What I learned about writing – What Lessons Ernest Hemingway Can Teach a New Writer

What Lessons Ernest Hemingway Can Teach a New Writer Looking for Advice


When you hear the name Ernest Hemingway, most people picture a rugged man with a battered typewriter, a love of big-game hunting, and a penchant for whiskey. What’s less obvious is that behind that larger‑than‑life persona lies a set of writing principles so clear and disciplined that they still feel fresh to anyone just starting out on the page.

If you’re a fledgling writer wondering how to turn vague ideas into tight, compelling prose, Hemingway’s habits and philosophies offer a practical roadmap. Below, I’ve distilled the most useful lessons from his life and work into bite‑size, actionable advice you can start applying today.


1. Embrace the “Iceberg Theory” – Show, Don’t Tell

“If a man doesn’t have the courage to tell his story in its entirety, then it’s not worth telling at all.” – Ernest Hemingway (paraphrased)

Hemingway’s famous “Iceberg Theory” (or theory of omission) teaches us to trust the reader. Only the tip of the story—dialogue, action, a vivid image—needs to appear on the page. The deeper emotions and backstory remain hidden, like an iceberg beneath the water’s surface.

How to use it:

  • Write a scene with only dialogue and action. Resist the urge to add explanatory sentences.
  • Ask yourself, “What’s the subtext?” Let the reader infer the stakes through what’s left unsaid.
  • Practice the “five‑sentence rule.” Summarise a scene in five sentences, then strip away any that merely explain rather than show.

2. Keep Sentences Short, Yet Powerful

Hemingway’s prose is notorious for its brevity. He believed a sentence should be as short as possible—but no shorter. This forces you to choose the most precise words and eliminates needless fluff.

Practical steps:

Bad ExampleHemingway‑Style Revision
“He walked slowly across the hallway, his steps echoing in the empty, dimly lit corridor.”“He walked. His steps echoed.”
“She felt an overwhelming sense of sadness that she could not quite explain.”“She felt sad.”
  • Read your work aloud. If a sentence trips you up, cut or re‑phrase.
  • Aim for an average of 12–15 words per sentence in early drafts; later, trim aggressively.

3. Write Like You Speak

Hemingway once said he wanted his prose to be as “simple as a newspaper article.” He modelled his diction on everyday speech, which makes his stories feel immediate and authentic.

Try this exercise:

  1. Record a conversation (with consent) about a topic you care about.
  2. Transcribe it and note the most natural phrases.
  3. Insert those phrases into a paragraph of your own writing, ensuring the rhythm feels conversational yet purposeful.

4. Revise Relentlessly – The “Two‑Draft” Method

Hemingway famously rewrote his stories over 30 times. He believed the first draft was just the “bone,” and the real work happened in the edits.

Two‑Draft System:

  • Draft 1 – “Skeleton.” Write without worrying about style or perfection; focus on getting the plot down.
  • Draft 2 – “Polish.” Cut every adverb, replace weak verbs, and apply the Iceberg Theory.

After the second pass, give the piece a 48‑hour cooling period before a final, “laser‑focused” edit. This distance sharpens your eye for leftover cruft.


5. Live a Life Worth Writing About

Hemingway’s most vivid stories came from his personal experiences—war, fishing, bullfighting, travel. He didn’t merely write about these things; he lived them, then stripped away the excess to reveal the universal truth.

What this means for you:

  • Seek experiences outside your comfort zone. Even a short hike can provide sensory details that make a scene pop.
  • Keep a “sensory notebook.” Jot down sounds, smells, textures, and emotions you encounter daily.
  • Translate real moments into fiction by focusing on the emotional core, not the exact event.

6. Discipline Over Inspiration

Hemingway’s daily routine was brutally regimented: a set number of words, a specific writing time, and a habit of writing standing up to keep his posture—and mind—alert. He believed that discipline creates the space for inspiration.

Implement a Hemingway‑style habit:

StepAction
1. Set a word goal500–1,000 words per day (adjust to your schedule).
2. Choose a time blockEarly morning, after dinner, or any slot you can protect.
3. Create a ritualLight a candle, brew a cup of coffee, or stand at a desk.
4. Write, regardless of “feeling”If the words feel forced, keep typing—most drafts are rough.
5. End with a “stop”Knowing when to close a session prevents burnout.

7. Read Like a Writer, Not Just a Reader

Hemingway devoured the works of Gertrude Stein, James Joyce, and Mark Twain—writers whose styles were wildly different from his own. He dissected their sentences, noting what worked, what didn’t, and why.

Your reading plan:

  • Pick three diverse authors each month.
  • Underline passages that evoke strong feeling.
  • Write a short analysis: What makes this line effective? How could I adapt this technique?

This active reading trains you to recognise craft, not just story.


8. Accept Failure as Part of the Process

Hemingford’s first manuscript, The Sun Also Rises, was rejected several times before finally being published. He used those rejections as fuel, not as proof of inadequacy.

To internalise this mindset:

  • Create a “Rejection Log.” List every “no” you receive, then note one concrete lesson you learned from each.
  • Set a “failure quota.” Aim for a certain number of “bad drafts” each month—knowing you’re moving forward.

9. Write About What You Know… And Then Some

Hemingway’s iconic line, “All you have to do is write one true sentence,” stresses authenticity. He often wrote about familiar subjects—fishing, war, love—yet he expanded these experiences into universal truths.

Action tip:

  • Identify a “core truth” in your life (e.g., “I feel most alive when I’m racing against time”).
  • Build a story that uses that truth as the emotional spine, even if the plot seems unrelated.

10. Keep the End in Mind—But Don’t Stifle the Journey

Hemingway once told a young writer: “You start with the ending in mind, but you must let the characters discover it.” In practice, this means knowing your story’s destination while allowing the narrative to breathe.

How to balance the two:

  1. Write a one‑sentence synopsis of your story’s ending.
  2. Outline only the major beats—don’t lock every scene in stone.
  3. Write the middle sections organically, listening to where the characters naturally head.
  4. Re‑align at the revision stage if the ending no longer fits.

TL;DR – Hemingway’s 5‑Point Checklist for New Writers

✔️LessonQuick Action
1Iceberg TheoryShow, don’t explain.
2Short SentencesAim ≤15 words per sentence.
3Speak the LanguageUse conversational diction.
4Relentless RevisionTwo‑draft system + 48‑hour break.
5Discipline > InspirationSet a daily word goal & ritual.

Final Thought

Ernest Hemingway’s legacy isn’t about mimicking his staccato style or his macho mythos; it’s about adopting a mindset of clarity, honesty, and relentless work ethic. By internalising the lessons above, you’ll not only write tighter prose but also cultivate the stamina needed to finish the stories you start.

So, the next time you sit down with a blank page, remember: the sea may be vast, but the iceberg you’re building is yours alone. Write, cut, live, and keep the pen moving—just as Hemingway did, one deliberate sentence at a time.


Ready to put these lessons into practice? Grab a notebook, set a timer for 20 minutes, and write a scene using only dialogue and action. Then, edit it down until you’ve removed every word that isn’t absolutely necessary. Share your results in the comments below; I’d love to see how Hemingway’s shadow guides your own voice!

Happy writing.

365 Days of writing, 2026 – 185/186

Days 185 and 186 – Writing exercise

…

Investigating death was a ‘thing” that some people took seriously, and others took as a challenge.

For them, it was about the numbers, the appearance of solving crimes, so the public could feel safe, to win that imaginary contest of who could solve the most crimes, and celebrate it on Friday night at the pub.

For others, like me, it was about justice.  It was about finding that person who committed the crime, not the most likely candidate buried under a trove of circumstantial evidence.

The pity of it was that our helicopter Detective Chief Superintendent was a numbers man, temporarily stopping in at our station on his way to bigger and better things.

He didn’t like to be thorough and methodical, and he definitely didn’t like me.  That’s why when he put his head out the door and saw that I was the only detective in the room, I could feel rather than see the sigh.

Or maybe that was because he should be down the pub with the rest of the team celebrating the extraordinary closure rate for this month.

“Burgess.”

I looked up.  “Sir.”

“Sending you a straightforward case.  The old man had apparently died in his sleep.  One of us to look in, dot the i’s.  I’ll send you the file.”

When the Chief Inspector says straightforward, there’s always an underlying suggestion not to make more out of it than there was.

The problem was that nothing in our line of work was straightforward.  Not if justice was to be served.

…

People die in their sleep all the time.  What’s unusual is that most of those who did were discovered in the morning, not at 5 pm.

I arrived at the house, one of twelve similar terrace houses, in a street of a hundred or so.  Most had been updated, and small manicured gardens.

Darkness had arrived on a cold, wet, wintry night where everyone would have preferred to be somewhere else, preferably warm.

The street seemed to be full of blue flashing lights and panda cars, but it was deceptive.  The house was cordoned off, and the crime scene crew were ready to go.

First responders had arrived at or near five, and checked the building, pulled the girl who discovered the body and the doctor she had called before she called the police.

Those were the people I would speak to first. 

The co-ordinator was at the door, an officer who had been doing the job for as long as I had been at the station, and was good at it.  He would have secured the scene and ensured that nothing had been touched since the first responder had arrived.

“Larry.”

He just finished the call and swivelled sideways.

“Detective Inspector Burgess.  If you’re here, your boss doesn’t think it’s open and shut.”

“The other detectives are busy, and I’m hoping it is.  Is it?”

“On appearances, yes, but we both know how it usually goes, winter, rain, freezing cold, and wanting to get out of it.”

“Privileges of rank, I’m afraid.  They’re off celebrating the crime numbers.”

Larry was as thrilled about it as I am.  “Hello, your assistant has arrived.”

I turned to look back the way I came.  It was not the Detective Sergeant I was expecting, but one of the Chief Superintendent’s ‘modern methods’ detectives, fast-tracking a new system.

It was the ‘achievement-based’ Superintendent’s way of keeping me on the straight and narrow.

“Buchanan.”

“Sir, Chief Super just gave me the highlights.  You’d think people would be more considerate.”

Yes, you would, but it was not something I would say within earshot of the girl who found him.  It was a typical Buchanan comment.

“I’m sure it wasn’t done to inconvenience you.”  I went back to Larry.  “What can you tell us?”

“The deceased is a man named Devlin McConnaughy, aged 75, living alone, and according to the doctor, was dead when the girl arrived.  The girl is Mr McConnaughy’s granddaughter.  She arrived about 5 pm, a routine stop by on her way out to meet her friends for dinner.  She had a key and visited three or four times a week.  When she found him and couldn’t rouse him, she called the doctor, then the police, when he said McConnaught was dead, about 5:15 pm.  The first responders got her about 5:29.   The teams have been notified and are standing by.”

“We can look at the scene?”

“Just about.  Just waiting on word that we won’t be trooping in like a herd of elephants.”

I’d heard about crime scenes being contaminated by people who were either not trained properly or didn’t care.  We still didn’t know if this was a crime scene.  The crime scene investigators’ preliminary run-through would determine that.  I’d seen a few getting dressed.  I’d be going in in one of those white suits myself.

Buchanan took that as a cue to get suits for us, and hopefully, there was a spot inside to put them on.  Outside was wet, and we didn’t need wet boots plodding through the house.”

“Your thoughts?  You’ve seen the body.”

“And the state of the house, but you’ll see what I mean soon enough.  It looks like he died in his sleep.  The girl had to move him slightly to check if he was still alive, but it looked to be a reasonable assumption based on appearances.  He’s very heavy, and she couldn’t move him far.  I’m hoping there’s nothing sinister otherwise; this is going to be a long night.”

A long night indeed.

….

We got the OK to go in, and the forensic teams followed us in.

This house was old, decrepit and overgrown.  The owner hadn’t bothered, or couldn’t maintain the place, and the outside gave an indication of the state of the inside.

A lifetime of hoarding.

It was difficult to get from the front door to the bedroom, trying not to knock over piles of books, boxes and newspapers.

The preliminary team had set a path to follow that would least impact on the scene.

Further into the house, at the end of the passage, was a kitchen and a rear exit.  On each side, there were rooms, a sitting room, bedrooms, a bathroom, and the old man’s room.

In the bedroom, equally piled up with books and boxes, there was a body on the bed and a paramedic standing to one side.

I looked at the body, scrunched up as though his last moments alive were very painful.  Death was never pretty. 

Larry nodded to the paramedics.

“Visually, there is no evidence of foul play.  There was a doctor in attendance when we arrived.  He advised us that the man was deceased, but did not have an explanation as to what killed him, other than it had been quick.  We sent him out after a short discussion about his actions on arrival.  The man’s granddaughter is with the doctor outside. She is the person who first discovered the body, called the doctor, then the emergency services.”

Larry looked at me.  “Any further questions?”

“No.  We’ll have to wait for the coroner and a post-mortem.”

“They should be here any moment.  It’s a busy night.”

“Good.  It’ll give me time to talk to the doctor and the granddaughter.”

I looked around the room, looking for obvious signs that someone else had been in the room, or that the killer, if there was one, had broken in to get to the man. 

It was beginning to look like a very big if.  The Superintendent might get his wish, that it was an open and shut case.

No obvious clues were lying around, and I was not seeing any obvious signs of murder, bruising, blunt force trauma or anything suspicious.  There were no bullet or knife wounds.

There was careless discarded pill sheets and a nasal spray on the bedside table, all of which forensics would sweep up and test.

Similarly, in the bathroom cabinet, there were more pills, about six different types, including one I knew to be heart medication.  He had high blood pressure.  A heart attack then might not be unexpected.  He also had other cold and influenza medications.  Perhaps he had recently been ill.  It was cold and miserable.

The coroner would have more to say on that.

I think I was disappointed.

There was just a contorted body with a lifeless expression and dead eyes.  It was rather creepy.

…

Dotting the i’s, Buchanan and I went outside and found the doctor and granddaughter waiting patiently. 

That was a first; most of the people detained by the first responders were very vocal about having to wait around, and in this weather, these two should have been more annoyed.

I know I would be.

Coming out the front door, I looked around at the few neighbours who had gathered to see what was happening.  The uniformed officers would have got statements from all of them.

Sometimes it is said that the killer would hang around after the murder as a bystander waiting for the police.  My assessment of everyone in the small groups was that none of them fitted the profile.

At the moment, it was a motiveless murder.  The only two with a possible opportunity were the granddaughter and the doctor.  An old man, living alone?  What did he have that others might covet?

The house.  Even in its current state in this neighbourhood, it had to be worth a lot.  Was there anything in the house?  If there was a will lying around, the forensic teams would find it.

But there was the granddaughter and the doctor. 

They were standing just up from the door, sheltering under a small verandah roof.  In that spot, there was protection from the elements, except the cold.

The rain had turned into a steady drizzle.

I shivered.  The ghost of the old man is finally leaving?

The two were expecting me.  I sent Buchanan off with the doctor.  I stayed with the girl.  The granddaughter was about 20ish and more conservative than a lot of 20-year-olds I’d seen, especially the daughters of my sister.

She had been crying, so it was safe to assume she had cared about the old man.

I introduced myself, “Detective Inspector Burgess.  You are?”

“Christine Davies, the man’s granddaughter.  I was looking in on my grandfather as I do most Fridays, and found him like that.  Dead.  It’s horrible.”

More tears flowed, and her grief was genuine.

It was horrible and for most a frightening experience.  I could imagine how she felt, and even having seen more than my share of dead people, it doesn’t make you immune to the horror of it.

“I’m sorry for your loss.  Just a couple of questions.  You have a key to the door?”

“Yes.  I come on average three times a week, sometimes more, to check on him.  No one else does, nor does it seem they care.  He was recently in the hospital for a few days, had his appendix removed.”

“The last time?”

“Two days ago.  He called and asked if I could drop in.  He said he misplaced a card and asked me to look for it.”

“A card?”

“Those cards the bank gives you to use rather than go to the branch.  He asked me to set up his internet banking account. He didn’t like the idea of a card replacing his money or the idea that he didn’t have to go to the bank, but I convinced him that the world was moving on and he had to catch up.  He reckoned it was the first step in them stealing your money.”

Or someone else, like a craft granddaughter. Ostensibly, she had access to his accounts if she set them up.  We had the computer and phone and would find out.

“Did you find the card?”

“No.  He got me to go back to the bank and sort them out.  He was feeling a little tired.  He didn’t look well, and I said I’d get the doctor to call.”

She gave me the details so I could check.

“Did you call the doctor?”

“Yes, but he was busy and couldn’t get here until today.  I called him first to make sure he was not still alive because I tried what they do on TV, you know, the pulse in the neck thing, but I got nothing.  He came quickly and confirmed he was dead.  That’s when I called the emergency services.”

“Did you check to see if anyone else had been there, or was there any sign of a break-in?”

“Everything looked the same, though, as you’ve no doubt seen, the place is a bit of a mess, but I’ve been trying to clean it up a bit.  I just went in the usual way, the front door, called out that it was me, and when he didn’t answer, went down the passage to his room.”

“Did anyone else have a key?”

“Just about everyone, I mean, his children.  There are five, including my mother.  Once my grandmother died, they all lost interest in visiting.  Or should I say when they realised there was no money in her will for any of them?  Not that there was much anyway.  He’s not rich.”

“He owns this house?”

“It’s a dump.  It can’t be worth that much.  I tried to convince him that he would be better off in an old folks home with other people and be cared for, but he said it would be like being in jail.”

“Did he tell you you might benefit from a will?”

She made a face when she realised the implications of that seemingly innocent question.

“Or did I coerce him into leaving me this place, and then kill him for it?  I mean, seriously.  I was the only one who cared what happened to him. You think I wanted it for the so-called pot of gold at the end of the rainbow?  I told him to leave whatever he had for cancer research.  A couple of years back, he was diagnosed with cancer, but they got it in time, and he has been free of it, although I feared it might have come back.  He said he was fine, but you can’t tell.”

I didn’t know much about it.  She seemed honest, but then, in my experience, some people have that knack of coming across exactly the opposite of what they are.  Perhaps the cancer had come back and killed him.

She gave her details on how to contact her for any follow-up questions and then let her go.

By that time, Buchanan had finished with the doctor and confirmed the recent cancer diagnosis, the coroner had arrived and could not shed any more light on the body until after the post-mortem, and I  left, leaving Buchanan to clean up.

At that point, it was the proverbial open and shut case.

…

The call from the Chief Superintendent was not unexpected because Buchanan would have reported to him the moment I left the scene.

He asked, and I told him that it seemed like a death by natural causes, because no one at the scene had made a different determination.

That would only come after a post-mortem and blood work. That would be available the next day.  He did question whether either was necessary in such circumstances, and I said we were dotting the i’s just as had requested.

It did not earn me any brownie points.

The fact that the granddaughter said that any of his family members might have killed him for his money was a very familiar story.  Sex and money were the two most popular reasons for killing someone, and neither seemed likely.

Unless the will and he’d been secreting millions away somewhere.  The granddaughter did think he had, but she would not be the first person, seemingly innocent, to lie to me

At the moment, it was sitting on the benefit of the doubt.  That might change in the next day or so.

Until then, rest was not going to come easily.  Something was nagging at the back of my neck.  A detail I should know and couldn’t remember. Perhaps I was making more of it than I should.

I went back to the office and did an internet dive into all things Devlin McConnaughy, and found very little.  It could wait until the next day.

….

Buchanan was in before I was, which to me was unusual.  I could smell the hand of the Superintendent’s in this new work ethic.

The other detectives followed me in slowly, some of them worse for wear.  None bothered to ask me why I hadn’t turned up; I had ceased talking to most of them over the last six months.

The feeling of hatred was mutual.

My desk had an analysis of Devlin’s phone and computer.  The sum total of nothing except a portal to the bank, and internet searches for holidays.

Given the nature of the holidays, it seemed they were more likely made by the granddaughter. 

We agreed to disagree

The interviews were typed up and put in a file sitting on mt desk.  Still no autopsy report or of the blood work, so we were still waiting for results.

…

Real policing was not a nine-to-five job, and there was no such thing as weekends.  Truth be told, you really couldn’t have a life, not in the early years of a detective’s career.

I had devoted early on that it wouldn’t be fair to subject someone else to the sacrifices that had to be made.  It was why my older comrades found it difficult to get a decent work-life balance, and the divorce rate was much higher than for any other occupation.

Or at least it seemed that way to me.

But, given my choices, it was not unusual to find me in at the office or volunteering on workdays when others wished to be at home with their families.

This day was no exception.

There was a report on the laptop? The phone, the neighbourhood interviews and I had the notes to write up the one I had conducted.

There was no post-mortem yet, which would arrive soon. 

Was I expecting anything?

There was very little evidence collected at the house.  They had found a copy of the will, and I was going to check with the solicitor.  It left a substantial amount to the granddaughter and reasonable amounts to the children.  A clause said that if any of them contested it, it would be held over until it was adjudicated by the courts.

The value of the house as an inheritance was a viable motive.  If it were a suspicious death. 

I had copies of his bank accounts, three, one a working account, one a savings account and one an investment account.  There was not enough in any of them to warrant killing the man for his money.

The house was owned by him, and we would have to talk to a real estate agent to get an approximate value.

I looked in my email and found a preliminary toxicology report with nothing unusual.  So, no drug overdosing, self-inflicted or otherwise.  Suicide was always on the list, and had to be ticked off.

An hour later, the post mortem came in, and it confirmed that Devlin had a heart attack and had been on painkiller medication for what looked to be a recent accident that scarred his leg.

It had nothing to do with his death.

The phone rang. 

Burgess.  “The body last night.  Verdict?”

There was only one verdict he wanted to hear.

“Nothing points to murder.  Heart attack and died.”

“Good.  Wrap it up.”

“Yes, sir.”

End of the discussion.  I put all the papers back in the file and left it in my in tray.  It could wait until Monday morning.  I would interview the solicitor, meet the granddaughter’s parents, and talk to the granddaughter again.

There was something not right.  Something about this case resonated with something I had read about, a few years ago, on the tail end of the COVID pandemic.

I was going for a walk in the park to clear my head.  I had a lot of searching and reading to do.

…

The trouble with quick clearance rates is that sometimes justice is not served.  The Devlin McCannaughy case was one.

But over the next few days, listening to all of the members of that family argue and squabble over the spoils, and furious that the granddaughter got nearly everything, the accusations were just that, accusations.

The lawyer knew all about the will and the reasons behind it.  So apparently did all those in line time inherit.  There was no motive for any of them other than the main beneficiary.

The trouble was, I could find no evidence to support my theory, and solid evidence was required before there would be any prosecution.

Did I think the granddaughter was guilty of murdering her grandfather for the money?  She didn’t steal from him, not like the children did; it was her mother who had stolen her father’s card and taken money out of the account.

We could prosecute her for theft, but the amount was almost irrelevant and not worth the court’s time.

How did the granddaughter do it?

By the nasal spray.  I had read about a case, one I had used in a paper I wrote about the perfect murder.  The thing is, she would need medical knowledge of what toxin to use and not leave a trace.  I had ordered another tox screen, but we didn’t know what we were looking for.

Motive and opportunity, but not the means.  Even though it was only her prints on the nasal spray beside the bed, one taken from the bathroom cabinet, there was a simple explanation, one given freely when I interviewed her.

She collected and gave him his medication. Yes, he had high blood pressure, and yes, he had minor heart problems, but nothing that would kill him.

When I gave the report to the Chief Superintendent, he just laughed and told me I was not working for MI5 and I should keep my conspiracy theories to myself.

Of course I did, but fate eventually intervened.  The Chief Superintendent was found dead in a sleazy motel, dead because of a heart attack.

Everyone drew the same conclusion.

…

©  Charles Heath  2026

365 Days of writing, 2026 – 185/186

Days 185 and 186 – Writing exercise

…

Investigating death was a ‘thing” that some people took seriously, and others took as a challenge.

For them, it was about the numbers, the appearance of solving crimes, so the public could feel safe, to win that imaginary contest of who could solve the most crimes, and celebrate it on Friday night at the pub.

For others, like me, it was about justice.  It was about finding that person who committed the crime, not the most likely candidate buried under a trove of circumstantial evidence.

The pity of it was that our helicopter Detective Chief Superintendent was a numbers man, temporarily stopping in at our station on his way to bigger and better things.

He didn’t like to be thorough and methodical, and he definitely didn’t like me.  That’s why when he put his head out the door and saw that I was the only detective in the room, I could feel rather than see the sigh.

Or maybe that was because he should be down the pub with the rest of the team celebrating the extraordinary closure rate for this month.

“Burgess.”

I looked up.  “Sir.”

“Sending you a straightforward case.  The old man had apparently died in his sleep.  One of us to look in, dot the i’s.  I’ll send you the file.”

When the Chief Inspector says straightforward, there’s always an underlying suggestion not to make more out of it than there was.

The problem was that nothing in our line of work was straightforward.  Not if justice was to be served.

…

People die in their sleep all the time.  What’s unusual is that most of those who did were discovered in the morning, not at 5 pm.

I arrived at the house, one of twelve similar terrace houses, in a street of a hundred or so.  Most had been updated, and small manicured gardens.

Darkness had arrived on a cold, wet, wintry night where everyone would have preferred to be somewhere else, preferably warm.

The street seemed to be full of blue flashing lights and panda cars, but it was deceptive.  The house was cordoned off, and the crime scene crew were ready to go.

First responders had arrived at or near five, and checked the building, pulled the girl who discovered the body and the doctor she had called before she called the police.

Those were the people I would speak to first. 

The co-ordinator was at the door, an officer who had been doing the job for as long as I had been at the station, and was good at it.  He would have secured the scene and ensured that nothing had been touched since the first responder had arrived.

“Larry.”

He just finished the call and swivelled sideways.

“Detective Inspector Burgess.  If you’re here, your boss doesn’t think it’s open and shut.”

“The other detectives are busy, and I’m hoping it is.  Is it?”

“On appearances, yes, but we both know how it usually goes, winter, rain, freezing cold, and wanting to get out of it.”

“Privileges of rank, I’m afraid.  They’re off celebrating the crime numbers.”

Larry was as thrilled about it as I am.  “Hello, your assistant has arrived.”

I turned to look back the way I came.  It was not the Detective Sergeant I was expecting, but one of the Chief Superintendent’s ‘modern methods’ detectives, fast-tracking a new system.

It was the ‘achievement-based’ Superintendent’s way of keeping me on the straight and narrow.

“Buchanan.”

“Sir, Chief Super just gave me the highlights.  You’d think people would be more considerate.”

Yes, you would, but it was not something I would say within earshot of the girl who found him.  It was a typical Buchanan comment.

“I’m sure it wasn’t done to inconvenience you.”  I went back to Larry.  “What can you tell us?”

“The deceased is a man named Devlin McConnaughy, aged 75, living alone, and according to the doctor, was dead when the girl arrived.  The girl is Mr McConnaughy’s granddaughter.  She arrived about 5 pm, a routine stop by on her way out to meet her friends for dinner.  She had a key and visited three or four times a week.  When she found him and couldn’t rouse him, she called the doctor, then the police, when he said McConnaught was dead, about 5:15 pm.  The first responders got her about 5:29.   The teams have been notified and are standing by.”

“We can look at the scene?”

“Just about.  Just waiting on word that we won’t be trooping in like a herd of elephants.”

I’d heard about crime scenes being contaminated by people who were either not trained properly or didn’t care.  We still didn’t know if this was a crime scene.  The crime scene investigators’ preliminary run-through would determine that.  I’d seen a few getting dressed.  I’d be going in in one of those white suits myself.

Buchanan took that as a cue to get suits for us, and hopefully, there was a spot inside to put them on.  Outside was wet, and we didn’t need wet boots plodding through the house.”

“Your thoughts?  You’ve seen the body.”

“And the state of the house, but you’ll see what I mean soon enough.  It looks like he died in his sleep.  The girl had to move him slightly to check if he was still alive, but it looked to be a reasonable assumption based on appearances.  He’s very heavy, and she couldn’t move him far.  I’m hoping there’s nothing sinister otherwise; this is going to be a long night.”

A long night indeed.

….

We got the OK to go in, and the forensic teams followed us in.

This house was old, decrepit and overgrown.  The owner hadn’t bothered, or couldn’t maintain the place, and the outside gave an indication of the state of the inside.

A lifetime of hoarding.

It was difficult to get from the front door to the bedroom, trying not to knock over piles of books, boxes and newspapers.

The preliminary team had set a path to follow that would least impact on the scene.

Further into the house, at the end of the passage, was a kitchen and a rear exit.  On each side, there were rooms, a sitting room, bedrooms, a bathroom, and the old man’s room.

In the bedroom, equally piled up with books and boxes, there was a body on the bed and a paramedic standing to one side.

I looked at the body, scrunched up as though his last moments alive were very painful.  Death was never pretty. 

Larry nodded to the paramedics.

“Visually, there is no evidence of foul play.  There was a doctor in attendance when we arrived.  He advised us that the man was deceased, but did not have an explanation as to what killed him, other than it had been quick.  We sent him out after a short discussion about his actions on arrival.  The man’s granddaughter is with the doctor outside. She is the person who first discovered the body, called the doctor, then the emergency services.”

Larry looked at me.  “Any further questions?”

“No.  We’ll have to wait for the coroner and a post-mortem.”

“They should be here any moment.  It’s a busy night.”

“Good.  It’ll give me time to talk to the doctor and the granddaughter.”

I looked around the room, looking for obvious signs that someone else had been in the room, or that the killer, if there was one, had broken in to get to the man. 

It was beginning to look like a very big if.  The Superintendent might get his wish, that it was an open and shut case.

No obvious clues were lying around, and I was not seeing any obvious signs of murder, bruising, blunt force trauma or anything suspicious.  There were no bullet or knife wounds.

There was careless discarded pill sheets and a nasal spray on the bedside table, all of which forensics would sweep up and test.

Similarly, in the bathroom cabinet, there were more pills, about six different types, including one I knew to be heart medication.  He had high blood pressure.  A heart attack then might not be unexpected.  He also had other cold and influenza medications.  Perhaps he had recently been ill.  It was cold and miserable.

The coroner would have more to say on that.

I think I was disappointed.

There was just a contorted body with a lifeless expression and dead eyes.  It was rather creepy.

…

Dotting the i’s, Buchanan and I went outside and found the doctor and granddaughter waiting patiently. 

That was a first; most of the people detained by the first responders were very vocal about having to wait around, and in this weather, these two should have been more annoyed.

I know I would be.

Coming out the front door, I looked around at the few neighbours who had gathered to see what was happening.  The uniformed officers would have got statements from all of them.

Sometimes it is said that the killer would hang around after the murder as a bystander waiting for the police.  My assessment of everyone in the small groups was that none of them fitted the profile.

At the moment, it was a motiveless murder.  The only two with a possible opportunity were the granddaughter and the doctor.  An old man, living alone?  What did he have that others might covet?

The house.  Even in its current state in this neighbourhood, it had to be worth a lot.  Was there anything in the house?  If there was a will lying around, the forensic teams would find it.

But there was the granddaughter and the doctor. 

They were standing just up from the door, sheltering under a small verandah roof.  In that spot, there was protection from the elements, except the cold.

The rain had turned into a steady drizzle.

I shivered.  The ghost of the old man is finally leaving?

The two were expecting me.  I sent Buchanan off with the doctor.  I stayed with the girl.  The granddaughter was about 20ish and more conservative than a lot of 20-year-olds I’d seen, especially the daughters of my sister.

She had been crying, so it was safe to assume she had cared about the old man.

I introduced myself, “Detective Inspector Burgess.  You are?”

“Christine Davies, the man’s granddaughter.  I was looking in on my grandfather as I do most Fridays, and found him like that.  Dead.  It’s horrible.”

More tears flowed, and her grief was genuine.

It was horrible and for most a frightening experience.  I could imagine how she felt, and even having seen more than my share of dead people, it doesn’t make you immune to the horror of it.

“I’m sorry for your loss.  Just a couple of questions.  You have a key to the door?”

“Yes.  I come on average three times a week, sometimes more, to check on him.  No one else does, nor does it seem they care.  He was recently in the hospital for a few days, had his appendix removed.”

“The last time?”

“Two days ago.  He called and asked if I could drop in.  He said he misplaced a card and asked me to look for it.”

“A card?”

“Those cards the bank gives you to use rather than go to the branch.  He asked me to set up his internet banking account. He didn’t like the idea of a card replacing his money or the idea that he didn’t have to go to the bank, but I convinced him that the world was moving on and he had to catch up.  He reckoned it was the first step in them stealing your money.”

Or someone else, like a craft granddaughter. Ostensibly, she had access to his accounts if she set them up.  We had the computer and phone and would find out.

“Did you find the card?”

“No.  He got me to go back to the bank and sort them out.  He was feeling a little tired.  He didn’t look well, and I said I’d get the doctor to call.”

She gave me the details so I could check.

“Did you call the doctor?”

“Yes, but he was busy and couldn’t get here until today.  I called him first to make sure he was not still alive because I tried what they do on TV, you know, the pulse in the neck thing, but I got nothing.  He came quickly and confirmed he was dead.  That’s when I called the emergency services.”

“Did you check to see if anyone else had been there, or was there any sign of a break-in?”

“Everything looked the same, though, as you’ve no doubt seen, the place is a bit of a mess, but I’ve been trying to clean it up a bit.  I just went in the usual way, the front door, called out that it was me, and when he didn’t answer, went down the passage to his room.”

“Did anyone else have a key?”

“Just about everyone, I mean, his children.  There are five, including my mother.  Once my grandmother died, they all lost interest in visiting.  Or should I say when they realised there was no money in her will for any of them?  Not that there was much anyway.  He’s not rich.”

“He owns this house?”

“It’s a dump.  It can’t be worth that much.  I tried to convince him that he would be better off in an old folks home with other people and be cared for, but he said it would be like being in jail.”

“Did he tell you you might benefit from a will?”

She made a face when she realised the implications of that seemingly innocent question.

“Or did I coerce him into leaving me this place, and then kill him for it?  I mean, seriously.  I was the only one who cared what happened to him. You think I wanted it for the so-called pot of gold at the end of the rainbow?  I told him to leave whatever he had for cancer research.  A couple of years back, he was diagnosed with cancer, but they got it in time, and he has been free of it, although I feared it might have come back.  He said he was fine, but you can’t tell.”

I didn’t know much about it.  She seemed honest, but then, in my experience, some people have that knack of coming across exactly the opposite of what they are.  Perhaps the cancer had come back and killed him.

She gave her details on how to contact her for any follow-up questions and then let her go.

By that time, Buchanan had finished with the doctor and confirmed the recent cancer diagnosis, the coroner had arrived and could not shed any more light on the body until after the post-mortem, and I  left, leaving Buchanan to clean up.

At that point, it was the proverbial open and shut case.

…

The call from the Chief Superintendent was not unexpected because Buchanan would have reported to him the moment I left the scene.

He asked, and I told him that it seemed like a death by natural causes, because no one at the scene had made a different determination.

That would only come after a post-mortem and blood work. That would be available the next day.  He did question whether either was necessary in such circumstances, and I said we were dotting the i’s just as had requested.

It did not earn me any brownie points.

The fact that the granddaughter said that any of his family members might have killed him for his money was a very familiar story.  Sex and money were the two most popular reasons for killing someone, and neither seemed likely.

Unless the will and he’d been secreting millions away somewhere.  The granddaughter did think he had, but she would not be the first person, seemingly innocent, to lie to me

At the moment, it was sitting on the benefit of the doubt.  That might change in the next day or so.

Until then, rest was not going to come easily.  Something was nagging at the back of my neck.  A detail I should know and couldn’t remember. Perhaps I was making more of it than I should.

I went back to the office and did an internet dive into all things Devlin McConnaughy, and found very little.  It could wait until the next day.

….

Buchanan was in before I was, which to me was unusual.  I could smell the hand of the Superintendent’s in this new work ethic.

The other detectives followed me in slowly, some of them worse for wear.  None bothered to ask me why I hadn’t turned up; I had ceased talking to most of them over the last six months.

The feeling of hatred was mutual.

My desk had an analysis of Devlin’s phone and computer.  The sum total of nothing except a portal to the bank, and internet searches for holidays.

Given the nature of the holidays, it seemed they were more likely made by the granddaughter. 

We agreed to disagree

The interviews were typed up and put in a file sitting on mt desk.  Still no autopsy report or of the blood work, so we were still waiting for results.

…

Real policing was not a nine-to-five job, and there was no such thing as weekends.  Truth be told, you really couldn’t have a life, not in the early years of a detective’s career.

I had devoted early on that it wouldn’t be fair to subject someone else to the sacrifices that had to be made.  It was why my older comrades found it difficult to get a decent work-life balance, and the divorce rate was much higher than for any other occupation.

Or at least it seemed that way to me.

But, given my choices, it was not unusual to find me in at the office or volunteering on workdays when others wished to be at home with their families.

This day was no exception.

There was a report on the laptop? The phone, the neighbourhood interviews and I had the notes to write up the one I had conducted.

There was no post-mortem yet, which would arrive soon. 

Was I expecting anything?

There was very little evidence collected at the house.  They had found a copy of the will, and I was going to check with the solicitor.  It left a substantial amount to the granddaughter and reasonable amounts to the children.  A clause said that if any of them contested it, it would be held over until it was adjudicated by the courts.

The value of the house as an inheritance was a viable motive.  If it were a suspicious death. 

I had copies of his bank accounts, three, one a working account, one a savings account and one an investment account.  There was not enough in any of them to warrant killing the man for his money.

The house was owned by him, and we would have to talk to a real estate agent to get an approximate value.

I looked in my email and found a preliminary toxicology report with nothing unusual.  So, no drug overdosing, self-inflicted or otherwise.  Suicide was always on the list, and had to be ticked off.

An hour later, the post mortem came in, and it confirmed that Devlin had a heart attack and had been on painkiller medication for what looked to be a recent accident that scarred his leg.

It had nothing to do with his death.

The phone rang. 

Burgess.  “The body last night.  Verdict?”

There was only one verdict he wanted to hear.

“Nothing points to murder.  Heart attack and died.”

“Good.  Wrap it up.”

“Yes, sir.”

End of the discussion.  I put all the papers back in the file and left it in my in tray.  It could wait until Monday morning.  I would interview the solicitor, meet the granddaughter’s parents, and talk to the granddaughter again.

There was something not right.  Something about this case resonated with something I had read about, a few years ago, on the tail end of the COVID pandemic.

I was going for a walk in the park to clear my head.  I had a lot of searching and reading to do.

…

The trouble with quick clearance rates is that sometimes justice is not served.  The Devlin McCannaughy case was one.

But over the next few days, listening to all of the members of that family argue and squabble over the spoils, and furious that the granddaughter got nearly everything, the accusations were just that, accusations.

The lawyer knew all about the will and the reasons behind it.  So apparently did all those in line time inherit.  There was no motive for any of them other than the main beneficiary.

The trouble was, I could find no evidence to support my theory, and solid evidence was required before there would be any prosecution.

Did I think the granddaughter was guilty of murdering her grandfather for the money?  She didn’t steal from him, not like the children did; it was her mother who had stolen her father’s card and taken money out of the account.

We could prosecute her for theft, but the amount was almost irrelevant and not worth the court’s time.

How did the granddaughter do it?

By the nasal spray.  I had read about a case, one I had used in a paper I wrote about the perfect murder.  The thing is, she would need medical knowledge of what toxin to use and not leave a trace.  I had ordered another tox screen, but we didn’t know what we were looking for.

Motive and opportunity, but not the means.  Even though it was only her prints on the nasal spray beside the bed, one taken from the bathroom cabinet, there was a simple explanation, one given freely when I interviewed her.

She collected and gave him his medication. Yes, he had high blood pressure, and yes, he had minor heart problems, but nothing that would kill him.

When I gave the report to the Chief Superintendent, he just laughed and told me I was not working for MI5 and I should keep my conspiracy theories to myself.

Of course I did, but fate eventually intervened.  The Chief Superintendent was found dead in a sleazy motel, dead because of a heart attack.

Everyone drew the same conclusion.

…

©  Charles Heath  2026

What I learned about writing – The unexpected detour

The Unexpected Detour: Trading Familiar Fame for Fresh Inspiration

We are creatures of habit, especially when those habits have led to success. When we find our niche—that specific genre, that particular skill set, that familiar market where our reputation is solid—we settle in. We build our brand around it, we become known for it, and we reap the rewards of what I like to call “pout fame”—the reputation we tirelessly poured ourselves into earning.

But what happens when the GPS suddenly recalculates? What happens when a project falls through, a client demands a skill you rarely use, or a personal experience shoves you, politely or otherwise, onto an entirely different path?

The detour is mandatory. The question is: do you treat it as a road bump or a reconnaissance mission?


The Comfort (and Constraint) of the Known Road

For a professional writer, artist, or entrepreneur, the familiarity of the known path is powerful. If you are the established authority on historical fiction, stepping sideways to write a children’s book feels like a monumental risk or, worse, a waste of time. If you’re a renowned brand strategist, taking a temporary gig managing a local community centre seems completely off-brand.

We cling to our niche because it represents safety, predictability, and income. We fear that if we take our focus off the main product, the audience will forget us, or worse, perceive us as unfocused.

The irony is that this commitment to the familiar eventually becomes the most fertile ground for creative drought. When you do the same thing in the same way for too long, the machine might keep moving, but the spark fades. You are solving the same problems, using the same mental muscles, and drawing from the same well of inspiration.

This is precisely why the unintentional interlude is a gift.

The Power of the Accidental Assignment

The unexpected detour forces you to use different muscles. It is a creative palette cleanser.

Perhaps you, known for gritty memoirs, suddenly find yourself ghostwriting a guide on sustainable gardening. Perhaps your expertise in complex data architecture leads you to a temporary volunteer role organising a major arts festival. These interludes are not your core business, so the pressure is different, the stakes feel lower, and that pressure release is key to unlocking new thought patterns.

When you are led down another path, two crucial things happen:

1. You Gain New Data Sets

Every experience, especially those outside our comfort zone, feeds the creative core. The language you learn while writing about gardening might provide the perfect metaphor for a struggling relationship in your next memoir. The logistical problem-solving required for the arts festival might provide a brilliant structural framework for your next white paper.

The inspiration you gain from the detour is often fuel for your established genre—just in a subtler, richer form. It’s not about abandoning your genre; it’s about making your genre deeper.

2. You Break the Creative Feedback Loop

Our brains love efficient pathways. When we write in a genre (or work in a field) for years, we develop grooves. The unintentional interlude yanks the needle out of the groove. It forces you to think like a beginner again, look up new terminology, and engage with a world that doesn’t operate by your established rules. This struggle is where innovation resides.

The Crossroad: Take It or Take a Holiday?

The core question remains: When this unexpected inspiration strikes, do you embrace it completely, or is the detour simply a sign that you need a vacation?

Often, we frame creative exploration as a necessary rest. We believe that if we aren’t focusing on our ‘main thing,’ we must be taking a holiday. But this is a false dichotomy.

The Creative Detour is a Form of Necessary Rest.

If the unexpected path genuinely energises you, if it sparks ideas and makes you feel excited about the act of creating again, take it.

This is not a distraction; it is an investment in creative renewal. The mistake is equating productive time only with the activities that directly generated your “pout fame.” The new path might not lead to immediate income in your usual stream, but it will prevent the greater cost: burnout and creative stagnation.

If the detour feels like a chore, if it drains you, or if the new inspiration feels thin and forced—then you need a holiday. You need genuine downtime, silence, and recovery.

The differentiator is always energy. Does this unexpected road drain your reserves or replenish them?

Permission to Deviate

The most successful creators rarely stay tethered to a single, narrow output. They allow themselves to be influenced by the tangential, the accidental, and the unfamiliar. They treat their career not as a single railway line, but as a vast, interconnected landscape.

So, the next time life or work pushes you onto an unpaved road—whether you were led willingly or otherwise—don’t resist the scenery. Don’t immediately try to navigate back to the familiar highway just because it’s faster.

Look out the window. Collect the data. Listen to the new language.

The greatest inspiration for your next masterpiece might not be found in the genre you dominate, but in the unintentional interlude that showed you the world through brand new eyes. Take the inspiration. The holiday can wait until the tank is actually empty.

365 Days of writing, 2026 – My Second Story 27

More about my second novel

It sounds like it’s a start on the blurb…

…

Like any book that is the second in a series, there is that inevitable question – What am I going to write about now?

You’re fighting off the, everyone had at least one book in them, and sitting down staring at that blank page because maybe your character has found the woman of his dreams, and there’s no need to chase anymore.

Who said Zoe had any interest in settling down?

She has missed getting out there and doing a job she is good at.

But rather than have her hunting people down, I thought it would be better if she were the one being hunted.

The thing is, she had managed to make more than one enemy over the years. And given the bounty, it brings old foes and fellow assassins out of the woodwork and into her path.

And a few people she had left behind, intentionally or otherwise.

But, the least expected, armed with a pair of dogged private detectives, is her newest friend, and want-to-be boyfriend.

She should have realised that he was not going to go away like he was supposed to.

But, here’s the thing…

People on both sides are looking for her, each with very different reasons, but all have the same intention…

Revenge.

…

365 Days of writing, 2026 – My Second Story 27

More about my second novel

It sounds like it’s a start on the blurb…

…

Like any book that is the second in a series, there is that inevitable question – What am I going to write about now?

You’re fighting off the, everyone had at least one book in them, and sitting down staring at that blank page because maybe your character has found the woman of his dreams, and there’s no need to chase anymore.

Who said Zoe had any interest in settling down?

She has missed getting out there and doing a job she is good at.

But rather than have her hunting people down, I thought it would be better if she were the one being hunted.

The thing is, she had managed to make more than one enemy over the years. And given the bounty, it brings old foes and fellow assassins out of the woodwork and into her path.

And a few people she had left behind, intentionally or otherwise.

But, the least expected, armed with a pair of dogged private detectives, is her newest friend, and want-to-be boyfriend.

She should have realised that he was not going to go away like he was supposed to.

But, here’s the thing…

People on both sides are looking for her, each with very different reasons, but all have the same intention…

Revenge.

…

What I learned about writing – The happy ending debate

The Happy Ending Debate: Is It All About Where You Stop the Story?

We’ve all been there. Lost in a book, glued to a screen, investing our emotions in characters and their journeys. As the story nears its end, a quiet hope stirs within us: Please, let them be happy. We crave resolution, comfort, and the satisfaction of knowing that, in this fictional world at least, good triumphs and love prevails.

But should every story culminate in a neat, tidy, and unequivocally happy ending? And more profoundly, is the ‘happiness’ of an ending simply a matter of where the author chooses to draw the final curtain?

The Allure of the Sunny Conclusion

There’s no denying the power and appeal of a happy ending. They offer:

  • Escapism: Life is often messy and unpredictable. Stories with joyous resolutions provide a much-needed mental break, a reminder that things can turn out well.
  • Hope: They validate our belief in perseverance, the triumph of good over evil, and the idea that our own struggles might eventually lead to brighter days.
  • Satisfaction: A happy ending can feel like a reward for the emotional investment we’ve made, a pleasant closure to a captivating experience.

From classic fairy tales to blockbuster rom-coms, these endings serve a vital purpose, leaving us with a warm feeling and a sense that balance has been restored.

The Unflinching Gaze of Reality

However, limiting all narratives to happy conclusions would be a disservice to the vast spectrum of human experience. Sometimes, stories need to:

  • Reflect Reality: Life isn’t always fair, and not every conflict resolves harmoniously. Stories that acknowledge pain, loss, and unresolved tension can be incredibly powerful and resonant.
  • Provoke Thought: Tragic or ambiguous endings often linger longer in the mind, prompting deeper reflection on themes, choices, and consequences.
  • Offer Catharsis: Witnessing a character’s journey through suffering, even if it doesn’t end happily, can be a form of emotional release and understanding for the audience.
  • Teach and Warn: Some stories serve as cautionary tales or explorations of the darker sides of humanity, and a happy ending would undermine their core message.

Think of literary classics, historical dramas, or poignant independent films – their power often lies in their refusal to sugarcoat the human condition.

The Art of the Final Frame: Where Do You Stop?

This brings us to the most intriguing part of the debate: Is a happy ending simply a matter of narrative framing?

Consider this: Is a character’s failure truly the end, or is it merely the lowest point before a potential rise? Is a bittersweet goodbye truly sad, or is it a necessary step towards individual growth and new beginnings?

  • Life is Continuous: In reality, our stories don’t stop. A “happy ending” might just be a moment of respite before the next challenge, and a “tragic ending” could be the catalyst for profound change in others.
  • The Power of Hope: An ending doesn’t have to be happy to be hopeful. A character might face immense loss, but the final scene could show them finding a glimmer of purpose, taking a first step towards healing, or inspiring others to carry on. This isn’t happiness in the traditional sense, but it offers forward momentum.
  • The Reader’s Imagination: Sometimes, an author intentionally leaves an ending open, trusting the audience to imagine what comes next. What feels unresolved to one person might feel like an invitation for possibility to another. The “end” of the story is merely where the author stops narrating; the characters’ lives, in our minds, continue.
  • Satisfying vs. Happy: A story can have a satisfying ending without being strictly happy. It can be satisfying because it feels earned, logical, and true to the characters and themes, even if it’s painful or melancholic.

Crafting the Right Conclusion

Ultimately, whether a story should have a happy ending isn’t a universal rule, but a deliberate choice. It depends on:

  • The Genre: Rom-coms and fairytales thrive on happiness; noir and tragedies demand a different tone.
  • The Story’s Purpose: Is it meant to uplift, entertain, challenge, or reflect?
  • The Characters’ Journeys: Does a happy ending feel organic and earned, or forced and unrealistic, given what the characters have endured and become?

So, should every story have a happy ending? Probably not. But should every story offer some form of resolution, be it hopeful, cathartic, or thought-provoking? Absolutely.

The true magic lies in the storyteller’s ability to know precisely where to stop, leaving us not necessarily with boundless joy, but with a feeling that the journey was complete, meaningful, and true – even if the sun isn’t shining quite so brightly in that final frame.


What do you think? Do you prefer happy endings, or do you find more satisfaction in realistic or even tragic conclusions? Share your thoughts in the comments below!

365 Days of writing, 2026 – 184

Day 184 – Show, don’t tell

…

The Art of the Landscape: What Thomas Hardy Taught Ursula K. Le Guin About “Showing, Not Telling”

Every writer has heard the golden rule: “Show, don’t tell.”

It is the advice that launches a thousand creative writing workshops, yet it remains one of the most misunderstood concepts in literature. Does it mean you can never state an emotion? Does it mean your prose must be purely cinematic?

To find the true essence of this rule, we can look to a master of the craft, Ursula K. Le Guin. In her legendary essays on writing, Le Guin often pointed to a specific, masterful example of environmental storytelling: the opening chapter of Thomas Hardy’s The Return of the Native.

Here is how Hardy uses the landscape of Egdon Heath to redefine what it meant to “show” an entire world before a single character ever speaks.


The Trap of “Telling”

When beginners are told to “show,” they often interpret it as a directive to describe every micro-movement—“She clenched her fist, her knuckles turning white, showing her anger.”

While this is “showing,” it is literal and often clunky. True “showing” is about atmosphere, mood, and implication. It is about placing the reader in a space where they can feel the truth of the situation without being lectured by the author.

The Lesson from Egdon Heath

In the first chapter of The Return of the Native, Thomas Hardy does something radical. He doesn’t introduce a hero, a villain, or a dialogue-driven incident. Instead, he introduces the heath itself.

As Ursula K. Le Guin noted in her workshops, Hardy treats Egdon Heath not as a backdrop, but as a living, breathing participant in the story. He writes:

“The place became full of a watchful intentness now; for when other things sank brooding to sleep the heath appeared slowly to awake and listen.”

Hardy is doing something extraordinary here. He is “showing” the reader the tone of the entire novel before the plot begins. He doesn’t tell us, “The setting is oppressive, ancient, and indifferent to human suffering.” Instead, he describes the heath as a creature that “awaits” and “listens.”

Why Le Guin Admired This Approach

Le Guin championed this passage because it teaches writers that environment is character.

By spending pages describing the soil, the colours of the heath, the shadows, and the way the light dies over the horizon, Hardy creates a sense of foreboding. He shows the reader that the human lives within this book will be small, fragile, and ultimately at the mercy of this vast, prehistoric landscape.

If Hardy had simply told us, “The story takes place in a lonely, haunting part of England where people struggle against nature,” the reader would have accepted it as a fact. But by showing it—by making the heath look, act, and “feel”—the reader experiences that loneliness in their own bones.

Three Ways to Apply the “Hardy-Le Guin” Method

If you want to move beyond the surface-level interpretation of “show, don’t tell,” try these three strategies:

1. Use the Setting to Establish Stakes

Don’t just have your characters walk through a room. Have the room reflect the state of the story. If a marriage is failing, show the dust on the mantle or the way the light doesn’t quite reach the chairs. Make your setting a reflection of your underlying themes.

2. Let the Landscape “Listen”

Hardy gave the heath a sense of “watchful intentness.” What is your setting doing? Is the city you are writing in hostile? Does the forest feel like it’s holding its breath? Giving your setting semi-sentient traits can anchor your reader in the mood of the piece instantly.

3. Trust the Reader’s Intelligence

Hardy didn’t need to summarise the history of Egdon Heath. He trusted the reader to pick up the vibe of the place through the sensory language he used. When you write, pull back on the adjectives and lean into the gestures of your environment.

The Takeaway

“Show, don’t tell” isn’t about avoiding exposition; it’s about making your exposition experiential.

As Ursula K. Le Guin taught, the best writers don’t just dump information on the reader. They build a world so tactile and evocative that the “meaning” of the story is felt long before it is understood. Take a page from Hardy: ignore the plot for a moment, look at the world you’ve built, and ask yourself—is my setting just a stage, or is it alive?

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365 Days of writing, 2026 – 184

Day 184 – Show, don’t tell

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The Art of the Landscape: What Thomas Hardy Taught Ursula K. Le Guin About “Showing, Not Telling”

Every writer has heard the golden rule: “Show, don’t tell.”

It is the advice that launches a thousand creative writing workshops, yet it remains one of the most misunderstood concepts in literature. Does it mean you can never state an emotion? Does it mean your prose must be purely cinematic?

To find the true essence of this rule, we can look to a master of the craft, Ursula K. Le Guin. In her legendary essays on writing, Le Guin often pointed to a specific, masterful example of environmental storytelling: the opening chapter of Thomas Hardy’s The Return of the Native.

Here is how Hardy uses the landscape of Egdon Heath to redefine what it meant to “show” an entire world before a single character ever speaks.


The Trap of “Telling”

When beginners are told to “show,” they often interpret it as a directive to describe every micro-movement—“She clenched her fist, her knuckles turning white, showing her anger.”

While this is “showing,” it is literal and often clunky. True “showing” is about atmosphere, mood, and implication. It is about placing the reader in a space where they can feel the truth of the situation without being lectured by the author.

The Lesson from Egdon Heath

In the first chapter of The Return of the Native, Thomas Hardy does something radical. He doesn’t introduce a hero, a villain, or a dialogue-driven incident. Instead, he introduces the heath itself.

As Ursula K. Le Guin noted in her workshops, Hardy treats Egdon Heath not as a backdrop, but as a living, breathing participant in the story. He writes:

“The place became full of a watchful intentness now; for when other things sank brooding to sleep the heath appeared slowly to awake and listen.”

Hardy is doing something extraordinary here. He is “showing” the reader the tone of the entire novel before the plot begins. He doesn’t tell us, “The setting is oppressive, ancient, and indifferent to human suffering.” Instead, he describes the heath as a creature that “awaits” and “listens.”

Why Le Guin Admired This Approach

Le Guin championed this passage because it teaches writers that environment is character.

By spending pages describing the soil, the colours of the heath, the shadows, and the way the light dies over the horizon, Hardy creates a sense of foreboding. He shows the reader that the human lives within this book will be small, fragile, and ultimately at the mercy of this vast, prehistoric landscape.

If Hardy had simply told us, “The story takes place in a lonely, haunting part of England where people struggle against nature,” the reader would have accepted it as a fact. But by showing it—by making the heath look, act, and “feel”—the reader experiences that loneliness in their own bones.

Three Ways to Apply the “Hardy-Le Guin” Method

If you want to move beyond the surface-level interpretation of “show, don’t tell,” try these three strategies:

1. Use the Setting to Establish Stakes

Don’t just have your characters walk through a room. Have the room reflect the state of the story. If a marriage is failing, show the dust on the mantle or the way the light doesn’t quite reach the chairs. Make your setting a reflection of your underlying themes.

2. Let the Landscape “Listen”

Hardy gave the heath a sense of “watchful intentness.” What is your setting doing? Is the city you are writing in hostile? Does the forest feel like it’s holding its breath? Giving your setting semi-sentient traits can anchor your reader in the mood of the piece instantly.

3. Trust the Reader’s Intelligence

Hardy didn’t need to summarise the history of Egdon Heath. He trusted the reader to pick up the vibe of the place through the sensory language he used. When you write, pull back on the adjectives and lean into the gestures of your environment.

The Takeaway

“Show, don’t tell” isn’t about avoiding exposition; it’s about making your exposition experiential.

As Ursula K. Le Guin taught, the best writers don’t just dump information on the reader. They build a world so tactile and evocative that the “meaning” of the story is felt long before it is understood. Take a page from Hardy: ignore the plot for a moment, look at the world you’ve built, and ask yourself—is my setting just a stage, or is it alive?

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What I learned about writing – Exploring our dreams

Unlocking the Night: Exploring the Mystical and the Mundane in Our Dreams

The moment our conscious minds drift into slumber, a new world unfurls. A world where gravity is optional, where the familiar can morph into the surreal, and where echoes of our waking lives mingle with the utterly bizarre. Dreams. They’ve captivated, puzzled, and inspired humanity for millennia, sparking endless debate about their true nature. Are they celestial messages whispered from beyond, or simply the chaotic rumblings of our own sleeping brains?

For many, dreams are indeed magical journeys. They offer an escape from the mundane, transporting us to fantastical landscapes, reuniting us with lost loved ones, or allowing us to fly through star-dusted skies. These are the dreams that linger, leaving us with a sense of wonder and a touch of longing for the ephemeral reality we briefly inhabited. They can feel profoundly significant, imbued with a wisdom or a warning that feels almost otherworldly. Think of the ancient interpretations, where dreams were seen as direct communications from deities or omens of the future. This perspective imbues our dreamscapes with a powerful, almost spiritual, aura.

On the other hand, the realm of psychology offers a compelling alternative: dreams as eruptions of the subconscious. Freud famously theorised that dreams are the “royal road to the unconscious,” a space where repressed desires, unresolved conflicts, and hidden anxieties can manifest in symbolic form. From this viewpoint, those fleeting images and nonsensical narratives are not random but are rather the deeply buried parts of ourselves fighting for attention. That recurring dream of being chased might not be a premonition of danger, but a symbolic representation of avoidance in our waking life. Understanding these subconscious eruptions can be a powerful tool for self-discovery and personal growth.

But how do we bridge these two seemingly disparate interpretations? And more importantly, how do we glean meaning from the often elusive tapestry of our dreams? For a growing number of individuals, the answer lies in a simple yet profound practice: keeping a dream journal.

The act of writing down your dreams, no matter how fragmented or strange they may seem, is an incredibly potent way to engage with your nocturnal adventures. It’s like catching fireflies in a jar – you’re capturing fleeting moments of light and then examining them more closely in the quiet of the morning.

Here’s why a dream journal can be so transformative:

  • Enhanced Recall: Dreams are notoriously fleeting. The moment you wake up, the images begin to fade. By immediately jotting down what you remember, you’re preserving these valuable fragments before they vanish into the ether. Even a few keywords or a fleeting image can trigger fuller memories later.
  • Pattern Recognition: Over time, you’ll start to notice recurring themes, symbols, and emotions in your dreams. This is where the real magic of a journal unfolds. Are you frequently encountering water? Are there specific people who keep appearing? These patterns can offer profound insights into your current emotional state, your subconscious concerns, and even your deepest aspirations.
  • Symbol Interpretation: While some dream symbols are universal, many are deeply personal. By seeing your symbols laid out in your journal, you can begin to decipher their unique meaning to you. What does that specific colour, that peculiar object, or that strange location represent in your personal lexicon?
  • Bridging the Gap: A dream journal can act as a bridge between the magical and the mundane. You can still appreciate the fantastical journeys while simultaneously seeking the underlying psychological messages. It allows for both wonder and introspection.
  • Boosting Creativity: Many artists, writers, and musicians draw inspiration directly from their dreams. A well-maintained dream journal can be a treasure trove of unique ideas, unexpected plot twists, and evocative imagery, fueling your creative endeavours.

Whether you view your dreams as whimsical escapades or as vital messages from your inner self, the practice of keeping a dream journal offers a tangible way to connect with this mysterious and often overlooked aspect of your existence. So, next time you wake with a phantom sensation or a lingering image, grab a notebook and pen. You might just be on the verge of unlocking a hidden world within yourself.

What are your thoughts on dreams? Do you keep a dream journal? Share your experiences in the comments below!