365 Days of Writing, 2026 – 220/221

Days 220 and 221 – Writing Exercise

…

It was always the same answer, as it had been from the day I could ask questions: “Who was Uncle Robert?”

My mother was always the first to speak, as he was one of her mother’s siblings, saying he was the black sheep, the one who went down in a hail of bullets.

If that sounded dubious, the next part cemented that remark: that he had died a hero, saving a bus full of children

It was heroic, and he was my uncle, the original font of all things good about my mother’s family, even though once I grew up and understood the nuances of the English language, I also knew what sarcasm was, and how it applied to him.

My mother and two of my aunts on her side, when thinking they were alone and talking about him, dropped a trail of breadcrumbs that said he was a criminal somewhere in Chicago and if he wasn’t already dead, he should be.

That meant a lot.  And it was curious to us children that we should stop asking terrible questions about a man who no longer existed.

Over succeeding years, I tried, but it wasn’t easy because there was always someone inadvertently mentioning his name.

But as the years passed, and I started digging into the genealogical aspect of our family, a chance discovery of a ‘lost’ aunt on my mother’s side who was living on the other side of the country, Charlotte, told me her brother, my uncle, was not dead but very clearly alive.

And what’s more, she gave me his address.

And as soon as I was old enough to travel on my own, I got on the plane and went to Cincinnati.  It was, I discovered, where all the members of my mother’s family came from.

…

Considering where we lived in Arizona, a not-so-large town in the Southwest, Cincinnati was eye-opening.  To me, it was a big city, but not as big as Tucson or New York, where my older sister had gone, but enough to show there was a whole different world out there when I was ready to greet it.

At this time I just wanted to say hello and confirm that the mystery that had hung around for years was not a mystery at all, and then go home.

Of course things were never that simple.  It might have been simple if I had a plan, but all the plan was; was to get from the airport to the house where my potential uncle lived.

And to find out why he had been shunned, or more likely why he had shunned us.

Until I knocked on the door and a boy who looked exactly like me opened it.

“My God,” was his first comment.  It was followed by, “Well, aren’t you the clever one, then.”

Until that exact moment, I was not sure what I was fishing for, perhaps a slightly complimentary remark.  Charlotte had said the uncle was a bit of a smarty pants.  He’d obviously passed that on to his son.

“Is your father here?”

I knew who my uncle was because Charlotte had shown me his photo, and I had rung ahead to let him know who I was and what part in the family I was related. 

He hadn’t seemed impressed that I existed or that he cared whether he knew me or not, though I did detect a slight curiosity in his tone.

He asked only one question.   Was I visiting him of my own volition or had my mother told me to come?  I said that it was a result of my ancestry search that I’d discovered him, and I’d not told my mother anything about this visit.

I had assumed that telling my mother where I was going would set her off, after running a test scenario that just had his name on the tip of my tongue.  Something bad must have happened a long time ago, and it was so bad they stopped talking.

Perhaps I would have to mend some bridges.  After the meeting, of course, and if we dismissed the idea of killing our contemporaries to keep a secret.

There was a story to be had, and once I stepped over that threshold, I was determined to get it, or at the very least, the truth.

I didn’t feel too sanguine, though, just outside the front door, and in a moment of realising that it was quite possible I would not get over the first hurdle. 

I was looking at the uncle’s son’s not-backing-down expression, so I had to consider that first effort might all come to nothing, but perseverance was the ticket to this mission, not failure. 

Until another of my aunts, one I didn’t readily recognise, came down the stairs just inside the doorway.  She stopped on the last step, then put a hand on the boy’s shoulder.

Was she about to send me on my way?  She gave me an up-and-down look.  “You don’t look like your mother.”

“You don’t look like my mother, and you are supposed to be a sister.”

“Obviously your mother didn’t teach you about insolence.  You should go back to where you came from.”

“They don’t know I’m here, and I didn’t tell them.  I didn’t come to see you; I came to see my uncle.  Is he here or is he playing hide and seek?”

“You can leave now.”  She said.

A man came down the stairs and brushed past her.  There was no doubting who he was.

“You’re as feisty as your mother.  Jack, isn’t it?”

“It is.”

He came out the door and closed it behind him.  “Let’s walk.  I wouldn’t worry too much about them.  Annabel is your mother’s twin sister, the one she doesn’t talk about.  It will no doubt answer that question you have about the boy looking like you.”

“I wasn’t going to ask.”

“You were.  What made you think there was a long-lost uncle?”

“The way my mother talks about a part of her life that seems like a made-up story.  How many siblings were there?”

“Fourteen.  Same father, two different women, sisters.  Your grandfather married Elsie first and had eight children, including your mother and Annabel, the last two of the eight, and after they were born Elsie died from afterbirth complications, then he married Agnes, Elsie’s younger sister, and had six more of which I was the first.  Your mother and Amnabel were blamed for her death; each blamed the other, and then the family fractured.”

…

We ended up in a cafe and the story took three cups of coffee.

The grandparents, the marriages, the family fractures, the children, and loss.  Perhaps I was too young to understand the nuances of family, other than my father’s edit that family was supposed to be everything, a hard tenet to follow given how my mother was the complete antithesis of it.

It was why I only assumed there were eight siblings: my mother and her older brothers and sisters, the evil sister Annabel, not knowing Annabel was her twin, and this other bunch of people that I thought belonged to another branch of the family.

My mother never assimilated with her father, and I knew that her mother was dead, but she never seemed to mention her with any fondness. 

No surprise.  She had never got to meet her at the point where she could bond with her or remember her.  She only had a stepmother, though she never mentioned her.  In fact, she rarely mentioned her life before marrying my father, and he seemed quite at home not mentioning her parents either.

The only people both my siblings and I knew were the grandparents on my father’s side.

Now I had a more detailed understanding of mt mothers whole family, and some of the reasons why she never mentioned them.

I could understand why Annabel hated me; she hated her twin, who had been born in a house that treated them badly.  I could not imagine what it would be like to be blamed by everyone for the death of their mother.

Even when it was not their fault, as my uncle had gone out of his way to find the truth and try for years to repair the fractures.

By the time I got back on the plane to go home, two days later, and after sitting at the table with my other six aunts and uncles, I was not sure whether I should be pleased or disappointed I’d found out the family secret.

…

When I walked in the door, back home, and feeling exhausted from the long trip, I wasn’t expecting to walk into a minefield.

My mother was standing in the hallway, arms crossed, and looking black as thunder.

Melanie.  The sister who could never keep a secret.  I had to tell someone in case there was a problem while I was away.

I guess if there was a chance to score points, she would take it.

“You went to Cincinnati?”

It was a statement, not a question.

My father, or anyone else who was around, had seen the storm brewing and left to find a safe haven.

“I did.  Part of this deep desire to see something of this great country I live in.  Maybe next month I’ll go to Texas.”  Better to be flippant.

“So Cincinnati was just a spot like pinning the tail on the donkey?”

“No.  It seemed significant, like you mentioning it with loathing.  I wanted to find out if it was as bad as you seem to think it is.”

“You have no idea what I think.”

“Actually, I think I might have some idea.  I met your twin sister, the evil Annabel.  I get it, by the way.  Sisters can be shitty to one another, and I imagine that can only intensify with a twin.  It’s amusing to discover she had exactly the same loathing of you, which makes it quite funny.”

“It’s not.”

“It is.  After all the times you told me I had to be nice to my siblings, you went and did the exact opposite.  Did Dad know you were one of fourteen?”

“I told him my father was in a mental home and my mother was dead.  I’d like it to stay that way.”

“Why?”

“Because it was better that way.”  The black clouds were passing, and the edge had gone out of her tone.  She was still angry but not as much.

“You spoke to Anthony?”

“You knew he was still in Cincinnati?”

“Of course.  He is my stepbrother, perhaps the only one worth talking to, and the only one who took the time to find the truth.”

“And you knew Annabel was staying with him?”

“You went to the home we were brought up in.  She was never going to leave him, married or otherwise.  You would have met your doppelganger Eric, too.”  She shrugged.  “She dated your father for the whole of high school, got pregnant, which, given the type of girl she was, surprised no one.  It’s why he looks like you; he’s your father’s illegitimate child.  He invited her to the prom, and she got sick, and told me to go with him instead so another girl wouldn’t steal him from her.”

I could see how that would work.  “Except…”

“He preferred me.  One night it took.  The Prom.  She was a bitch at the best of times.  I wasn’t.  You can only put up with that stuff for so long.  But there was the pregnancy and the obligation.  Our parents expected him to do the right thing.  He didn’t.”

I could see now why Annabel hated her.  Bad choices and expectations.

She continued, “To make things easier for her, I left home, came here, told him he had to marry her, but he said he’d made his bed, asked me to marry him.  I said no.  He eventually married her, the child was born, and then they divorced.  She cheated on him, not surprising.  A year later, your father came here, asked me again, and I said yes.  She hated me ever since.  The guy she ended up with was better for her, but you could never tell her anything.  She blew that marriage up too, by the way.”

I had some experience in breaking up with a first love.  The next was never the same, even after you got over that broken heart, which I didn’t think I had.

“I’m sure there’s a moral in this story somewhere.  If anything, given my family, perhaps it’s better not to get married, or if you do, stick to one wife, and not have eight, six or fourteen kids.  And not marry a twin.”

I thought i saw the beginnings of a smile.  I could have been mistaken.

“What are you going to do with this newfound knowledge?”

“Talk to the aunts and uncles I know about the aunts and uncles they quite clearly knew about but never spoke about because of you.”

“Not me exactly.  Out of deference to me.  They regretted blaming us for our mother’s death, because at that age everything was more intense and easily explained in a child’s head, aside from our father hammering it in because of his own misery.

It was what it was.  I should have handled it better, but I didn’t.  Perhaps in some small way, you doing what you just did might be the first step along a long path back.  If you want, invite Anthony to come and visit you.  See what he says.”

I knew what he would say, but I wasn’t going to tell her.

I’d let that be a surprise.

…

©  Charles Heath  2026

365 Days of writing, 2026 – Beyond the second novel

Creating a dynasty

…

Crafting Epic Bloodlines: How to Use Real Genealogy to Build a Multi-Generation Book Series

How to Build a Book Dynasty Series Using Real Genealogy Meta Description: Writing a multi-generation book series? Discover how studying real family trees and genealogy can help you plot realistic time intervals, family dynamics, and historical ties.

When you set out to write a book series that spans generations—whether it’s a sweeping historical epic, a multigenerational sci-fi saga, or a sprawling fantasy family curse—you aren’t just plotting a story. You are playing the role of God, historian, and architect rolled into one.

You have to create a dynasty.

And building a believable, breathing dynasty is harder than it looks. It’s easy to fall into the trap of treating descendants like interchangeable action figures, or worse, messing up the timeline so drastically that a grandmother and granddaughter end up looking like college roommates.

So, how do you fix this? Where do you find the blueprint for generational momentum?

The secret weapon hiding in plain sight is genealogy. By studying real family trees—especially your own ancestry—you can unlock the secret rhythms of time, inheritance, and human connection that will make your fictional dynasty feel startlingly real.

Here is how to use real genealogy as a masterclass in world-building for your next multi-novel series.


1. Stealing Time: Mapping Realistic Intervals

One of the biggest pitfalls in writing a multi-generational series is temporal whiplash. Authors often guess how time passes between generations, leading to biological impossibilities or unnatural pacing.

Real genealogy solves this by providing hard, empirical data on human biology and historical timelines.

  • The Math of Motherhood: Historically, women didn’t have children evenly spaced every ten years; generations often clustered tightly or stretched wide depending on war, famine, and economics. Look at your own family tree. Notice the average age at which women had their first child, and when the last child was born.
  • The “Generation Gap”: In the 19th century, a new generation might arrive every 20 to 25 years because people married and started families much younger. In modern times, that stretch often pushes past 30. Aligning your fictional timeline with realistic biological intervals prevents your characters from aging too fast—or suspiciously slow.
  • Leapfrogging Eras: Genealogy teaches you about overlap. Did a grandfather live long enough to meet his grandson, or did he pass away a decade before the child was even born? That gap creates built-in narrative tension: characters shaped by the ghosts of ancestors they never physically met.

2. Uncovering the Ties That Bind (and Break)

Real families are messy. When you look back at census records, immigration papers, and old wills, you start to see patterns of human behaviour that no plotting manual can teach you.

When building your fictional dynasty, ask yourself what historical forces are pulling your ancestors—and by extension, your characters—together or tearing them apart:

  • The Economics of Inheritance: Look at old property deeds or probate records. Who got the land? Who got cut out? Financial pressure is the engine of family drama. In your series, how does the passing of an estate change the power dynamics between siblings in Book 2 versus Book 4?
  • Forced Migration and Diaspora: Did your ancestors move across countries or continents? What triggered it? Was it a potato famine, a gold rush, or a shifting border? Use these real-world catalysts to drive your characters across your fictional map. A dynasty isn’t born in a vacuum; it is shaped by geography and displacement.
  • The Black Sheep and Forgotten Branches: Every family tree has a branch that simply disappears from the records—someone who ran away to sea, changed their last name, or was disowned. These historical mysteries are goldmines for fiction. In a multi-novel series, a “lost” ancestor from Book 1 can become the inciting incident or the mysterious benefactor in Book 5.

3. Genetics, Culture, and the “Ghost” of the Ancestor

In a long-running book series, characters need to feel like they belong to the same lineage, even if they never share a page together. Genealogy gives you the tools to weave cultural and genetic DNA through your cast.

  • Recurring Naming Conventions: Look at real family trees, and you’ll notice names recycling every generation—the eldest son is always a Thomas, or middle daughters are named after grandmothers. Doing this in fiction creates an immediate subconscious link for the reader. When Book 3 features a fierce, rebellious character named Elinor II, the reader instantly remembers the original Elinor from the founding novel.
  • Generational Trauma and Triumph: Real-world genealogy often reveals overarching themes. One branch of the family might consistently marry into military families, while another works the land for centuries. Use these ancestral echoes in your writing. If the founding patriarch was a liar and a cheat, how does that “stain” manifest in the great-great-granddaughter three books down the line? Is she desperately trying to overcompensate, or is it in her blood?

How to Start Your Research (Even If You Aren’t Writing Historical Fiction)

You might be thinking: “My series is high fantasy with dragons; how does my great-grandfather’s immigration record help me?”

The setting changes, but the human element does not.

  1. Build a Fictional Family Tree First: Before you write a single chapter of Book 1, map out four or five generations of your dynasty. Use genealogy software (like Ancestry, Scrivener’s corkboard, or even a giant piece of butcher paper) to track births, deaths, marriages, and major life events.
  2. Consult Your Own Past: Pull up your own family tree or talk to older relatives. Ask them about the family lore. What was the biggest scandal? Who lost the family fortune? Who was the black sheep? Truth is almost always stranger—and more creatively inspiring—than fiction.
  3. Impose Historical Pressure Points: Just as real families had to navigate wars, depressions, and industrial revolutions, your fictional families must navigate the magical equivalents: the breaking of a covenant, a shifting pantheon, an economic collapse driven by new technology, or a plague.

The Payoff: A Dynasty That Feels Alive

When readers invest in a multi-novel series, they want to feel the weight of history. They want to see how the choices made by a desperate ancestor in a dusty prologue ripple forward to alter the fate of a panicked descendant in the explosive finale.

By turning to genealogy—by studying how real people lived, loved, migrated, and died across the spans of time—you stop guessing. You start building a bloodline that feels heavy, authentic, and utterly unforgettable.

Now, open up your family tree, look at the gaps in the timeline, and start writing your epic.

…

365 Days of writing, 2026 – Beyond the second novel

Creating a dynasty

…

Crafting Epic Bloodlines: How to Use Real Genealogy to Build a Multi-Generation Book Series

How to Build a Book Dynasty Series Using Real Genealogy Meta Description: Writing a multi-generation book series? Discover how studying real family trees and genealogy can help you plot realistic time intervals, family dynamics, and historical ties.

When you set out to write a book series that spans generations—whether it’s a sweeping historical epic, a multigenerational sci-fi saga, or a sprawling fantasy family curse—you aren’t just plotting a story. You are playing the role of God, historian, and architect rolled into one.

You have to create a dynasty.

And building a believable, breathing dynasty is harder than it looks. It’s easy to fall into the trap of treating descendants like interchangeable action figures, or worse, messing up the timeline so drastically that a grandmother and granddaughter end up looking like college roommates.

So, how do you fix this? Where do you find the blueprint for generational momentum?

The secret weapon hiding in plain sight is genealogy. By studying real family trees—especially your own ancestry—you can unlock the secret rhythms of time, inheritance, and human connection that will make your fictional dynasty feel startlingly real.

Here is how to use real genealogy as a masterclass in world-building for your next multi-novel series.


1. Stealing Time: Mapping Realistic Intervals

One of the biggest pitfalls in writing a multi-generational series is temporal whiplash. Authors often guess how time passes between generations, leading to biological impossibilities or unnatural pacing.

Real genealogy solves this by providing hard, empirical data on human biology and historical timelines.

  • The Math of Motherhood: Historically, women didn’t have children evenly spaced every ten years; generations often clustered tightly or stretched wide depending on war, famine, and economics. Look at your own family tree. Notice the average age at which women had their first child, and when the last child was born.
  • The “Generation Gap”: In the 19th century, a new generation might arrive every 20 to 25 years because people married and started families much younger. In modern times, that stretch often pushes past 30. Aligning your fictional timeline with realistic biological intervals prevents your characters from aging too fast—or suspiciously slow.
  • Leapfrogging Eras: Genealogy teaches you about overlap. Did a grandfather live long enough to meet his grandson, or did he pass away a decade before the child was even born? That gap creates built-in narrative tension: characters shaped by the ghosts of ancestors they never physically met.

2. Uncovering the Ties That Bind (and Break)

Real families are messy. When you look back at census records, immigration papers, and old wills, you start to see patterns of human behaviour that no plotting manual can teach you.

When building your fictional dynasty, ask yourself what historical forces are pulling your ancestors—and by extension, your characters—together or tearing them apart:

  • The Economics of Inheritance: Look at old property deeds or probate records. Who got the land? Who got cut out? Financial pressure is the engine of family drama. In your series, how does the passing of an estate change the power dynamics between siblings in Book 2 versus Book 4?
  • Forced Migration and Diaspora: Did your ancestors move across countries or continents? What triggered it? Was it a potato famine, a gold rush, or a shifting border? Use these real-world catalysts to drive your characters across your fictional map. A dynasty isn’t born in a vacuum; it is shaped by geography and displacement.
  • The Black Sheep and Forgotten Branches: Every family tree has a branch that simply disappears from the records—someone who ran away to sea, changed their last name, or was disowned. These historical mysteries are goldmines for fiction. In a multi-novel series, a “lost” ancestor from Book 1 can become the inciting incident or the mysterious benefactor in Book 5.

3. Genetics, Culture, and the “Ghost” of the Ancestor

In a long-running book series, characters need to feel like they belong to the same lineage, even if they never share a page together. Genealogy gives you the tools to weave cultural and genetic DNA through your cast.

  • Recurring Naming Conventions: Look at real family trees, and you’ll notice names recycling every generation—the eldest son is always a Thomas, or middle daughters are named after grandmothers. Doing this in fiction creates an immediate subconscious link for the reader. When Book 3 features a fierce, rebellious character named Elinor II, the reader instantly remembers the original Elinor from the founding novel.
  • Generational Trauma and Triumph: Real-world genealogy often reveals overarching themes. One branch of the family might consistently marry into military families, while another works the land for centuries. Use these ancestral echoes in your writing. If the founding patriarch was a liar and a cheat, how does that “stain” manifest in the great-great-granddaughter three books down the line? Is she desperately trying to overcompensate, or is it in her blood?

How to Start Your Research (Even If You Aren’t Writing Historical Fiction)

You might be thinking: “My series is high fantasy with dragons; how does my great-grandfather’s immigration record help me?”

The setting changes, but the human element does not.

  1. Build a Fictional Family Tree First: Before you write a single chapter of Book 1, map out four or five generations of your dynasty. Use genealogy software (like Ancestry, Scrivener’s corkboard, or even a giant piece of butcher paper) to track births, deaths, marriages, and major life events.
  2. Consult Your Own Past: Pull up your own family tree or talk to older relatives. Ask them about the family lore. What was the biggest scandal? Who lost the family fortune? Who was the black sheep? Truth is almost always stranger—and more creatively inspiring—than fiction.
  3. Impose Historical Pressure Points: Just as real families had to navigate wars, depressions, and industrial revolutions, your fictional families must navigate the magical equivalents: the breaking of a covenant, a shifting pantheon, an economic collapse driven by new technology, or a plague.

The Payoff: A Dynasty That Feels Alive

When readers invest in a multi-novel series, they want to feel the weight of history. They want to see how the choices made by a desperate ancestor in a dusty prologue ripple forward to alter the fate of a panicked descendant in the explosive finale.

By turning to genealogy—by studying how real people lived, loved, migrated, and died across the spans of time—you stop guessing. You start building a bloodline that feels heavy, authentic, and utterly unforgettable.

Now, open up your family tree, look at the gaps in the timeline, and start writing your epic.

…

365 Days of Writing, 2026 – 219

Day 219 – Writers must read

…

Study the Competition So You Can Beat Them: The Ultimate Guide to Competitive Intelligence

In the world of business, going in blind is a recipe for failure. Whether you are launching a startup, running an established e-commerce store, or creating content, you cannot operate in a vacuum.

If your goal is to grow your market share, increase conversions, and ultimately win, you need to know who you are up against. As the ancient military strategist Sun Tzu wrote in The Art of War: “If you know the enemy and know yourself, you need not fear the result of a hundred battles.”

In modern business, we call this competitive intelligence.

Studying your competition isn’t about copying what they do—in fact, that’s a surefire way to blend in instead of stand out. Instead, it’s about analysing their strengths, exploiting their weaknesses, and finding the gaps in the market that they are leaving wide open.

Here is a step-by-step masterclass on how to study your competition so you can beat them at their own game.


Step 1: Identify Who Your Real Competitors Are

Before you can study your rivals, you need to know who they actually are. Many business owners make the mistake of only looking at direct competitors. To get a true edge, you need to look at three distinct categories:

  1. Direct Competitors: These are businesses offering the same product or service to the same target audience. (e.g., Coca-Cola and Pepsi).
  2. Indirect Competitors: These offer different products or services, but they solve the same customer problem. (e.g., If you sell movie tickets, your indirect competitor might be a streaming service like Netflix).
  3. Aspirational/Future Competitors: These are the industry leaders or disruptors who might not be targeting you today, but whose business models you want to emulate or eventually overtake.

Action Item: Make a list of your top 5 direct competitors and top 3 indirect competitors. These will be the focus of your analysis.


Step 2: Reverse-Engineer Their Digital Presence

Once you know who you are tracking, it’s time to put on your detective hat. The internet makes it easier than ever to audit your competitors’ strategies. Here is where you should look:

1. Analyse Their Website and User Experience (UX)

Go through your competitor’s website as if you were a customer.

  • How easy is it to navigate?
  • What is their value proposition? (What do they claim makes them special right on their homepage?)
  • What does their checkout or conversion funnel look like? Where do they friction points exist?

2. Audit Their SEO and Content Strategy

Organic traffic is gold. Use tools like Ahrefs, SEMrush, or Ubersuggest to see what your competitors are doing right in search engines:

  • What keywords are they ranking for?
  • Which of their blog posts or landing pages get the most organic traffic?
  • Where are they getting their backlinks from?

3. Monitor Their Social Media and Paid Ads

Look at how they communicate with their audience.

  • Organic Social: Which platforms are they most active on? What kind of content gets the most engagement (videos, carousels, memes, case studies)?
  • Paid Ads: Use tools like the Meta Ad Library and the Google Ads Transparency Centre to see what ads your competitors are currently running. What offers are they promoting? What angles are they using in their ad copy?

Step 3: Read Their Customer Reviews (The Goldmine)

This is perhaps the most powerful—and underutilised—tactic in competitive intelligence. Your competitors’ customer reviews are a roadmap to their weaknesses.

Go to platforms like Trustpilot, G2, Amazon, Google Business Profile, and Yelp, and look specifically at the 1-star, 2-star, and 3-star reviews of your competitors.

Ask yourself:

  • What are customers constantly complaining about? (e.g., “Poor customer service,” “Shipping takes too long,” “The software is too buggy”).
  • What did they wish the product did that it currently doesn’t?

How to use this to win: Take the exact complaints your competitors’ customers have and make them your core selling propositions. If your competitor’s customers hate their slow support, build your brand around 24/7, lightning-fast customer service.


Step 4: Conduct a SWOT Analysis

Now that you’ve gathered data on your competitors’ products, marketing, and customer feedback, it’s time to synthesise it. Create a SWOT Analysis for your top competitors, mapping out their:

  • Strengths: What are they exceptionally good at? (e.g., massive budget, strong brand recognition).
  • Weaknesses: Where do they fall short? (e.g., poor mobile UX, lack of personalisation).
  • Opportunities: What market trends are they ignoring that you can capitalise on?
  • Threats: What external factors could hurt them (and potentially affect you)?

By comparing their SWOT analysis to your own, you will clearly see your “Unique Value Proposition” (UVP)—the exact reason why a customer should choose you over them.


Step 5: Innovate, Don’t Imitate

The biggest trap in studying your competition is falling into the copycat syndrome.

If you simply mimic what your competitors are doing, you will always be one step behind. They set the rules of the game, and you are just following them.

Instead, use competitive intelligence to differentiate.

  • If everyone in your industry uses a formal, corporate tone, try being conversational, witty, and human.
  • If your competitors sell complex, bloated software, build a solution that is hyper-minimalist and user-friendly.
  • If they focus solely on features, focus on the transformation and emotional outcome your customer experiences.

Final Thoughts: Competitive Intelligence is a Continuous Process

Studying your competition is not a one-time task you check off your to-do list. Markets shift, algorithms change, and new startups emerge every single day.

Make competitive analysis a habit. Set aside an hour every month to check in on your top rivals, review their new ad campaigns, and see how their customer sentiment is shifting.

When you truly understand the battlefield, you stop reacting to what your competitors do—and start forcing them to react to you.

…

365 Days of Writing, 2026 – 219

Day 219 – Writers must read

…

Study the Competition So You Can Beat Them: The Ultimate Guide to Competitive Intelligence

In the world of business, going in blind is a recipe for failure. Whether you are launching a startup, running an established e-commerce store, or creating content, you cannot operate in a vacuum.

If your goal is to grow your market share, increase conversions, and ultimately win, you need to know who you are up against. As the ancient military strategist Sun Tzu wrote in The Art of War: “If you know the enemy and know yourself, you need not fear the result of a hundred battles.”

In modern business, we call this competitive intelligence.

Studying your competition isn’t about copying what they do—in fact, that’s a surefire way to blend in instead of stand out. Instead, it’s about analyzing their strengths, exploiting their weaknesses, and finding the gaps in the market that they are leaving wide open.

Here is a step-by-step masterclass on how to study your competition so you can beat them at their own game.


Step 1: Identify Who Your Real Competitors Are

Before you can study your rivals, you need to know who they actually are. Many business owners make the mistake of only looking at direct competitors. To get a true edge, you need to look at three distinct categories:

  1. Direct Competitors: These are businesses offering the same product or service to the same target audience. (e.g., Coca-Cola and Pepsi).
  2. Indirect Competitors: These offer different products or services, but they solve the same customer problem. (e.g., If you sell movie tickets, your indirect competitor might be a streaming service like Netflix).
  3. Aspirational/Future Competitors: These are the industry leaders or disruptors who might not be targeting you today, but whose business models you want to emulate or eventually overtake.

Action Item: Make a list of your top 5 direct competitors and top 3 indirect competitors. These will be the focus of your analysis.


Step 2: Reverse-Engineer Their Digital Presence

Once you know who you are tracking, it’s time to put on your detective hat. The internet makes it easier than ever to audit your competitors’ strategies. Here is where you should look:

1. Analyze Their Website and User Experience (UX)

Go through your competitor’s website as if you were a customer.

  • How easy is it to navigate?
  • What is their value proposition? (What do they claim makes them special right on their homepage?)
  • What does their checkout or conversion funnel look like? Where do they friction points exist?

2. Audit Their SEO and Content Strategy

Organic traffic is gold. Use tools like Ahrefs, SEMrush, or Ubersuggest to see what your competitors are doing right in search engines:

  • What keywords are they ranking for?
  • Which of their blog posts or landing pages get the most organic traffic?
  • Where are they getting their backlinks from?

3. Monitor Their Social Media and Paid Ads

Look at how they communicate with their audience.

  • Organic Social: Which platforms are they most active on? What kind of content gets the most engagement (videos, carousels, memes, case studies)?
  • Paid Ads: Use tools like the Meta Ad Library and the Google Ads Transparency Center to see what ads your competitors are currently running. What offers are they promoting? What angles are they using in their ad copy?

Step 3: Read Their Customer Reviews (The Goldmine)

This is perhaps the most powerful—and underutilized—tactic in competitive intelligence. Your competitors’ customer reviews are a roadmap to their weaknesses.

Go to platforms like Trustpilot, G2, Amazon, Google Business Profile, and Yelp, and look specifically at the 1-star, 2-star, and 3-star reviews of your competitors.

Ask yourself:

  • What are customers constantly complaining about? (e.g., “Poor customer service,” “Shipping takes too long,” “The software is too buggy”).
  • What did they wish the product did that it currently doesn’t?

How to use this to win: Take the exact complaints your competitors’ customers have and make them your core selling propositions. If your competitor’s customers hate their slow support, build your brand around 24/7, lightning-fast customer service.


Step 4: Conduct a SWOT Analysis

Now that you’ve gathered data on your competitors’ products, marketing, and customer feedback, it’s time to synthesize it. Create a SWOT Analysis for your top competitors, mapping out their:

  • Strengths: What are they exceptionally good at? (e.g., massive budget, strong brand recognition).
  • Weaknesses: Where do they fall short? (e.g., poor mobile UX, lack of personalization).
  • Opportunities: What market trends are they ignoring that you can capitalize on?
  • Threats: What external factors could hurt them (and potentially affect you)?

By comparing their SWOT analysis to your own, you will clearly see your “Unique Value Proposition” (UVP)—the exact reason why a customer should choose you over them.


Step 5: Innovate, Don’t Imitate

The biggest trap in studying your competition is falling into the copycat syndrome.

If you simply mimic what your competitors are doing, you will always be one step behind. They set the rules of the game, and you are just following them.

Instead, use competitive intelligence to differentiate.

  • If everyone in your industry uses a formal, corporate tone, try being conversational, witty, and human.
  • If your competitors sell complex, bloated software, build a solution that is hyper-minimalist and user-friendly.
  • If they focus solely on features, focus on the transformation and emotional outcome your customer experiences.

Final Thoughts: Competitive Intelligence is a Continuous Process

Studying your competition is not a one-time task you check off your to-do list. Markets shift, algorithms change, and new startups emerge every single day.

Make competitive analysis a habit. Set aside an hour every month to check in on your top rivals, review their new ad campaigns, and see how their customer sentiment is shifting.

When you truly understand the battlefield, you stop reacting to what your competitors do—and start forcing them to react to you.

…

365 Days of Writing, 2026 – 218

Day 218 – The author’s imaginary world

…

Building the Invisible Architecture: Why Every Novelist Must First Create a World They Believe In

“Every novelist must begin by creating himself a world, great or little, in which he can honestly believe.” — Joseph Conrad

When we open a novel, we aren’t just looking for a sequence of events. We are looking for a portal. We want to step out of the mundane architecture of our daily lives and inhabit somewhere else—whether that somewhere else is the misty decks of a 19th-century trading ship, the neon-lit alleys of a cyberpunk dystopia, or the quiet, devastating emotional landscape of a suburban kitchen.

But before a reader can ever step foot into that fictional realm, the author must build it, brick by invisible brick. And as Joseph Conrad famously noted, that process begins with belief.

If the writer doesn’t buy the reality of the world they are constructing, why should the reader?

Let’s explore what Conrad’s timeless wisdom means for modern novelists, world-building, and the psychological heavy lifting required to write fiction that resonates.


The Anatomy of Belief: What Does It Mean to “Believe” in Your World?

Belief in writing is not about magic systems, historical accuracy, or encyclopedic lore (though those things can help). It is about internal coherence and emotional truth.

When Conrad spoke of creating a world “great or little,” he wasn’t just talking about epic fantasy maps. A “little” world might be a single boarding house in Dublin, a courtroom during a three-day trial, or the strained silence across a breakfast table.

To believe in your world, you must know its gravity. You must understand:

  • The sensory reality: What does it smell like after a heavy rain? What is the quality of the light at 4:00 PM?
  • The unspoken rules: What do the inhabitants take for granted? What are the cultural taboos, economic pressures, and quiet griefs that shape their daily choices?
  • The moral pulse: Even if the author is entirely objective, the world must operate on a set of internal cause-and-effect dynamics where actions have real, believable consequences.

If you are writing a scene and you feel a twinge of artificiality—a sense that you are moving characters around like chess pieces just to get to the next plot point—you have stopped believing in your world. And the moment the author stops believing, the reader’s suspension of disbelief shatters like cheap glass.


World-Building is Self-Discovery

Notice the phrasing in Conrad’s quote: “creating himself a world.”

Before a novelist creates a world for the reader, they must create it for themselves. Writing a novel is an act of self-interrogation. The world you build often becomes a mirror for your own obsessions, fears, questions, and philosophies.

  • Tolkien didn’t just invent Middle-earth for the sake of an adventure; he built it out of a profound love for lost mythologies and philology, creating languages that necessitated a world to speak them.
  • Austen mapped the rigid, polite, and deeply economic marriage market of 19th-century England because she was keenly interested in the intersection of female autonomy, social survival, and genuine affection.

When you sit down to write, your fictional world is your testing ground. It is the ecosystem where you explore what you actually believe about human nature, power, love, and betrayal. If your heart isn’t invested in the truths of that ecosystem, your prose will lack the pulse of life.


The Danger of the “Cardboard Set”

We have all read books that feel like movie sets made of painted cardboard. The dialogue is snappy, the plot moves fast, but the moment a character leans against a wall, you feel like the whole thing might tip over.

This happens when a writer focuses entirely on mechanics rather than immersion. They outline the plot beats, design the twists, but fail to inhabit the space.

To avoid the cardboard set trap, adopt Conrad’s mindset:

  1. Dig deeper than the surface details. Don’t just invent a futuristic city; figure out where the garbage goes, who cleans the streets, and what people sing when they’re drunk.
  2. Let the world talk back. A believable world has momentum. When your characters make a choice, the world should react in ways that aren’t always convenient for your outline.
  3. Write for the senses, not just the intellect. Bring your scenes to life through texture, temperature, and tone.

How to Cultivate Radical Belief in Your Writing

If you are struggling to connect with your story-world, how do you bridge the gap? How do you reach that state of honest belief?

  • Write toward the unknown: Don’t plan every single square inch before you start. Leave room for discovery. Sometimes, believing in your world means exploring it alongside your characters, letting it surprise you.
  • Anchor the fantastical in the visceral: If you are writing high fantasy or hard sci-fi, ground the extraordinary in ordinary human experiences. A dragon rider still gets a sore back; a starship captain still worries about aging or estranged children.
  • Interrogate your own cynicism: If you find yourself rolling your eyes at your own plot developments, stop. Figure out why. Fix the underlying logic until you can nod to yourself and say, Yes, that is how this world works.

Final Thoughts: The Invitation to the Reader

Writing a novel is an act of supreme audacity. You are essentially asking a complete stranger to sit in a quiet room, look at a series of black symbols on a white page, and hallucinate an entire reality for several hours.

The only way that magic trick works is if your own conviction is absolute.

When you create a world—whether it spans galaxies or exists entirely within the confines of a single room—you must believe in it first. Pour your curiosity, your empathy, and your attention into its soil. Because when you honestly believe in the world you’ve made, the reader won’t just visit it—they will live in it.


Are you currently building a fictional world? What is the hardest part of making it feel real to you—the physical details, the emotional stakes, or the internal logic? Let us know in the comments below!

…

365 Days of Writing, 2026 – 218

Day 218 – The author’s imaginary world

…

Building the Invisible Architecture: Why Every Novelist Must First Create a World They Believe In

“Every novelist must begin by creating himself a world, great or little, in which he can honestly believe.” — Joseph Conrad

When we open a novel, we aren’t just looking for a sequence of events. We are looking for a portal. We want to step out of the mundane architecture of our daily lives and inhabit somewhere else—whether that somewhere else is the misty decks of a 19th-century trading ship, the neon-lit alleys of a cyberpunk dystopia, or the quiet, devastating emotional landscape of a suburban kitchen.

But before a reader can ever step foot into that fictional realm, the author must build it, brick by invisible brick. And as Joseph Conrad famously noted, that process begins with belief.

If the writer doesn’t buy the reality of the world they are constructing, why should the reader?

Let’s explore what Conrad’s timeless wisdom means for modern novelists, world-building, and the psychological heavy lifting required to write fiction that resonates.


The Anatomy of Belief: What Does It Mean to “Believe” in Your World?

Belief in writing is not about magic systems, historical accuracy, or encyclopedic lore (though those things can help). It is about internal coherence and emotional truth.

When Conrad spoke of creating a world “great or little,” he wasn’t just talking about epic fantasy maps. A “little” world might be a single boarding house in Dublin, a courtroom during a three-day trial, or the strained silence across a breakfast table.

To believe in your world, you must know its gravity. You must understand:

  • The sensory reality: What does it smell like after a heavy rain? What is the quality of the light at 4:00 PM?
  • The unspoken rules: What do the inhabitants take for granted? What are the cultural taboos, economic pressures, and quiet griefs that shape their daily choices?
  • The moral pulse: Even if the author is entirely objective, the world must operate on a set of internal cause-and-effect dynamics where actions have real, believable consequences.

If you are writing a scene and you feel a twinge of artificiality—a sense that you are moving characters around like chess pieces just to get to the next plot point—you have stopped believing in your world. And the moment the author stops believing, the reader’s suspension of disbelief shatters like cheap glass.


World-Building is Self-Discovery

Notice the phrasing in Conrad’s quote: “creating himself a world.”

Before a novelist creates a world for the reader, they must create it for themselves. Writing a novel is an act of self-interrogation. The world you build often becomes a mirror for your own obsessions, fears, questions, and philosophies.

  • Tolkien didn’t just invent Middle-earth for the sake of an adventure; he built it out of a profound love for lost mythologies and philology, creating languages that necessitated a world to speak them.
  • Austen mapped the rigid, polite, and deeply economic marriage market of 19th-century England because she was keenly interested in the intersection of female autonomy, social survival, and genuine affection.

When you sit down to write, your fictional world is your testing ground. It is the ecosystem where you explore what you actually believe about human nature, power, love, and betrayal. If your heart isn’t invested in the truths of that ecosystem, your prose will lack the pulse of life.


The Danger of the “Cardboard Set”

We have all read books that feel like movie sets made of painted cardboard. The dialogue is snappy, the plot moves fast, but the moment a character leans against a wall, you feel like the whole thing might tip over.

This happens when a writer focuses entirely on mechanics rather than immersion. They outline the plot beats, design the twists, but fail to inhabit the space.

To avoid the cardboard set trap, adopt Conrad’s mindset:

  1. Dig deeper than the surface details. Don’t just invent a futuristic city; figure out where the garbage goes, who cleans the streets, and what people sing when they’re drunk.
  2. Let the world talk back. A believable world has momentum. When your characters make a choice, the world should react in ways that aren’t always convenient for your outline.
  3. Write for the senses, not just the intellect. Bring your scenes to life through texture, temperature, and tone.

How to Cultivate Radical Belief in Your Writing

If you are struggling to connect with your story-world, how do you bridge the gap? How do you reach that state of honest belief?

  • Write toward the unknown: Don’t plan every single square inch before you start. Leave room for discovery. Sometimes, believing in your world means exploring it alongside your characters, letting it surprise you.
  • Anchor the fantastical in the visceral: If you are writing high fantasy or hard sci-fi, ground the extraordinary in ordinary human experiences. A dragon rider still gets a sore back; a starship captain still worries about aging or estranged children.
  • Interrogate your own cynicism: If you find yourself rolling your eyes at your own plot developments, stop. Figure out why. Fix the underlying logic until you can nod to yourself and say, Yes, that is how this world works.

Final Thoughts: The Invitation to the Reader

Writing a novel is an act of supreme audacity. You are essentially asking a complete stranger to sit in a quiet room, look at a series of black symbols on a white page, and hallucinate an entire reality for several hours.

The only way that magic trick works is if your own conviction is absolute.

When you create a world—whether it spans galaxies or exists entirely within the confines of a single room—you must believe in it first. Pour your curiosity, your empathy, and your attention into its soil. Because when you honestly believe in the world you’ve made, the reader won’t just visit it—they will live in it.


Are you currently building a fictional world? What is the hardest part of making it feel real to you—the physical details, the emotional stakes, or the internal logic? Let us know in the comments below!

…

365 Days of Writing, 2026 – 217

Day 217 – What constitutes a strong first line

…

Hook, Line, and Sinker: What Makes a Masterpiece First Line (And Why Readers Can’t Look Away)

You have about three seconds.

In the age of endless scrolling, infinite browser tabs, and shrinking attention spans, a reader’s finger hovers constantly over the back button or the swipe-up gesture. Whether you’re writing a sprawling epic fantasy, a punchy B2B blog post, or a gripping journalistic exposé, your opening line is your one and only bouncer. It either opens the velvet rope or tells the reader to move along.

So, what constitutes a strong first line—one that makes it utterly impossible for the reader not to know more?

Let’s break down the psychology of the irresistible hook, analyse some of the greatest opening lines in literature and non-fiction, and look at how you can weaponise your own introductions.


The Anatomy of an Irresistible First Line

A great first line doesn’t just sound pretty (though rhythm and cadence certainly help). It performs specific psychological heavy-lifting. It usually achieves at least one—if not all—of the following:

  1. It creates an “Information Gap”: Coined by economist George Loewenstein, the “information gap theory” states that curiosity happens when we feel a gap between what we know and what we want to know. A great opening line introduces a puzzle, a paradox, or an abrupt shift in reality that demands resolution.
  2. It establishes an unmistakable voice: Tone is the personality of your writing. A strong first line immediately signals who is speaking and how they see the world, whether that voice is cynical, lyrical, urgent, or darkly comedic.
  3. It drops the reader in media res: Great openers rarely start with throat-clearing, weather reports, or background exposition. They throw the reader into the deep end of the pool and let them figure out how to swim.

5 Types of Powerful First Lines (With Examples)

To understand how to craft your own magnetic openers, let’s look at five distinct archetypes of killer first lines and dissect why they work.

1. The Audacious Declaration

This type of opening makes a bold, sometimes shocking claim that forces the reader to sit up straight. It challenges conventional wisdom or immediately stakes out a controversial stance.

  • The Example: “Happy families are all alike; every unhappy family is unhappy in its own way.” — Leo Tolstoy, Anna Karenina
  • Why it works: Tolstoy doesn’t ease you into 19th-century Russian aristocracy; he drops a sweeping, absolute philosophical maxim. It immediately prompts the reader’s brain to object: Are all happy families really alike? Let me read on to see what he means. It frames the entire novel as an exploration of human misery and complexity.

2. The Unsettling Fact or Paradox

Nothing halts a scroll faster than a statement that defies logic or makes you slightly uncomfortable. It creates an instant cognitive itch that only reading the next sentence can scratch.

  • The Example: “It was a bright cold day in April, and the clocks were striking thirteen.” — George Orwell, 1984
  • Why it works: Notice the sleight of hand. Orwell lulls you into a sense of normalcy with “a bright cold day in April”—and then shatters reality with “the clocks were striking thirteen.” Without a single word of exposition, you instantly understand that something is deeply, chillingly wrong with this world. You must read on to find out what kind of society operates on a thirteen-hour clock.

3. The Confession or Secret

We are hardwired to lean in when someone whispers a secret. Starting a piece with a deeply personal confession—or an implication of guilt—creates instant intimacy and urgency.

  • The Example: “Caller ID does not adequately protect us from the people we already know.” — Lionel Shriver, We Need to Talk About Kevin
  • Why it works: This line is brilliant because it takes a mundane, modern technology (Caller ID) and twists it into a source of dread. It implies violence, domestic tension, and inescapable trauma right out of the gate. We know immediately that the narrator is hiding from someone, and the suspense is instantly palpable.

4. The Action-Packed Drop (In Media Res)

Instead of starting at the beginning, start in the middle of the chaos. This forces the reader to play catch-up, assembling the puzzle pieces in real-time.

  • The Example: “The man in black fled across the desert, and the gunslinger followed.” — Stephen King, The Dark Tower: The Gunslinger
  • Why it works: With just twelve words, King establishes pursuit, high stakes, stark geography, and two opposing forces. Who is the man in black? Why is he fleeing? Who is the gunslinger? You don’t know yet, but the kinetic energy of the sentence drags you across the desert sand behind them.

5. The Deadpan Absurdity

Humor and shock value are close cousins. When a narrator states something wildly bizarre with complete, deadpan seriousness, the reader is hooked by sheer curiosity and dark delight.

  • The Example: “You better not never tell nobody but God.” — Alice Walker, The Colour Purple
  • Why it works: This line is devastatingly intimate. Written in vernacular, it instantly establishes the protagonist’s youth, vulnerability, and the immense weight of the secret she is about to share. It feels illicit to read it, which makes looking away impossible.

How to Write Your Own Killer First Line

Knowing what a great first line looks like is one thing; reverse-engineering one for your own piece is another. When you are editing your introduction, run your opening sentence through this checklist:

  • Cut the throat-clearing: Delete any introductory phrases like “In today’s fast-paced world…” or “It has often been said that…” Start with the noun or the action.
  • Check the rhythm: Read your first line aloud. Does it have a musicality to it? Does it land with a punch, or does it trail off?
  • Ask: “So what?”: If your first line is “Content marketing is important for businesses,” your reader will yawn. If it is “Your content strategy is actively repelling your best customers,” your reader will panic—and keep reading.
  • Save it for last: Often, you won’t find your killer first line until you’ve finished writing the entire piece. Once you know what your story or article is actually about, go back to the top and write an opening that serves as the ultimate gateway.

The Bottom Line

A great first line is a promise. It’s a pact between you and the reader that says: If you give me your time, I will reward you with something extraordinary.

Master the art of the hook, and you’ll never have to worry about losing your audience before the journey has even begun.

…

365 Days of Writing, 2026 – 217

Day 217 – What constitutes a strong first line

…

Hook, Line, and Sinker: What Makes a Masterpiece First Line (And Why Readers Can’t Look Away)

You have about three seconds.

In the age of endless scrolling, infinite browser tabs, and shrinking attention spans, a reader’s finger hovers constantly over the back button or the swipe-up gesture. Whether you’re writing a sprawling epic fantasy, a punchy B2B blog post, or a gripping journalistic exposé, your opening line is your one and only bouncer. It either opens the velvet rope or tells the reader to move along.

So, what constitutes a strong first line—one that makes it utterly impossible for the reader not to know more?

Let’s break down the psychology of the irresistible hook, analyse some of the greatest opening lines in literature and non-fiction, and look at how you can weaponise your own introductions.


The Anatomy of an Irresistible First Line

A great first line doesn’t just sound pretty (though rhythm and cadence certainly help). It performs specific psychological heavy-lifting. It usually achieves at least one—if not all—of the following:

  1. It creates an “Information Gap”: Coined by economist George Loewenstein, the “information gap theory” states that curiosity happens when we feel a gap between what we know and what we want to know. A great opening line introduces a puzzle, a paradox, or an abrupt shift in reality that demands resolution.
  2. It establishes an unmistakable voice: Tone is the personality of your writing. A strong first line immediately signals who is speaking and how they see the world, whether that voice is cynical, lyrical, urgent, or darkly comedic.
  3. It drops the reader in media res: Great openers rarely start with throat-clearing, weather reports, or background exposition. They throw the reader into the deep end of the pool and let them figure out how to swim.

5 Types of Powerful First Lines (With Examples)

To understand how to craft your own magnetic openers, let’s look at five distinct archetypes of killer first lines and dissect why they work.

1. The Audacious Declaration

This type of opening makes a bold, sometimes shocking claim that forces the reader to sit up straight. It challenges conventional wisdom or immediately stakes out a controversial stance.

  • The Example: “Happy families are all alike; every unhappy family is unhappy in its own way.” — Leo Tolstoy, Anna Karenina
  • Why it works: Tolstoy doesn’t ease you into 19th-century Russian aristocracy; he drops a sweeping, absolute philosophical maxim. It immediately prompts the reader’s brain to object: Are all happy families really alike? Let me read on to see what he means. It frames the entire novel as an exploration of human misery and complexity.

2. The Unsettling Fact or Paradox

Nothing halts a scroll faster than a statement that defies logic or makes you slightly uncomfortable. It creates an instant cognitive itch that only reading the next sentence can scratch.

  • The Example: “It was a bright cold day in April, and the clocks were striking thirteen.” — George Orwell, 1984
  • Why it works: Notice the sleight of hand. Orwell lulls you into a sense of normalcy with “a bright cold day in April”—and then shatters reality with “the clocks were striking thirteen.” Without a single word of exposition, you instantly understand that something is deeply, chillingly wrong with this world. You must read on to find out what kind of society operates on a thirteen-hour clock.

3. The Confession or Secret

We are hardwired to lean in when someone whispers a secret. Starting a piece with a deeply personal confession—or an implication of guilt—creates instant intimacy and urgency.

  • The Example: “Caller ID does not adequately protect us from the people we already know.” — Lionel Shriver, We Need to Talk About Kevin
  • Why it works: This line is brilliant because it takes a mundane, modern technology (Caller ID) and twists it into a source of dread. It implies violence, domestic tension, and inescapable trauma right out of the gate. We know immediately that the narrator is hiding from someone, and the suspense is instantly palpable.

4. The Action-Packed Drop (In Media Res)

Instead of starting at the beginning, start in the middle of the chaos. This forces the reader to play catch-up, assembling the puzzle pieces in real-time.

  • The Example: “The man in black fled across the desert, and the gunslinger followed.” — Stephen King, The Dark Tower: The Gunslinger
  • Why it works: With just twelve words, King establishes pursuit, high stakes, stark geography, and two opposing forces. Who is the man in black? Why is he fleeing? Who is the gunslinger? You don’t know yet, but the kinetic energy of the sentence drags you across the desert sand behind them.

5. The Deadpan Absurdity

Humor and shock value are close cousins. When a narrator states something wildly bizarre with complete, deadpan seriousness, the reader is hooked by sheer curiosity and dark delight.

  • The Example: “You better not never tell nobody but God.” — Alice Walker, The Colour Purple
  • Why it works: This line is devastatingly intimate. Written in vernacular, it instantly establishes the protagonist’s youth, vulnerability, and the immense weight of the secret she is about to share. It feels illicit to read it, which makes looking away impossible.

How to Write Your Own Killer First Line

Knowing what a great first line looks like is one thing; reverse-engineering one for your own piece is another. When you are editing your introduction, run your opening sentence through this checklist:

  • Cut the throat-clearing: Delete any introductory phrases like “In today’s fast-paced world…” or “It has often been said that…” Start with the noun or the action.
  • Check the rhythm: Read your first line aloud. Does it have a musicality to it? Does it land with a punch, or does it trail off?
  • Ask: “So what?”: If your first line is “Content marketing is important for businesses,” your reader will yawn. If it is “Your content strategy is actively repelling your best customers,” your reader will panic—and keep reading.
  • Save it for last: Often, you won’t find your killer first line until you’ve finished writing the entire piece. Once you know what your story or article is actually about, go back to the top and write an opening that serves as the ultimate gateway.

The Bottom Line

A great first line is a promise. It’s a pact between you and the reader that says: If you give me your time, I will reward you with something extraordinary.

Master the art of the hook, and you’ll never have to worry about losing your audience before the journey has even begun.

…

365 Days of Writing, 2026 – 216

Day 216 – Writing Exercise

…

I remember the days when our town was like a sleepy hollow surrounded by prairies and mountains. 

We had everything we needed, and the town grew at the pace that matched the natural population growth.  It was quite literally that sort of town where everyone knew everyone else.

The Murphys ran the sheriff’s department, the Watersons were mayors or civic officers, the Ravellers ran the bank, and Blacks started as the blacksmith and now took care of the farm machinery and engineering.  We were, for all intents and purposes, self-sufficient.

Then, little by little, that autonomy started to disappear.  The fast food outlets came; a shopping mall was built, and then realtors came and built estates, claiming our town was just the place to live, away from the city rat race.

Then times changed, and the economy failed, and people found themselves struggling.  It was not just us; it was everywhere.

That’s when the Montgomerys came.

…

My father was conservative, not exactly against change, just change that radically affected his way of life.  He and a few others opposed the mall, the resort being built on the old Anderson ranch, and the radical redesigns of the main street.

He had watched the fast food places turn the children away from the people food, the new hotels turn the people into gamblers and drinkers, and the out-of-towners who were moving into the new estates increase the crime rate.
.
And the new people brought the drug scourge.

In five years the sheriff’s office had gone from a shop front with the sheriff and two deputies to ten deputies and three detectives, and a modern two-story building with a compound and jail space for twenty.

In those same five years, the original families that built our town started leaving.

My father deplored what was happening, even more so when there was nothing he could do about it.  Our Sunday family gathering had turned into a gathering of the so-called founding fathers, dwindling rapidly.

Most had either died out or sold out.  And in the case of my generation, with the advent of the internet and the ease of getting information, most have left to seek their fortune in the big cities, tempted by the fortunes that could be made.

He also resisted the buyout offers of his land, now very prime real estate, and held up a multi-million-dollar new resort being developed by the Montomery Corporation run by Archibald Montgomery.

A self-made man, he was quite literally larger than life.  No one knew why he left New York, only that he landed in our town by mistake and took a shine to it.

His foothold started with building a castle on the old Herbertson ranch, the first of the old guard to sell out.  From there he regaled the old founders with parties and then offers, buying up properties for cents on the dollar, legally and sometimes not.

He went from hero to monster in the blink of an eye.  About the same time, it was realised he had bought half the town and surrounding farms.  And with that sort of influence, he all but owned the mayor and the sheriff.

Then there was Archie Montgomery junior.

I finished high school with him, the eldest son, and the heir apparent.  He believed he owned the town, and everything else, and everyone was his slave to do his bidding.

Those who didn’t found themselves on the wrong end of the stick.

That’s how the Thompsons, my family, became the thorn in the side that neither the father nor the prodigal son wanted or needed.

And both were the subject of conversation at lunch.

…

I looked around the tables at the twenty-two members left from the founding fathers group.  The latest casualty: the town sheriff for the last 20 years, just getting voted out and replaced by one of Montgomery’s acolytes.

He was glad to retire, just not about who replaced him.  The mayor, or ex-mayor, was sitting next to him, having been deposed on the same election day.  Politically, the wind had shifted, and the representatives in Congress that had protected us for so long had been swept away, replaced by, well, my father had an expression that wasn’t repeatable.

Montgomery had finally won, as he said he would.

Jacob Waterson, sixth-generation resident, the last of a long line of town mayors, was sad.  He had seen what was happening, and like the rest of us, could do nothing about it.

“It’s time we all just left and left them to it.  We can only hold out so long.  I mean, if torching the Franz property was a message, then who will be next?”

Old man Franz had refused to sell.  Then suddenly his place burned down with him in it, and the investigation came back that old man Franz had basically caused the fire himself.  Old wiring and out-of-date appliances.  He had been warned.

The thing is, he had the wiring replaced.  He just didn’t tell those who needed to know except us.  It was like he knew what was going to happen.

“That fire was not caused by an electrical fault.”

The ex-sheriff was adamant and was checking the crime scene himself.  No one in the county was interested, a measure of how far Montgomery’s influence had reached.

“That would be me, I’m guessing,” my father said.  “Those hundred head of missing cattle turned up on the other side of the country, sold to a meat processor, with our brand overstamped.  It was very cleverly done, almost unnoticeable.”

I’d seen the photos sent by the meat works when they noticed an irregularity.  Too late to stop the slaughter.  Too late to do anything about it.

“It’s time.  We’re retiring in Florida.  We got just enough to buy a condo and spend a few years cruising.  Take the offer and get out, Jake.”

The sheriff was still recovering from an ambush attack that left his deputy dead and him a hospital case.  He would have gone back to work if he was fit, but then he lost the election.

The campaign to depose him was very dirty.  Politics was threaded through even the minor elections, and that was driving the politicised landscape, a problem we never had before the developers and new arrivals.

Pity.

I guess it was time for all of us to retire.

The conversation focussed on who was next, not what we could do about it, and I think that was the measure of our impotence.  There was just not enough of us to make a change.

That’s when a lone voice at the table spoke, my sister Marianne. “They haven’t won; they were never going to win.” 

An odd ethereal silence fell over the room.

“In a sense they have,” our father said.

“Not where it matters, as they will soon discover.”

“What do you mean?” Her mother looked worried.  Marianne had suffered a bad few months recently with the Montgomery juniors’ bullying.

The daughter was as bad as the son.

“I put a curse on the whole family “

That was something else about Marianne that had worried me.  A week or two ago I had accidentally walked in on her and four of her friends sitting inside a pentagram chanting what sounded like Latin.

Several books around them had what were supposedly spells, one she said would bring down hellfire and damnation on the Montgomeries.

Wishful thinking, I’d said, but if it made her feel better…

“Yes, dear,” her mother said.  She was going to, as she had in the face of increasing agitation, just ignore it as a phase.

Then added her two cents’ worth to the conversation, “Perhaps it’s time we moved on.  Nothing lasts forever, as much as we hoped it would.”

I was sure a few of those sitting around the table hoped the curse would work.

The silence lasted about another minute and a half before Harvey, one of the ranch hands, came bursting into the room and went over to our father.  I heard him mutter in his ear, “There’s a fire in the town, it’s bad.”

Several of the men around the table were volunteer firefighters, surprised they hadn’t got the callout.

In a matter of seconds, Marianne and I were the only two left in the room. I would have joined the exodus, but I suspected there was more to this curse thing.

She had a curious, if not demonic, expression.

“What did you do?”  A very bad feeling came over me.

“We ensured that Montgomery will never forget that despite his blind faith in his invincibility, he is as vulnerable as anyone else.  Wealth and power cannot prevent the inevitability of moral justice.”

Now she was scaring me.  Her conversations were scathing at best, every sentence starting or ending with a like or but.

She stood.  “Come.”  She held out her hand towards me.  “Let us go and witness the very essence of retribution.”

I found it impossible to resist the invitation. 

Perhaps she was a witch.

…

A crowd had gathered.  Deputies had put up a tape line to keep them back.

As we got close, we could see the smoke billowing into the air, and on the breeze, that acrid aroma of the smoke.

The fire was in the library, attached to City Hall, old sandstone buildings built at the turn of the last century, but they were a fire hazard, so much wood and paper.

Flames were coming out of the windows and the roof.  Three fire engines were fighting a losing battle, fire hoses snaking in all directions and men running, dressed in fireproof suits and breathing apparatus.

As we took up a position between two of the new families, their kids more interested in the fire trucks than the fire, we were joined by several of her friends, the girls who had been with her in the pentagram.

None spoke, but I got the feeling they knew something about what was happening.

Then we all heard a shout, coming from outside the front entrance to the library, where a firefighter in full protective gear stumbled out the doorway. “There are people inside. I heard the screams; there’s nothing we could do.  It’s horrible.”

He collapsed, and two other firefighters came over and helped him over to the ambulance.

I knew then that it had to be a member or members of the Montgomery family.  How they got in there, why they were in there, if they were in there, was a question more than just me would be asking.

Especially if they died in that fire.

And whether it was proven that the fire was not from natural causes and was started by someone.

I looked at my sister.  Her expression was unreadable, the sort of expressionless face one would expect from a poker player.  Her friends were not so good at hiding their feelings.

“You called this retribution,” I said quietly beside her.

I watched two suited firemen go into the building, and the come back out just as flames leapt through the door after them.

It was followed by a heavy cracking sound, and I think that was the roof crashing down.

No one was going to be saved, whoever was in there.

“God answered our prayers.  The Montgomerys are a scourge on the landscape.  If it was them, then it’s good riddance.  I’ve seen enough.”  She looked at the other girls.  “Let’s go to the church and pray for their souls “

…

It was two days before the fire died out and the investigators went in.  It took a week after that for a partial report to be leaked to the townsfolk.

Apparently my sister’s only fault was that she had cursed the family, and everyone knew she was not a witch, so she was taking credit for something she hadn’t done.

The problem was, there wasn’t anyone who could be found in the residue, as it had been expected they’d find bones or partial bones.

The firefighters had sworn he heard cries for help behind the wall of flames.

The thing is, they couldn’t find anyone, missing or otherwise, in the wreckage.  But missing people there were: the whole Montgomery family.

Their cars were missing, and key possessions were missing, and their bank accounts were emptied.  There was just no reason why they should leave now.

The thing is, people who had been aligned with the Montgonerys took a step back and then decided they were no longer aligned with them, and came to the former mayor and asked him to reinvent the town, back to the way it was.

No, we didn’t exactly get our town back; we had gone down a path there was no coming back from.  We just had to live with it, and keep going.

And for a while it was good.

Then rumours circulated that the Montgomerys had died in the fire, all of them.  Despite reports that the Montgomeries had been seen in the next County the day after the fire was extinguished.

Nothing made sense, and it became town folklore.

Until…

…

I was sitting in the lawyers’ office; the one overlooking the park outside city hall.  The one they had renovated after that eventful fire sixty years ago, almost to the day.

Robert Penthaven, son of the son of the man who tended my father’s affairs, had called me and said there were details about my sister’s passing that needed clearing up.

The last time I had to sit in the chair was after my father died and my sister and I inherited the ranch.  She wasn’t interested, having long moved away, but retained her interest in it. 

I thought it was to formalise the passing of her interest to me.  I was passing mine to my son, who thankfully wanted to be a rancher and not relocate to the city.

I’d waited almost a half hour and thought I’d nodded off because, as softly as he tried to close the door it woke me with a start.

“Sorry,” he said, dropping into the more comfortable chair behind the desk.  “Simple things take much longer these days.”

He opened a drawer in the desk and pulled out a file, a quite thick file.  An envelope was clipped to the cover.  He unclipped it and slid it across the table.  “For you, after she died.”

“Words from the grave.”

“Or grave words, maybe.  She was a curious one, your sister.  I never quite knew when she was joking or when she wasn’t.”

“Did she tell you she was a witch?”

“Among other things.  She once said she was the keeper of secrets, and one in particular, one that she said she would take to the grave.  We are all a bit like that; things happen, and we wish to forget.  Perhaps that letter might shed some light.”

“Or tell me it’s time to stand on my own two feet.  Older siblings are like that.”

I picked up the envelope and held it in my hand.  One sheet, three at the most.  The question was whether I wanted to read it.

I shrugged and opened it.  Robert stood.  “I’ll be outside if you need me.”  He went out and closed the door behind him.

I unfolded the sheets.  Two.  Written in her spidery writing, almost illegible.  She had wanted to be a doctor and settled for nurse practitioner. 

She would have made a great doctor.

Kyle,

There are beginnings, there are endings, and all the rest is the consequences of life.

Sometimes it is not the life you wanted, but simply the life you get according to your choices.

I never knew what I really wanted, but it wasn’t to be raped by Archie Montgomery.  Nor did any of my friends.  We became The Five, who could have become victims.

We did not.

We decided to rid the world of a problem.

This is not a confession.  We did not sin against natural justice.  A thoroughly bad person was tried in God’s eyes and received the punishment he was due.

He burned in hell.

The shame of it was that his family tried to save him, and died in vain.  It was not what we wanted; we had nothing to do with their deaths, and had they left well alone, they would have lived.

I can’t say they’re in a better place.

I can’t say we ended up in a better place, but as far as I’m concerned, I have atoned for my sins.

He never hurt another girl.

That family never hurt another soul.

Our town did not miss them, as they did not miss The Five.  It was no longer our town. 

If they ever pull down the library and dig new foundations, they will find them, all seven.  Let’s hope that it’s not in your lifetime.  It won’t be in mine, or the rest of The Five. 

We have all moved on, hopefully to a better place.

Keep the secret or not, it’s up to you, but I suspect that age-old statement ‘let sleeping dogs lie’ might be appropriate here.

May your life be happy and content.  The ranch is yours to leave to Kyle Junior, as it should be.

Meg.

I think I sat there staring at the pages without seeing them, feeling the tears running down my cheeks, now understanding the enigma my sister had become.

If she had told me that fateful night we were standing outside the burning library, I would not have believed her, and I don’t think I did now.  There was a long list of those who wanted all of the dead.  It would be easy to claim responsibility now when I couldn’t cross-examine her.

But what’s done is done. 

The sleeping dogs would lie.

…

©  Charles Heath  2026