365 Days of writing, 2026 – 17/18

Days 17 and 18 – Writing exercise

On your 18th birthday celebration, eating out with parents and brothers and sisters, your youngest sister blurts, “You do know you’re adopted.”

I had always been last for everything.  I had three elder brothers and two elder sisters, and then there was me, tail end Charlie, my father called me, a name I didn’t quite understand.

I thought it was because there were six years between me and the older siblings.

My brothers went to the best school, all three excelling in their studies and after high school, college and university.  My sisters went to the same school my mother attended, and college, but then chose marriage and children over a career.

Me, I attended grade school, middle school, high school, and had moderate success, but there was never any suggestion that I go to college.

It seemed that as the last one, I had not inherited the smarts of my other siblings and that the farming job I had with the Renfrews, out on the road to Weston, was good enough.

I barely graduated high school, and was discouraged from going to the prom, perhaps because I did not have a girl I could ask, though I suspected my siblings had ruined any chance I might have had with the one I thought would agree.

It was what it was, though I could never understand why they apparently disliked me so much.  It was not overtime, but from about the time I turned ten, I began to notice a distinct separation, like I was not one of the family.

I didn’t complain. 

But now, school over and prom gone, it was my 18th birthday, and I was heading into town to the family party.  Not the lavish affairs that were thrown at the country club for my siblings, with practically the whole town attending, this was just a quiet meal.

Again, it wasn’t a big deal.  I heard my parents talking about it one night when they thought everyone had gone to bed or was away.

The hushed voices in the main room.

“It’s not as if we can’t afford it, and he is a member of this family.”

“And if your sister…”

“What?  Thrown herself at you, and you couldn’t…”

“I think I’ve more than made up for that indiscretion a hundred times over.”

“But it’s never been the same, second best, if he was lucky.”

“You know why.”

“Well, it’s wrong.”

“He’s lucky he has a home, people who care enough.  Your sister, God rest her soul, was never going to cope.  He’ll be moving on once Renfrew makes his job permanent, and that’ll be the end of it.  God knows we’ve paid him enough.”

It was a conversation that made no sense.  I had no idea that my mother had a sister, not one that was referred to in those terms. 

The Renfrews had always employed me on and on over the years, but I thought I had got that job on my own merits.  Perhaps then I hadn’t, but it was not a question I was going to ask

My father had been irritable of late and not well disposed towards me, and the siblings that remained at the home had taken less interest in me since the eldest John had got married and left to work in New York.

About the time he left, six years ago, things changed.  I had seriously believed that the family thought I had driven him away.  Certainly, on several occasions, by the youngest sister, she had insisted that I was causing unnecessary problems between ‘her’ parents.

Were they not mine too?

But the day arrived.  I was in town with one of the few friends I had from school, and had agreed to join them at a particular time.

When I got there, they had all arrived and had already ordered.  It was like they had decided that I was almost irrelevant.

At least there was a seat next to my mother. 

She seemed to be the only one who cared whether I was there.  The others were arguing over what they were getting and the merits of besting each other with the most expensive dishes.

I was never that lucky and rarely got to choose.  The others would say that, as the youngest, I should be having the children’s meal.  Even when I got older, it was a running joke, one that neither parent stopped.

But today I was 18.  At the same time, my older brother got the keys to a new car, and a wad of money.  The same sort of gifts flowed down through the others.

I had expected the same, but that morning, there was a card with seven names scrawled on it, without any well-wishes or anything.  There was definitely no money, and had I been expecting a pleasant surprise now, I honestly believed that that ship had sailed

Perhaps they no longer had the money, certainly they no longer bragged about how well off they were, and the last time John was home, I had heard him asking for money, and my father telling him things were tight.

So, no car and no money.  And by the look of it, no present.  Of course, when the food came out, I could see that no expense had been spared for them.

It was going to be just like I had been told it would.

A question that I never thought would enter my head when old man Renfrew handed me a small boat wrapped in plain brown paper, tied with common garden twine.

Underneath the twine was an envelope with my name on it and the words “For your 18th birthday”.  When I asked him who it was from, he simply said it was on the front porch when he came home.

That was two days before my birthday.

Inside the envelope was a card, but mysteriously, it didn’t say who it was from, and a letter in an envelope that looked quite old and yellowing at the edges.  My name was written on it in rather exquisite lettering, Aloysius Charles William Henry.

What did that mean?  Was my last name Henry?  I didn’t think so.

Under my name was, ‘Do not open this until after your 18th family birthday party’.

I was curious, and had I not exercised the patience my mother had tried to teach the rest of her children, I might have torn the envelope open in the hope of finding a large cash reward or a loaded credit card.

It’s what seemed to motivate the other siblings.

I guess inadvertently, my parents had taught me all the virtues of patience and no expectation, but by all the wrong methods.

I then asked Mrs Refrew, who was less grumpy than her husband, and I knew she recognised the writing, and quite possibly who it was from, but she said that the good Lord had his reasons, and patience was a virtue.

So, without the benefit of whatever sage advise or revelations that lay within that envelope, I went, with a promise to myself that I would not show any emotion because I had reached the conclusion that there was something in my past that had been covered up or omitted, and that best guess, my father or mother had had an affair and I was the product of it. 

It was the only explanation for my treatment over the years and the change in the way my siblings treated me, at least from six years ago.  That was when they must have told them, the last of their children turning 18.

The youngest sister, still unmarried and prone to having bad relationships and bouts of drug addiction, was currently clean and had been for nearly a year, and this party was more about her achievement than my birthday.

As a reward the had given her a multi-thousand-dollar gift card.  I had seen it as a put-down, and I think it was deliberate on her part just to put me in my place.  I simply smiled, which seemed to annoy her.

In her sickly sweet voice, she said, “I hope you’re having a wonderful birthday.”

“Every bit as much as your year of sobriety, Anna.  At least I won’t be having another 18th Birthday.”

OK.  I didn’t mean to be that harsh, but I was human after all.

The dulcet tones turned into her angry squeak.  “What do you mean by that?”

The table went quiet, and all eyes were on me.  I’d just attacked one of their own, and the pack mentality came out.  Hyenas circling the dying animal.

“Three times now.  And given your choice in bad boys, I expect we’ll be back here next year.  You’re only 18 once.  Thankfully.”

“You’re an ass, Charlie.  You do know you’re adopted and you’re not one of us.  You don’t even deserve to sit at this table.”

My so-called mother looked horrified.  My so-called father and the rest of them looked smug.

What were they expecting?  For me to turn into a blubbing mess so they could laugh at me.

“That was uncalled for, Anna.”

“It’s true.  Why did you bother wasting your time?  I hope he’s not getting anything in your wills.  He’s not even family.”

Then I saw something I had never seen before in my life.  My so-called mother was angry.

“It depends on your definition of family, and unfortunately, no one in this family ever taught you the meaning of it.”  She turned to her husband.  “You promised.”

“They deserved to know.”

“Do you remember what I said back when you made that promise?”

“God, woman, that was 18 years ago.  Who cares?”

“You will.  And every one of these spawn of the devil you’ve created.  You know who I am.  You know what I gave up.  Well, I suspected you had betrayed me, so I took the appropriate steps.”

She stood and looked down at me with moist eyes. She was genuinely ashamed.  “Charlie.  I’m sorry you had to find out this way.  I was going to tell you the truth tonight.  Well, it seems that time has arrived early.”  Then she looked around at the sea of astonished faces.  “In what you might all call a cruel twist of fate, you are all now going to pay for your father’s sins.  No more money, no more handouts.” Then to her husband.  “Start looking for a job.  You’re going to need one.”

“Seriously, Martha, all this over a bastard son of a prostitute?”

I saw a small shudder going through her and the clenching and unclenching of fists.  She was beyond angry now, and the look on her face was one of pure hatred and disgust.

“You forget one important detail.  She was a prostitute who had a three-hundred-million-dollar inheritance, which she left to me to look after her son.  You have all benefited.  I’m willing to bet he did not tell you about the conditions that came with the benefits.”

“Anna was the one who blabbed.  None of us.  We’re not at fault.”  John was in full panic mode, seeing his never-ending well dry up before his eyes.

She glared at him.  “You sat back and laughed along with the rest of them.  You are the eldest, supposed to set an example.  Of what, greed, and ambivalence.  All of you had a chance to prove yourselves, and you missed it.  One chance.  You are all cut off; there will be no inheritance.  Now, get out of my sight.”

Dinner half eaten, drinks about to be served, not one of the siblings wanted to irritate her more than they already had.  I suspect all of them believed, as they shuffled out, that things would be back to normal tomorrow.

My so-called father didn’t move.

Her eyes rested on him.  “You don’t mean any of that; it was just a wake-up call to what I admit have been a few annoying children.  But let’s face it, we both spoiled them.  It’s as much….”

She picked up her glass of wine and threw it at him, the wine not the glass.

“Rethink those words, Roger.  If that’s the defence you’re going with, you’re in big trouble.  Leave now before I pick up the phone and call my lawyers.”

He stood slowly.  “We can talk later.  How will you get home?”

“Charlie can take me.”

I could see his nose wrinkle at the thought of my so-called mother being seen in a ’60s Ford truck.

Another repentant look at her, he left, joining the others out on the pavement.  They hadn’t gone, still stunned from their mother’s outburst.

She sighed, then sat.

I was stunned, still trying to come to terms with what had been said.  Adopted.  My so-called mother had a sister worth 300 million.  How?  I was my mother’s sister’s child.  And something else I remembered, my father was my father in a weird twist of fate.

I was, in a sense, family.  But my aunt, who was my mother for all intents and purposes, hadn’t done a very good job.

It was five minutes, maybe more, before she spoke.  I think that at that time she ran through every scenario, and not one of them would suffice.

A sigh, then, “You should be angry.  I don’t think there’s anything I can say that you would believe just how sorry I am.  That’s on me.  I want to use the excuse that both my twin sister and I were stupid spoilt drug addled kids who honestly believed life had no consequences, that we could do whatever we liked. 

“I met your father, Susannah stole him, he dumped her and picked me, then shagged her anyway.  She got pregnant, couldn’t handle it, killed herself, and it was a miracle you survived.  We agreed to adopt you and call you our own.  After all, there was no difference between my sister and I.  I just went away with you for nine months, and everything was fine.

“My problem was in marrying your father; I had to forgo my inheritance.  I got an allowance, but I didn’t really care all that much about money, and let him manage it.  I had no idea how much he disadvantaged you to the benefit of the others, not until a year ago, with Anna and her endless visits to rehabilitation.  And all the money he’d poured into John’s black hole was caused by idiotic investments.  The others are not much better.

“I’m sorry you got nothing.”

“It doesn’t matter.  It taught me lessons they will never get.  If you have nothing to start with, then every step up is appreciated all the more.  Perhaps the best birthday present was to see them finally look as scared as I have felt all my life.  It won’t hurt them, but It might be too late to make a point.”

“It’s never too late.  And the point will be made.  Did you get the box?”

“With a card and a letter?”

“Yes.  Did you read the letter?”

“No.  It said not to until after the party.”

“You have it?”

I took it out of my pocket and showed her.  I knew now who it was from.  My mother.  My real mother.

She took it with shaking hands and tears running down her cheeks.  There were eighteen years of pain etched on her face.

“I was there when you were born.  She had one last breath in her; as she breathed life into you, she exhaled her last.  I loved you like you were mine, until I got lost in a sea of self pity an post natal depression.  We were twins; I felt her pain, I felt everything that she would have felt.  I’m sorry I wasn’t made of stronger stuff.”

“I think I’ve always regarded you as my mother.  Though preferring the other five, well, that took a little understanding, of which in the end I had none.”

“I come from an era of women who preferred to hide behind their husbands.  It was drummed into us, but Anna was never going to be like that.  Still, that’s not an excuse.”  She handed the letter back.
You should read it now, then we can decide what to do.”

“Is there anything we can do?”

“Yes.”

If you are reading this, you will have just turned 18, a very important moment in your life.

If you have not been told, you will have been adopted by my twin sister, and she has promised me she will look after you better than I could.

I was not very good at managing anything.  Our lives were ruined from the start by parents who did not care at all what happened to us, that if they threw enough money at the problem, it would go away.

Money does not solve problems; it simply amplifies them into bigger problems.

I hope she has not gone down that path.  If she has, then I am sorry that I trusted her, that you did not get a life that was not as it should have been.

And if, on the other hand, she has managed to teach you the value of life, and more importantly, that it is family, those we choose and those we have to live with, and others who will have a guiding influence that will make us who we will become.

Given the five examples that constitute her current children, I’m not holding my breath that she will make a good fist of it.

Still, on my deathbed, I can only hope.  Perhaps there is some afterlife where I can come down and reprimand them if they falter.  You will be the judge of that.  Try not to be too critical.  Her upbringing, like mine, was terrible, and it’s hard to break out of a cycle you’ve known and been subject to for most of your life.

But, whatever the circumstances you find yourself in, if you are reading this letter, my sister has had the wherewithal to give it to you.  It means even if she is ashamed of what happened, it cannot be so bad that you might unequivocally hate her.

In the box is a key to a safety deposit box.  It is where your inheritance is.  The other key’s location can be obtained from the family lawyers, name and address with the key.  It can only be given to you, so you will have to undergo a DNA test and a few other identity tests that Freda will help you with.

What you do with your inheritance is up to you. I can only hope that you will not take a leaf out of my book and waste the opportunity to do some good, the good I realised far too late that I could have done.

Remember that I loved you then with all of my heart, and will to the end of tine.

Susannah.

“Were you that bad?”

“What did she say?”

“Your parents threw money at the problem, hoping it would go away.”

“Then yes.  I married your father to break that cycle and find some normality, but he was a poor fool who found himself in a world he couldn’t cope with.  My parents were right to disown me.”

“You had your sister’s fortune.”

“No.  We never mentioned that to him, only that she would provide a certain sum for your upbringing.  We had money, but that boost allowed helping to help indulge his children, where in the end they were no better off than my brothers and sisters were.  He wanted the life I hated.”

“And by a quirk of fate, you both brought me up the way in which mother had hoped you would, by a totally different method.  Resentment.  I have not once ever had to thought i could have anything I wanted, not like the others.  Cars, gift cards, credit cards with no limit, houses, and apartments.  None 9f them really work for a living, and I can’t see how they’re going to function.”

“They can come and see you for advice on how to live within their means.”

They were still outside the restaurant, trying to come to terms with what just happened.  They’d turned on Anna, then the father, then each other.

“Did you mean what you said to them?”

“Yes.  No more.”

“I don’t think they quite get that.  They’re still outside.”

She shrugged.  “Then it’s going to be a cold day in hell tomorrow.  We have a road trip.  New York.  I want to tell you everything about your mother before we go home, our home, where she came from, and where you will be welcomed.”

“How could that be possible?”

“That you will discover is the advantage of being a firstborn Rossiter.  My sister was born three minutes before me, and therefore, is the eldest child.  The eldest Rossiter then becomes the heir.  You were her first and eldest child, and therefore the current heir to the Rossiter legacy. 

“And you have a sister, something my husband never knew about, a twin sister.  The caretaker.  There is a world that my husband and my other children know nothing about because I was excommunicated. 

“Because now you are of age and can accept the inheritance, if you want to, of course, there’s no obligation; it has to be your choice, you can give me the chance to come back, but that too is only at your discretion, and I will understand if you rule against it.

“But its complicated and messy and swamped with rules and protocols and its the reason both my sister and I ran away. You might too when you discover the full extent of it.”

“I can make their lives easier,” I waved a hand in their direction.

“You could, but they never made it easy for you.  None of us did.  By choice or by ignorance.  That might never have changed if it had not been for Anna’s outburst.”

“But you said you were making changes.  That means you knew you were wrong and wanted to do something about it.”

“After 16 years of neglecting my sister’s wishes?”

I shrugged.  “We will have much to talk about.  Shall we go?  Out the back.  I had a feeling, one way or another, I would be slinking out of here.”

Good to see, also, it had started snowing.  It was the first of the season, and it meant Christmas was around the corner.  It might not be fun at home, but as a member of the town’s Christmas committee, the pageantry, the fete, the Christmas tree plot, and charity events always made it worthwhile.

Perhaps this year I could do more.

My mother, so-called, was my mother, good and bad.  She was the only mother I’d had, and I’d learned from school that it wasn’t always a luxury for all the kids there.

I gave her a hug, which surprised her, a hug that had every one of those 18 years her twin had been gone, but rather strangely was still with her in body and spirit.  I realised then I didn’t have to imagine the woman I had never met because she was the woman standing there in front of me.

It was the best and only present I could ever want for what was the most memorable and remarkable birthday of my life.

©  Charles Heath  2026

365 Days of writing, 2026 – My second story 3

More about my second story

The Female Assassin: Breaking Stereotypes and Forging a Unique Path

As a writer, creating a compelling and complex female character can be a daunting task, especially when venturing into the realm of assassins. With a plethora of male-dominated stories in the genre, it’s essential to differentiate our female protagonist from her counterparts while maintaining the essence of the profession. In this blog post, we’ll explore ways to set our female assassin apart, infuse her with a conscience or unique rationale, and introduce a captivating on-again, off-again romance that will keep readers enthralled.

Setting Her Apart: Beyond the Typical Traits

To avoid clichés, let’s move beyond the usual characteristics associated with female assassins, such as:

  • The seductress: using charm and beauty to lure targets
  • The revenge seeker: driven by a personal vendetta
  • The stoic killer: emotionless and devoid of empathy

Instead, consider the following traits to make your female assassin stand out:

  • Unconventional skills: Perhaps she’s an expert in a unique area, such as cryptology, toxicology, or engineering, which she leverages to carry out her missions.
  • Moral ambiguity: She operates in a gray area, questioning the true nature of her targets and the motivations behind her contracts.
  • Vulnerability: She has a weakness, such as a chronic illness, a troubled past, or a personal loss, that makes her more relatable and human.

A Conscience or Rationale: Adding Depth to Her Character

Giving your female assassin a conscience or a well-defined rationale for her actions can elevate her from a one-dimensional killer to a complex, multidimensional character. Some possible approaches:

  • A personal code: She adheres to a strict set of rules, such as only targeting those who have committed heinous crimes or refusing to harm innocent bystanders.
  • A larger purpose: She believes her work serves a greater good, such as taking down a corrupt organisation or protecting a specific community.
  • A conflicted past: Her experiences have led her to question the morality of her profession, and she grapples with the consequences of her actions.

The On-Again, Off-Again Romance: A Complicated Dance

A romance can add an exciting layer to your story, but it’s essential to avoid clichés and make the relationship an integral part of the narrative. Consider the following:

  • A complicated history: The love interest has a past with the assassin, making their interactions fraught with tension and unresolved emotions.
  • A forbidden love: Their relationship is taboo, either due to the assassin’s profession or the love interest’s connections to her targets.
  • A cat-and-mouse game: The love interest is also a skilled operative, leading to a thrilling game of espionage and one-upmanship.

To keep the romance engaging, make sure to:

  • Develop the love interest: Give them their own backstory, motivations, and conflicts to create a well-rounded character.
  • Balance action and romance: Ensure that the romance doesn’t overshadow the main plot or the assassin’s character development.
  • Keep it unpredictable: Avoid predictable tropes and surprising twists to keep readers invested in the relationship.

By incorporating these elements, you’ll create a female assassin who defies stereotypes and captivates readers with her complexity and depth. Remember to stay true to your character’s voice and agency, and don’t be afraid to push boundaries and explore new themes. With a richly nuanced protagonist and a gripping narrative, your story will stand out in the world of assassin fiction.

365 Days of writing, 2026 – My second story 3

More about my second story

The Female Assassin: Breaking Stereotypes and Forging a Unique Path

As a writer, creating a compelling and complex female character can be a daunting task, especially when venturing into the realm of assassins. With a plethora of male-dominated stories in the genre, it’s essential to differentiate our female protagonist from her counterparts while maintaining the essence of the profession. In this blog post, we’ll explore ways to set our female assassin apart, infuse her with a conscience or unique rationale, and introduce a captivating on-again, off-again romance that will keep readers enthralled.

Setting Her Apart: Beyond the Typical Traits

To avoid clichés, let’s move beyond the usual characteristics associated with female assassins, such as:

  • The seductress: using charm and beauty to lure targets
  • The revenge seeker: driven by a personal vendetta
  • The stoic killer: emotionless and devoid of empathy

Instead, consider the following traits to make your female assassin stand out:

  • Unconventional skills: Perhaps she’s an expert in a unique area, such as cryptology, toxicology, or engineering, which she leverages to carry out her missions.
  • Moral ambiguity: She operates in a gray area, questioning the true nature of her targets and the motivations behind her contracts.
  • Vulnerability: She has a weakness, such as a chronic illness, a troubled past, or a personal loss, that makes her more relatable and human.

A Conscience or Rationale: Adding Depth to Her Character

Giving your female assassin a conscience or a well-defined rationale for her actions can elevate her from a one-dimensional killer to a complex, multidimensional character. Some possible approaches:

  • A personal code: She adheres to a strict set of rules, such as only targeting those who have committed heinous crimes or refusing to harm innocent bystanders.
  • A larger purpose: She believes her work serves a greater good, such as taking down a corrupt organisation or protecting a specific community.
  • A conflicted past: Her experiences have led her to question the morality of her profession, and she grapples with the consequences of her actions.

The On-Again, Off-Again Romance: A Complicated Dance

A romance can add an exciting layer to your story, but it’s essential to avoid clichés and make the relationship an integral part of the narrative. Consider the following:

  • A complicated history: The love interest has a past with the assassin, making their interactions fraught with tension and unresolved emotions.
  • A forbidden love: Their relationship is taboo, either due to the assassin’s profession or the love interest’s connections to her targets.
  • A cat-and-mouse game: The love interest is also a skilled operative, leading to a thrilling game of espionage and one-upmanship.

To keep the romance engaging, make sure to:

  • Develop the love interest: Give them their own backstory, motivations, and conflicts to create a well-rounded character.
  • Balance action and romance: Ensure that the romance doesn’t overshadow the main plot or the assassin’s character development.
  • Keep it unpredictable: Avoid predictable tropes and surprising twists to keep readers invested in the relationship.

By incorporating these elements, you’ll create a female assassin who defies stereotypes and captivates readers with her complexity and depth. Remember to stay true to your character’s voice and agency, and don’t be afraid to push boundaries and explore new themes. With a richly nuanced protagonist and a gripping narrative, your story will stand out in the world of assassin fiction.

365 Days of writing, 2026 – 16

Day 16 – The right characters for the story

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

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

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

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

Step 1: Start with Motivation, Not Archetype

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

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

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

Step 2: Embrace Contradictions

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

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

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

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

Step 3: Avoid Monolithic Labels

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

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

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

Step 4: Let Characters Evolve

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

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

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

Step 5: Listen to Your Characters

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

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


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

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

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

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

365 Days of writing, 2026 – 16

Day 16 – The right characters for the story

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

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

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

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

Step 1: Start with Motivation, Not Archetype

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

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

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

Step 2: Embrace Contradictions

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

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

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

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

Step 3: Avoid Monolithic Labels

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

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

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

Step 4: Let Characters Evolve

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

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

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

Step 5: Listen to Your Characters

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

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


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

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

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

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

365 Days of writing, 2026 – 15

Day 15 – How to keep on track

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

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

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

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

Here’s how.


1. Remember Your “Why” — Revisit Your Premise

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

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

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


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

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

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

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


3. Create a “Someday” Folder

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

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

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


4. Set Incremental Goals and Deadlines

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

Break your project into small, manageable tasks:

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

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

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


5. Practice the “So What?” Test

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

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

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


6. Schedule “Exploration Time”

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

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

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


7. Trust the Power of Revision

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

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

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


Final Thought: Focus Is a Muscle

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

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

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

Then return to the road. Your story is waiting.

365 Days of writing, 2026 – 15

Day 15 – How to keep on track

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

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

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

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

Here’s how.


1. Remember Your “Why” — Revisit Your Premise

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

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

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


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

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

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

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


3. Create a “Someday” Folder

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

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

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


4. Set Incremental Goals and Deadlines

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

Break your project into small, manageable tasks:

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

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

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


5. Practice the “So What?” Test

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

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

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


6. Schedule “Exploration Time”

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

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

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


7. Trust the Power of Revision

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

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

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


Final Thought: Focus Is a Muscle

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

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

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

Then return to the road. Your story is waiting.

365 Days of writing, 2026 – 14

Day 14 – Having Fun with Ideas

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

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

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


The Magic of Brainstorming: Where Ideas Go to Play

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

Here’s how to turn brainstorming into a playground:

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

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


Researching the Unreal: Creative Ways to Build Believable Fiction

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

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

1. Worldwatch Like a Journalist

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

2. Mine Real-World Inspiration

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

3. Create a Sensory Map

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

4. Reverse-Engineer the Rules

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

5. Prototype with Play

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


Make It a Habit: Creativity as a Joyful Routine

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

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

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


Final Thought: Let Yourself Be Silly

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

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

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

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

365 Days of writing, 2026 – 14

Day 14 – Having Fun with Ideas

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

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

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


The Magic of Brainstorming: Where Ideas Go to Play

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

Here’s how to turn brainstorming into a playground:

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

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


Researching the Unreal: Creative Ways to Build Believable Fiction

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

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

1. Worldwatch Like a Journalist

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

2. Mine Real-World Inspiration

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

3. Create a Sensory Map

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

4. Reverse-Engineer the Rules

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

5. Prototype with Play

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


Make It a Habit: Creativity as a Joyful Routine

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

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

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


Final Thought: Let Yourself Be Silly

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

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

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

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

365 Days of writing, 2026 – 13

Day 13 – Writing exercise

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

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

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

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

We all looked the same.

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

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

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

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

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

A healthy lifestyle was a healthy, happy worker.

Why then wasn’t I happy?

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

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

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

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

I opened the door, ready to step out.

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

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

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

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

The paperwork was going to be horrendous.

“Johnny five.  You?”

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

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

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

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

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

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

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

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

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

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

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

“How did you get here?”

“The tunnels.”

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

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

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

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

“They don’t exist.”

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

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

“Are you a revolutionary?”

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

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

“The 387 tunnel?”

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

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

I left.

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

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

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

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

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

“You are late, Johnny Five.  Why?”

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

“Overslept. Sorry.”

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

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

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

For half an hour.

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

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

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

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

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

It had never happened to anyone else.

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

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

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

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

Two security guards were waiting.

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

“Why?”

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

Whatever that meant

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

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

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

I stepped out, and the doors closed.

The new guard said, “This way “

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

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

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

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

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

“You.”  I recognised her immediately.

“Me.”

“Why?”

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

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

“Curiosity “

“There’s a saying….”

“Yes.  I am aware of it.”

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

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

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

“Why?”

“You’ll see.  Repeat the code.”

“MGS34RYPLM.”

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

“Who are you?”

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

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

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

©  Charles Heath  2025