365 Days of writing, 2026 – Beyond the second novel

The art of the series finale

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The Art of the Series Finale (Without Actually Ending): How to Resolve Every Story on Its Own Terms

If you’re writing a book series, you’re playing a delicate psychological game with your readers. On one hand, you want to hook them so deeply that they immediately pre-order the next instalment. On the other hand, you have to deliver a satisfying reading experience for the book they just spent hours devouring.

Many aspiring series authors fall into a common trap: they treat an individual book as merely a glorified chapter in a massive, unending epic. They leave major storylines dangling, refuse to give the protagonist a definitive win, and roll the credits on a frustrating cliff-hanger.

The result? Disgruntled readers who feel cheated out of a complete narrative arc.

So, how do you keep the overarching plot of your series chugging along while still giving readers the satisfaction they crave? The secret lies in a golden rule of serialised storytelling: Make sure each story is resolved on its own terms.

Let’s dive into why this matters, the common pitfalls to avoid, and how you can master the balancing act of episodic resolution within a grand series arc.


The Myth of the Endless Middle

Some writers balk at the idea of providing a resolution at the end of each story in their series. “Surely,” they think, “the whole point is to keep the plot going, right?”

Well, yes… and no.

It is true that series fiction relies on momentum. You want readers to turn the final page of Book 1 and immediately race to buy Book 2. However, stretching a single plotline across multiple books without providing intermediate victories is a recipe for reader fatigue.

If you don’t provide some kind of resolution at the end of each novel, your reader will be left feeling frustrated that the story didn’t go anywhere. Without a self-contained narrative victory, the ending will probably come off as abrupt, meandering, and—worst of all—incomplete.

Readers are willing to invest their time in a multi-book journey, but they want milestones along the way. They want to feel like the protagonist’s struggles in this specific book mattered.


The Balancing Act: Resolution vs. Continuation

Of course, you don’t want to resolve everything, either. If you tie up every single loose end, answer every lingering mystery, and defeat the ultimate evil once and for all, you’ve just written a standalone novel—not a series.

You still need to keep elements of your overarching plot going for the next installment. So, what is an author to do?

The key is to resolve a key element of that individual story, without resolving the plot of the whole series.

Think of it like a single season of a great television drama. By the end of the season finale, the immediate threat of that season is dealt with, and the characters catch their breath. But the larger, series-spanning mystery deepens, or a new threat emerges just as the credits roll.

In novel terms, this might look like:

  • The Villain: The antagonist’s specific, localised evil plan for this book is foiled, but the villain manages to escape and live to fight another day.
  • The Protagonist: Your hero achieves a crucial, hard-fought goal—like rescuing a specific mentor or finding a magical artifact—but realises this artifact only points the way to a much larger war.
  • The Romance: The two main characters finally admit their feelings and get together, but now they must face an external kingdom-wide crisis side-by-side.

By wrapping up the micro-plot while keeping the macro-plot alive, you give the reader the best of both worlds: the dopamine hit of a satisfying conclusion, and the irresistible itch of anticipation for what comes next.


The Setup: Why Timing is Everything

You can’t just slap a random resolution onto the end of your book and call it a day. For a resolution to feel earned, it has to be integrated into the DNA of the story from the very beginning.

To pull this off successfully, follow these rules:

  1. Establish the stakes early: Set up the specific element that you’re going to resolve towards the beginning of your story.
  2. Keep it central: Ensure this objective remains a central issue throughout the narrative.
  3. Avoid last-minute reveals: It won’t feel like a true resolution if the thing you’re resolving only comes into focus in the final three chapters, or if it never really seemed all that important to begin with.

When a reader looks back at the journey, they should see a clear trajectory: Problem introduced, obstacles faced, struggle ensued, problem solved (with new complications on the horizon).


Final Thoughts: Satisfy Today, Hook Tomorrow

Writing a series is an exercise in pacing and promises. Your primary promise to the reader is that if they invest their time in your book, they will get a complete, emotionally resonant experience.

By making sure each story is resolved on its own terms, you honor that promise. You leave your readers feeling triumphant, deeply connected to your characters, and emotionally satisfied—which makes them more than eager to follow you into the very next adventure.

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365 Days of writing, 2026 – 275

Day 275 – To win or not to win literary contests

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Get to the Point, Make ‘Em Laugh, and Ignore Fay Weldon (A Little Bit)

Let’s rip the bandage off right away: The most boring book wins literary contests.

That gem of a quote comes from the fiercely witty British novelist Fay Weldon. And honestly? She wasn’t wrong. Think about the last time you read a critically acclaimed, prize-winning heavyweight novel. Did it feel like a brisk jog through a comedy club, or did it feel like trudging through an intellectual swamp of heavy metaphors, agonizing grief, and sentences that stretch across three paragraphs?

Exactly.

We live in a culture obsessed with efficiency. Get to the point! Cut the fluff! Give me the TL;DR! But writing—especially the kind of writing you actually want to read and write—often rebels against this sterile efficiency.

So, what is the ultimate writing philosophy? Should we cut straight to the chase and inject a healthy dose of humor, or should we embrace the sprawling, solemn boredom that wins awards? Let’s dive in.


The Cult of “Get to the Point” (And Why Humor is Our Savior)

In the digital age, attention spans are shorter than a TikTok loop. If your opening paragraph doesn’t hook the reader, introduce a conflict, and promise emotional payoff, they’re gone. Click. Back to Instagram.

Because of this, modern copywriters, bloggers, and even fiction writers are told to get to the point. Brevity is king.

  • The Problem: Being purely concise is dangerously close to being boring. A user manual is concise. A tax form gets straight to the point. Nobody stays up until 3:00 AM crying over the IRS instructions.
  • The Solution: Humour.

Humour is the spoonful of sugar that helps the conciseness go down. It’s the human element. When you get to the point while making the reader snort coffee out of their nose, you’ve won. You’ve respected their time (by not rambling) while entertaining their soul (by being funny).

If Fay Weldon says boring books win prizes, humour is the rebellion against the prize committee. It says: I want people to actually enjoy this.


Why Fay Weldon Was Right About “Boring” Books

Let’s not throw Fay under the bus just yet. She knew the literary establishment’s inner workings better than most.

Literary prizes—think of the Booker, the Pulitzer, or heavy-hitting academic nods—often reward gravitas. A book about a happy couple who communicate well, pay their mortgage on time, and occasionally go to brunch does not win awards. Why? Because it lacks suffering and significance.

To win a literary contest, a book usually needs:

  1. Misery: Preferably historical, existential, or deeply psychological.
  2. Slow pacing: Often disguised as “rich atmospheric development.”
  3. Sentences that require a semicolon and a master’s degree to decode.

Weldon’s warning is a liberation for everyday writers. She is essentially telling us: Stop writing for the judges in ivory towers. Write for the human beings on the subway.

If your book is so thrilling, funny, and fast-paced that it disqualifies you from winning a dusty trophy in a wood-paneled room in London or New York… take it as a compliment.


Can You Have It All? (Point + Humor + Depth)

Is it a zero-sum game? Must we choose between being a humor-filled, punchy writer who people actually read, and a solemn literary genius who wins medals that nobody checks out at the library?

Not necessarily. The sweet spot of modern writing lies in the intersection of clarity, wit, and depth.

You can get to the point quickly, keep the reader laughing, and still deliver a profound emotional punch. Think of authors like David Sedaris, Nora Ephron, or Kurt Vonnegut. They didn’t write boring, prize-winning snoozefests. They wrote punchy, hilarious, deeply moving works that outlived the prize committees anyway.

How to Apply This to Your Writing:

  1. Respect the reader’s time: Get to the point. Don’t spend three pages describing a tree unless that tree is plotting a murder.
  2. Disarm with wit: Use humour as a vehicle for truth. If you have a heavy point to make, a joke is the best shock absorber.
  3. Ignore the gatekeepers: If you write something genuinely entertaining, fast-paced, and funny, the literary establishment might sniff at it. Let them. You’ll be too busy having an audience to notice.

The Verdict

So, what is the best thing to do?

Fay Weldon gave us great advice: don’t write the boring book just to impress the critics. But we also don’t need to live in a world of purely rushed, hyper-efficient bullet points, either.

The best thing to do is write the book you would want to read. Get to the point, make ’em laugh, and leave the boring, prize-winning misery to the people who enjoy sitting in silence.


What’s your take? Do you prefer a laugh-out-loud page-turner, or do you secretly love a 600-page historical epic about melancholy? Let us know in the comments below!

…

365 Days of writing, 2026 – 275

Day 275 – To win or not to win literary contests

…

Get to the Point, Make ‘Em Laugh, and Ignore Fay Weldon (A Little Bit)

Let’s rip the bandage off right away: The most boring book wins literary contests.

That gem of a quote comes from the fiercely witty British novelist Fay Weldon. And honestly? She wasn’t wrong. Think about the last time you read a critically acclaimed, prize-winning heavyweight novel. Did it feel like a brisk jog through a comedy club, or did it feel like trudging through an intellectual swamp of heavy metaphors, agonizing grief, and sentences that stretch across three paragraphs?

Exactly.

We live in a culture obsessed with efficiency. Get to the point! Cut the fluff! Give me the TL;DR! But writing—especially the kind of writing you actually want to read and write—often rebels against this sterile efficiency.

So, what is the ultimate writing philosophy? Should we cut straight to the chase and inject a healthy dose of humor, or should we embrace the sprawling, solemn boredom that wins awards? Let’s dive in.


The Cult of “Get to the Point” (And Why Humor is Our Savior)

In the digital age, attention spans are shorter than a TikTok loop. If your opening paragraph doesn’t hook the reader, introduce a conflict, and promise emotional payoff, they’re gone. Click. Back to Instagram.

Because of this, modern copywriters, bloggers, and even fiction writers are told to get to the point. Brevity is king.

  • The Problem: Being purely concise is dangerously close to being boring. A user manual is concise. A tax form gets straight to the point. Nobody stays up until 3:00 AM crying over the IRS instructions.
  • The Solution: Humour.

Humour is the spoonful of sugar that helps the conciseness go down. It’s the human element. When you get to the point while making the reader snort coffee out of their nose, you’ve won. You’ve respected their time (by not rambling) while entertaining their soul (by being funny).

If Fay Weldon says boring books win prizes, humour is the rebellion against the prize committee. It says: I want people to actually enjoy this.


Why Fay Weldon Was Right About “Boring” Books

Let’s not throw Fay under the bus just yet. She knew the literary establishment’s inner workings better than most.

Literary prizes—think of the Booker, the Pulitzer, or heavy-hitting academic nods—often reward gravitas. A book about a happy couple who communicate well, pay their mortgage on time, and occasionally go to brunch does not win awards. Why? Because it lacks suffering and significance.

To win a literary contest, a book usually needs:

  1. Misery: Preferably historical, existential, or deeply psychological.
  2. Slow pacing: Often disguised as “rich atmospheric development.”
  3. Sentences that require a semicolon and a master’s degree to decode.

Weldon’s warning is a liberation for everyday writers. She is essentially telling us: Stop writing for the judges in ivory towers. Write for the human beings on the subway.

If your book is so thrilling, funny, and fast-paced that it disqualifies you from winning a dusty trophy in a wood-paneled room in London or New York… take it as a compliment.


Can You Have It All? (Point + Humor + Depth)

Is it a zero-sum game? Must we choose between being a humor-filled, punchy writer who people actually read, and a solemn literary genius who wins medals that nobody checks out at the library?

Not necessarily. The sweet spot of modern writing lies in the intersection of clarity, wit, and depth.

You can get to the point quickly, keep the reader laughing, and still deliver a profound emotional punch. Think of authors like David Sedaris, Nora Ephron, or Kurt Vonnegut. They didn’t write boring, prize-winning snoozefests. They wrote punchy, hilarious, deeply moving works that outlived the prize committees anyway.

How to Apply This to Your Writing:

  1. Respect the reader’s time: Get to the point. Don’t spend three pages describing a tree unless that tree is plotting a murder.
  2. Disarm with wit: Use humour as a vehicle for truth. If you have a heavy point to make, a joke is the best shock absorber.
  3. Ignore the gatekeepers: If you write something genuinely entertaining, fast-paced, and funny, the literary establishment might sniff at it. Let them. You’ll be too busy having an audience to notice.

The Verdict

So, what is the best thing to do?

Fay Weldon gave us great advice: don’t write the boring book just to impress the critics. But we also don’t need to live in a world of purely rushed, hyper-efficient bullet points, either.

The best thing to do is write the book you would want to read. Get to the point, make ’em laugh, and leave the boring, prize-winning misery to the people who enjoy sitting in silence.


What’s your take? Do you prefer a laugh-out-loud page-turner, or do you secretly love a 600-page historical epic about melancholy? Let us know in the comments below!

…

365 Days of Writing, 2026 – 274

Day 274 – A story will evolve

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“Nothing Turns Out Quite in the Way You First Thought It Would”: Unraveling Agatha Christie’s Masterclass in Misdirection

“Nothing turns out quite in the way you first thought it would.”

If there is a single sentence that encapsulates the entire literary legacy of Agatha Christie, the Queen of Mystery, this is it. While not penned as a plot synopsis, this sentiment serves as the heartbeat of every locked-room murder, every gathering of wealthy suspects in a snowbound mansion, and every ticking-clock international conspiracy she ever crafted.

Christie didn’t just write whodunits; she wrote masterclasses in human expectation. She understood that the human brain loves patterns, leaps to conclusions, and is easily blinded by its own biases.

In this post, we’re going to explore why this philosophy defines Christie’s enduring genius, how she used it to trick generations of readers, and what this truth about life and storytelling can teach us beyond the final chapter.


The Anatomy of a Christie Twist: Playing with Perceptions

Why do we fall for Agatha Christie’s tricks time and time again? Because she understood the difference between seeing and observing—a distinction famously highlighted by her most brilliant creation, Hercule Poirot.

When we pick up a mystery novel, we enter a silent contract with the author. We want to solve the puzzle. We gather the clues, analyse the alibis, and try to outsmart the detective. But Christie’s brilliance lies in subverting the very tools we use to solve her puzzles.

1. The Obvious Suspect vs. The Unseen Observer

In classics like The Murder of Roger Ackroyd or And Then There Were None, Christie sets up an expectation. She presents a clear suspect or a traditional formula, luring us into a false sense of security. We think we know the rules of the game.

Then, she pulls the rug out from under us. The narrator is the killer. The person we thought was dead is actually running the show. The least likely person—often the unassuming governess, the quiet doctor, or the bumbling sidekick—turns out to be the mastermind.

2. Psychological Misdirection

Christie rarely relied on cheap tricks or hidden clues revealed only on the final page. Instead, she used psychological misdirection. She played on our societal prejudices and assumptions:

  • We assume the butler didn’t do it because that’s a cliché. (Until Christie makes the butler do it—or makes us suspect him so thoroughly that we miss the real culprit).
  • We dismiss the elderly spinster or the eccentric foreign detective as harmless.
  • We assume people act out of rational, linear motives (greed, jealousy), when in reality, human emotion is messy, contradictory, and entirely unpredictable.

By the time the truth is revealed in the drawing-room denouement, we are left staring at the page, muttering, “Of course! It was right there the whole time!”


Life Imitates Art: Why Nothing Ever Goes to Plan

Beyond the realm of fiction, Christie’s words—“Nothing turns out quite in the way you first thought it would”—resonate deeply with the human experience.

How often do we map out our lives with the precision of a Poirot timeline, only for reality to hand us a completely different script?

  • Career paths twist and turn into unexpected industries.
  • Relationships evolve in ways we never anticipated during the first flush of romance.
  • Challenges we dread turn out to be catalysts for our greatest growth, while moments we expected to bring pure joy sometimes carry unforeseen complexities.

We live in a constant state of plotting. We form hypotheses about our careers, our friends, and our futures. And yet, life is the ultimate mystery writer. It loves a good plot twist.

Rather than viewing this unpredictability with fear, Christie’s work invites us to embrace it. The thrill of a mystery isn’t knowing the ending from page one; it’s the journey of discovering that the truth is far more intricate, surprising, and fascinating than we ever could have imagined.


Lessons from the Queen of Crime

What can we take away from Agatha Christie’s philosophy of unexpected outcomes? Here are three ways to apply the Queen of Crime’s wisdom to daily life:

  1. Question Your Assumptions: When faced with a problem, pause. Are you reacting to the facts, or are you reacting to your preconceived notions about how things should be?
  2. Expect the Unexpected: Rigidity leads to frustration. When life deviates from your master plan, treat it not as a disaster, but as an intriguing plot twist.
  3. Look for the Unseen Clues: Sometimes, the most important details in our lives are the ones we dismiss as insignificant. Pay attention to the quiet moments, the subtle shifts, and the perspectives you usually overlook.

The Enduring Magic of the Unexpected

Agatha Christie remains the best-selling fiction writer of all time for a reason. She tapped into a universal truth: we are endlessly fascinated by the gap between what we expect and what actually happens.

Whether she was writing about cyanide in a teacup or the winding, unpredictable nature of human fate, Christie reminded us that certainty is an illusion. The real magic happens in the twists, the turns, and the stunning realisations that change everything we thought we knew.

So, the next time life doesn’t turn out quite the way you thought it would, channel your inner Hercule Poirot. Adjust your lapel, embrace the complexity of the puzzle, and get ready for a brilliant twist.


What is the biggest plot twist life has handed you so far? Did it turn out better—or stranger—than you first thought? Let’s discuss in the comments below!

…

365 Days of Writing, 2026 – 274

Day 274 – A story will evolve

…

“Nothing Turns Out Quite in the Way You First Thought It Would”: Unraveling Agatha Christie’s Masterclass in Misdirection

“Nothing turns out quite in the way you first thought it would.”

If there is a single sentence that encapsulates the entire literary legacy of Agatha Christie, the Queen of Mystery, this is it. While not penned as a plot synopsis, this sentiment serves as the heartbeat of every locked-room murder, every gathering of wealthy suspects in a snowbound mansion, and every ticking-clock international conspiracy she ever crafted.

Christie didn’t just write whodunits; she wrote masterclasses in human expectation. She understood that the human brain loves patterns, leaps to conclusions, and is easily blinded by its own biases.

In this post, we’re going to explore why this philosophy defines Christie’s enduring genius, how she used it to trick generations of readers, and what this truth about life and storytelling can teach us beyond the final chapter.


The Anatomy of a Christie Twist: Playing with Perceptions

Why do we fall for Agatha Christie’s tricks time and time again? Because she understood the difference between seeing and observing—a distinction famously highlighted by her most brilliant creation, Hercule Poirot.

When we pick up a mystery novel, we enter a silent contract with the author. We want to solve the puzzle. We gather the clues, analyse the alibis, and try to outsmart the detective. But Christie’s brilliance lies in subverting the very tools we use to solve her puzzles.

1. The Obvious Suspect vs. The Unseen Observer

In classics like The Murder of Roger Ackroyd or And Then There Were None, Christie sets up an expectation. She presents a clear suspect or a traditional formula, luring us into a false sense of security. We think we know the rules of the game.

Then, she pulls the rug out from under us. The narrator is the killer. The person we thought was dead is actually running the show. The least likely person—often the unassuming governess, the quiet doctor, or the bumbling sidekick—turns out to be the mastermind.

2. Psychological Misdirection

Christie rarely relied on cheap tricks or hidden clues revealed only on the final page. Instead, she used psychological misdirection. She played on our societal prejudices and assumptions:

  • We assume the butler didn’t do it because that’s a cliché. (Until Christie makes the butler do it—or makes us suspect him so thoroughly that we miss the real culprit).
  • We dismiss the elderly spinster or the eccentric foreign detective as harmless.
  • We assume people act out of rational, linear motives (greed, jealousy), when in reality, human emotion is messy, contradictory, and entirely unpredictable.

By the time the truth is revealed in the drawing-room denouement, we are left staring at the page, muttering, “Of course! It was right there the whole time!”


Life Imitates Art: Why Nothing Ever Goes to Plan

Beyond the realm of fiction, Christie’s words—“Nothing turns out quite in the way you first thought it would”—resonate deeply with the human experience.

How often do we map out our lives with the precision of a Poirot timeline, only for reality to hand us a completely different script?

  • Career paths twist and turn into unexpected industries.
  • Relationships evolve in ways we never anticipated during the first flush of romance.
  • Challenges we dread turn out to be catalysts for our greatest growth, while moments we expected to bring pure joy sometimes carry unforeseen complexities.

We live in a constant state of plotting. We form hypotheses about our careers, our friends, and our futures. And yet, life is the ultimate mystery writer. It loves a good plot twist.

Rather than viewing this unpredictability with fear, Christie’s work invites us to embrace it. The thrill of a mystery isn’t knowing the ending from page one; it’s the journey of discovering that the truth is far more intricate, surprising, and fascinating than we ever could have imagined.


Lessons from the Queen of Crime

What can we take away from Agatha Christie’s philosophy of unexpected outcomes? Here are three ways to apply the Queen of Crime’s wisdom to daily life:

  1. Question Your Assumptions: When faced with a problem, pause. Are you reacting to the facts, or are you reacting to your preconceived notions about how things should be?
  2. Expect the Unexpected: Rigidity leads to frustration. When life deviates from your master plan, treat it not as a disaster, but as an intriguing plot twist.
  3. Look for the Unseen Clues: Sometimes, the most important details in our lives are the ones we dismiss as insignificant. Pay attention to the quiet moments, the subtle shifts, and the perspectives you usually overlook.

The Enduring Magic of the Unexpected

Agatha Christie remains the best-selling fiction writer of all time for a reason. She tapped into a universal truth: we are endlessly fascinated by the gap between what we expect and what actually happens.

Whether she was writing about cyanide in a teacup or the winding, unpredictable nature of human fate, Christie reminded us that certainty is an illusion. The real magic happens in the twists, the turns, and the stunning realisations that change everything we thought we knew.

So, the next time life doesn’t turn out quite the way you thought it would, channel your inner Hercule Poirot. Adjust your lapel, embrace the complexity of the puzzle, and get ready for a brilliant twist.


What is the biggest plot twist life has handed you so far? Did it turn out better—or stranger—than you first thought? Let’s discuss in the comments below!

…

365 Days of writing, 2026 – 273

Day 273 – Empathetic writing

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The Empathy Engine: How Writers Make You Fall in Love with People Who Don’t Exist

Have you ever sobbed uncontrollably over the death of a fictional character? Or felt your heart race as a made-up detective navigated a dark alley? Or closed a book and felt a lingering, hollow ache, as if you’d just said goodbye to a real, lifelong friend?

It’s a peculiar magic, when you think about it. You are sitting on a couch, staring at dead trees covered in squiggly black ink, yet your nervous system responds as though you are experiencing a real-world event. You are feeling profound grief, joy, terror, and love for people who have never drawn a breath.

How do writers pull off this psychological sleight of hand? How do they make us see, hear, and—most importantly—feel for strangers who live only on the page?

Let’s pull back the curtain on the writer’s craft and explore the anatomy of literary empathy.


1. The Visual Illusion: Painting with Specificity, Not Adjectives

A common misconception among beginner writers is that to make readers see a character, they need to describe every physical detail: eye colour, height, clothing brand, hair texture. But human brains don’t process people by cataloguing inventory. We process people through impression, movement, and telling details.

Master writers know that specificity breeds reality.

Instead of writing: “She was an old, tired woman who wore a faded blue coat,” a skilled writer might write: “Aunt Mae wore her winter coat into June, the hem frayed where she’d stepped on it a hundred times, smelling faintly of mothballs and spearmint.”

Suddenly, you don’t just see the coat; you feel the weight of it, you smell it, you understand Aunt Mae’s stubbornness and her isolation.

Writers also master the art of visceral action. They show characters interacting with their environment in ways that reveal personality. A nervous character doesn’t just “feel anxious”—they pick at the cuticle of their thumb until it bleeds, or they repeatedly check the lock on the door. By anchoring the character in physical space through sensory details (sight, sound, texture, smell), the writer tricks our brains into treating the character as a physical presence in the room with us.


2. The Sound of Truth: Capturing the Inner and Outer Voice

To make a reader hear a character, a writer must master dialogue and internal monologue.

Human speech is messy. We interrupt each other, trail off, use subtext, and lie. If a writer makes dialogue too grammatically correct and polished, it sounds like a robot reading a script. But when a writer captures the rhythm, cadence, and vernacular of a real voice—complete with hesitations, regional slang, and unspoken tensions—the character springs to life.

Consider the difference between:

  • “I am very angry that you forgot our anniversary,” said John.
  • “Right. Well. The restaurant takes reservations until eight, I suppose,” John said, staring intently at his thumbnail.

Which one do you hear? Which one makes you lean in?

Furthermore, writers invite us into the inner sanctum of the character’s mind. Through interiority—the thoughts, doubts, and rationalisations that bounce around inside a person’s head—we hear their private voice. When a character admits a shameful secret to the reader that they would never dare tell anyone in the story, an intimate bond of trust is formed. You are now accomplices.


3. The Empathy Engine: Universal Vulnerability

Seeing and hearing a character are just the entry points. The real magic trick is making the reader feel for them. How does a writer cross the chasm from “this is an interesting person” to “I care about what happens to them as if they were my own child”?

The secret is vulnerability and flaws.

Perfection is repellent. If a character is impossibly brave, flawlessly beautiful, remarkably intelligent, and always does the right thing, we might admire them, but we won’t feel for them. We admire statues; we empathise with humans.

Writers make us care by giving their characters:

  • Contradictory desires: They want to be loved, but they push people away.
  • A secret shame: A memory or a fear they try desperately to hide from the world.
  • Unmet needs: A deep, aching void—whether it’s a missing parent, a lost love, or a lack of self-worth—that drives their every action.

When we see a character trying desperately to maintain their dignity while the universe relentlessly kicks them down, our mirror neurons fire. We recognize our own insecurities, our own heartbreaks, and our own frailties in that fictional creation. We don’t feel pity for them; we feel camaraderie.


4. The Power of Empathy Engineering (The Writer’s Toolkit)

Underneath the artistry, writers use specific psychological levers to guide our emotions:

  • The “Save the Cat” Moment: Popularised by screenwriter Blake Snyder, this is a moment early in a story where a character does something inherently kind or endearing (like saving a stray cat), instantly earning the reader’s affection.
  • Stakes and Consequences: We care about characters in proportion to what they stand to lose. A character losing a dollar bill doesn’t move us; a character losing custody of their child, or losing their last chance at redemption, grips our soul.
  • Empathy by Association: How other characters treat someone influences how we feel about them. If a universally despised tyrant is kind to a stray dog, our perception of the tyrant shifts. We look for the humanity underneath.

Why We Need the Illusion

Why do we willingly subject ourselves to the emotional rollercoaster of reading about fictional pain and triumph?

Because in our daily lives, we are trapped behind the glass wall of our own skull. We can never truly know what it feels like to be someone else. We are limited to one perspective, one life, one set of experiences.

Great writers are the bridge builders across that isolation. They take us by the hand and lead us into the minds of murderers, saints, monarchs, paupers, heroes, and cowards. They stretch our capacity for compassion until it breaks open.

When a writer makes you weep for a person who has never existed, they aren’t just telling a story—they are expanding your humanity. They are proving that empathy knows no boundaries, and that even in the quietest, loneliest corners of your imagination, you are never truly alone.

…

365 Days of writing, 2026 – 273

Day 273 – Empathetic writing

…

The Empathy Engine: How Writers Make You Fall in Love with People Who Don’t Exist

Have you ever sobbed uncontrollably over the death of a fictional character? Or felt your heart race as a made-up detective navigated a dark alley? Or closed a book and felt a lingering, hollow ache, as if you’d just said goodbye to a real, lifelong friend?

It’s a peculiar magic, when you think about it. You are sitting on a couch, staring at dead trees covered in squiggly black ink, yet your nervous system responds as though you are experiencing a real-world event. You are feeling profound grief, joy, terror, and love for people who have never drawn a breath.

How do writers pull off this psychological sleight of hand? How do they make us see, hear, and—most importantly—feel for strangers who live only on the page?

Let’s pull back the curtain on the writer’s craft and explore the anatomy of literary empathy.


1. The Visual Illusion: Painting with Specificity, Not Adjectives

A common misconception among beginner writers is that to make readers see a character, they need to describe every physical detail: eye colour, height, clothing brand, hair texture. But human brains don’t process people by cataloguing inventory. We process people through impression, movement, and telling details.

Master writers know that specificity breeds reality.

Instead of writing: “She was an old, tired woman who wore a faded blue coat,” a skilled writer might write: “Aunt Mae wore her winter coat into June, the hem frayed where she’d stepped on it a hundred times, smelling faintly of mothballs and spearmint.”

Suddenly, you don’t just see the coat; you feel the weight of it, you smell it, you understand Aunt Mae’s stubbornness and her isolation.

Writers also master the art of visceral action. They show characters interacting with their environment in ways that reveal personality. A nervous character doesn’t just “feel anxious”—they pick at the cuticle of their thumb until it bleeds, or they repeatedly check the lock on the door. By anchoring the character in physical space through sensory details (sight, sound, texture, smell), the writer tricks our brains into treating the character as a physical presence in the room with us.


2. The Sound of Truth: Capturing the Inner and Outer Voice

To make a reader hear a character, a writer must master dialogue and internal monologue.

Human speech is messy. We interrupt each other, trail off, use subtext, and lie. If a writer makes dialogue too grammatically correct and polished, it sounds like a robot reading a script. But when a writer captures the rhythm, cadence, and vernacular of a real voice—complete with hesitations, regional slang, and unspoken tensions—the character springs to life.

Consider the difference between:

  • “I am very angry that you forgot our anniversary,” said John.
  • “Right. Well. The restaurant takes reservations until eight, I suppose,” John said, staring intently at his thumbnail.

Which one do you hear? Which one makes you lean in?

Furthermore, writers invite us into the inner sanctum of the character’s mind. Through interiority—the thoughts, doubts, and rationalisations that bounce around inside a person’s head—we hear their private voice. When a character admits a shameful secret to the reader that they would never dare tell anyone in the story, an intimate bond of trust is formed. You are now accomplices.


3. The Empathy Engine: Universal Vulnerability

Seeing and hearing a character are just the entry points. The real magic trick is making the reader feel for them. How does a writer cross the chasm from “this is an interesting person” to “I care about what happens to them as if they were my own child”?

The secret is vulnerability and flaws.

Perfection is repellent. If a character is impossibly brave, flawlessly beautiful, remarkably intelligent, and always does the right thing, we might admire them, but we won’t feel for them. We admire statues; we empathise with humans.

Writers make us care by giving their characters:

  • Contradictory desires: They want to be loved, but they push people away.
  • A secret shame: A memory or a fear they try desperately to hide from the world.
  • Unmet needs: A deep, aching void—whether it’s a missing parent, a lost love, or a lack of self-worth—that drives their every action.

When we see a character trying desperately to maintain their dignity while the universe relentlessly kicks them down, our mirror neurons fire. We recognize our own insecurities, our own heartbreaks, and our own frailties in that fictional creation. We don’t feel pity for them; we feel camaraderie.


4. The Power of Empathy Engineering (The Writer’s Toolkit)

Underneath the artistry, writers use specific psychological levers to guide our emotions:

  • The “Save the Cat” Moment: Popularised by screenwriter Blake Snyder, this is a moment early in a story where a character does something inherently kind or endearing (like saving a stray cat), instantly earning the reader’s affection.
  • Stakes and Consequences: We care about characters in proportion to what they stand to lose. A character losing a dollar bill doesn’t move us; a character losing custody of their child, or losing their last chance at redemption, grips our soul.
  • Empathy by Association: How other characters treat someone influences how we feel about them. If a universally despised tyrant is kind to a stray dog, our perception of the tyrant shifts. We look for the humanity underneath.

Why We Need the Illusion

Why do we willingly subject ourselves to the emotional rollercoaster of reading about fictional pain and triumph?

Because in our daily lives, we are trapped behind the glass wall of our own skull. We can never truly know what it feels like to be someone else. We are limited to one perspective, one life, one set of experiences.

Great writers are the bridge builders across that isolation. They take us by the hand and lead us into the minds of murderers, saints, monarchs, paupers, heroes, and cowards. They stretch our capacity for compassion until it breaks open.

When a writer makes you weep for a person who has never existed, they aren’t just telling a story—they are expanding your humanity. They are proving that empathy knows no boundaries, and that even in the quietest, loneliest corners of your imagination, you are never truly alone.

…

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 them 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 that, 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 who look like someone we knew and make the mistake of approaching them like a long-lost friend, only to discover an embarrassed individual desperately trying to get away from what they perceive as 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 recognise was murder. The photo of the man 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 by 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 realise 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, had 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 several other delegates who had arrived on the same plane. I had mingled with several 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, bulletproof 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 and 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 would still be 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 to 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 and 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 me 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 another visitor. He is from the British Embassy, I think. But he will have to wait until I have finished my examination.”

I realised 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 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 that you were shot had made it an all-around embarrassment for them.”

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

“That is why you have another visitor.  I only took precedence because I insisted on speaking with you first.  I have come, basically, to ask you for a favour.  This situation has afforded us 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 that 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, 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, who had announced herself as 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 that 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 several 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 notebook 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 apologise 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 realised 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 realised we had made a mistake and reviewed the closed-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 officers’ 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 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 wrongdoing?”

“I have apologised. 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 cooperation, Mr Pargeter. Good morning.”

…

© Charles Heath 2015-2021

365 Days of Writing, 2026 – 272

Day 272 – Writing Exercise

…

The one thing they tell you about writing is to not be put off by criticism.

In fact the one basic tenet I try to get across as the most important, if you want to be a writer, is to take criticism as the best form of encouragement.

The second, you are writing for yourself, not for the masses out there, because there are writers who churn out pulp fiction.  You may do that one day, but first be the best writer you can.

Then once you’ve finished that first draft, you can send it out to a respected and qualified group of beta readers, but be prepared to get constructive criticism.

It was a pity I didn’t take my own advice.

I always wanted to be a writer. I spent most of my spare time scribbling on notepads, buying a typewriter and turning scribbles into typed pages.

I was always going to finish it.

Then I met a girl, Samantha Biggins, and I took a sojourn.  With marriage and work and juggling everything else, writing took a step back.

Until we decided to get a bigger house.

While getting ready for the move, I found all of my work packed into a half dozen boxes.  Marked “Toss” in Samantha’s scrawl.

I’d told her once that I wanted to be a writer, and she told me to be practical.  Unless I became a best-selling author, there was no money in it.

She was right, but I was not tossing it.

When she asked why I was keeping it, I asked her to read what I’d written; she did, and then simply told me not to give up my day job.

Five more years of being abjectly unhappy, I found out she was having an affair with my best friend.  He is no longer my best friend; she is no longer my wife; there were no children; she refused to become a mother, and it all ended on a sour note.

I quit my job, moved, changed my name, and became an associate professor teaching students to write. 

It was the best of both worlds, teaching writing, and writing that first novel.

…

It was a new intake for my class, twenty-three souls who thought they wanted to become writers.  On average, only fifteen would survive, and perhaps one or two would continue after the classes ended.

Day one, they were full of enthusiasm, or at least most of them were.

When I told them their first assignment was to write a ten-thousand-word story over the next four weeks, applying what they learned, that enthusiasm waned.

This was not the class to use as a break between the hard stuff.  The next class dropped to twenty.

After two weeks, the student with the mt enthusiasm, Charlene, stopped on her way out the door and asked, “Are you a writer?”

Of all of them, she was the most promising, but that might be because she was a mature-age student, finally doing the university degree she would have if she had not got pregnant before graduating high school.

She was a little too forthcoming in her introduction of herself.

I wondered where this was leading.  “Yes.”

“Published?”

“No.  Still working on that first blockbuster.”

“When did you start writing?”

“About 13 or 14 years old.”

“In all that time…”

This was not going to be a time when I defended myself.

“Sometimes life gets in the way, and your priorities change.  I took a ten-year sabbatical, if you could call it that.  It happens.  Sometimes the idea of becoming a published author has to be put aside because food and rent don’t appear out of thin air.”

“Wouldn’t you just find a job that allows you to do both?”

“That’s the final lesson.  It took me ten years to figure that one out.”

“So you didn’t go to university and have to survive while studying?”

“My university studies were paid for.  The struggle came afterwards.”

She shrugged.  “We all get there, I guess, in our own time.  You want anyone to beta read your stuff, I’m available.”

I was not sure how to take that, so it was best avoided.  “If I do, I’ll let you know “

She left with an expression I couldn’t fathom.

…

Charlene’s story, exactly 10,000 words, was a story of struggle.  It had me from the first page.

And it made me think she was a faculty spy, sent to see if I knew what I was doing.  To be truthful, it was my second year at it, and it was a learning process.  My first wasn’t so great.

Teaching wasn’t the same as doing.

The other nineteen varied in length, from a thousand to five thousand words.  Stories started and petered out, some with a strong start and then hitting that invisible brick wall.  Several were in the realm of fantasy, but none could go down the superhero with humility path.

It gave me a lot of scope.

Most were glad they would not be revisiting that story until towards the end of the year.

During the previous year, I thought about restarting my book, even starting to unpack the writing boxes, but it went into recess again when I told myself I had to write class lessons and prompt papers 

In other words, I found any excuse not to write.

But during the summer break, when I finally stopped prevaricating, I dragged everything out of the boxes, arranged my writing nook, and put a piece of paper in the typewriter.

Nothing came.

I pulled out the notepads and decided I would write longhand.  That went from writing to planning to maybe I’ll do it tomorrow.

I was still prevaricating at the start of the year, and perhaps it was going to go into a recess like the year before.

Then I woke in the middle of the night, halfway through the first semester, thinking I should retype and edit the story I gave Samantha to read, and see what Charlene’s thought.

Perhaps I was looking for compliments.  If I was, then maybe I should just burn it and move on.

That morning’s lesson, we were going to visit non-fiction, and we were all going to embark on a genealogical expedition. 

I found the previous year the notion of having relatives that go back in time, and where they came from, was as much of a writing adventure for me as it was for them.  It also honed another important writing skill; research.

I was shocked to discover I came from England and Germany.  There were Irish, Welsh, Scots, but no Americans.  There was even a little Scandinavian.  They were mostly agricultural labourers, though there was the odd publican and shop owner.

I often wondered how I could be related to any of those given my school results.

Charlene’s relatives, going back, were famous, or maybe they would have been if she hadn’t noticed that a cousin had been previously down that path, and picked the most interesting rather than the actual people who were her forebears.

Who wouldn’t do that if they were looking for a more interesting story?  After all, they had been dead for a long time and were not going to argue the point.

…

By the end of the first semester I had rewritten the first three chapters, the magic amount I thought would set up the story, and would be what I would send to a publisher for appraisal.

It had been a lot of long nights and ruthlessness I hadn’t thought was in me.    Sometimes it was not so much about what was on the page as having the backbone to throw out what was simply padding.

It was my own advice echoing in my head: 200 tightly written pages trumped 500 pages of mostly fluff.

Last day of semester, after setting an assignment to be delivered the first day back, I called Charlene over and handed her the brown, anonymous envelope.

“My marching orders,” she asked.

“The first three chapters.  If you want to read it.  I don’t usually give anyone anything, not after the last time.”

She looked at me with a quizzical expression.

“A long story that involves an ex, and it would be in poor taste to air what most people would call petty grievances.”

“We all have them.”

“Petty differences or exes?”

“Both.  But let me guess, you finally gave in to showing your work to your spouse and you got everything but what you wanted.”

“I was told not to give up my day job.”

She smiled, or perhaps it was something else.  “I was told to stick to what women like me did best: cooking, cleaning, and babies.  After that comment, I did none of the above.”

“I stopped writing.”

“So did I.  And you were right.  Life gets in the way.  I have coffee some mornings at the Three Moon cafe.  If you pick the right day, I’ll give you my honest opinion.”

She left before I could think of a suitable reply.

…

Perception is everything.

Rather than working on my novel, I spent the time fretting over the implications of Charlene’s invitation.

And, yes, it was an invitation.

That I had all sorts of feelings about the matter, right down to reading and rereading the rule book five times, the answer was always going to be the same.

It was verboten.

If it wasn’t my imagination running wild.  If it was not what I thought it was.

Normally it was not something I would think about.  And, like I said, it might be just my overactive imagination.  It had happened to a colleague the previous year.  He had ignored it, and when push came to shove, the university sacked him, even when her had done nothing to encourage the relationship.

It was for him either the devil or the deep blue sea.  Even when the girl in question told the Dean, eventually, that he had never been interested, and she did it out of spite.

It was an ugly world we lived in sometimes.

So, armed with the rule book, I reluctantly went to the Three Moon café.  She was not there, but I felt like a coffee and stayed, pretending to be one of my characters, on surveillance while waiting for the contact with the top secret information.

It wasn’t hard to pick out the university types, or the students. After all, I had heard of it from class members, a place where good food was reasonably priced, better than living on fast food and coffee

Other than the business types.

I tried not to look like a university associate professor, but as some of my students said, it was an acquired look.  Not even changing the style of my clothes worked.

One of my latest group of budding writers had said that a professor in a five-thousand-dollar suit and expensive shoes, even a Rolex watch, was still a professor.

I knew it was me she was talking about.

My coffee arrived, but it was not the waitress who took the order; it was Charlene.  She slid into the booth’s opposite seat.

“You have waitressing skills?”

“Among many others.  Navy SEAL.  Cabinet minister.  Short order chef.  A girl has to be multi-talented.  I work here, off and on.”

It was hard to tell if she was telling me off for categorising her, and if I thought about it, I probably did, and without thinking.

“Perhaps I should apologise.  Sometimes I say stuff without thinking, but it doesn’t excuse what I said.  I’m sorry.”

I was going to have to categorise these expressions of hers.  It was fascinating to watch it change.  This one: perhaps disdain.

“Apology accepted.  Better than most of those tinder dates, but what can you expect?”

“Never used a dating app.  I just think it’s too much effort, and knowing my luck, she would secretly be an axe murderer.”

“Ah, about that…”

I could see, after a moment of apprehension, that she was joking.  Or at least I hope she was.

She pulled the envelope, now creased and crumpled, and put it on the table between us.

I looked at it, but said nothing.

I had left the university rule book on the table, and she had noticed it.  It was a quick glance, one that I wasn’t supposed to see.

“Impressive daytime reading,” a glance, then back.

“Still trying to grapple with being an associate professor, which alternately makes me feel like an aging know-it-all, or just simply a weirdo.”

“What have you learned?”

“The hundred and twenty-two ways of getting into deep water and drowning.”

“Metaphorically speaking.  I still haven’t been able to find the campus pool.”

It was the subject of students’ quests, and an exercise for writing a piece on executing a question, taking something ordinary and turning it into treasure.  It was the imagination test.

She was watching me, over the top of her coffee cup, contemplating or planning my demise.  Talking to her was going to be a slow dance.

“You’re writing, in your mind, a scene, you and I.  There was a flicker of a smile.  Hopes dashed or triumph.”

“No.”  I would go with something a little more topical.  “What’s a girl like you doing the writing course?”

Expressing change, nose wrinkle, eyebrows lift fractionally.  Surprise?

“I want to be a better writer.”

“I don’t think so.  You’re almost there, from what I’m reading of your work.”

“Maybe I just want a break from work.  Working afternoons at the café and nights cleaning up after the grubs that pretend they’re human has taken its toll.”

There was paid in-house eyes, along with a self-realisation that may or may not be what I thought it was.  It was the sort of pain I’d never had to endure.

She ordered another coffee.  Mine was going cold.

Then she came out with it.  “We’re not supposed to be here together, or anywhere.  If you’re checking the rules, it could mean one of two things.  You’re wondering about my motives, or you’re wondering about yours.”

“Or I’m looking for ways to cure my insomnia.”  I picked the book up.  “Reading this, or trying to, is better than any sleeping pill.”  I put it down again.  ” We can meet like this; there just can’t be any other reason than to discuss the coursework.”

“And you thought…”

“I don’t think.  I’m just telling you what I read, just before it put me to sleep.  I’m not going to bore you with details.  Perhaps we could talk about my train wreck book.”

Another smile, less warmth.  Perhaps I was unconsciously trying to be unworthy of her attention. 

“It’s anything but a train wreck, but it does tell me a lot about you.  No, its good.  Can’t wait to see more.”  She watched my reaction before adding, “Do you dance?”

I made a mental note to curse the person that gave me an imagination, because it was working overtime.

“Ballroom, or that uncoordinated wriggling?”

She laughed, perhaps imagining what I meant by uncoordinated wriggling.  I’d seen it once when I agreed to go out with a girl a friend had recommended.  She had been trying to be something she was not.

“I’ll let you ponder that, until the next batch of pages.”

With that she made an exit, which was so much more than just leaving.

And sitting there, after ordering another coffee, a realisation came over me.  I needed a museum.  Not in the sense that I would pursue romantically, but someone who could stoke the fires of inspiration, because I could see the next part of the story.

And I hadn’t felt like this in a decade.

…

©  Charles Heath  2026

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 rewrites, 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 Year’s, 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 apartment buildings were 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 Centre is amazing at first light, and late at night with the Seasonal decorations and lights.

The original main character was a shy man with 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

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