Tag: Fiction

365 Days of writing, 2026 – My Second Story 6

More about my second novel

…

OK. So the story is about Alistair’s mother seeking revenge on Zoe for killing her son.

She’s not the only one.

Zoe is or was an assassin. She had a substantial number of kills to her credit, but she doesn’t share numbers, so we won’t find out exactly how many, and others seek revenge, too.

One is co-incidentally, the head of the intelligence service John’s friend Sebastian works for, a man by the name of Worthington, who had a twin brother whom she killed by mistake.

He has been using his position in intelligence to track the woman who executed his brother for some time, and being in Venice at the time of the Alistair affair, he catches sight of Zoe recovering in a hospital after requesting to meet Sebastian’s newest recruit.

Of course, Sebastian is playing fast and loose with the truth, as always, but the damage is done.

Zoe, aka Mary Anne, aka Chantal, is now being hunted by three different people and has just had a bounty put on her head, guaranteeing even more people searching for her.

All while heading to a meeting in Marseilles about a freelance hit.

Yes, it’s going to be the proverbial rollercoaster ride…

What I learned about writing – Editing – 1

The message I’m getting from the inspirational piece is quite bluntly telling you, the author, to be ruthless.

But, is it as much about cutting words as it is about rearranging those you have better?

Some writers write chapters instead of paragraphs, paragraphs instead of sentences, and end up with a book the size of War and Peace. That is not to say Tolstoy should have taken a blue pencil to his work and made it 250 pages. It would not have made sense.

A friend of mine once told me that Harold Robbins was one of those writers who needed to be concise rather than verbose. I didn’t agree with him. I read all of Robbins’ books and loved them.

But…

It is always suggested that first, you write the story. Just get it all down on paper, or in a file on your computer. However long it takes to get it there. One of mine came in at 85,000 words. At the time, I was told the optimum size was around 50 to 60,000 words.

So, it came time for the first edit. I reduced it to around 45,000 words by tasking out what I first deemed unnecessary verbosity. Then I sent it to the editor, who told me there were gaps, gaps that ruined the continuity. He then asked for the missing pages.

I then made the second edit, and it came back at 78,000 words.

Three visits to the editor and four rewrites, the story now has 85,000 words again, but it reads much, much better. It was, in fact, a story I wrote originally about 50 years ago, at a time when love was new to me, and I didn’t understand girls or the myriad of mistakes you could make, and I think what I did back then was chronicle the path I took.

If I was hoping it would make it easier, I was wrong. It was not a revelation to discover that all women are different.

But I digress…

Editing can be about ruthless cutting, but it can also be about adding for clarity and continuity or to make a part of the story clearer by using context or backstory.

365 Days of writing, 2026 – My Second Story 6

More about my second novel

…

OK. So the story is about Alistair’s mother seeking revenge on Zoe for killing her son.

She’s not the only one.

Zoe is or was an assassin. She had a substantial number of kills to her credit, but she doesn’t share numbers, so we won’t find out exactly how many, and others seek revenge, too.

One is co-incidentally, the head of the intelligence service John’s friend Sebastian works for, a man by the name of Worthington, who had a twin brother whom she killed by mistake.

He has been using his position in intelligence to track the woman who executed his brother for some time, and being in Venice at the time of the Alistair affair, he catches sight of Zoe recovering in a hospital after requesting to meet Sebastian’s newest recruit.

Of course, Sebastian is playing fast and loose with the truth, as always, but the damage is done.

Zoe, aka Mary Anne, aka Chantal, is now being hunted by three different people and has just had a bounty put on her head, guaranteeing even more people searching for her.

All while heading to a meeting in Marseilles about a freelance hit.

Yes, it’s going to be the proverbial rollercoaster ride…

365 Days of writing, 2026 – 37

Day 37 – Do writers need to be interested in everything

…

Is the Accomplished Writer Someone Who Is Interested in Everything?

Introduction

When you flip through the pages of a novel that feels almost cinematic, or when a nonfiction essay makes you see the world in a new light, you’re often witnessing the work of a writer who seems to know everything. From the delicate anatomy of a hummingbird’s wing to the gritty economics of a 19th‑century railway boom, the writer’s knowledge appears boundless.

That impression fuels a common myth: “If you want to be an accomplished writer, you must be interested in everything.”

Is this hyper‑curiosity a prerequisite for literary greatness, or merely a romantic exaggeration? In this post, we’ll unpack the myth, explore the real relationship between curiosity and craft, and give you practical takeaways for your own writing journey.

1. The Appeal of the “Jack‑of‑All‑Trades” Writer

1.1. Breadth as a Narrative Engine

A wide knowledge base gives a writer an arsenal of storytelling tools. When you can weave together disparate subjects—say, a scientist’s obsession with quantum entanglement and a chef’s pursuit of umami—you create surprising juxtapositions that keep readers hooked.

  • Example: Don DeLillo’s novels are peppered with references to pop culture, physics, and corporate jargon, turning his prose into a kaleidoscope of modern life.
  • Result: Readers feel that the author “gets” the world, and they trust the narrative to transport them across it.

1.2. Credibility and Authority

When a writer can cite accurate details, it builds legitimacy. In nonfiction, especially, expertise (or the appearance of it) can be the difference between a bestseller and a footnote.

  • Example: Malcolm Gladwell isn’t a psychologist, sociologist, or historian, yet he commands authority because he consistently digests research from each field and reframes it in accessible stories.

2. Why “Everything” Is a Misleading Goal

2.1. The Curse of the “Polymath‑Trap”

Trying to master everything leads to shallow knowledge, which can manifest as:

  • Superficiality: Dropping jargon without context, leaving readers confused.
  • Inconsistent Voice: Switching tones every time you switch subjects erodes narrative cohesion.

“A writer who knows a little about many things is often less effective than a writer who knows a lot about one thing.” – Haruki Murakami (paraphrased)

2.2. Depth Trumps Breadth in Most Genres

  • Literary Fiction: The emotional truth of a character’s inner life often outweighs how many facts you can slip in.
  • Genre Writing (e.g., mystery, sci‑fi): World‑building thrives on focused expertise. A detective novel benefits more from a deep dive into police procedure than from an encyclopedic survey of kitchen appliances.

2.3. The Opportunity Cost of Over‑Curiosity

Every hour you spend chasing a new hobby is an hour you could be honing your prose, revising drafts, or reading the works that inspired you. The best writers allocate their curiosity strategically, not indiscriminately.

3. What Successful Writers Actually Do

WriterPrimary InterestsHow They Leverage Curiosity
Toni MorrisonAfrican‑American history, music, mythologyIntegrated cultural memory into layered narratives.
Neil GaimanFolklore, comics, filmCross‑medium storytelling, creating a mythic voice.
J.K. RowlingClassical mythology, alchemy, educationBuilt a richly detailed magical world anchored in real‑world concepts.
Rebecca SolnitGeography, politics, art historyCombines seemingly unrelated topics to reveal hidden connections.
George R.R. MartinMedieval history, anthropology, linguisticsConstructs a believable fantasy realm through meticulous research in specific fields.

Key Takeaway: Each writer has a core constellation of interests that they explore deeply, while allowing peripheral curiosities to spark fresh ideas.

4. The Science of Curiosity and Creativity

  • Neuroscience: Studies show that divergent thinking—the ability to generate many possible solutions—strengthens when the brain forms connections across unrelated concepts.
  • Psychology: The “Broaden‑and‑Build” theory (Barbara Fredrickson) posits that positive emotions, often triggered by curiosity, expand our mental repertoire, giving us more raw material for creative work.

In plain terms: Being curious does help you write better—but you don’t need to be curious about everything. You just need enough variety to keep the mental pathways open.

5. How to Cultivate a Productive Curiosity (Without Going Overboard)

  1. Identify Your “Anchor Interests.”
    • List 3–5 subjects you love (e.g., vintage photography, urban gardening, Renaissance art).
    • Make a habit of reading news, books, or podcasts in these areas weekly.
  2. Adopt a “Research‑First” Mindset for Projects.
    • Before you start a story, ask: What knowledge does the world need?
    • Set a research budget (e.g., 5 hours) and focus on depth, not breadth.
  3. Cross‑Pollinate Intentionally.
    • Pair two unrelated interests (e.g., marine biology + corporate law) and brainstorm story premises.
    • Use the “Random Prompt” method: Write a one‑sentence logline that forces you to combine the two.
  4. Limit Consumption, Amplify Production.
    • For every hour spent watching a documentary, write at least 300 words.
    • This “ratio rule” ensures curiosity fuels output rather than replaces it.
  5. Maintain a “Curiosity Journal.”
    • Jot down fleeting questions (“Why do some birds migrate at night?”).
    • Review monthly; pick one that resonates and research it thoroughly.

6. Frequently Asked Questions

QuestionShort Answer
Do I need a formal education in every field I write about?No. A disciplined research process and a willingness to ask experts can substitute for a degree.
Can I become a bestselling author by focusing on a single niche?Absolutely. Ernest Hemingway famously limited his subject matter to war, hunting, and love, yet his work is timeless.
Is it okay to write about topics I’m not an expert in?Yes, if you do thorough research, credit your sources, and avoid misrepresentation.
How do I avoid “information overload” when I’m curious?Set clear limits on research time per project, and prioritize depth over quantity.
Should I read only within my genre to stay “focused”?No. Reading outside your genre fuels innovation, but keep a balance so you don’t lose sight of genre conventions.

7. Bottom Line: Curiosity, Not Everything, Makes the Accomplished Writer

  • Curiosity is the engine. It drives you to ask questions, seek stories, and discover connections.
  • Depth is the fuel. Master a few subjects enough to write with authority and nuance.
  • Focus is the map. Align your curiosity with the story you’re telling, rather than letting it wander aimlessly.

An accomplished writer is not a person who knows everything, but a person who knows how to learn what they need, when they need it, and then transform that knowledge into compelling prose.

Action Plan: 3 Steps to Start Today

  1. Pick Your Anchor: Write down three topics you could talk about for hours.
  2. Schedule a Research Sprint: Allocate a 2‑hour block this week to dig deep into one of those topics—read a scholarly article, watch a documentary, or interview an expert.
  3. Write a Mini‑Story: Using the new knowledge, craft a 500‑word piece that integrates the information organically.

Repeat the cycle, and watch your writing evolve from “interesting” to illuminating.

Closing Thought

The next time you admire a writer who seems to have woven the universe into their pages, remember: they didn’t achieve that by trying to master everything. They mastered the art of selective curiosity—knowing what to explore, how deep to go, and, most importantly, how to turn that exploration into a story that matters.

If you adopt that mindset, you’ll be well on your way to joining the ranks of accomplished writers—without ever having to become a walking encyclopedia.

Happy writing!

If you found this post helpful, share it with fellow word‑smiths and subscribe for more insights on crafting great prose.

What I learned about writing – Check your work

By any and all means possible, because if you are using the English language, then you’re going to be tripped up.

For instance, just the use of simple words like then, and than, there, and their, and many others. Just the very simplest of words have many meanings, some of them obscure, some of them, well, you get my drift.

ESL students often tear what little hair they have left out over the words. We English users, we are different again, being American English, English English, and a dozen other variations.

There’s centre and centre, just to name one, when it comes to American and English.

It depends on what spell checker you use to check the spelling, and what grammar checker you use, and generally not 100 per cent effective.

I let Microsoft Editor have fun with my writing, and then tend to ignore a lot of the suggestions. They just sound weird.

I have a basic Grammarly, but it doesn’t do a whole lot, and it costs a lot of money to get the so-called good one.

You have to decide the way you want to go, but you will have to have your work checked for grammar, spelling and facts.

And probably read a dozen grammar texts to get the best way to write your sentences. Mine often start out somewhat strange, but we get there in the end.

…

As a case in point: the word Line

The English language has some marvellous words that can be used to have any number of meanings

For instance,

Draw a line in the sand

We would all like to do this with our children, our jobs, and our relationships, but for some reason, the idea sounds really good in our heads, yet it never quite works out. What does it mean, whatever it is, this I’d where it ends or changes because it can’t keep going the way it is.

Inevitably, it leads to,

You’ve crossed the line

Which, at some point in our lives, and particularly when we were children, we all do a few times until, if we’re lucky, we learn where that line is. It’s usually considered 8n tandem with pushing boundaries.

Of course, there is

A line you should never cross

And I like to think we all know where that is. Unfortunately, some do not and often find their seemingly idyllic life totally shattered beyond repair. An affair from either side of a marriage or relationship can do that.

You couldn’t walk a straight line if you tried

While we might debate what straight might mean in this context, for this adaptation, it means staying on the right side of legality. Some people find a life of crime more appealing than doing honest day’s work.

This goes hand in hand with,

You’re spinning me a line

This means you are being somewhat loose with the truth, perhaps in explaining where you’ve been and what you’ve been doing. I think sometimes liars forget they need to have good memories.

Then there are the more practical uses of the word, such as

I have a new line of products

Is that a new fishing line?

Those, I think, most of us get, but it’s the more ambiguous ones that we have trouble with. Still, ambiguity is a writer’s best friend, and we can make up a lot of stuff from just using one word.

365 Days of writing, 2026 – 37

Day 37 – Do writers need to be interested in everything

…

Is the Accomplished Writer Someone Who Is Interested in Everything?

Introduction

When you flip through the pages of a novel that feels almost cinematic, or when a nonfiction essay makes you see the world in a new light, you’re often witnessing the work of a writer who seems to know everything. From the delicate anatomy of a hummingbird’s wing to the gritty economics of a 19th‑century railway boom, the writer’s knowledge appears boundless.

That impression fuels a common myth: “If you want to be an accomplished writer, you must be interested in everything.”

Is this hyper‑curiosity a prerequisite for literary greatness, or merely a romantic exaggeration? In this post, we’ll unpack the myth, explore the real relationship between curiosity and craft, and give you practical takeaways for your own writing journey.

1. The Appeal of the “Jack‑of‑All‑Trades” Writer

1.1. Breadth as a Narrative Engine

A wide knowledge base gives a writer an arsenal of storytelling tools. When you can weave together disparate subjects—say, a scientist’s obsession with quantum entanglement and a chef’s pursuit of umami—you create surprising juxtapositions that keep readers hooked.

  • Example: Don DeLillo’s novels are peppered with references to pop culture, physics, and corporate jargon, turning his prose into a kaleidoscope of modern life.
  • Result: Readers feel that the author “gets” the world, and they trust the narrative to transport them across it.

1.2. Credibility and Authority

When a writer can cite accurate details, it builds legitimacy. In nonfiction, especially, expertise (or the appearance of it) can be the difference between a bestseller and a footnote.

  • Example: Malcolm Gladwell isn’t a psychologist, sociologist, or historian, yet he commands authority because he consistently digests research from each field and reframes it in accessible stories.

2. Why “Everything” Is a Misleading Goal

2.1. The Curse of the “Polymath‑Trap”

Trying to master everything leads to shallow knowledge, which can manifest as:

  • Superficiality: Dropping jargon without context, leaving readers confused.
  • Inconsistent Voice: Switching tones every time you switch subjects erodes narrative cohesion.

“A writer who knows a little about many things is often less effective than a writer who knows a lot about one thing.” – Haruki Murakami (paraphrased)

2.2. Depth Trumps Breadth in Most Genres

  • Literary Fiction: The emotional truth of a character’s inner life often outweighs how many facts you can slip in.
  • Genre Writing (e.g., mystery, sci‑fi): World‑building thrives on focused expertise. A detective novel benefits more from a deep dive into police procedure than from an encyclopedic survey of kitchen appliances.

2.3. The Opportunity Cost of Over‑Curiosity

Every hour you spend chasing a new hobby is an hour you could be honing your prose, revising drafts, or reading the works that inspired you. The best writers allocate their curiosity strategically, not indiscriminately.

3. What Successful Writers Actually Do

WriterPrimary InterestsHow They Leverage Curiosity
Toni MorrisonAfrican‑American history, music, mythologyIntegrated cultural memory into layered narratives.
Neil GaimanFolklore, comics, filmCross‑medium storytelling, creating a mythic voice.
J.K. RowlingClassical mythology, alchemy, educationBuilt a richly detailed magical world anchored in real‑world concepts.
Rebecca SolnitGeography, politics, art historyCombines seemingly unrelated topics to reveal hidden connections.
George R.R. MartinMedieval history, anthropology, linguisticsConstructs a believable fantasy realm through meticulous research in specific fields.

Key Takeaway: Each writer has a core constellation of interests that they explore deeply, while allowing peripheral curiosities to spark fresh ideas.

4. The Science of Curiosity and Creativity

  • Neuroscience: Studies show that divergent thinking—the ability to generate many possible solutions—strengthens when the brain forms connections across unrelated concepts.
  • Psychology: The “Broaden‑and‑Build” theory (Barbara Fredrickson) posits that positive emotions, often triggered by curiosity, expand our mental repertoire, giving us more raw material for creative work.

In plain terms: Being curious does help you write better—but you don’t need to be curious about everything. You just need enough variety to keep the mental pathways open.

5. How to Cultivate a Productive Curiosity (Without Going Overboard)

  1. Identify Your “Anchor Interests.”
    • List 3–5 subjects you love (e.g., vintage photography, urban gardening, Renaissance art).
    • Make a habit of reading news, books, or podcasts in these areas weekly.
  2. Adopt a “Research‑First” Mindset for Projects.
    • Before you start a story, ask: What knowledge does the world need?
    • Set a research budget (e.g., 5 hours) and focus on depth, not breadth.
  3. Cross‑Pollinate Intentionally.
    • Pair two unrelated interests (e.g., marine biology + corporate law) and brainstorm story premises.
    • Use the “Random Prompt” method: Write a one‑sentence logline that forces you to combine the two.
  4. Limit Consumption, Amplify Production.
    • For every hour spent watching a documentary, write at least 300 words.
    • This “ratio rule” ensures curiosity fuels output rather than replaces it.
  5. Maintain a “Curiosity Journal.”
    • Jot down fleeting questions (“Why do some birds migrate at night?”).
    • Review monthly; pick one that resonates and research it thoroughly.

6. Frequently Asked Questions

QuestionShort Answer
Do I need a formal education in every field I write about?No. A disciplined research process and a willingness to ask experts can substitute for a degree.
Can I become a bestselling author by focusing on a single niche?Absolutely. Ernest Hemingway famously limited his subject matter to war, hunting, and love, yet his work is timeless.
Is it okay to write about topics I’m not an expert in?Yes, if you do thorough research, credit your sources, and avoid misrepresentation.
How do I avoid “information overload” when I’m curious?Set clear limits on research time per project, and prioritize depth over quantity.
Should I read only within my genre to stay “focused”?No. Reading outside your genre fuels innovation, but keep a balance so you don’t lose sight of genre conventions.

7. Bottom Line: Curiosity, Not Everything, Makes the Accomplished Writer

  • Curiosity is the engine. It drives you to ask questions, seek stories, and discover connections.
  • Depth is the fuel. Master a few subjects enough to write with authority and nuance.
  • Focus is the map. Align your curiosity with the story you’re telling, rather than letting it wander aimlessly.

An accomplished writer is not a person who knows everything, but a person who knows how to learn what they need, when they need it, and then transform that knowledge into compelling prose.

Action Plan: 3 Steps to Start Today

  1. Pick Your Anchor: Write down three topics you could talk about for hours.
  2. Schedule a Research Sprint: Allocate a 2‑hour block this week to dig deep into one of those topics—read a scholarly article, watch a documentary, or interview an expert.
  3. Write a Mini‑Story: Using the new knowledge, craft a 500‑word piece that integrates the information organically.

Repeat the cycle, and watch your writing evolve from “interesting” to illuminating.

Closing Thought

The next time you admire a writer who seems to have woven the universe into their pages, remember: they didn’t achieve that by trying to master everything. They mastered the art of selective curiosity—knowing what to explore, how deep to go, and, most importantly, how to turn that exploration into a story that matters.

If you adopt that mindset, you’ll be well on your way to joining the ranks of accomplished writers—without ever having to become a walking encyclopedia.

Happy writing!

If you found this post helpful, share it with fellow word‑smiths and subscribe for more insights on crafting great prose.

365 Days of writing, 2026 – 36

Day 36 – Obsessions become inspiration

…

Turning an Obsession Into Art: How Watching Soap Operas Can Fuel Your Next Story or Play

Introduction

What if the very thing you can’t stop binge‑watching—whether it’s a daily soap opera, a true‑crime documentary, or an endless stream of cooking shows—could become the secret weapon behind your next compelling narrative?

Obsessions are often dismissed as distractions, but for writers, they can be information goldmines. The key is learning how to harvest the patterns, emotions, and structures that keep you glued to the screen, and then re‑engineer them into something fresh, resonant, and uniquely yours.

In this post, we’ll explore:

  1. Why obsessions work – the psychological and creative science behind them.
  2. What soap operas teach us about drama, pacing, and character.
  3. A step‑by‑step framework for turning a viewing habit into a polished story or stage play.
  4. Real‑world examples of writers who turned their fixations into masterpieces.
  5. Practical tips & pitfalls to keep you on track.

Grab a notebook (or open a fresh Google Doc) and let’s turn that guilty pleasure into a creative engine.

1. The Power of Obsession: Why It’s a Writer’s Secret Weapon

A. Cognitive Magnetism

When you repeatedly expose yourself to a particular genre or medium, your brain builds schema—mental frameworks that help you predict what will happen next. This predictive ability frees up cognitive bandwidth for higher‑order thinking: spotting the gaps, subverting expectations, and layering new ideas onto familiar structures.

B. Emotional Hook

Obsessions aren’t just intellectual; they’re emotional. The excitement you feel when a cliff‑hanger resolves, the empathy you develop for a long‑running protagonist—these feelings stick in your memory. Emotional resonance is the lifeblood of any story, and an obsession supplies a ready‑made well of feeling to draw from.

C. Knowledge Accumulation

Every episode you watch deposits data: character arcs, dialogue cadence, set dressing, pacing cues, and even the “rules” that govern the fictional world. Over weeks or months, this repository becomes a research library that you can reference without ever opening a textbook.

Bottom line: An obsession turns you into a subject‑matter specialist while simultaneously priming you to think like a storyteller.

2. Soap Operas as a Masterclass in Drama

If you’re sceptical about using soap operas—a genre sometimes dismissed as “lowbrow”—look closer. The format is a compressed drama laboratory:

ElementWhat Soap Operas Do WellHow It Translates to Writing
Character DepthLong‑term arcs let characters evolve over years.Gives you a model for layered, believable growth.
Cliff‑HangersEvery episode ends on a hook that forces the next viewing.Teaches you how to structure tension and release.
Dialogue RhythmRapid, overlapping conversations mimic real speech.Shows you how to craft snappy, realistic dialogue.
Plot InterweavingMultiple storylines intersect, diverge, and reconverge.Provides a blueprint for complex, multi‑threaded plots.
Emotional CoreStakes are amplified (family secrets, betrayals, love).Demonstrates how to raise emotional stakes without melodrama.
Production ConstraintsLimited budgets force creative staging.Inspires resourceful world‑building on a modest scale.

Even the most cynical critic can acknowledge that soap operas are engineered for maximum emotional throughput—exactly what you want when you sit down to write a story that grabs readers from the first line.

3. From Viewing to Writing: A Practical Framework

Below is a six‑step workflow that turns any obsessive viewing habit into a solid narrative foundation. Feel free to adapt the timeline to fit your schedule (the steps can be compressed into a weekend or stretched over months).

Step 1: Log the Details

  • Create a “Soap‑Log” spreadsheet with columns for episode title, air date, key conflict, main characters, and standout line of dialogue.
  • Tag recurring motifs (e.g., “secret twins,” “return from the dead,” “corporate takeover”).
  • Note personal reactions: what made you laugh, cringe, or feel a pang of sympathy?

Why? The act of recording forces you to observe rather than consume passively, training you to spot narrative mechanics.

Step 2: Identify the Core Mechanics

  • Pattern‑hunt: Which plot devices appear most often? (e.g., “misunderstood love letters”).
  • Structure analysis: Break down a typical episode into beats (inciting incident → rising action → climax → resolution). Use Dan Harmon’s Story Circle or a three‑act template as a reference.

Result: A toolbox of building blocks you can mix, match, and remix.

Step 3: Extract Universal Themes

  • Even the most outlandish storylines tap into fundamental human concerns: power, love, betrayal, and redemption.
  • Write a list of theme statements, such as “the desire for belonging can drive people to deception.”

Why it matters: Themes give your work depth beyond plot mechanics, ensuring it resonates beyond the soap fan base.

Step 4: Subvert and Re-Contextualise

  • Choose one familiar soap trope (e.g., the “evil step‑mother”) and flip it: perhaps the step‑mother is the heroic caretaker in a dystopian future.
  • Change the setting dramatically: move the drama from a small town in Texas to a floating city on a gas giant.

Goal: Keep the emotional pull of the original while delivering something fresh.

Step 5: Draft a Mini‑Pilot

  • Write a 10‑page pilot (or a one‑act play) that incorporates at least three of the identified beats, one subverted trope, and a clear thematic thread.
  • Use the soap‑log as a cheat sheet for dialogue rhythm and cliff‑hanger placement.

Tip: Aim for a tight inciting incident in the first 5 pages—this is the hook that made you binge‑watch the soap in the first place.

Step 6: Iterate with Feedback

  • Share the draft with a mix of soap fans and non‑fans. Ask: “Did the stakes feel real?” and “Did any moment feel cliché?”
  • Revise based on the overlap—what resonates with both groups is the sweet spot where niche expertise meets universal appeal.

What I learned about writing – What will you do to finish that book?

Me? Well, I’m not that dedicated but…

An organised writer will set aside time for all the processes he or she needs to do in a day, in order to get the job done.

We’re talking time management, or a scale I couldn’t even begin to imagine. But if you want to write a book in a reasonable timeframe, then you have to plan.

To me, if I was going to go down that path, I would need to know the following:

Book genre, a working title, approximate length in words, break down the parts of the story into what will eventually become chapters, know most of the characters and their functions, and spoiler alert, what a possible ending might be.

For me, for instance, the book is a thriller, it is about 80,000 words, and it will have between 80 and 100 chapters. From there, if I plan to write 2,000 words a day, it would take 40 days, but more realistically, if I write 500 words a day, it would be 160 days or six months. Taking time out, the average time it would take to write would be about one year.

Then, there’s that little matter of what you are prepared to do to finish it.

Will you go at it, day after day, until the first draft is finished? Having a plan, setting out the plot lines and writing to them, perhaps.

If you write like I do, by the seat of my pants, then all that goes out the window.

I use the NANOWRIMO method, of writing 50,000 words in a month, with no breaks, and providing the ideas keep coming, which they generally do. My books often start as short stories, and then carry on. I have done this once a year for the last seven years.

The thing is, once you start, you have to finish. If you don’t, that germ of an idea that starts turning into words will stagnate, then become impossible. And if those around you cannot support you, I’m sure you can find an attic somewhere on the internet where you can lock yourself away until it is done.

365 Days of writing, 2026 – 36

Day 36 – Obsessions become inspiration

…

Turning an Obsession Into Art: How Watching Soap Operas Can Fuel Your Next Story or Play

Introduction

What if the very thing you can’t stop binge‑watching—whether it’s a daily soap opera, a true‑crime documentary, or an endless stream of cooking shows—could become the secret weapon behind your next compelling narrative?

Obsessions are often dismissed as distractions, but for writers, they can be information goldmines. The key is learning how to harvest the patterns, emotions, and structures that keep you glued to the screen, and then re‑engineer them into something fresh, resonant, and uniquely yours.

In this post, we’ll explore:

  1. Why obsessions work – the psychological and creative science behind them.
  2. What soap operas teach us about drama, pacing, and character.
  3. A step‑by‑step framework for turning a viewing habit into a polished story or stage play.
  4. Real‑world examples of writers who turned their fixations into masterpieces.
  5. Practical tips & pitfalls to keep you on track.

Grab a notebook (or open a fresh Google Doc) and let’s turn that guilty pleasure into a creative engine.

1. The Power of Obsession: Why It’s a Writer’s Secret Weapon

A. Cognitive Magnetism

When you repeatedly expose yourself to a particular genre or medium, your brain builds schema—mental frameworks that help you predict what will happen next. This predictive ability frees up cognitive bandwidth for higher‑order thinking: spotting the gaps, subverting expectations, and layering new ideas onto familiar structures.

B. Emotional Hook

Obsessions aren’t just intellectual; they’re emotional. The excitement you feel when a cliff‑hanger resolves, the empathy you develop for a long‑running protagonist—these feelings stick in your memory. Emotional resonance is the lifeblood of any story, and an obsession supplies a ready‑made well of feeling to draw from.

C. Knowledge Accumulation

Every episode you watch deposits data: character arcs, dialogue cadence, set dressing, pacing cues, and even the “rules” that govern the fictional world. Over weeks or months, this repository becomes a research library that you can reference without ever opening a textbook.

Bottom line: An obsession turns you into a subject‑matter specialist while simultaneously priming you to think like a storyteller.

2. Soap Operas as a Masterclass in Drama

If you’re sceptical about using soap operas—a genre sometimes dismissed as “lowbrow”—look closer. The format is a compressed drama laboratory:

ElementWhat Soap Operas Do WellHow It Translates to Writing
Character DepthLong‑term arcs let characters evolve over years.Gives you a model for layered, believable growth.
Cliff‑HangersEvery episode ends on a hook that forces the next viewing.Teaches you how to structure tension and release.
Dialogue RhythmRapid, overlapping conversations mimic real speech.Shows you how to craft snappy, realistic dialogue.
Plot InterweavingMultiple storylines intersect, diverge, and reconverge.Provides a blueprint for complex, multi‑threaded plots.
Emotional CoreStakes are amplified (family secrets, betrayals, love).Demonstrates how to raise emotional stakes without melodrama.
Production ConstraintsLimited budgets force creative staging.Inspires resourceful world‑building on a modest scale.

Even the most cynical critic can acknowledge that soap operas are engineered for maximum emotional throughput—exactly what you want when you sit down to write a story that grabs readers from the first line.

3. From Viewing to Writing: A Practical Framework

Below is a six‑step workflow that turns any obsessive viewing habit into a solid narrative foundation. Feel free to adapt the timeline to fit your schedule (the steps can be compressed into a weekend or stretched over months).

Step 1: Log the Details

  • Create a “Soap‑Log” spreadsheet with columns for episode title, air date, key conflict, main characters, and standout line of dialogue.
  • Tag recurring motifs (e.g., “secret twins,” “return from the dead,” “corporate takeover”).
  • Note personal reactions: what made you laugh, cringe, or feel a pang of sympathy?

Why? The act of recording forces you to observe rather than consume passively, training you to spot narrative mechanics.

Step 2: Identify the Core Mechanics

  • Pattern‑hunt: Which plot devices appear most often? (e.g., “misunderstood love letters”).
  • Structure analysis: Break down a typical episode into beats (inciting incident → rising action → climax → resolution). Use Dan Harmon’s Story Circle or a three‑act template as a reference.

Result: A toolbox of building blocks you can mix, match, and remix.

Step 3: Extract Universal Themes

  • Even the most outlandish storylines tap into fundamental human concerns: power, love, betrayal, and redemption.
  • Write a list of theme statements, such as “the desire for belonging can drive people to deception.”

Why it matters: Themes give your work depth beyond plot mechanics, ensuring it resonates beyond the soap fan base.

Step 4: Subvert and Re-Contextualise

  • Choose one familiar soap trope (e.g., the “evil step‑mother”) and flip it: perhaps the step‑mother is the heroic caretaker in a dystopian future.
  • Change the setting dramatically: move the drama from a small town in Texas to a floating city on a gas giant.

Goal: Keep the emotional pull of the original while delivering something fresh.

Step 5: Draft a Mini‑Pilot

  • Write a 10‑page pilot (or a one‑act play) that incorporates at least three of the identified beats, one subverted trope, and a clear thematic thread.
  • Use the soap‑log as a cheat sheet for dialogue rhythm and cliff‑hanger placement.

Tip: Aim for a tight inciting incident in the first 5 pages—this is the hook that made you binge‑watch the soap in the first place.

Step 6: Iterate with Feedback

  • Share the draft with a mix of soap fans and non‑fans. Ask: “Did the stakes feel real?” and “Did any moment feel cliché?”
  • Revise based on the overlap—what resonates with both groups is the sweet spot where niche expertise meets universal appeal.

365 Days of writing, 2026 – 35

Day 35 – Poetry

…

The Paradox of Poetry: Unpacking Elizabeth Bishop’s Insight

Elizabeth Bishop, a Pulitzer Prize-winning poet, once astutely observed, “Writing poetry is an unnatural act. It takes great skill to make it seem natural.” This statement may seem counterintuitive, as poetry is often associated with spontaneity and emotional expression. However, Bishop’s words reveal a profound truth about the craft of poetry, one that warrants closer examination. In this blog post, we’ll delve into the complexities of writing poetry, exploring why it can be considered an unnatural act, and what it takes to make it seem natural.

The Unnatural Act of Writing Poetry

On the surface, poetry appears to be a natural extension of human language, a way to express thoughts, emotions, and experiences through words. However, the process of crafting a poem is often a deliberate and calculated one. Poets must carefully select and arrange words, considering factors like meter, rhyme, imagery, and syntax, to convey their intended meaning. This self-conscious process can feel unnatural, as it requires a level of manipulation and control that doesn’t always come easily.

Furthermore, poetry often involves distilling complex emotions and ideas into concise, precise language, which can be a challenging and artificial process. Poets must navigate the tension between authenticity and artifice, striving to capture the essence of their subject matter while also shaping it into a cohesive, aesthetically pleasing form. This balancing act can make writing poetry feel like an unnatural act, as it demands a high degree of craftsmanship and attention to detail.

The Skill of Making it Seem Natural

So, how do poets overcome the unnatural aspects of writing poetry and make it seem natural? According to Bishop, it takes great skill. This skill encompasses a range of abilities, including:

  1. Mastering form and technique: Poets must develop a deep understanding of poetic forms, such as sonnets, free verse, or haikus, and learn to wield them effectively. This involves experimenting with different structures, rhythms, and language patterns to find the right fit for their message.
  2. Developing a unique voice: A poet’s voice is the distinctive tone, style, and perspective they bring to their work. Cultivating a unique voice requires a deep understanding of one’s own experiences, emotions, and observations, as well as the ability to express them in a way that feels authentic and relatable.
  3. Using language effectively: Poets must be skilled in the use of language, able to select words, images, and metaphors that evoke the desired response in the reader. This involves a keen sense of observation, a rich vocabulary, and a willingness to experiment with language.
  4. Editing and revision: The process of writing poetry is often iterative, with poets refining their work through multiple drafts and revisions. This involves being willing to cut, reshape, and rework lines, stanzas, and entire poems to achieve the desired effect.

By honing these skills, poets can create poetry that seems natural, effortless, and spontaneous, even when it’s the result of careful crafting and revision. The best poetry appears to flow from the poet’s heart and mind with ease, concealing the hard work and dedication that went into its creation.

Conclusion

Elizabeth Bishop’s observation that “writing poetry is an unnatural act” may seem paradoxical, but it highlights the complex, nuanced nature of the craft. While poetry is often associated with natural expression and spontaneity, the process of writing it can be deliberate, calculated, and artificial. However, with great skill and dedication, poets can overcome these challenges and create work that seems natural, authentic, and beautiful. By embracing the unnatural aspects of writing poetry and developing the skills necessary to master the craft, poets can produce poetry that resonates with readers and leaves a lasting impression.