ask: So what? What does this add to the story? What changes because this exists?

If the answer is: “It’s cool,” “It’s mysterious,” or “I just really like this idea”—that’s not enough.

Great stories thrive on cause and effect. Every element should ripple through the narrative. If your new subplot doesn’t change the outcome or deepen understanding, it might be excess baggage.


6. Schedule “Exploration Time”

Ironically, the best way to avoid constant veering is to allow veering—on purpose.

Set aside time—maybe 30 minutes every Friday—to explore side ideas. Write that barista’s backstory. Sketch the ancient runes. Flesh out the alternate timeline.

When you give your imagination a designated outlet, it stops demanding attention during drafting hours. It learns: Creativity has a time. Now is for focus.


7. Trust the Power of Revision

One of the biggest reasons writers go off track is fear—fear that their story isn’t interesting enough. So they add more: more drama, more mystery, more characters.

But here’s the truth: A strong, focused story is often more powerful than a sprawling one. You can enrich a solid core in revision. You can’t fix a scattered narrative by piling on more layers.

Write the story you meant to tell first. Then, in edits, ask: What’s missing? What needs depth? That’s when you decide whether to weave in some of those saved ideas—intentionally, not impulsively.


Final Thought: Focus Is a Muscle

Like any skill, focus strengthens with practice. The more you train yourself to return to your premise, honour your outline, and defer distractions, the easier it becomes.

You don’t have to suppress your creativity to stay on track. You just have to channel it wisely.

So the next time inspiration calls you down a winding path—smiling, promising adventure—smile back, take a note, and say:
“Not now. But maybe later.”

Then return to the road. Your story is waiting.

The story behind the story – Echoes from the Past

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

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

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

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

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

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

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

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

Originally it was not set anywhere in particular.

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

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

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

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

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

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

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

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

And, of course, I wanted a happy ending.

Except for the bad guys.

Get it here:  https://amzn.to/2CYKxu4

newechocover5rs

365 Days of writing, 2026 – 15

Day 15 – How to keep on track

Staying on Track: How to Maintain Focus and Resist the Siren Call of Tangents in Your Writing

You’ve got the premise. The spark that ignited your novel, screenplay, or short story still glows brightly. You’ve outlined your plot, mapped your protagonist’s arc, and maybe even written the first few scenes. But then it happens—midway through chapter three, an exciting new character pops into your head. Or a fascinating subplot about ancient runes in the protagonist’s attic. Or a sudden urge to write a 1,000-word scene about your main character’s favourite coffee shop barista who definitely has a secret past.

Welcome to the writing life. Welcome to the beautiful, messy temptation of going off track.

Every writer knows this battle: the lure of the tangent. That moment when your imagination gallops ahead, eager to explore new territory—often at the expense of the story you set out to tell. So how do you stay focused? How do you keep your story on course when creativity keeps offering enticing detours?

Here’s how.


1. Remember Your “Why” — Revisit Your Premise

When the urge to veer strikes, pause. Take a breath. And re-read your original premise. Why did you start this story? What core idea, theme, or emotional journey drives it?

Ask yourself: Does this new idea serve the heart of the story? If the answer is no, no matter how brilliant the idea seems, it might be a distraction. You can always save it—more on that later.

Your premise is your anchor. Let it ground you when shiny new ideas try to pull you off course.


2. Use Your Outline as a Compass—Not a Cage

Even if you’re a discovery writer (“pantser”), having even a loose roadmap helps. Your outline doesn’t need to be rigid, but it should act as a compass pointing you toward your story’s destination.

When a tempting subplot or character appears, first consider: Where would this fit in the outline? Does it move the plot forward or deepen character development? Or is it just… interesting?

If it doesn’t serve a structural or emotional purpose, it’s probably a tangent. Not all tangents are bad, but they should earn their place in the narrative. If it doesn’t advance the plot, theme, or character arc—tread carefully.


3. Create a “Someday” Folder

Here’s the secret no one tells you: You don’t have to kill your darlings. You just have to postpone them.

Keep a “Someday” document—a digital notebook, a folder, a journal—where you stash every brilliant idea that doesn’t belong in this story. Character backstories, alternate endings, intriguing subplots, random world-building details—dump them here.

When you add to this folder, you’re honouring your creativity without derailing your progress. Later, you might realise this idea belongs in your next book, a side project, or a short story. You’ve just built a reservoir of inspiration.


4. Set Incremental Goals and Deadlines

Distraction often thrives in aimlessness. If you don’t have clear daily or weekly goals, your mind naturally wanders. “Write something” is too vague. “Write 500 words advancing the inciting incident” is focused.

Break your project into small, manageable tasks:

  • Flesh out Act 2 turning point
  • Rewrite the hospital scene with higher emotional stakes
  • Clarify the antagonist’s motivation

These micro-goals create momentum—and momentum keeps digressions at bay.

If you catch yourself daydreaming about a new character’s origin story during writing time, jot down one sentence in your “Someday” folder and return to your task. Reward focus with curiosity later.


5. Practice the “So What?” Test

When you’re tempted to add a scene, character, or subplot, ask: So what? What does this add to the story? What changes because this exists?

If the answer is: “It’s cool,” “It’s mysterious,” or “I just really like this idea”—that’s not enough.

Great stories thrive on cause and effect. Every element should ripple through the narrative. If your new subplot doesn’t change the outcome or deepen understanding, it might be excess baggage.


6. Schedule “Exploration Time”

Ironically, the best way to avoid constant veering is to allow veering—on purpose.

Set aside time—maybe 30 minutes every Friday—to explore side ideas. Write that barista’s backstory. Sketch the ancient runes. Flesh out the alternate timeline.

When you give your imagination a designated outlet, it stops demanding attention during drafting hours. It learns: Creativity has a time. Now is for focus.


7. Trust the Power of Revision

One of the biggest reasons writers go off track is fear—fear that their story isn’t interesting enough. So they add more: more drama, more mystery, more characters.

But here’s the truth: A strong, focused story is often more powerful than a sprawling one. You can enrich a solid core in revision. You can’t fix a scattered narrative by piling on more layers.

Write the story you meant to tell first. Then, in edits, ask: What’s missing? What needs depth? That’s when you decide whether to weave in some of those saved ideas—intentionally, not impulsively.


Final Thought: Focus Is a Muscle

Like any skill, focus strengthens with practice. The more you train yourself to return to your premise, honour your outline, and defer distractions, the easier it becomes.

You don’t have to suppress your creativity to stay on track. You just have to channel it wisely.

So the next time inspiration calls you down a winding path—smiling, promising adventure—smile back, take a note, and say:
“Not now. But maybe later.”

Then return to the road. Your story is waiting.

365 Days of writing, 2026 – 14

Day 14 – Having Fun with Ideas

Having Fun with Ideas: Embrace Brainstorming and Unlock Your Creative Potential

Creativity isn’t just a gift—it’s a practice. And one of the most exhilarating parts of the creative process? The moment when wild, half-formed ideas start to take shape. Whether you’re a writer, game designer, filmmaker, or just someone who loves to dream up alternate worlds, the journey often begins with a single spark: What if?

In this post, we’ll explore the art of playful brainstorming and dive into creative methods for researching fictional concepts—because fiction isn’t just made up; it’s built, layer by imaginative layer.


The Magic of Brainstorming: Where Ideas Go to Play

Brainstorming isn’t just about generating ideas—it’s about giving them space to stretch, stumble, collide, and sometimes, shine. To truly harness its power, you have to embrace the mess. Forget perfection. The goal is volume, variety, and velocity.

Here’s how to turn brainstorming into a playground:

  • Set the Stage for Fun: Clear a physical or digital space where distractions are minimal and novelty is welcome. Use colourful sticky notes, whiteboards, or digital tools like Miro or Milanote. The more playful the environment, the more freedom your brain feels to roam.
  • Ditch the Filter: In the brainstorming phase, no idea is too silly, too strange, or too far-fetched. A world where cats govern nations? A time-travelling barista? Write it down. Often, absurdity holds the seed of something brilliant.
  • Combine and Remix: Take two unrelated concepts and smash them together. What happens when Victorian etiquette meets alien diplomacy? How does a superhero cope with seasonal affective disorder? Jarring combinations often spark originality.
  • Time-Box Your Sessions: Give yourself 10–15 minutes of pure, untamed ideation. The constraint fuels creativity and stops you from overthinking.

Remember: brainstorming isn’t about finding the idea—it’s about exploring all the ideas.


Researching the Unreal: Creative Ways to Build Believable Fiction

One of the great paradoxes of fiction is that the more fantastical the concept, the more grounded it needs to feel. Even in a galaxy far, far away, audiences crave internal consistency and emotional truth. That’s where creative research comes in.

You don’t need a lab or a library card to research dragons or dystopias—you need curiosity and lateral thinking.

1. Worldwatch Like a Journalist

Imagine you’re a reporter embedded in your fictional world. Interview its inhabitants. What do they eat? What music do they listen to? What superstitions do they hold? Building a culture—no matter how alien—starts with everyday details.

2. Mine Real-World Inspiration

History, mythology, nature, and technology are treasure troves. The social dynamics of bees might inspire a hive-mind society. Ancient Egyptian burial rituals could inform a futuristic afterlife belief system. Use real-world phenomena as springboards—then twist them.

3. Create a Sensory Map

Close your eyes and imagine walking through your fictional setting. What do you hear? The hum of hover cars? The chant of temple monks? The smell of burning incense or recycled air? Engaging multiple senses adds depth and immersion, even before you write a word.

4. Reverse-Engineer the Rules

If magic exists in your world, what are its limits? If humans can upload their consciousness, who controls the servers? Establishing logical systems—even in illogical realms—makes the impossible feel plausible.

5. Prototype with Play

Turn your idea into a mini-game, comic, or storyboard. Act out scenes with friends. Use Lego to model a space station. Prototyping helps you test ideas in a low-stakes way and often reveals flaws—or hidden brilliance—you’d miss on the page.


Make It a Habit: Creativity as a Joyful Routine

The best part of working with ideas is that you don’t need permission. You don’t need a deadline or a publisher. All you need is curiosity and the courage to play.

Set aside 20 minutes a week for pure idea exploration. Keep a “What If?” journal. Host brainstorming nights with creative friends. Let your imagination romp like a puppy in a field—uninhibited and joyful.

Because at its core, creativity isn’t about output. It’s about engagement—the thrill of asking questions, following rabbit holes, and discovering worlds that only you could build.


Final Thought: Let Yourself Be Silly

Some of the most beloved fictional worlds—from The Lord of the Rings to The Matrix to Parks and Recreation—began as someone’s “crazy idea.” The key wasn’t seriousness; it was persistence and playfulness.

So go ahead—brainstorm like no one’s watching. Research like a detective who loves puzzles. And above all, have fun with your ideas. Because when imagination dances freely, magic happens.

Now, grab a notebook and ask yourself: What if…? The next great story might be hiding in your silliest thought.

What’s your favourite “What if?” moment? Share it in the comments—we’d love to play in your imaginary world, too.

365 Days of writing, 2026 – 14

Day 14 – Having Fun with Ideas

Having Fun with Ideas: Embrace Brainstorming and Unlock Your Creative Potential

Creativity isn’t just a gift—it’s a practice. And one of the most exhilarating parts of the creative process? The moment when wild, half-formed ideas start to take shape. Whether you’re a writer, game designer, filmmaker, or just someone who loves to dream up alternate worlds, the journey often begins with a single spark: What if?

In this post, we’ll explore the art of playful brainstorming and dive into creative methods for researching fictional concepts—because fiction isn’t just made up; it’s built, layer by imaginative layer.


The Magic of Brainstorming: Where Ideas Go to Play

Brainstorming isn’t just about generating ideas—it’s about giving them space to stretch, stumble, collide, and sometimes, shine. To truly harness its power, you have to embrace the mess. Forget perfection. The goal is volume, variety, and velocity.

Here’s how to turn brainstorming into a playground:

  • Set the Stage for Fun: Clear a physical or digital space where distractions are minimal and novelty is welcome. Use colourful sticky notes, whiteboards, or digital tools like Miro or Milanote. The more playful the environment, the more freedom your brain feels to roam.
  • Ditch the Filter: In the brainstorming phase, no idea is too silly, too strange, or too far-fetched. A world where cats govern nations? A time-travelling barista? Write it down. Often, absurdity holds the seed of something brilliant.
  • Combine and Remix: Take two unrelated concepts and smash them together. What happens when Victorian etiquette meets alien diplomacy? How does a superhero cope with seasonal affective disorder? Jarring combinations often spark originality.
  • Time-Box Your Sessions: Give yourself 10–15 minutes of pure, untamed ideation. The constraint fuels creativity and stops you from overthinking.

Remember: brainstorming isn’t about finding the idea—it’s about exploring all the ideas.


Researching the Unreal: Creative Ways to Build Believable Fiction

One of the great paradoxes of fiction is that the more fantastical the concept, the more grounded it needs to feel. Even in a galaxy far, far away, audiences crave internal consistency and emotional truth. That’s where creative research comes in.

You don’t need a lab or a library card to research dragons or dystopias—you need curiosity and lateral thinking.

1. Worldwatch Like a Journalist

Imagine you’re a reporter embedded in your fictional world. Interview its inhabitants. What do they eat? What music do they listen to? What superstitions do they hold? Building a culture—no matter how alien—starts with everyday details.

2. Mine Real-World Inspiration

History, mythology, nature, and technology are treasure troves. The social dynamics of bees might inspire a hive-mind society. Ancient Egyptian burial rituals could inform a futuristic afterlife belief system. Use real-world phenomena as springboards—then twist them.

3. Create a Sensory Map

Close your eyes and imagine walking through your fictional setting. What do you hear? The hum of hover cars? The chant of temple monks? The smell of burning incense or recycled air? Engaging multiple senses adds depth and immersion, even before you write a word.

4. Reverse-Engineer the Rules

If magic exists in your world, what are its limits? If humans can upload their consciousness, who controls the servers? Establishing logical systems—even in illogical realms—makes the impossible feel plausible.

5. Prototype with Play

Turn your idea into a mini-game, comic, or storyboard. Act out scenes with friends. Use Lego to model a space station. Prototyping helps you test ideas in a low-stakes way and often reveals flaws—or hidden brilliance—you’d miss on the page.


Make It a Habit: Creativity as a Joyful Routine

The best part of working with ideas is that you don’t need permission. You don’t need a deadline or a publisher. All you need is curiosity and the courage to play.

Set aside 20 minutes a week for pure idea exploration. Keep a “What If?” journal. Host brainstorming nights with creative friends. Let your imagination romp like a puppy in a field—uninhibited and joyful.

Because at its core, creativity isn’t about output. It’s about engagement—the thrill of asking questions, following rabbit holes, and discovering worlds that only you could build.


Final Thought: Let Yourself Be Silly

Some of the most beloved fictional worlds—from The Lord of the Rings to The Matrix to Parks and Recreation—began as someone’s “crazy idea.” The key wasn’t seriousness; it was persistence and playfulness.

So go ahead—brainstorm like no one’s watching. Research like a detective who loves puzzles. And above all, have fun with your ideas. Because when imagination dances freely, magic happens.

Now, grab a notebook and ask yourself: What if…? The next great story might be hiding in your silliest thought.

What’s your favourite “What if?” moment? Share it in the comments—we’d love to play in your imaginary world, too.

365 Days of writing, 2026 – 13

Day 13 – Writing exercise

All the days just ran together in one long blur.  Wake, dress, go to work, come home, read, sleep, repeat.  Then everything changed…

I got out of bed and went over to the closet.

Seven sets of work clothes, seven sets of leisure clothes, I picked one of the work sets and went to the bathroom.

No need to be more selective.  Each of the work and leisure sets was all the same.  Work tan, leisure blue.  Women wore green and pink.

We all looked the same.

On the yellow bus, picking up the factory workers each morning and dropping them off at night, it was a sea of tan and green.

Everyone read the same newspaper in the morning and sat quietly at night.

At work, I sat at a desk, one of two hundred, symmetrically arranged, just far enough apart to prevent idle conversation.  That happened in the canteen where a thousand people congregated for lunch.

Some single people lived in dormitories, and married people lived in houses.  Everything was supplied.  Everything was regulated.  It had been the same as long as I could remember.

That day I came home, changed into the leisure set, went for a walk, spoke to the others in the park where there was a walking track, a playground for children, and picnic tables.

A healthy lifestyle was a healthy, happy worker.

Why then wasn’t I happy?

I woke up, went to the closet and picked a work set.  It didn’t matter which one it was.

The newspaper was shoved through a slot in the door as it was every morning at the same time.

The eggs cooked perfectly, the toast cooked perfectly, and the coffee percolated perfectly.  I resisted the urge to open the newspaper and start reading, remembering protocol.

Dining utensils in the dishwasher, clean the surfaces, and ready to leave for work.  The bus was never late or early.  The walk to the bus stop is two minutes and twenty seconds.

I opened the door, ready to step out.

Standing there, in the way, was a young woman.  Odd that she was in the men’s dormitory.  Odder still, she was wearing yellow, not green.

“You are not in regulation clothing,” I said, not ‘how are you?’ or ‘ who are you?’, which would sound more appropriate.

“You’re not who I’m looking for.  Who are you?”

Clocks were everywhere, reminding us of the importance of time.  The time had passed, and now I would miss the bus.

The paperwork was going to be horrendous.

“Johnny five.  You?”

“Melinda Seventy-Two.  I was looking for Alfred thirty.”

Alfred Thirty had been the previous occupant of my space.  He had died, or so we had been told.  It was in the newspaper, and we believed everything that appeared in it.  There was no reason not to.

“Did you not see the report in the newspaper about a month ago?”  His death had afforded me a promotion and larger quarters.

“I don’t believe anything I read in that rag.”

That was seditious and could get her into trouble if anyone heard her.

“You’d better come in.  You cannot be saying stuff like that out loud.”

She looked at me like I was mad, then shrugged and stepped in.

I looked up and down the passage, then closed the door.

“Just me being in here can cause you trouble.”

We were allowed visitors, but at specific times and with the appropriate permission slips.  She was right.  The mountain of paperwork was piling up.

She was not from this district.  The different coloured suit told me she was not from this area.  People were not allowed out of their areas unless they had a travel pass.  I doubted she had one.

“How did you get here?”

“The tunnels.”

I’d heard about the tunnels, that they were an urban myth.  There were service conduits, but they were not big enough for people to travel through.

It was in the newspaper.  Someone had started spreading the rumours that people could travel from area to area via an extensive tunnel system created when the districts were being built.

An urban myth created by troublemakers.  There had been a few in the beginning after the great calamity that destroyed everything.

We were rebuilding the world, a better world where everyone coexisted in harmony.  A happy life, a happy world.  We all believed it.

“They don’t exist.”

“Because they tell you.  They tell you everything, and everything is a lie.  You are a slave to their lies.”

Who was this woman?  She sounded like a revolutionary; some had been around when I was a child.  My father had been on the tribunal that tried them as traitors and sent them to the penalty settlement.  Had she escaped?

“Are you a revolutionary?”

“I am just the same as you. I do what I’m told.  Or did.”  She took a note out of a pocket and handed it to me.

It said:  You do not have to bow to oppression.  Go to Tan-Green, speak to Alfred thirty.  Take the 387 tunnel.”

“The 387 tunnel?”

“I work in Engineering.  We use the tunnels to move around under the district to repair the services.  I did what was asked.  Where is Alfred thirty?”

“Gone.  Dead.  Can’t help you.  I have to go.  Late.  I have to go.”  I could not wait for her to decide what she wanted to do.

I left.

I caught the next bus.  It had different people.  I don’t know why I thought there was only one bus, the bus I took every morning.

They all had the newspaper and were reading it.  No conversation.

Why, all of a sudden, did it matter?  Had she affected me that much?

I arrived at work and swiped my key card.  It was what gave me access to my dorm, the bus, the building and my workstation.

A moment after I swiped my card, I was approached by a security guard.  It had never happened before; in fact I had never seen a security guard before.

“You are late, Johnny Five.  Why?”

What did it matter?  I was here, ready to work.  Perhaps the hesitation in answering was causing difficulty.  Should I mention the girl?

“Overslept. Sorry.”

A minute passed, during which it seemed he was waiting for instructions, then, “Proceed.”

I went into the room and walked slowly to my workstation, past about another 20 clerks.  I noticed that some glanced up then went back to work, others lingered, intrigued by the anomaly.

By the time I sat down, the room was back to normal.

For half an hour.

The supervisor sat in a room that overlooked the floor, taking in all of the clerks.

We all had to be in that room once, the day we started work, and it was an interesting view.  And intriguing to wonder how long it took to become a supervisor.

Or what exactly the supervisor did, though they too had a workstation.

No one had seen the supervisor leave that room, or come, or go.  She was always in there when we arrived, and still there when we left.

Today, she came down to the floor, walking from the invisible door under the window, then across the floor, walking up the middle of the room, then turning into my row, and then stopping at my workstation.

It had never happened to anyone else.

“Shut down your workstation and accompany me, please.”

I did as I was told.  She waited until the station switched off and then headed back to the invisible door.  By this time, most of the others had stopped and watched us cross the floor.

At the invisible door, she turned and said, “Back to work.”

She waited until their attention was back on their workstations, then opened the door, we passed though and it silently closed behind us.

Two security guards were waiting.

“You will be reported to Maintenance on Level Sun Basement Seven.  The guards will take you.”

“Why?”

“That is not a question I can answer.  I do as I am told, as should you.  Your key card had been programmed with the appropriate authority.”

Whatever that meant

One guard took the lead, the other followed.  I don’t know why, but at one point, waiting at the elevator lobby, I was entertaining the thought of running.  Not where, or why I would want to, but running.

Nor where I would run to.  It was a very strange feeling.

We went down to Sub Basement 7, and when the doors opened, a different guard was waiting.  My escorts stayed in the lift.

I stepped out, and the doors closed.

The new guard said, “This way “

There was only one.  Perhaps down here, they didn’t think they needed two.

We went down a long corridor to the end, to a door that said ‘Maintenance Five’.  The guard scanned a key card, and the lock clunked.

He opened the door and stood to one side.  “Please wait inside.  An engineer will see you shortly.”

I went in, and the door closed behind me.  The room had a chair and a table.  I looked around the room.  It was a square box, brightly lit, with CCTV.

I waited fifteen minutes before another door, behind the desk, and Melinda seventy-two stepped into the room.

“You.”  I recognised her immediately.

“Me.”

“Why?”

“That’s a word you are not supposed to use.  You know that.  Why do you?”

I thought about the question.  It was something that bothered me, too.  It was in the protocol manual. We accepted that everything we did had a reason and that we didn’t need to know why, only that it was to be done.  Years of work had gone into creating workable systems.

“Curiosity “

“There’s a saying….”

“Yes.  I am aware of it.”

“Then you are one of the more recent classes.  Can you tell me, if you had a choice and there were no restrictions, where you would like to go?”

It was not something I thought about.  No one did. But there was a word invoked, in that very moment, a word I’d not used before.  “Sanctuary.”

She smiled.  “And so it will be.  I knew you were different.  We have a special job for you, Johnny five.  Repeat after me, MGS34RYPLM.”

“Why?”

“You’ll see.  Repeat the code.”

“MGS34RYPLM.”

There was a moment when my eyes closed, everything went dark, and a second later, everything in my head changed.

“Who are you?”

I looked over at the girl.  I knew instantly who she was.  “Elizabeth.  How are you?”

“All the better for seeing you, Dad.  Everything you had set in place is ready.  I’m sorry it took so long to find you.”

“No matter.  I’m here now.  Let the revolution begin!”

©  Charles Heath  2025

365 Days of writing, 2026 – 13

Day 13 – Writing exercise

All the days just ran together in one long blur.  Wake, dress, go to work, come home, read, sleep, repeat.  Then everything changed…

I got out of bed and went over to the closet.

Seven sets of work clothes, seven sets of leisure clothes, I picked one of the work sets and went to the bathroom.

No need to be more selective.  Each of the work and leisure sets was all the same.  Work tan, leisure blue.  Women wore green and pink.

We all looked the same.

On the yellow bus, picking up the factory workers each morning and dropping them off at night, it was a sea of tan and green.

Everyone read the same newspaper in the morning and sat quietly at night.

At work, I sat at a desk, one of two hundred, symmetrically arranged, just far enough apart to prevent idle conversation.  That happened in the canteen where a thousand people congregated for lunch.

Some single people lived in dormitories, and married people lived in houses.  Everything was supplied.  Everything was regulated.  It had been the same as long as I could remember.

That day I came home, changed into the leisure set, went for a walk, spoke to the others in the park where there was a walking track, a playground for children, and picnic tables.

A healthy lifestyle was a healthy, happy worker.

Why then wasn’t I happy?

I woke up, went to the closet and picked a work set.  It didn’t matter which one it was.

The newspaper was shoved through a slot in the door as it was every morning at the same time.

The eggs cooked perfectly, the toast cooked perfectly, and the coffee percolated perfectly.  I resisted the urge to open the newspaper and start reading, remembering protocol.

Dining utensils in the dishwasher, clean the surfaces, and ready to leave for work.  The bus was never late or early.  The walk to the bus stop is two minutes and twenty seconds.

I opened the door, ready to step out.

Standing there, in the way, was a young woman.  Odd that she was in the men’s dormitory.  Odder still, she was wearing yellow, not green.

“You are not in regulation clothing,” I said, not ‘how are you?’ or ‘ who are you?’, which would sound more appropriate.

“You’re not who I’m looking for.  Who are you?”

Clocks were everywhere, reminding us of the importance of time.  The time had passed, and now I would miss the bus.

The paperwork was going to be horrendous.

“Johnny five.  You?”

“Melinda Seventy-Two.  I was looking for Alfred thirty.”

Alfred Thirty had been the previous occupant of my space.  He had died, or so we had been told.  It was in the newspaper, and we believed everything that appeared in it.  There was no reason not to.

“Did you not see the report in the newspaper about a month ago?”  His death had afforded me a promotion and larger quarters.

“I don’t believe anything I read in that rag.”

That was seditious and could get her into trouble if anyone heard her.

“You’d better come in.  You cannot be saying stuff like that out loud.”

She looked at me like I was mad, then shrugged and stepped in.

I looked up and down the passage, then closed the door.

“Just me being in here can cause you trouble.”

We were allowed visitors, but at specific times and with the appropriate permission slips.  She was right.  The mountain of paperwork was piling up.

She was not from this district.  The different coloured suit told me she was not from this area.  People were not allowed out of their areas unless they had a travel pass.  I doubted she had one.

“How did you get here?”

“The tunnels.”

I’d heard about the tunnels, that they were an urban myth.  There were service conduits, but they were not big enough for people to travel through.

It was in the newspaper.  Someone had started spreading the rumours that people could travel from area to area via an extensive tunnel system created when the districts were being built.

An urban myth created by troublemakers.  There had been a few in the beginning after the great calamity that destroyed everything.

We were rebuilding the world, a better world where everyone coexisted in harmony.  A happy life, a happy world.  We all believed it.

“They don’t exist.”

“Because they tell you.  They tell you everything, and everything is a lie.  You are a slave to their lies.”

Who was this woman?  She sounded like a revolutionary; some had been around when I was a child.  My father had been on the tribunal that tried them as traitors and sent them to the penalty settlement.  Had she escaped?

“Are you a revolutionary?”

“I am just the same as you. I do what I’m told.  Or did.”  She took a note out of a pocket and handed it to me.

It said:  You do not have to bow to oppression.  Go to Tan-Green, speak to Alfred thirty.  Take the 387 tunnel.”

“The 387 tunnel?”

“I work in Engineering.  We use the tunnels to move around under the district to repair the services.  I did what was asked.  Where is Alfred thirty?”

“Gone.  Dead.  Can’t help you.  I have to go.  Late.  I have to go.”  I could not wait for her to decide what she wanted to do.

I left.

I caught the next bus.  It had different people.  I don’t know why I thought there was only one bus, the bus I took every morning.

They all had the newspaper and were reading it.  No conversation.

Why, all of a sudden, did it matter?  Had she affected me that much?

I arrived at work and swiped my key card.  It was what gave me access to my dorm, the bus, the building and my workstation.

A moment after I swiped my card, I was approached by a security guard.  It had never happened before; in fact I had never seen a security guard before.

“You are late, Johnny Five.  Why?”

What did it matter?  I was here, ready to work.  Perhaps the hesitation in answering was causing difficulty.  Should I mention the girl?

“Overslept. Sorry.”

A minute passed, during which it seemed he was waiting for instructions, then, “Proceed.”

I went into the room and walked slowly to my workstation, past about another 20 clerks.  I noticed that some glanced up then went back to work, others lingered, intrigued by the anomaly.

By the time I sat down, the room was back to normal.

For half an hour.

The supervisor sat in a room that overlooked the floor, taking in all of the clerks.

We all had to be in that room once, the day we started work, and it was an interesting view.  And intriguing to wonder how long it took to become a supervisor.

Or what exactly the supervisor did, though they too had a workstation.

No one had seen the supervisor leave that room, or come, or go.  She was always in there when we arrived, and still there when we left.

Today, she came down to the floor, walking from the invisible door under the window, then across the floor, walking up the middle of the room, then turning into my row, and then stopping at my workstation.

It had never happened to anyone else.

“Shut down your workstation and accompany me, please.”

I did as I was told.  She waited until the station switched off and then headed back to the invisible door.  By this time, most of the others had stopped and watched us cross the floor.

At the invisible door, she turned and said, “Back to work.”

She waited until their attention was back on their workstations, then opened the door, we passed though and it silently closed behind us.

Two security guards were waiting.

“You will be reported to Maintenance on Level Sun Basement Seven.  The guards will take you.”

“Why?”

“That is not a question I can answer.  I do as I am told, as should you.  Your key card had been programmed with the appropriate authority.”

Whatever that meant

One guard took the lead, the other followed.  I don’t know why, but at one point, waiting at the elevator lobby, I was entertaining the thought of running.  Not where, or why I would want to, but running.

Nor where I would run to.  It was a very strange feeling.

We went down to Sub Basement 7, and when the doors opened, a different guard was waiting.  My escorts stayed in the lift.

I stepped out, and the doors closed.

The new guard said, “This way “

There was only one.  Perhaps down here, they didn’t think they needed two.

We went down a long corridor to the end, to a door that said ‘Maintenance Five’.  The guard scanned a key card, and the lock clunked.

He opened the door and stood to one side.  “Please wait inside.  An engineer will see you shortly.”

I went in, and the door closed behind me.  The room had a chair and a table.  I looked around the room.  It was a square box, brightly lit, with CCTV.

I waited fifteen minutes before another door, behind the desk, and Melinda seventy-two stepped into the room.

“You.”  I recognised her immediately.

“Me.”

“Why?”

“That’s a word you are not supposed to use.  You know that.  Why do you?”

I thought about the question.  It was something that bothered me, too.  It was in the protocol manual. We accepted that everything we did had a reason and that we didn’t need to know why, only that it was to be done.  Years of work had gone into creating workable systems.

“Curiosity “

“There’s a saying….”

“Yes.  I am aware of it.”

“Then you are one of the more recent classes.  Can you tell me, if you had a choice and there were no restrictions, where you would like to go?”

It was not something I thought about.  No one did. But there was a word invoked, in that very moment, a word I’d not used before.  “Sanctuary.”

She smiled.  “And so it will be.  I knew you were different.  We have a special job for you, Johnny five.  Repeat after me, MGS34RYPLM.”

“Why?”

“You’ll see.  Repeat the code.”

“MGS34RYPLM.”

There was a moment when my eyes closed, everything went dark, and a second later, everything in my head changed.

“Who are you?”

I looked over at the girl.  I knew instantly who she was.  “Elizabeth.  How are you?”

“All the better for seeing you, Dad.  Everything you had set in place is ready.  I’m sorry it took so long to find you.”

“No matter.  I’m here now.  Let the revolution begin!”

©  Charles Heath  2025