Day 255

Editing mistakes

…

Sharpen Your Prose: Banishing Blunders Like Mixed Metaphors, Faulty Parallelism, and Tense Troubles

Ever read something that makes your brain do a little somersault? You know, where you start nodding along, then suddenly hit a snag, and have to backtrack to figure out what the writer actually meant? More often than not, these jarring moments stem from a few common writing errors.

Today, we’re going to tackle three of the most prevalent culprits: mixed metaphors, faulty parallelism, and incorrect tense. Mastering these will not only make your writing clearer and more impactful but will also elevate your credibility as a communicator. Let’s dive in!

The Tangled Web of Mixed Metaphors

Metaphors are beautiful things. They allow us to paint vivid pictures in our readers’ minds by likening one thing to another, creating deeper understanding and engagement. But when you try to weave too many disparate comparisons together, or let a metaphor stray too far from its original intent, you end up with a tangled, nonsensical mess.

The Goal: To use a single, consistent, and effective metaphor to illustrate a point.

The Blunder: Combining two or more unrelated metaphors, creating confusion and often unintentional humor.

Examples:

• Wrong: “We need to get our ducks in a row before we can really hit the ground running and climb the ladder of success.”
  • Why it’s wrong: “Ducks in a row” implies organization and order. “Hit the ground running” suggests immediate action and speed. “Climb the ladder of success” is about progress and achievement. These are all fine individual ideas, but crammed together, they create a jumbled image. Are we a team of organized ducks, a sprinter, or a mountaineer?
• Right: “We need to get our ducks in a row before we can begin implementing our new strategy.”
  • Why it’s right: This focuses solely on the “ducks in a row” metaphor, meaning to organize things properly, and it works.
• Right: “We need to be ready to hit the ground running when the project launches.”
  • Why it’s right: This uses the “hit the ground running” metaphor to convey the need for immediate and energetic action.
• Right: “Her dedication and hard work were instrumental in her climb up the ladder of success.”
  • Why it’s right: This uses the “ladder of success” metaphor effectively to describe career progression.

The Uneven Scales of Faulty Parallelism

Parallelism, or parallel structure, is about balance and rhythm in your writing. It means using the same grammatical form for elements in a series or comparison. When this balance is disrupted, your sentences can feel clunky and awkward, like a song with a broken beat.

The Goal: To present items in a series or comparison with consistent grammatical structure for clarity and flow.

The Blunder: Using different grammatical forms for elements that should be treated equally.

Examples:

• Wrong: “She enjoys hiking, to read, and swimming.”
  • Why it’s wrong: “Hiking” is a gerund (verb acting as a noun). “To read” is an infinitive. “Swimming” is another gerund. The shift from gerund to infinitive and back breaks the parallel structure.
• Right: “She enjoys hiking, reading, and swimming.”
  • Why it’s right: All elements are gerunds, creating a smooth and consistent list.
• Right: “She enjoys to hike, to read, and to swim.”
  • Why it’s right: All elements are infinitives, also creating parallel structure.
• Wrong: “The new software offers speed, efficiency, and it is easy to use.”
  • Why it’s wrong: “Speed” and “efficiency” are nouns. “It is easy to use” is a clause.
• Right: “The new software offers speed, efficiency, and ease of use.”
  • Why it’s right: All elements are nouns, providing consistent structure.

The Shifting Sands of Incorrect Tense

Verb tense is the anchor that grounds your narrative in time. It tells your reader when an action is happening. Inconsistent or incorrect tense can lead to confusion about the sequence of events or the overall timeframe of your writing.

The Goal: To consistently use the appropriate verb tense to accurately reflect the time of the actions being described.

The Blunder: Shifting verb tenses unnecessarily within a sentence, paragraph, or narrative.

Examples:

• Wrong: “Yesterday, I go to the store and buy some milk.”
  • Why it’s wrong: The action happened “yesterday,” which is in the past. The verbs should reflect this past action.
• Right: “Yesterday, I went to the store and bought some milk.”
  • Why it’s right: Both verbs are in the simple past tense, accurately describing past events.
• Wrong: “The character wakes up, realizes he is late, and runs for the bus.”
  • Why it’s wrong: While this can be used for vivid storytelling (present tense for immediacy), if the rest of the narrative is in the past tense, this shift is jarring.
• Right (if the narrative is in the past): “The character woke up, realized he was late, and ran for the bus.”
  • Why it’s right: Consistent use of the past tense for a narrative set in the past.
• Wrong: “She will tell you the secret if you ask her nicely.”
  • Why it’s wrong: Mixing future and present tense for actions that are concurrent or related in time.
• Right: “She will tell you the secret if you ask her nicely.” (This is actually correct as it describes a future conditional event).
  • Let’s try another wrong example: “She told me that she will visit tomorrow.”
  • Why it’s wrong: “Told” is past tense, but “will visit” refers to a future event.
• Right: “She told me that she would visit tomorrow.” (Using “would” for reported future in the past).
  • Or Right: “She tells me that she will visit tomorrow.” (If the telling is happening now).

Practice Makes Perfect (and Polished Prose!)

Don’t be discouraged if you find yourself making these errors. Most writers do, especially when they’re developing their voice. The key is to be aware of them and to actively proofread with these concepts in mind.

• Read aloud: Hearing your writing can help you catch awkward phrasing and inconsistencies.
• Enlist a fresh pair of eyes: Ask a friend or colleague to review your work.
• Use grammar checkers: While not foolproof, they can highlight potential issues.
• Study examples: Keep an eye out for effective (and ineffective) uses of metaphors, parallelism, and tense in the writing you admire.

By paying attention to these fundamental aspects of grammar and style, you can transform your writing from merely understandable to truly compelling. So, go forth and banish those blunders! Your readers will thank you for it.

Day 254

Storytelling

…

More Than Just Words: Why We’re All Hungry for Stories

Ever found yourself completely engrossed in a book, a captivating film, or even a friend’s animated anecdote? There’s a reason for that. It’s not just our idle entertainment; it’s a primal, fundamental part of who we are. We are, quite literally, hardwired for stories.

Think about it. From the earliest cave paintings depicting hunts and rituals to the grand epics passed down through generations, humanity has always relied on narrative. It’s how we make sense of the world, how we connect with each other, and how we leave our mark.

The Ancient Art of Immortality

At its core, storytelling is a form of history. It’s how we preserve the experiences, the triumphs, and the struggles of those who came before us. Before written records, oral traditions were the lifeblood of cultures, passing down knowledge, wisdom, and identity. The stories of elders became the lessons for the young, the myths explained the inexplicable, and the legends inspired courage.

But it’s more than just a historical record. Storytelling is also a profound act of immortality. When we share a story, we breathe life back into memories. We keep alive the spirit of individuals, the essence of moments, and the impact of events. A well-told story can transcend time, allowing us to feel present with people who are no longer with us, to understand perspectives different from our own, and to learn from their journeys. It’s through stories that our ancestors, our heroes, and even our ordinary lives can continue to resonate in the present and echo into the future.

Feeding the Soul

Beyond its historical and immortalizing qualities, storytelling simply feeds our souls. In a world often characterized by fleeting information and digital overload, a good story offers depth, connection, and emotional resonance.

• Connection: Stories allow us to step into someone else’s shoes, fostering empathy and understanding. They remind us that despite our differences, we share universal human experiences – love, loss, fear, hope.
• Meaning-Making: We use stories to process our own lives and the complexities of the world around us. They help us identify patterns, understand causes and effects, and find meaning in the chaos.
• Inspiration: Stories of resilience, innovation, and courage can ignite our own imaginations and empower us to pursue our dreams. They show us what’s possible.
• Escape and Joy: Sometimes, we just need to get lost in a different world. Stories offer a welcome escape, a chance to experience adventure, romance, or mystery, and to simply find joy in a well-crafted narrative.

The Power is in Your Hands (and Voice!)

So, the next time you’re drawn to a narrative, remember you’re tapping into something ancient and essential. And even more importantly, remember that you, too, are a storyteller. Your experiences, your memories, your unique perspective – they all have the power to inspire, to connect, and to offer a piece of yourself to the world.

Don’t underestimate the stories you hold. Share them. Write them down. Tell them to your children, your friends, your colleagues. Because in a world hungry for connection and meaning, every story is a gift, a tiny act of immortality, and a vital thread in the rich tapestry of human experience.

Day 254

Storytelling

…

More Than Just Words: Why We’re All Hungry for Stories

Ever found yourself completely engrossed in a book, a captivating film, or even a friend’s animated anecdote? There’s a reason for that. It’s not just our idle entertainment; it’s a primal, fundamental part of who we are. We are, quite literally, hardwired for stories.

Think about it. From the earliest cave paintings depicting hunts and rituals to the grand epics passed down through generations, humanity has always relied on narrative. It’s how we make sense of the world, how we connect with each other, and how we leave our mark.

The Ancient Art of Immortality

At its core, storytelling is a form of history. It’s how we preserve the experiences, the triumphs, and the struggles of those who came before us. Before written records, oral traditions were the lifeblood of cultures, passing down knowledge, wisdom, and identity. The stories of elders became the lessons for the young, the myths explained the inexplicable, and the legends inspired courage.

But it’s more than just a historical record. Storytelling is also a profound act of immortality. When we share a story, we breathe life back into memories. We keep alive the spirit of individuals, the essence of moments, and the impact of events. A well-told story can transcend time, allowing us to feel present with people who are no longer with us, to understand perspectives different from our own, and to learn from their journeys. It’s through stories that our ancestors, our heroes, and even our ordinary lives can continue to resonate in the present and echo into the future.

Feeding the Soul

Beyond its historical and immortalizing qualities, storytelling simply feeds our souls. In a world often characterized by fleeting information and digital overload, a good story offers depth, connection, and emotional resonance.

• Connection: Stories allow us to step into someone else’s shoes, fostering empathy and understanding. They remind us that despite our differences, we share universal human experiences – love, loss, fear, hope.
• Meaning-Making: We use stories to process our own lives and the complexities of the world around us. They help us identify patterns, understand causes and effects, and find meaning in the chaos.
• Inspiration: Stories of resilience, innovation, and courage can ignite our own imaginations and empower us to pursue our dreams. They show us what’s possible.
• Escape and Joy: Sometimes, we just need to get lost in a different world. Stories offer a welcome escape, a chance to experience adventure, romance, or mystery, and to simply find joy in a well-crafted narrative.

The Power is in Your Hands (and Voice!)

So, the next time you’re drawn to a narrative, remember you’re tapping into something ancient and essential. And even more importantly, remember that you, too, are a storyteller. Your experiences, your memories, your unique perspective – they all have the power to inspire, to connect, and to offer a piece of yourself to the world.

Don’t underestimate the stories you hold. Share them. Write them down. Tell them to your children, your friends, your colleagues. Because in a world hungry for connection and meaning, every story is a gift, a tiny act of immortality, and a vital thread in the rich tapestry of human experience.

Day 253

Using another author’s style

…

The Echo Chamber vs. The Trailblazer: Finding Your Authorial Voice

The blank page stares back, a vast expanse of possibility. As writers, we stand at a familiar crossroads, a debate as old as storytelling itself: should we meticulously study and emulate the voices of those who have come before us, or forge a path entirely our own? Should we lean into the comfortable and the familiar, or strive to create a new artistic vogue?

This isn’t just an abstract literary question; it’s a fundamental one that shapes our creative journey and ultimately, the impact of our words.

The Allure of the Echo: Why Copying Feels Right (Sometimes)

Let’s be honest, there’s a powerful temptation to mimic. When we encounter an author whose prose sings, whose characters leap off the page, or whose plot twists leave us breathless, it’s natural to want to bottle that magic.

• Learning the Craft: Studying established authors is an invaluable apprenticeship. By dissecting their sentence structures, their pacing, their use of metaphor, we learn the mechanics of compelling storytelling. It’s like a musician learning scales before composing symphonies.
• Finding Your Feet: Especially when starting out, adopting a style that resonates can provide a scaffolding. It offers a sense of direction and a model to follow, reducing the paralyzing fear of the unknown.
• Connecting with an Audience: Sometimes, a familiar style taps into a pre-existing reader base. If you write in a genre with established conventions, a comfortable and predictable style can be a draw for those seeking that specific experience.

However, a life spent solely in the echo chamber risks becoming a pale imitation. The danger lies in mistaking appreciation for appropriation, and in becoming so enamored with another’s voice that we silence our own.

The Audacity of the Original: Charting Your Own Course

Conversely, the call to create something new, to be the trailblazer, is equally potent. It’s the spirit of innovation, of pushing boundaries, of leaving an indelible mark that is uniquely yours.

• Authenticity and Connection: A truly original voice resonates deeply because it’s born from genuine experience, observation, and perspective. Readers connect with authenticity; they feel a genuine spark when they encounter something that feels fresh and true to the author.
• Innovation and Evolution: Literature, like any art form, needs to evolve. New voices bring new ideas, new ways of seeing the world, and new techniques that can invigorate the literary landscape. Think of the authors who fundamentally changed how we tell stories – they weren’t afraid to deviate from the norm.
• Finding Your Unique Power: Your life experiences, your quirks, your individual way of processing the world – these are the raw materials of your unique voice. To suppress them in favor of someone else’s is to dim your own light.

The Sweet Spot: Where Familiarity Meets the New

So, where does this leave us? Is it an either/or proposition? Not necessarily. The most compelling authors often strike a delicate balance.

• Influence, Not Imitation: We are all influenced by what we read. The key is to absorb those influences, to understand why they work, and then to filter them through your own unique lens. Your voice is not built in a vacuum; it’s a tapestry woven with the threads of your experiences and the inspiration you’ve drawn from others.
• Mastering the Familiar to Subvert It: Sometimes, the most groundbreaking work arises from a deep understanding of existing conventions. By mastering the familiar, you gain the power to play with it, to bend it, and ultimately, to subvert it in exciting and unexpected ways.
• Seeking Your “Why”: Before you choose your path, ask yourself: Why am I writing this? What is the core message or feeling I want to convey? Your “why” will often guide you towards the most authentic and impactful voice, whether it’s a whisper of the familiar or a roar of the new.

The Verdict: Cultivate Your Own Garden

Ultimately, the pursuit of a unique authorial voice is not about rejecting all external influence. It’s about engaging with those influences critically, learning from them, and then, crucially, integrating them into your own distinct expression.

Don’t be afraid to experiment. Don’t be afraid to stumble. Don’t be afraid to sound a little like yourself, even if that self is still under construction. The world of literature is rich because of its diversity. It needs your echoes, yes, but more importantly, it thirsts for your original song. So, embrace the challenge, cultivate your own garden of words, and let your unique voice bloom.

Day 253

Using another author’s style

…

The Echo Chamber vs. The Trailblazer: Finding Your Authorial Voice

The blank page stares back, a vast expanse of possibility. As writers, we stand at a familiar crossroads, a debate as old as storytelling itself: should we meticulously study and emulate the voices of those who have come before us, or forge a path entirely our own? Should we lean into the comfortable and the familiar, or strive to create a new artistic vogue?

This isn’t just an abstract literary question; it’s a fundamental one that shapes our creative journey and ultimately, the impact of our words.

The Allure of the Echo: Why Copying Feels Right (Sometimes)

Let’s be honest, there’s a powerful temptation to mimic. When we encounter an author whose prose sings, whose characters leap off the page, or whose plot twists leave us breathless, it’s natural to want to bottle that magic.

• Learning the Craft: Studying established authors is an invaluable apprenticeship. By dissecting their sentence structures, their pacing, their use of metaphor, we learn the mechanics of compelling storytelling. It’s like a musician learning scales before composing symphonies.
• Finding Your Feet: Especially when starting out, adopting a style that resonates can provide a scaffolding. It offers a sense of direction and a model to follow, reducing the paralyzing fear of the unknown.
• Connecting with an Audience: Sometimes, a familiar style taps into a pre-existing reader base. If you write in a genre with established conventions, a comfortable and predictable style can be a draw for those seeking that specific experience.

However, a life spent solely in the echo chamber risks becoming a pale imitation. The danger lies in mistaking appreciation for appropriation, and in becoming so enamored with another’s voice that we silence our own.

The Audacity of the Original: Charting Your Own Course

Conversely, the call to create something new, to be the trailblazer, is equally potent. It’s the spirit of innovation, of pushing boundaries, of leaving an indelible mark that is uniquely yours.

• Authenticity and Connection: A truly original voice resonates deeply because it’s born from genuine experience, observation, and perspective. Readers connect with authenticity; they feel a genuine spark when they encounter something that feels fresh and true to the author.
• Innovation and Evolution: Literature, like any art form, needs to evolve. New voices bring new ideas, new ways of seeing the world, and new techniques that can invigorate the literary landscape. Think of the authors who fundamentally changed how we tell stories – they weren’t afraid to deviate from the norm.
• Finding Your Unique Power: Your life experiences, your quirks, your individual way of processing the world – these are the raw materials of your unique voice. To suppress them in favor of someone else’s is to dim your own light.

The Sweet Spot: Where Familiarity Meets the New

So, where does this leave us? Is it an either/or proposition? Not necessarily. The most compelling authors often strike a delicate balance.

• Influence, Not Imitation: We are all influenced by what we read. The key is to absorb those influences, to understand why they work, and then to filter them through your own unique lens. Your voice is not built in a vacuum; it’s a tapestry woven with the threads of your experiences and the inspiration you’ve drawn from others.
• Mastering the Familiar to Subvert It: Sometimes, the most groundbreaking work arises from a deep understanding of existing conventions. By mastering the familiar, you gain the power to play with it, to bend it, and ultimately, to subvert it in exciting and unexpected ways.
• Seeking Your “Why”: Before you choose your path, ask yourself: Why am I writing this? What is the core message or feeling I want to convey? Your “why” will often guide you towards the most authentic and impactful voice, whether it’s a whisper of the familiar or a roar of the new.

The Verdict: Cultivate Your Own Garden

Ultimately, the pursuit of a unique authorial voice is not about rejecting all external influence. It’s about engaging with those influences critically, learning from them, and then, crucially, integrating them into your own distinct expression.

Don’t be afraid to experiment. Don’t be afraid to stumble. Don’t be afraid to sound a little like yourself, even if that self is still under construction. The world of literature is rich because of its diversity. It needs your echoes, yes, but more importantly, it thirsts for your original song. So, embrace the challenge, cultivate your own garden of words, and let your unique voice bloom.

Day 252

Writing exercise – a short-lived romance…

…

Their love felt real, right at the moment, even though they never used the word.

Jack thought it was the day that would never happen.

Jennifer was just glad that she had finally shrugged off Damien. This thing, whatever this thing was, had become a breath of fresh air to be loved by someone unconditionally. Perhaps it was love, of a sort, but it was too soon, and she was still in aftershock.

Jack’s friends called it a rebound, and he was an easy target. Allen was even more pointed; he told his best friend she was using him.

They were sitting together at a table in the dining area at Uni, supposedly to talk over what had just happened in the previous class, or what didn’t happen, but they had caught sight of
Jennifer some distance away with a bunch of her friends, girls that Allen called mean.

So had Jack until that fateful day when she came to him and told him her relationship with Damien was over, and then she started to cry. At first, he thought they were crocodile tears, but then it seemed real.

However, as Allen had said it would, it had not developed into anything meaningful; they would just ‘hang out’ and, as much as she professed to like being with him, she still hadn’t accepted a first date invitation.

Allen, being blunt, said she was looking for something better.

Now, looking at her across the great divide, he had to agree.

“I mean, seriously. Not one date in three months. And if that girl is even remotely still heartbroken, then I’m Superman.”

Theye watched her, laughing, animated, the queen bee among her friends, no doubt at all who the leader of the pack was. It was not hard for Jack to agree with Allen; one of the more telling points was that Jack was never invited when she was out with her friends.

“Well, if nothing else, I have a wannabe superhero friend.”

“Look, if you want any further proof, go over there and put her on the spot. I’m happy to write you the script because I know exactly how that’s going to go, and you know it too. It’s time to stop thinking you have any sort of a chance with her.

Then she turned, perhaps in response to a remark that one of her friends made, and saw Jack looking over at them.

“Oops,” Allen said. “Busted.”

She turned back, and they heard laughter. Not to be paranoid, but I suspect they all thought i was chump of the month.

Then she shrugged, changed her expression, and came over.

Both of them watched her, that distinctive style she had, like she was the queen, and everyone should get out of the way.

Jack guessed in that moment, his heart broke.

A minute later, she was standing next to where Jack was sitting. A glance over at Allen, who frowned at her, then she turned back, not so much as acknowledging his presence.

“Hi to you too, Jen.” He knew she hated that name.

She then turned back. “You are a little shit, Al. I don’t know why Jack gives you the time of day.”

Jack could plainly see that it wasn’t going to work if she could not accept his friends as hers too. The reasons why this wasn’t going to work were mounting up.

“I don’t know why you’re still leading him on.”

It was like I suddenly became an extra rather that the co-lead.

She turned back to me. “Let’s go, Jack. You should really really reconsider who you hang out with.”

“I have.”

“It’s about time.” She gave me one those what I labelled ‘come hither’ looks.

“Have you ever liked me at all, Jennifer. I mean what is this we have going, because it is not a meaningfoul relationship between two people who care about each other. I care, but I think, no, I now believe, you don’t. But i get it, Jennifer, I really do.”

“What are you talking about?”

“We don;t move in the same circle. You hate my friends, and I hate yours. it’s clear you don’t want me near that mean bunch or they might just tell me a few home truths. Or do what they do so well, and that’s make my life a misery. Too later, it’s already there. You were the one ray of light, but it seems that’s been extinguished.”

“What do you mean? I’ve always liked you.”

“And that’s the point. About now, in any other meaningful relationship, you would feeling something else. “

“Is this about going on a date? Well, that’s easily fixed. I’m free now.”

“You can really see yourself living in a smalled cramped apartment with 2.4 kids and a dead end job? Because that’s where this is heading. I might, if I’m, lucky get a reasonably good paying job, but you shrug off your studies, barely scraped through the first year, and this year…” I shrugged.

Someone I didn’t know, but who seemed to have a very good idea of what Jennifer was about, had told me what they called ‘home truths’ about the girl I idolised. It seems she was not worth the effort. I guess that short conversation was also weighing on my mind.

“It’s a date, Jack, not a proposal. Are we going?”

“I can see that it’s just a chore, so no. I don’t think it would be worth the effort. For you it’s just a free lunch.”

“You think I’m that shallow?”

“No. That would require you to have some feelings. Damien said that I should not get any grandios ideas about you because you belong to him. You’ve had your respite. I have to say, though, you taught me a very valuable lesson; not to want what is unobtainable.”

“Are you breaking up with me?”

“No. That would imply we had a thing together. We’ve never had a thing, Jennifer, I just had unrealisting aspirations. This is simply leave, laughing, and saying, ‘what a chump’. But, as a parting gesture, I did you a favour. I gave the teacher in charge of acting classes where he could find the best actress he’ll ever have in his class.”

“You are breaking up with me?”

Her expression changed to one of surprise, even shock. I didn;t think she was capable of it, or this was just one of her acting moments.

I shrugged again. “Call it whatever you like. You can go now, go tell your friends the chump wised up. I want to spend some time rubbishing your friends with Allen. Bye, Jennifer.”

It was with all the courage I could muster, and with an aching pain in my heart where i was sure it had shattered into pieces. As she turned around and left, Allen gave me the ‘I told you so’ look.

“Well, I’m as surprised as she was,” Allen said, after she disappeared back into the cafeteria. “For just a second, perhaps a little less, I thought she was genuinely surprised, but then, there is nothing genuine about her. You did the right thing, Jack. Plenty more fish in the sea.”

Since we were thousands of miles from the sea, that seemed to me to be a very bad analogy.

“Not for me.”

“Look, you loved, and you lost. It least you were given the change. I’d give my right arm just to be where you are right now. Get over it, and move on.”

He was probably right.

…

©  Charles Heath  2025

Day 251

Waiting for the muse, maybe…

…

The Takeaway for All of Us

This isn’t just about writing. This philosophy applies to any creative pursuit, any skill you want to master, any goal you want to achieve.

• Show up: Consistently dedicate time to your craft, even when you don’t feel like it.
• Embrace the “awful”: Give yourself permission to create imperfect, messy first attempts. They are part of the process.
• Be present: When you’re working, truly work. Minimize distractions and engage fully.
• Trust the process: Believe that consistent, focused effort will eventually yield results, even if they’re not immediately apparent.

Stop waiting for the muse to give you permission to start. Show her you’re serious. Show her you’re committed. Show her you’re willing to put in the work, even the “boring and awful” work. That’s when she’ll finally say, “Okay, okay, I’ll come.” And that’s when your true creative journey really begins.

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What’s your experience with the “muse”? Do you wait for inspiration, or do you dive into the work regardless? Share your thoughts in the comments below!

Day 251

Waiting for the muse, maybe…

…

The Takeaway for All of Us

This isn’t just about writing. This philosophy applies to any creative pursuit, any skill you want to master, any goal you want to achieve.

• Show up: Consistently dedicate time to your craft, even when you don’t feel like it.
• Embrace the “awful”: Give yourself permission to create imperfect, messy first attempts. They are part of the process.
• Be present: When you’re working, truly work. Minimize distractions and engage fully.
• Trust the process: Believe that consistent, focused effort will eventually yield results, even if they’re not immediately apparent.

Stop waiting for the muse to give you permission to start. Show her you’re serious. Show her you’re committed. Show her you’re willing to put in the work, even the “boring and awful” work. That’s when she’ll finally say, “Okay, okay, I’ll come.” And that’s when your true creative journey really begins.

---

What’s your experience with the “muse”? Do you wait for inspiration, or do you dive into the work regardless? Share your thoughts in the comments below!

Days 249 and 250

Just how is my novel going?

…

What works, and what do you like about it?

Given that the story had been written over quite a few years, and has changed in content a few times, and the start more than once, overall the story works as I’d originally intended.

A burned spy, who was almost killed on his most recent mission, and while in recovery, is contemplating retirement, is convinced to return to the job with a job that was meant to be an easy re-entry.

Of course, it is the very reason why he was nearly killed that is the reason why this new mission is blown before it gets off the ground. Perhaps for that reason, he decided to continue, knowing the odds are stacked against him.

…

What doesn’t work, and why?

I’m not so sure I want to keep the story that revolves around the outside of the mission he is on. The mission, to protect a keynote speaker on behalf of the government, turns into a localised effort to use the host country’s lack of human rights as a springboard for an attempted coup d’état. Our protagonist, of course, does not know the keynote speaker is working in concert with the revolutionaries, which just adds to the complexity of his position.

Thus, we have corrupt politicians, evil secret police, an incorruptible police commissioner, revolutionaries, a missing leader of the rebel forces, a son of that leader with overly ambitious aims and revenge uppermost on his agenda, and a variety of bit players who are all trying to steal the show.

…

What has to stay, and is there more to the story?

At this point, I’m satisfied that everyone with a role is staying. They fit together perfectly, from the menacing to the would-be heroes. If I stick simply to the revolution and the lead-up to it, it’s fine.

…

What has to go, and what gaps may need filling?

What might need to be removed is the search for and elimination of the people who are working against the organisation, the very people who caused the protagonist to be almost fatally injured. For the boss of that organisation to use our protagonist on the promise of getting those who caused his near-death crisis doesn’t really benefit the story.

The main story itself runs to about 70,000 words, so it doesn’t need the extra tale to confuse the main story, and in the end, it might serve as a sequel.

…

Days 249 and 250

Just how is my novel going?

…

What works, and what do you like about it?

Given that the story had been written over quite a few years, and has changed in content a few times, and the start more than once, overall the story works as I’d originally intended.

A burned spy, who was almost killed on his most recent mission, and while in recovery, is contemplating retirement, is convinced to return to the job with a job that was meant to be an easy re-entry.

Of course, it is the very reason why he was nearly killed that is the reason why this new mission is blown before it gets off the ground. Perhaps for that reason, he decided to continue, knowing the odds are stacked against him.

…

What doesn’t work, and why?

I’m not so sure I want to keep the story that revolves around the outside of the mission he is on. The mission, to protect a keynote speaker on behalf of the government, turns into a localised effort to use the host country’s lack of human rights as a springboard for an attempted coup d’état. Our protagonist, of course, does not know the keynote speaker is working in concert with the revolutionaries, which just adds to the complexity of his position.

Thus, we have corrupt politicians, evil secret police, an incorruptible police commissioner, revolutionaries, a missing leader of the rebel forces, a son of that leader with overly ambitious aims and revenge uppermost on his agenda, and a variety of bit players who are all trying to steal the show.

…

What has to stay, and is there more to the story?

At this point, I’m satisfied that everyone with a role is staying. They fit together perfectly, from the menacing to the would-be heroes. If I stick simply to the revolution and the lead-up to it, it’s fine.

…

What has to go, and what gaps may need filling?

What might need to be removed is the search for and elimination of the people who are working against the organisation, the very people who caused the protagonist to be almost fatally injured. For the boss of that organisation to use our protagonist on the promise of getting those who caused his near-death crisis doesn’t really benefit the story.

The main story itself runs to about 70,000 words, so it doesn’t need the extra tale to confuse the main story, and in the end, it might serve as a sequel.

…