Day 360

5 Proven Ways to Give Your Writing Confidence a Real Boost

Whether you’re polishing a novel manuscript, drafting a blog post, or scribbling down a quick journal entry, every writer hits the “I‑don’t‑know‑if‑this‑is‑good enough” wall at some point. The good news? Confidence isn’t a mystical talent you’re either born with or not—it’s a skill you can train, just like plotting, character arcs, or SEO research. Below are five concrete strategies (backed by research and real‑world experience) that will help you shake off self‑doubt, step into your writer’s voice, and keep the words flowing.

---

1. Celebrate Small Wins – Turn “Done” Into “Done‑and‑Delicious”

Why it works:
Psychologist Dr. Barbara Fredrickson’s Broaden‑and‑Build theory tells us that positive emotions expand our mental toolkit, making us more creative and resilient. Acknowledging tiny achievements creates that positive feedback loop.

How to apply it:

Small Milestone	Celebration Idea
Finishing a paragraph	Add a sticky note to your monitor that says “Paragraph conquered!”
Hitting a word‑count target (e.g., 500 words)	Treat yourself to a 5‑minute playlist of your favorite songs
Finding the perfect metaphor	Write it on a slip of paper and tape it on your wall as a visual trophy
Receiving a kind comment on a draft	Save the comment in a “Confidence Folder” (digital or physical) for low‑energy days

Make it a habit: At the end of each writing session, jot down one thing you did well. Over weeks, you’ll have a personal “confidence bank” to draw from when you feel stuck.

---

2. Adopt a “Draft‑First, Edit‑Later” Mindset

Why it works:
Research from the University of Cambridge shows that separating the creative (draft) and analytical (edit) phases lowers perfectionism and increases output quality. When you stop judging while you write, the flow state—that sweet spot where the words seem to write themselves—is easier to achieve.

Practical steps:

1. Set a timer for a “pure draft” sprint (e.g., 20 minutes). During this window, no back‑spacing, no grammar checks, no Googling synonyms. Just write.
2. Label the document “RAW” so you consciously know you’ll revisit it later.
3. Switch gears after the sprint: take a short walk, stretch, then open the file in “Edit” mode. You’ll be surprised at how many “aha!” moments appear when you return with fresh eyes.

Result: The draft becomes a safe space for experimentation, and the later edit feels like polishing a gem rather than fixing a broken vase.

---

3. Build a “Writer’s Support Squad”

Why it works:
Social support is a massive confidence driver. According to a 2022 study in Writing Research Quarterly, writers who regularly share work with peers report 31% higher self‑efficacy (belief in their ability to succeed) than solitary writers.

Ways to create your squad:

• Join a local or virtual writing group. Platforms like Meetup, Discord, or even Facebook have genre‑specific circles.
• Find a “beta‑reader buddy.” Swap drafts with someone you trust; give each other a single, focused piece of feedback (e.g., “Did the protagonist’s motivation feel clear?”).
• Hire a professional editor for a “confidence edit.” Even a brief 30‑minute session can validate that you’re on the right track.
• Use accountability apps. Tools like Habitica or Beeminder let you set writing goals and get nudges (or gentle shame‑reminders) from friends.

Tip: Keep the feedback loop specific and positive. A phrase like “I loved how you showed the conflict through dialogue” feels far more empowering than a vague “It’s good.”

---

4. Leverage the Power of “Impostor‑Syndrome Journaling”

Why it works:
Impostor syndrome—feeling like a fraud despite evidence of competence—is rampant among writers. A 2020 meta‑analysis in Psychology of Aesthetics, Creativity, and the Arts found that journaling about these thoughts reduces their intensity by 40%.

How to journal effectively:

1. Name the feeling. Write, “I’m feeling like an impostor because…”
2. Collect evidence. List concrete achievements (publications, positive comments, word‑count milestones).
3. Reframe. Turn “I’m not good enough” into “I’m still learning, and that’s okay.”
4. Set a “next‑step” goal. E.g., “Read one article on pacing this week.”

Do this once a week, preferably after a writing session. Over time, the journal becomes a personal truth‑checker that reminds you of your progress whenever doubt creeps in.

---

5. Practice “Micro‑Storytelling” to Warm Up Your Voice

Why it works:
Micro‑storytelling (flash fiction ≤ 300 words, Instagram captions, or even 6‑sentence anecdotes) forces you to distill ideas quickly, sharpening your narrative instincts and giving you immediate, tangible proof of skill.

Kick‑start ideas:

Prompt	Word Limit	Goal
“The last word you ever typed”	150	Capture tension in a single scene
“A coffee shop conversation that changes everything”	200	Practice dialogue
“A piece of advice you’d give to your younger self”	250	Tap into voice & authenticity
“Rewrite a classic fairy tale in 3 sentences”	100	Hone brevity & wit

Routine: Spend the first 10 minutes of every writing day on a micro‑story. When you finish, you have a finished piece to share, post, or shelve—instant confidence.

---

Putting It All Together: A 7‑Day Confidence Sprint

Day	Focus	Action
1	Celebrate Wins	Write 3 bullet‑point win notes after your session.
2	Draft‑First	20‑minute sprint + “RAW” label.
3	Squad Up	Post a snippet in your writing group, ask for one specific comment.
4	Impostor Journal	Follow the 4‑step journaling template.
5	Micro‑Story	Complete a flash‑fiction piece (≤200 words).
6	Edit Session	Revisit Day 2’s draft with fresh eyes.
7	Review & Reward	Compile all win notes, journal entries, and micro‑stories. Celebrate with a treat or a leisure activity.

At the end of the week, you’ll have a portfolio of proof—a tangible collection that demonstrates progress, skill, and resilience. And more importantly, you’ll have rewired your brain to associate writing with positive outcomes rather than fear.

---

Final Thought: Confidence Is a Muscle, Not a Magic Spell

Every writer—whether a debut novelist, a seasoned journalist, or a hobbyist blogger—needs a reliable toolbox for moments of doubt. The strategies above are evidence‑based, low‑cost, and adaptable to any schedule or genre. Try one or mix several, track what resonates, and watch your inner critic shrink while your creative voice grows louder.

Ready to boost your confidence? Grab a notebook, pick the first tip, and start today. Your future self (and your readers) will thank you.

Day 359

The Unwritten Prologue: How Natural-Born Writers Knew Their Story Begun

Every great writer’s journey has a beginning, often buried in the imagination long before they held a pencil. These are the natural-born writers—those who were storytellers at their core before they could write a single word. They didn’t wait for spelling lessons or grammar rules; their stories flowed in the language of play, whispers of narrative, and the cadence of their own dreams. How did they know, and how did they craft their art without ink or paper? Let’s explore the enchanted first chapters of these visionary creators.

---

The Pre-Writing Stage: Stories Before Writing

Long before literacy, natural writers are oral storytellers. They might have been the child inventing tales for stuffed animals, reenacting myths with wooden swords, or narrating their day to an invisible audience. Their imagination is a stage, and the world their audience. Even without words, they convey emotion through sound, gesture, and rhythm. Think of a toddler saying, “She took the cookie and ran like a princess” to a doll. That’s not just play—it’s storytelling in its rawest form.

Similarly, a love for language often emerges early. These writers-in-the-making are the ones “reading” picture books repeatedly, experimenting with invented words, or collecting poetry in their minds. They’re attuned to the music of language, humming stories to themselves before they can write them.

---

Signs of a Natural-Born Writer

1. Compulsive Storytelling: They create worlds in play, crafting elaborate scenarios with toys or friends.
2. Early Fascination with Letters and Sounds: They recognize letters before starting school, perhaps scribbling “I don’t know what this letter is, but it’s magic!”
3. Imaginative Interpretations of Reality: They reimagine everyday events as adventures, turning a walk to the park into a quest.
4. Emotional Resonance with Stories: They weep for characters in bedtime tales, proving they deeply connect with narrative.

---

From Oral to Written: How They Paved the Way

Natural-born writers often transition from oral to written storytelling with relentless curiosity. J.K. Rowling, for instance, has spoken about inventing stories as a child to amuse herself and her brother. Dr. Seuss’s rhymes as a child (and his iconic use of sound) hint at a writer born not just to write, but to make language sing.

Before formal training, these writers might:

• Tell stories to family, refining their tales through feedback.
• Use drawings or symbols, creating “books” with pictures and cryptic text.
• Mime scenes, acting out dialogue as their own script.
• Memorize and adapt fables, internalizing the structure of storytelling.

Even without words, they’re practicing the essence of writing: character, conflict, and craft. As Maya Angelou once said, “The writer’s biggest problem is always, to say something; to say it fresh; to say it in a way that it’s never been said before.” Natural writers are solving this puzzle long before they put pen to paper.

---

Case Study: Tolkien and the Power of Myth

J.R.R. Tolkien’s passion for languages and mythology began in childhood. Before he wrote The Hobbit, he crafted his own languages and sagas, scribbling in notebooks with imagined alphabets. His parents called him “a reader and a teller of tales from a very early age.” Without the ability to write fully, he likely told stories orally, nurturing the mythologies that later defined modern fantasy.

---

The Legacy of the Unwritten

Natural-born writers learn that storytelling is a muscle—grow it before you can spell narrative. Their journey teaches us that being a writer isn’t about talent alone, but about telling the story that only you can tell, regardless of tools. A child speaking to a toy, a teen journaling in code, or an adult crafting tales in their head—these are all valid forms of the writer’s craft.

---

To the Young (and Young at Heart) Writers

If you’ve ever built a castle in the clouds or whispered secrets to your teddy bear, embrace it. You are already a writer. Your letters may not be formed, your grammar unlearned, but your voice is real. As you grow, let those early stories guide you. The greats started with nothing more than a dream and a desire to share it.

So, tell your tale. Even if it’s just to the moon. Even if it’s all in your head. You’re already writing.

---

What story do you carry in your heart before it’s written down? Let it out. The world needs to hear it.

Day 359

The Unwritten Prologue: How Natural-Born Writers Knew Their Story Begun

Every great writer’s journey has a beginning, often buried in the imagination long before they held a pencil. These are the natural-born writers—those who were storytellers at their core before they could write a single word. They didn’t wait for spelling lessons or grammar rules; their stories flowed in the language of play, whispers of narrative, and the cadence of their own dreams. How did they know, and how did they craft their art without ink or paper? Let’s explore the enchanted first chapters of these visionary creators.

---

The Pre-Writing Stage: Stories Before Writing

Long before literacy, natural writers are oral storytellers. They might have been the child inventing tales for stuffed animals, reenacting myths with wooden swords, or narrating their day to an invisible audience. Their imagination is a stage, and the world their audience. Even without words, they convey emotion through sound, gesture, and rhythm. Think of a toddler saying, “She took the cookie and ran like a princess” to a doll. That’s not just play—it’s storytelling in its rawest form.

Similarly, a love for language often emerges early. These writers-in-the-making are the ones “reading” picture books repeatedly, experimenting with invented words, or collecting poetry in their minds. They’re attuned to the music of language, humming stories to themselves before they can write them.

---

Signs of a Natural-Born Writer

1. Compulsive Storytelling: They create worlds in play, crafting elaborate scenarios with toys or friends.
2. Early Fascination with Letters and Sounds: They recognize letters before starting school, perhaps scribbling “I don’t know what this letter is, but it’s magic!”
3. Imaginative Interpretations of Reality: They reimagine everyday events as adventures, turning a walk to the park into a quest.
4. Emotional Resonance with Stories: They weep for characters in bedtime tales, proving they deeply connect with narrative.

---

From Oral to Written: How They Paved the Way

Natural-born writers often transition from oral to written storytelling with relentless curiosity. J.K. Rowling, for instance, has spoken about inventing stories as a child to amuse herself and her brother. Dr. Seuss’s rhymes as a child (and his iconic use of sound) hint at a writer born not just to write, but to make language sing.

Before formal training, these writers might:

• Tell stories to family, refining their tales through feedback.
• Use drawings or symbols, creating “books” with pictures and cryptic text.
• Mime scenes, acting out dialogue as their own script.
• Memorize and adapt fables, internalizing the structure of storytelling.

Even without words, they’re practicing the essence of writing: character, conflict, and craft. As Maya Angelou once said, “The writer’s biggest problem is always, to say something; to say it fresh; to say it in a way that it’s never been said before.” Natural writers are solving this puzzle long before they put pen to paper.

---

Case Study: Tolkien and the Power of Myth

J.R.R. Tolkien’s passion for languages and mythology began in childhood. Before he wrote The Hobbit, he crafted his own languages and sagas, scribbling in notebooks with imagined alphabets. His parents called him “a reader and a teller of tales from a very early age.” Without the ability to write fully, he likely told stories orally, nurturing the mythologies that later defined modern fantasy.

---

The Legacy of the Unwritten

Natural-born writers learn that storytelling is a muscle—grow it before you can spell narrative. Their journey teaches us that being a writer isn’t about talent alone, but about telling the story that only you can tell, regardless of tools. A child speaking to a toy, a teen journaling in code, or an adult crafting tales in their head—these are all valid forms of the writer’s craft.

---

To the Young (and Young at Heart) Writers

If you’ve ever built a castle in the clouds or whispered secrets to your teddy bear, embrace it. You are already a writer. Your letters may not be formed, your grammar unlearned, but your voice is real. As you grow, let those early stories guide you. The greats started with nothing more than a dream and a desire to share it.

So, tell your tale. Even if it’s just to the moon. Even if it’s all in your head. You’re already writing.

---

What story do you carry in your heart before it’s written down? Let it out. The world needs to hear it.

Day 358

The Doyen of Noir: What Raymond Chandler’s Life, Style, and Philip Marlowe Teach Us About Storytelling

When you think of classic American crime fiction, the name that instantly flickers to mind is Raymond Chandler – the heavyweight champion of hard‑boiled noir whose razor‑sharp prose still feels fresh after more than eighty years. Chandler didn’t just write detective stories; he invented a literary atmosphere that turned a gritty, rain‑slick Los Angeles into a character in its own right and gave us the unforgettable gumshoe Philip Marlowe.

But behind the sleek dialogues and smoky tavern scenes lay a life riddled with missteps, self‑destruction, and surprising twists. By digging into Chandler’s history, his flaws, and his unmistakable style, we can extract timeless lessons for writers, marketers, and anyone who wants to make an impact with words.

---

1. A Rocky Road to the Pen

Milestone	What Happened	Why It Matters
Early Years (1888‑1912)	Born in Chicago, moved to Colorado, a peripatetic childhood. Lost his mother at 12 and was sent to live with relatives in England.	Early displacement instilled a sense of alienation that later seeped into his urban landscapes.
Oil‑Field Engineer (1912‑1932)	Spent two decades drilling in Texas and Mexico, clashing with corporate bureaucracy and the harsh desert.	The “outsider‑against‑system” mindset is a core theme in his novels.
World War I Service	Served in the U.S. Army, briefly, then returned to the oil business.	Experience with hierarchy and authority fed his skepticism of power.
The Downward Spiral (1932‑1934)	The Great Depression wrecked the oil market; Chandler’s marriage collapsed. He turned to alcohol, gambling, and a series of odd jobs.	The personal chaos sharpened his eye for the darker side of human nature—fuel for the noir aesthetic.
Breakthrough with The Big Sleep (1939)	At 49, Chandler finally published his first novel, introducing Marlowe.	Proved it’s never too late to start a successful second career.

Takeaway: Chandler’s path to literary fame wasn’t a straight line. It was a series of failures, relocations, and personal battles that forced him to confront his own darkness. For creators, this teaches that authentic storytelling often springs from lived adversity—the harder the journey, the richer the material.

---

2. The Signature Chandler Style

a. The “Hard‑Boiled” Voice

• Economy of Language: Chandler favoured short, punchy sentences that carried weight.
  Example: “She was a cheap, cheap girl, and the cheapness rubbed off on the rest of us.”
• Wry Similes & Metaphors: He turned ordinary observations into unforgettable images.
  Example: “He looked as if he’d been run over by a train and then dragged through a sandstorm.”
• Moral Ambiguity: The lines between good and evil are blurred; even the hero has flaws.

b. Los Angeles as a Character

• Concrete Details: From neon signs to desert highways, Chandler painted the city with a painter’s precision.
• Atmospheric Consistency: Rain, fog, and darkness aren’t just weather—they’re mood setters that echo the protagonist’s inner turmoil.

c. Dialogue That Cuts

• Witty Banter: Conversations feel like chess matches—each line a strategic move.
• Understatement: Frequently, what isn’t said speaks louder than the spoken word.

Takeaway: Chandler’s style is a masterclass in restraint. He shows us that brevity, vivid imagery, and a strong sense of place can create a world that feels larger than the sum of its pages.

---

3. Philip Marlowe: The Archetype That Still Resonates

Trait	How Chandler Crafted It	Modern Echo
World‑Weary Cynic	Marlowe narrates with a mix of sarcasm and weary empathy.	Anti‑heroes in film/TV (e.g., Breaking Bad, The Wire).
Moral Compass	Despite his jaded outlook, Marlowe adheres to an internal code of honor.	Brands that position themselves as “honest rebels” (e.g., Patagonia).
Lone Wolf	He operates alone, skeptical of institutions.	Freelance creatives, solopreneurs, and “maker” culture.
Sharp Observational Skills	He notices the smallest details—a stray cigarette, a shaky handshake.	Data‑driven marketers who derive insight from micro‑behaviors.

Marlowe’s lasting appeal lies in his human contradictions: tough yet tender, cynical yet idealistic. He’s a reminder that complex, flawed protagonists are far more compelling than flawless heroes.

---

4. What We Can Learn From Chandler’s Legacy

1. Embrace Your “Not‑So‑Great” Past

• Your setbacks are a goldmine for narrative tension. Chandler turned his own bitterness into a voice that resonated with millions.
• Practical tip: Keep a “failure journal.” Record moments that felt humiliating or painful; later, mine them for raw material.

2. Cultivate a Distinct Atmosphere

• Whether you’re writing a novel or drafting a brand story, the setting is a silent storyteller.
• Practical tip: Before writing, create a sensory map: list five smells, three sounds, and two visual motifs that define your world.

3. Write With the Economy of a Detective’s Pistol

• Every word should earn its place. Trim the fluff, sharpen the similes, and let subtext do the heavy lifting.
• Exercise: Take a paragraph you love and rewrite it using 30% fewer words without losing meaning.

4. Give Your Hero a Moral Compass, Even If It’s Bent

• Audiences crave characters who stand for something, even if that something is a personal code that defies society.
• Implementation: Define your protagonist’s “one rule they’ll never break” and let it guide every decision.

5. Let Dialogue Do the Detective Work

• Bad dialogue is a dead giveaway of lazy writing. Let characters reveal plot, personality, and tension through how they speak—not just what they say.
• Practice: Write a scene where two characters talk about a crime without mentioning the word “crime” at all.

---

5. Bringing It All Home: Your Own Noir Blueprint

Step	Action	Outcome
1. Harvest Personal Grit	List three moments of personal failure.	Source of authentic conflict.
2. Choose a “City”	Identify a physical or metaphorical setting that mirrors your theme.	Creates immersive atmosphere.
3. Define the Hero’s Code	Write a one‑sentence creed for your protagonist.	Anchors moral ambiguity.
4. Draft with a “Marlowe Lens”	Write every scene as if you’re a detective observing details.	Boosts vividness and tension.
5. Polish for Punch	Cut words, sharpen similes, test dialogue for subtext.	Delivers Chandler‑style impact.

---

Final Thoughts

Raymond Chandler’s journey from oil‑field engineer to the reigning monarch of noir proves that a writer’s personal turbulence can become a powerhouse of creativity. His blend of hard‑boiled prose, atmospheric detail, and a morally complex hero continues to shape everything from modern crime thrillers to brand narratives that crave authenticity.

If you can channel Chandler’s willingness to stare into his own darkness, harness it into a distinctive voice, and give your audience a world they can see, smell, and feel, you’ll not just write a story—you’ll craft an experience that endures.

Take a page from the master: own your scars, paint your city, and let your protagonist walk the line between the shadows and the light. The result? A story that, like Chandler’s, never truly fades.

Day 358

The Doyen of Noir: What Raymond Chandler’s Life, Style, and Philip Marlowe Teach Us About Storytelling

When you think of classic American crime fiction, the name that instantly flickers to mind is Raymond Chandler – the heavyweight champion of hard‑boiled noir whose razor‑sharp prose still feels fresh after more than eighty years. Chandler didn’t just write detective stories; he invented a literary atmosphere that turned a gritty, rain‑slick Los Angeles into a character in its own right and gave us the unforgettable gumshoe Philip Marlowe.

But behind the sleek dialogues and smoky tavern scenes lay a life riddled with missteps, self‑destruction, and surprising twists. By digging into Chandler’s history, his flaws, and his unmistakable style, we can extract timeless lessons for writers, marketers, and anyone who wants to make an impact with words.

---

1. A Rocky Road to the Pen

Milestone	What Happened	Why It Matters
Early Years (1888‑1912)	Born in Chicago, moved to Colorado, a peripatetic childhood. Lost his mother at 12 and was sent to live with relatives in England.	Early displacement instilled a sense of alienation that later seeped into his urban landscapes.
Oil‑Field Engineer (1912‑1932)	Spent two decades drilling in Texas and Mexico, clashing with corporate bureaucracy and the harsh desert.	The “outsider‑against‑system” mindset is a core theme in his novels.
World War I Service	Served in the U.S. Army, briefly, then returned to the oil business.	Experience with hierarchy and authority fed his skepticism of power.
The Downward Spiral (1932‑1934)	The Great Depression wrecked the oil market; Chandler’s marriage collapsed. He turned to alcohol, gambling, and a series of odd jobs.	The personal chaos sharpened his eye for the darker side of human nature—fuel for the noir aesthetic.
Breakthrough with The Big Sleep (1939)	At 49, Chandler finally published his first novel, introducing Marlowe.	Proved it’s never too late to start a successful second career.

Takeaway: Chandler’s path to literary fame wasn’t a straight line. It was a series of failures, relocations, and personal battles that forced him to confront his own darkness. For creators, this teaches that authentic storytelling often springs from lived adversity—the harder the journey, the richer the material.

---

2. The Signature Chandler Style

a. The “Hard‑Boiled” Voice

• Economy of Language: Chandler favoured short, punchy sentences that carried weight.
  Example: “She was a cheap, cheap girl, and the cheapness rubbed off on the rest of us.”
• Wry Similes & Metaphors: He turned ordinary observations into unforgettable images.
  Example: “He looked as if he’d been run over by a train and then dragged through a sandstorm.”
• Moral Ambiguity: The lines between good and evil are blurred; even the hero has flaws.

b. Los Angeles as a Character

• Concrete Details: From neon signs to desert highways, Chandler painted the city with a painter’s precision.
• Atmospheric Consistency: Rain, fog, and darkness aren’t just weather—they’re mood setters that echo the protagonist’s inner turmoil.

c. Dialogue That Cuts

• Witty Banter: Conversations feel like chess matches—each line a strategic move.
• Understatement: Frequently, what isn’t said speaks louder than the spoken word.

Takeaway: Chandler’s style is a masterclass in restraint. He shows us that brevity, vivid imagery, and a strong sense of place can create a world that feels larger than the sum of its pages.

---

3. Philip Marlowe: The Archetype That Still Resonates

Trait	How Chandler Crafted It	Modern Echo
World‑Weary Cynic	Marlowe narrates with a mix of sarcasm and weary empathy.	Anti‑heroes in film/TV (e.g., Breaking Bad, The Wire).
Moral Compass	Despite his jaded outlook, Marlowe adheres to an internal code of honor.	Brands that position themselves as “honest rebels” (e.g., Patagonia).
Lone Wolf	He operates alone, skeptical of institutions.	Freelance creatives, solopreneurs, and “maker” culture.
Sharp Observational Skills	He notices the smallest details—a stray cigarette, a shaky handshake.	Data‑driven marketers who derive insight from micro‑behaviors.

Marlowe’s lasting appeal lies in his human contradictions: tough yet tender, cynical yet idealistic. He’s a reminder that complex, flawed protagonists are far more compelling than flawless heroes.

---

4. What We Can Learn From Chandler’s Legacy

1. Embrace Your “Not‑So‑Great” Past

• Your setbacks are a goldmine for narrative tension. Chandler turned his own bitterness into a voice that resonated with millions.
• Practical tip: Keep a “failure journal.” Record moments that felt humiliating or painful; later, mine them for raw material.

2. Cultivate a Distinct Atmosphere

• Whether you’re writing a novel or drafting a brand story, the setting is a silent storyteller.
• Practical tip: Before writing, create a sensory map: list five smells, three sounds, and two visual motifs that define your world.

3. Write With the Economy of a Detective’s Pistol

• Every word should earn its place. Trim the fluff, sharpen the similes, and let subtext do the heavy lifting.
• Exercise: Take a paragraph you love and rewrite it using 30% fewer words without losing meaning.

4. Give Your Hero a Moral Compass, Even If It’s Bent

• Audiences crave characters who stand for something, even if that something is a personal code that defies society.
• Implementation: Define your protagonist’s “one rule they’ll never break” and let it guide every decision.

5. Let Dialogue Do the Detective Work

• Bad dialogue is a dead giveaway of lazy writing. Let characters reveal plot, personality, and tension through how they speak—not just what they say.
• Practice: Write a scene where two characters talk about a crime without mentioning the word “crime” at all.

---

5. Bringing It All Home: Your Own Noir Blueprint

Step	Action	Outcome
1. Harvest Personal Grit	List three moments of personal failure.	Source of authentic conflict.
2. Choose a “City”	Identify a physical or metaphorical setting that mirrors your theme.	Creates immersive atmosphere.
3. Define the Hero’s Code	Write a one‑sentence creed for your protagonist.	Anchors moral ambiguity.
4. Draft with a “Marlowe Lens”	Write every scene as if you’re a detective observing details.	Boosts vividness and tension.
5. Polish for Punch	Cut words, sharpen similes, test dialogue for subtext.	Delivers Chandler‑style impact.

---

Final Thoughts

Raymond Chandler’s journey from oil‑field engineer to the reigning monarch of noir proves that a writer’s personal turbulence can become a powerhouse of creativity. His blend of hard‑boiled prose, atmospheric detail, and a morally complex hero continues to shape everything from modern crime thrillers to brand narratives that crave authenticity.

If you can channel Chandler’s willingness to stare into his own darkness, harness it into a distinctive voice, and give your audience a world they can see, smell, and feel, you’ll not just write a story—you’ll craft an experience that endures.

Take a page from the master: own your scars, paint your city, and let your protagonist walk the line between the shadows and the light. The result? A story that, like Chandler’s, never truly fades.

Day 357

Writing exercise

He didn’t mind his job; it was all the work that bothered him.

…

The view from the balcony took in a large slice of the Mediterranean, the cloudless sky blue, the near calm ocean blue and the breeze refreshing.

“Your five minutes are up,” the voice from inside the room broke my reverie, that idea that life would be amazing, right here, if I were a multi-millionaire without a care in the world.

The voice belonged to Sonya, one of the undersecretaries of the actual multi-millionaire that we both worked for.

“This event isn’t going to plan itself.”

I shrugged.  She was right.  She flew into Nice the previous afternoon, and I arrived this morning.  The event was in two days on the yacht, which was arriving at Antibes sometime early tomorrow.

Neither of us was going to get any sleep tonight.

I poked my head in the door and looked at her.  Ready to jump into the sea, except that was never going to happen.  The closest either of us would see water was the hotel swimming pool.

If we were lucky.

“How can it possibly be that I have visited this place seven times, and this five minutes is the longest time I’ve had to stare at the water?”

“It’s the job.  We didn’t sign up for Sun and fun, Harry.  It will happen, one day.  Maybe.  Now, where did you say the Benjamins are?”

…

I knew when I took on the role of Events Manager, it was going to be hard work.  Seven months after the boss fired the last manager over a missed detail, he simply pointed at me and said, “Do a better job of it, Masters, or else.”

I didn’t ask what the or else was.

And I hadn’t made a mess of it yet.

That was largely because of Sonya, and the truth was she was better at it than me, and she should have the job. 

Heading to Antibes and the international dock for private yachts, we arrived just as it was tying up and about to lower the gangway.  The yacht had just arrived from Marseilles, where some engine repairs were effected.

God help anyone if the engines failed while the party raged as we slowly moved through the Mediterranean waters, out and back over the course of four hours.

The boss’s daughter was having her 21st birthday party.  It had to be perfect, and would be, if her current so-called boyfriend didn’t turn up.  He was on the list and not expected.  Skiing with his friends was more important.

“What’s the latest on Bozo?”  Sonya refused to call him anything else, not after he tried to schmooze her.  I wanted to hit him.  She said not to make a scene.

It was, she said, just another day in paradise.

“Hopefully, he’ll stay in St Moritz.  Mel extended an invitation, and he didn’t reply.  She’s not happy.”

“That makes one of us.”

“I’ll sort him if you want me to.”

She shook her head.  “He’s not worth it.”

The second officer came down the gangway to greet us. 

“Giles.”

“Harry, Sonya.  Shouldn’t you two be tucked up in bed?”

I’m not sure the inference was that we should be together.  We had made sure at all times our relationship was purely business.

There was no time for anything else.

“We never sleep,” Sonya said.  “I take it we are all shipshape and Bristol fashion, even if I don’t know what that means.”

“Scrubbed from top to bottom.  The house staff have prepared the staterooms and your quarters.  If you’d like a quick inspection…”

Silly question.  If there was a problem, I wanted to know before it became a bigger problem.

…

People look at those super yachts, the yachts that look like small ocean liners and gasp in awesome, thinking how lovely it would be to travel on one.

Sorry, not all it’s cracked up to be, if you’re not the owner or a guest.

After two hours sleep, if it could be called that, I had to front the ship’s staff, dressed in their proper work clothes for an inspection, and then a run down of the program, starting with getting the guests aboard, attending to the selection few who would staying after the party, to the phases of the event, catering, drinks, speeches, dancing, and post party wind down.

Every minute for the 24 hours was planned, with contingencies for every conceivable disaster.

That took four hours.  Then I was off to the airport to greet the boss, his third wife, and two daughters by his first wife on his private jet. 

The same jet Sonya and I, and a half dozen personnel for the yacht arrived three days ago.

They could be called perks if we got to enjoy the moment.  Well, maybe for a minute or two.

Three Rolls-Royce cars were waiting on the dock, having arrived from the mansion in Monaco, overlooking the sea with its own private beach.

Each of the houses in England, France, Austria and Monaco had its own staff and transport.  I was still negotiating with the various governments to build landing strips for the jet.  It wasn’t going well.

“You know that this is going to be like a three-ring circus.”

Jacob, the chauffeur, and a man with a warped sense of humour waited this time until I closed the door before driving off.

“You know something I don’t?”

“Henry said Mel exploded when Bozo said he wasn’t coming.  She asked Daddy to put a fire under him, and he said she could do better and stop wasting her time.”

Henry was the English chauffeur.  It was not secret Daddy was done with Bozo.  He wanted her to make something of herself, she wanted to party and spend her allowance. 

I felt sorry for the new wife, barely older than Mel, and having to put up with both daughters’ contempt for their father’s choice.  And the tabloids that called her a gold digger.

Who would want to be rich and infamous?

“So, we’re expecting the sulks from Mel, sarcasm from Billie, tears from the wife, and bad temper from the boss.”

“And that will be a good day.”  He looked at me with a wry grin.  “Just like herding sheep, boyo.  I’m glad I’m just the chauffeur.”

…

I was standing at the bottom of the steps waiting for the Chief Secretary, who always travelled with the boss.  She would come put first and wait with me.  I was there simply because the boss asked me.

Sometimes he summoned me aboard.  Not today.

The main hostess, yes, he insisted on that title, appeared at the top of the stairs, then the wife, the two daughters, then the boss.

No one spoke.

The boss and the secretary took the first car, the wife and the eldest daughter Billie, took the second, I got Mel.  The seating arrangements hit my cell phone before the jet’s door opened.

It left me wondering why I drew the short straw.

Mel stood by the car, not far from the driver, ready to open the door.  The pilots came down and told me they were to wait until further orders.  It explained the fourth car, which had just arrived.

They would be staying near Nice airport.

Mel was waiting for me, showing no inclination to be on her way or upset that she was stuck with me.  It wasn’t the first time I had to make sure she did as she was told.

“How did you draw the short straw?”

“The age-old trick, all the straws were short.  You are not happy, are you, Melanie?”

“You should be calling me Miss Albright, Harry.”

“Perhaps if you were a stuck-up bitch, Mel, but you’re not.”

“I could have you fired.”

“Please.  Then I might actually get to sleep longer than two hours.”  I nodded to the chauffeur and he opened the door.  “Get in, and whinge away.  I’m all ears.”

She glared at me, and I braced for an incoming salvo.  She shrugged.  “What’s the point, you’re just Daddy’s puppet.”

“Wow.  And here me thinking the strings were invisible.”

A half smile.  Good enough.

We drove for ten minutes.  She stared out the window, reflecting back at me, a furrowed brow.

“Daddy is unreasonable.”

Was I supposed to agree, or say something deep and meaningful?  Like any conversation with a woman, I couldn’t see the land mines I was about to step on.

“How?”

“He expects me to find a nice boy.  There are none.”

“Change where you’re looking.”

She looked at me.  “What’s that supposed to mean?”

“If you look in a dumpster, all you will find is trash.  Most, but not all, nightclubs are not the places to find a prospective boyfriend.  So, putting that aside for the moment, my mother, whom I always considered the fountain of wisdom, once said that you had to find someone with whom you could be friends first, hang out, talk, do stuff, but no passion or sex, or worst of all, have expectations.”

“That’s impossible.  You know what guys are like?”

“A lot of them, yes, but you’ll know when you find the right one.  That’s all the advice I can give you.”

“Is that how it is with you and Sonya?”

My turn to glare at her.  “No.  We work together.  You know as well as I do that type of relationship between employees is verboten.”

“But you like her.”

“I like everybody.”

“Even my sister?”

Now she was just playing games.  “She is an acquired taste, but even her.  Do you want me to throw Bozo overboard if he comes?”

Another half smile.  It was a calculated risk calling him Bozo. 

“No.  I can do that.  You just arrange for some sharks to be waiting for him when he hits the water.”

“As you wish, Miss Albright.”

…

Sonya was waiting for me in the small conference room, the table covered in paperwork.  It was clear her superior had dumped everything on her and gone up for drinks with the boss.

I had just delivered the prodigal daughter.

“Mel’s onto us.”

“What?”

“She thinks we’re having a fling.”

“When?  We barely have time to breathe.”

“That’s what I told her.  Has anything changed?”  Lots of paper meant trouble.

“A few more guests.  Bozo’s coming.  Wants to be picked up at the airport.  He actually thought we’d send the jet for him.  You want to tell Melanie?”

“Let it be a surprise.  Should I go up, see what’s going on?”

“Not unless you’re a glutton for punishment.”

My cell phone buzzed.  Message from the boss.

“Too late.  I’ve been summoned.  Please tell me everything is in order.”

“Until it isn’t, but as of now, it is.”

I took a deep breath and headed upstairs, through the main lounge and out onto the promenade deck, where a dozen people were gathered, wait staff mingling with drinks and canapes.  Dinner would be served later.

The boss was talking to several friends, their wives ensconced, unwillingly with the new Mrs Albright, perhaps disappointed with his choice but making the best of it. Billie was with her current boyfriend, a tech billionaire, maybe; no one was sure what he did, and Mel was gazing out over the dock at the other, smaller boats.

Or not.

Mrs Albright excused herself and came over.  I did not presume to move from the entrance to the deck until summoned.

“Harry.”

She was softly spoken and well-mannered.  She knew she was in the middle of a minefield, not of her choosing, but always keeping her composure.

I had no idea how she managed.

“Mrs Albright.”

“Cecelia, Harry.  We are past the formal stage now..”

I had given her the spiel on protocol expected from the employees, and such familiarity was frowned upon.

“If only.  What can I do for you?”

“Melanie?  She was upset coming over. Is she alright?”

We both looked at her, staring at nothing in particular.

“Just the usual rich girl blues.  I’m sure she’ll grow out of it, eventually.  How are you faring on the good ship lollipop?”

A frown, then a half smile.  We had an understanding, or maybe that was I had an understanding, she only understood sometimes.

“I want to say it’s all new and exciting, but…”

“The old guard is making noises.”

“Not today mention our old friends in the press gallery.”

“Tomorrow the Royal Family will screw up, and bingo, you are no longer front page news.  They’ll get over it.  And you will too.   The only two people who matter are you and the boss.  Everything else is just while noise.”

“Stay for a drink?” A waiter hovered with a tray of champagne.  The real stuff.

“I’d love to, but I have to solve the mystery of the missing beetroots before tomorrow comes and the salads are ruined.”

“The mystery of the missing beetroot, eh?”

“Never a dull moment down on the ordinary deck, Mrs Albright.  Never a dull moment.”

…

I was wandering the decks at 2am after seeing the guests off the ship and into their cars, and the guests staying aboard safely to their cabins, then got a bite to eat in the crew dining room.

A ca4 pulled up at the end of the gangway, and a figure got out, and all but ran in the gangway, where on deck he came up against the bosun acting as guard.

I arrived just as he asked for ID.  He had a list, and if you were not on the list, you were back on shore.

It was Bozo.

That was the fastest I’d ever seen anyone get from St Moritz to Antibes ever.

“Boris.  You’re early.”

The bosun was still looking at his list.

“Harry.  I assume Melanie is on board?”

“She is.”

The bosun sighed.  Perhaps we were hoping Bozo’s name wasn’t on the list, and he could have the pleasure of throwing him overboard.

I know I wanted to.

“His name is on the list.”

“Good.”  He started to head into the cabin when the bosun grabbed his arm. 

“You ain’t going anywhere without an escort.”

“Good heavens, man, I’m not a spy.  Harry?”

“I’ll take him.”  Scruffy and entitled.  I so wanted to throw him overboard.  “Follow me.”

I took him up to the stateroom deck and to Melanie’s cabin.  When I knocked on the door, I stood back and left Boris on the frame.

When she opened the door, she gasped, the slapped him across the face.  It was hard enough to make me wince.

“What was that for?”

“Being an arse.”  She stepped aside, and he went in and closed the door behind him.

Job done.

…

Of course, if only things ran smoothly.  But the best laid plans of mice and men never did.

5:47 am, I woke to a scream.  It took three minutes to reach the stateroom deck and the origin of the scream.

Mel’s stateroom.

The door was open, and Mel was outside.  She was distraught.

As well as being covered in blood, and a rather nasty knife in one hand.

A glimpse inside her room.  Bozo was equally covered in blood, and at a guess, dead.  Mrs Albright was checking, looking out at us and shaking her head.

I looked at Mel.  It was not the face of a murderer.  She was ashen.

“I didn’t do it.  I didn’t do anything.  He was alive when I went down to the galley to get some more champagne.  When I got back, he was on the floor, the knife sticking out of his chest.  I thought I pulled it out.”

The boss arrived.  “Lawyers and police, in that order.”

I didn’t think it was the right time to ask if the birthday party was off.

Then, suddenly, Melanie fainted.

“Revise that order, Doctor, then lawyers, then police.”  To me, he said, “Rouse everyone.  I want to know where they were during the last half hour.  And where was the guard at the gangway?”

So much for getting to bed.

At least now I would get to run my own murder investigation.

…

©  Charles Heath  2025

Day 357

Writing exercise

He didn’t mind his job; it was all the work that bothered him.

…

The view from the balcony took in a large slice of the Mediterranean, the cloudless sky blue, the near calm ocean blue and the breeze refreshing.

“Your five minutes are up,” the voice from inside the room broke my reverie, that idea that life would be amazing, right here, if I were a multi-millionaire without a care in the world.

The voice belonged to Sonya, one of the undersecretaries of the actual multi-millionaire that we both worked for.

“This event isn’t going to plan itself.”

I shrugged.  She was right.  She flew into Nice the previous afternoon, and I arrived this morning.  The event was in two days on the yacht, which was arriving at Antibes sometime early tomorrow.

Neither of us was going to get any sleep tonight.

I poked my head in the door and looked at her.  Ready to jump into the sea, except that was never going to happen.  The closest either of us would see water was the hotel swimming pool.

If we were lucky.

“How can it possibly be that I have visited this place seven times, and this five minutes is the longest time I’ve had to stare at the water?”

“It’s the job.  We didn’t sign up for Sun and fun, Harry.  It will happen, one day.  Maybe.  Now, where did you say the Benjamins are?”

…

I knew when I took on the role of Events Manager, it was going to be hard work.  Seven months after the boss fired the last manager over a missed detail, he simply pointed at me and said, “Do a better job of it, Masters, or else.”

I didn’t ask what the or else was.

And I hadn’t made a mess of it yet.

That was largely because of Sonya, and the truth was she was better at it than me, and she should have the job. 

Heading to Antibes and the international dock for private yachts, we arrived just as it was tying up and about to lower the gangway.  The yacht had just arrived from Marseilles, where some engine repairs were effected.

God help anyone if the engines failed while the party raged as we slowly moved through the Mediterranean waters, out and back over the course of four hours.

The boss’s daughter was having her 21st birthday party.  It had to be perfect, and would be, if her current so-called boyfriend didn’t turn up.  He was on the list and not expected.  Skiing with his friends was more important.

“What’s the latest on Bozo?”  Sonya refused to call him anything else, not after he tried to schmooze her.  I wanted to hit him.  She said not to make a scene.

It was, she said, just another day in paradise.

“Hopefully, he’ll stay in St Moritz.  Mel extended an invitation, and he didn’t reply.  She’s not happy.”

“That makes one of us.”

“I’ll sort him if you want me to.”

She shook her head.  “He’s not worth it.”

The second officer came down the gangway to greet us. 

“Giles.”

“Harry, Sonya.  Shouldn’t you two be tucked up in bed?”

I’m not sure the inference was that we should be together.  We had made sure at all times our relationship was purely business.

There was no time for anything else.

“We never sleep,” Sonya said.  “I take it we are all shipshape and Bristol fashion, even if I don’t know what that means.”

“Scrubbed from top to bottom.  The house staff have prepared the staterooms and your quarters.  If you’d like a quick inspection…”

Silly question.  If there was a problem, I wanted to know before it became a bigger problem.

…

People look at those super yachts, the yachts that look like small ocean liners and gasp in awesome, thinking how lovely it would be to travel on one.

Sorry, not all it’s cracked up to be, if you’re not the owner or a guest.

After two hours sleep, if it could be called that, I had to front the ship’s staff, dressed in their proper work clothes for an inspection, and then a run down of the program, starting with getting the guests aboard, attending to the selection few who would staying after the party, to the phases of the event, catering, drinks, speeches, dancing, and post party wind down.

Every minute for the 24 hours was planned, with contingencies for every conceivable disaster.

That took four hours.  Then I was off to the airport to greet the boss, his third wife, and two daughters by his first wife on his private jet. 

The same jet Sonya and I, and a half dozen personnel for the yacht arrived three days ago.

They could be called perks if we got to enjoy the moment.  Well, maybe for a minute or two.

Three Rolls-Royce cars were waiting on the dock, having arrived from the mansion in Monaco, overlooking the sea with its own private beach.

Each of the houses in England, France, Austria and Monaco had its own staff and transport.  I was still negotiating with the various governments to build landing strips for the jet.  It wasn’t going well.

“You know that this is going to be like a three-ring circus.”

Jacob, the chauffeur, and a man with a warped sense of humour waited this time until I closed the door before driving off.

“You know something I don’t?”

“Henry said Mel exploded when Bozo said he wasn’t coming.  She asked Daddy to put a fire under him, and he said she could do better and stop wasting her time.”

Henry was the English chauffeur.  It was not secret Daddy was done with Bozo.  He wanted her to make something of herself, she wanted to party and spend her allowance. 

I felt sorry for the new wife, barely older than Mel, and having to put up with both daughters’ contempt for their father’s choice.  And the tabloids that called her a gold digger.

Who would want to be rich and infamous?

“So, we’re expecting the sulks from Mel, sarcasm from Billie, tears from the wife, and bad temper from the boss.”

“And that will be a good day.”  He looked at me with a wry grin.  “Just like herding sheep, boyo.  I’m glad I’m just the chauffeur.”

…

I was standing at the bottom of the steps waiting for the Chief Secretary, who always travelled with the boss.  She would come put first and wait with me.  I was there simply because the boss asked me.

Sometimes he summoned me aboard.  Not today.

The main hostess, yes, he insisted on that title, appeared at the top of the stairs, then the wife, the two daughters, then the boss.

No one spoke.

The boss and the secretary took the first car, the wife and the eldest daughter Billie, took the second, I got Mel.  The seating arrangements hit my cell phone before the jet’s door opened.

It left me wondering why I drew the short straw.

Mel stood by the car, not far from the driver, ready to open the door.  The pilots came down and told me they were to wait until further orders.  It explained the fourth car, which had just arrived.

They would be staying near Nice airport.

Mel was waiting for me, showing no inclination to be on her way or upset that she was stuck with me.  It wasn’t the first time I had to make sure she did as she was told.

“How did you draw the short straw?”

“The age-old trick, all the straws were short.  You are not happy, are you, Melanie?”

“You should be calling me Miss Albright, Harry.”

“Perhaps if you were a stuck-up bitch, Mel, but you’re not.”

“I could have you fired.”

“Please.  Then I might actually get to sleep longer than two hours.”  I nodded to the chauffeur and he opened the door.  “Get in, and whinge away.  I’m all ears.”

She glared at me, and I braced for an incoming salvo.  She shrugged.  “What’s the point, you’re just Daddy’s puppet.”

“Wow.  And here me thinking the strings were invisible.”

A half smile.  Good enough.

We drove for ten minutes.  She stared out the window, reflecting back at me, a furrowed brow.

“Daddy is unreasonable.”

Was I supposed to agree, or say something deep and meaningful?  Like any conversation with a woman, I couldn’t see the land mines I was about to step on.

“How?”

“He expects me to find a nice boy.  There are none.”

“Change where you’re looking.”

She looked at me.  “What’s that supposed to mean?”

“If you look in a dumpster, all you will find is trash.  Most, but not all, nightclubs are not the places to find a prospective boyfriend.  So, putting that aside for the moment, my mother, whom I always considered the fountain of wisdom, once said that you had to find someone with whom you could be friends first, hang out, talk, do stuff, but no passion or sex, or worst of all, have expectations.”

“That’s impossible.  You know what guys are like?”

“A lot of them, yes, but you’ll know when you find the right one.  That’s all the advice I can give you.”

“Is that how it is with you and Sonya?”

My turn to glare at her.  “No.  We work together.  You know as well as I do that type of relationship between employees is verboten.”

“But you like her.”

“I like everybody.”

“Even my sister?”

Now she was just playing games.  “She is an acquired taste, but even her.  Do you want me to throw Bozo overboard if he comes?”

Another half smile.  It was a calculated risk calling him Bozo. 

“No.  I can do that.  You just arrange for some sharks to be waiting for him when he hits the water.”

“As you wish, Miss Albright.”

…

Sonya was waiting for me in the small conference room, the table covered in paperwork.  It was clear her superior had dumped everything on her and gone up for drinks with the boss.

I had just delivered the prodigal daughter.

“Mel’s onto us.”

“What?”

“She thinks we’re having a fling.”

“When?  We barely have time to breathe.”

“That’s what I told her.  Has anything changed?”  Lots of paper meant trouble.

“A few more guests.  Bozo’s coming.  Wants to be picked up at the airport.  He actually thought we’d send the jet for him.  You want to tell Melanie?”

“Let it be a surprise.  Should I go up, see what’s going on?”

“Not unless you’re a glutton for punishment.”

My cell phone buzzed.  Message from the boss.

“Too late.  I’ve been summoned.  Please tell me everything is in order.”

“Until it isn’t, but as of now, it is.”

I took a deep breath and headed upstairs, through the main lounge and out onto the promenade deck, where a dozen people were gathered, wait staff mingling with drinks and canapes.  Dinner would be served later.

The boss was talking to several friends, their wives ensconced, unwillingly with the new Mrs Albright, perhaps disappointed with his choice but making the best of it. Billie was with her current boyfriend, a tech billionaire, maybe; no one was sure what he did, and Mel was gazing out over the dock at the other, smaller boats.

Or not.

Mrs Albright excused herself and came over.  I did not presume to move from the entrance to the deck until summoned.

“Harry.”

She was softly spoken and well-mannered.  She knew she was in the middle of a minefield, not of her choosing, but always keeping her composure.

I had no idea how she managed.

“Mrs Albright.”

“Cecelia, Harry.  We are past the formal stage now..”

I had given her the spiel on protocol expected from the employees, and such familiarity was frowned upon.

“If only.  What can I do for you?”

“Melanie?  She was upset coming over. Is she alright?”

We both looked at her, staring at nothing in particular.

“Just the usual rich girl blues.  I’m sure she’ll grow out of it, eventually.  How are you faring on the good ship lollipop?”

A frown, then a half smile.  We had an understanding, or maybe that was I had an understanding, she only understood sometimes.

“I want to say it’s all new and exciting, but…”

“The old guard is making noises.”

“Not today mention our old friends in the press gallery.”

“Tomorrow the Royal Family will screw up, and bingo, you are no longer front page news.  They’ll get over it.  And you will too.   The only two people who matter are you and the boss.  Everything else is just while noise.”

“Stay for a drink?” A waiter hovered with a tray of champagne.  The real stuff.

“I’d love to, but I have to solve the mystery of the missing beetroots before tomorrow comes and the salads are ruined.”

“The mystery of the missing beetroot, eh?”

“Never a dull moment down on the ordinary deck, Mrs Albright.  Never a dull moment.”

…

I was wandering the decks at 2am after seeing the guests off the ship and into their cars, and the guests staying aboard safely to their cabins, then got a bite to eat in the crew dining room.

A ca4 pulled up at the end of the gangway, and a figure got out, and all but ran in the gangway, where on deck he came up against the bosun acting as guard.

I arrived just as he asked for ID.  He had a list, and if you were not on the list, you were back on shore.

It was Bozo.

That was the fastest I’d ever seen anyone get from St Moritz to Antibes ever.

“Boris.  You’re early.”

The bosun was still looking at his list.

“Harry.  I assume Melanie is on board?”

“She is.”

The bosun sighed.  Perhaps we were hoping Bozo’s name wasn’t on the list, and he could have the pleasure of throwing him overboard.

I know I wanted to.

“His name is on the list.”

“Good.”  He started to head into the cabin when the bosun grabbed his arm. 

“You ain’t going anywhere without an escort.”

“Good heavens, man, I’m not a spy.  Harry?”

“I’ll take him.”  Scruffy and entitled.  I so wanted to throw him overboard.  “Follow me.”

I took him up to the stateroom deck and to Melanie’s cabin.  When I knocked on the door, I stood back and left Boris on the frame.

When she opened the door, she gasped, the slapped him across the face.  It was hard enough to make me wince.

“What was that for?”

“Being an arse.”  She stepped aside, and he went in and closed the door behind him.

Job done.

…

Of course, if only things ran smoothly.  But the best laid plans of mice and men never did.

5:47 am, I woke to a scream.  It took three minutes to reach the stateroom deck and the origin of the scream.

Mel’s stateroom.

The door was open, and Mel was outside.  She was distraught.

As well as being covered in blood, and a rather nasty knife in one hand.

A glimpse inside her room.  Bozo was equally covered in blood, and at a guess, dead.  Mrs Albright was checking, looking out at us and shaking her head.

I looked at Mel.  It was not the face of a murderer.  She was ashen.

“I didn’t do it.  I didn’t do anything.  He was alive when I went down to the galley to get some more champagne.  When I got back, he was on the floor, the knife sticking out of his chest.  I thought I pulled it out.”

The boss arrived.  “Lawyers and police, in that order.”

I didn’t think it was the right time to ask if the birthday party was off.

Then, suddenly, Melanie fainted.

“Revise that order, Doctor, then lawyers, then police.”  To me, he said, “Rouse everyone.  I want to know where they were during the last half hour.  And where was the guard at the gangway?”

So much for getting to bed.

At least now I would get to run my own murder investigation.

…

©  Charles Heath  2025

Day 356

The “Practice Makes Perfect” Myth (and Why It Still Works—for Writing)

“If you do anything seriously long enough, you’ll get better.”

That sentence feels like an old‑school mantra you might have heard from a coach, a music teacher, or a parent. It’s comforting, almost inevitable—just keep at it and the results will follow.

But does the rule hold true for writers? And what does it mean when we say “good writing is contagious”?

In this post I’ll unpack the science behind long‑term practice, show why writing is a uniquely contagious skill, and give you a toolbox of concrete, battle‑tested tips to turn “doing it longer” into real, measurable improvement.

---

1. The Core Truth: Time + Deliberate Practice = Skill Growth

Fact	What It Means for Writers
Neuroplasticity – The brain rewires itself with repeated activity.	The more you write, the stronger the neural pathways that support storytelling, grammar, and voice.
Deliberate Practice – Not just “doing the thing,” but practicing with feedback and specific goals.	Writing a 500‑word blog post isn’t enough; you must target weak spots (e.g., pacing, dialogue) and refine them deliberately.
Deliberate Practice – Not just “doing the thing,” but practising with feedback and specific goals.	10,000 hours of mindless typing won’t help. Ten hours of focused revision, critique, and study can trump 100 hours of “just writing.”
Plateaus Are Normal – Skill acquisition follows a sigmoid curve: rapid early gains, a plateau, then a second surge after a breakthrough.	Expect periods where progress feels stagnant. Use them to experiment, read, or rest—don’t quit.

Bottom line: Time alone isn’t enough. You need deliberate, feedback‑rich practice to convert hours into mastery.

---

2. Good Writing Is Contagious – Why It Spreads

1. Social Proof: Readers (and fellow writers) gravitate toward high‑quality prose. When a piece shines, it sets a new benchmark in its community.
2. Mirror Neurons: We neurologically mimic the style and tone we consume, especially when we admire the source. Reading great sentences trains our own “inner ear.”
3. Collective Learning: Writing groups, workshops, and online forums create a feedback loop where one person’s improvement lifts the entire cohort.
4. Cultural Momentum: Think of the “New Journalism” wave of the ’60s or the rise of flash fiction on Twitter—once a few voices cracked the code, the style proliferated.

In short, exposure to excellent writing accelerates your own growth—if you allow it to.

---

3. The Pitfalls of “Just Writing More”

Common Misconception	Why It Fails	How to Fix It
“I write 2,000 words a day, so I’m improving.”	Quantity without reflection reinforces bad habits.	After each session, flag 1–2 things you’d change (e.g., redundancy, weak verb).
“I’ll get better after I finish my novel.”	Long‑term projects can hide small‑scale weaknesses.	Break the novel into bite‑size “skill drills” (e.g., one chapter focused on dialogue).
“Feedback is optional; I trust my gut.”	Our internal editor is notoriously biased.	Schedule regular external reviews—beta readers, editors, or a critique partner.
“I’ll read only what I like.”	Comfort zones limit exposure to new structures, vocab, and perspectives.	Add a “genre‑stretch” reading slot each week (e.g., poetry if you write nonfiction).

---

4. Actionable Blueprint: Turn Hours Into Better Writing

Below is a step‑by‑step system you can adopt today. It’s modular—pick what fits your schedule and skill level, then iterate.

A. Build a Structured Writing Routine

Component	Frequency	Tip
Micro‑Write (10–15 min)	Daily, first thing in the morning	Write a single sentence, a vivid description, or a quick dialogue exchange. No editing, just raw output.
Focused Session (45–90 min)	3–4× per week	Choose a skill goal (e.g., “show, don’t tell”). Work on a specific piece that targets that goal.
Review & Revise (30 min)	Immediately after each focused session	Highlight 2–3 improvement points; rewrite the same passage with those in mind.
Reading Sprint (30 min)	Daily or every other day	Read a passage from a writer you admire and take notes on what makes it work (sentence rhythm, word choice, structure).
Feedback Loop (1 hr)	Weekly	Send your work to a critique partner or post in a writing forum. Write a response to each piece of feedback, outlining what you’ll try next.

Why it works: The routine mixes production, analysis, and external input—the three pillars of deliberate practice.

B. “Contagion” Tactics – Let Good Writing Infect You

1. Curated Reading Lists
   • Classic craft: “The Elements of Style,” “On Writing” (King).
   • Genre deep‑dive: 5 seminal works from each genre you write.
   • Modern bite‑size: Follow Twitter accounts that tweet micro‑essays or haiku.
2. Imitation Exercises
   • Pick a paragraph you love. Rewrite it in your own voice while preserving the structure and rhythm.
   • Swap the genre (turn a news article into a short story).
3. Community Immersion
   • Join a weekly critique circle (online or local).
   • Participate in writing challenges (NaNoWriMo, 30‑day flash fiction).
   • Comment thoughtfully on other writers’ blogs—explaining what you liked forces you to articulate good writing principles.
4. Mentor‑Mode Writing
   • Write as if you’re teaching a class. Draft a short guide on a writing technique; the act of explaining refines your own understanding.

C. Metric‑Based Progress Tracking

Metric	Tool	How to Interpret
Word‑per‑hour output	Timer + word count	Aim for a stable range; spikes may indicate “flow” days, drops may signal fatigue.
Revision Ratio (original words ÷ final words)	Drafts in Google Docs	A decreasing ratio (e.g., 1.3 → 1.1) often signals tighter prose.
Feedback Score (e.g., 1‑5 rating from beta readers)	Survey Form	Trend upward? If flat, examine recurring criticism.
Reading Diversity Index (genres read per month)	Spreadsheet	Higher diversity correlates with more varied sentence structures.

Review these numbers every month and adjust your routine accordingly.

---

5. Real‑World Case Study: From “Stuck” to “Spitting Fire”

Writer: Maya, 34, freelance tech copywriter.

Problem	Intervention	Result (3 months)
Drafts flooded with jargon; readers complained of “dry” tone.	Daily 10‑min “show, don’t tell” micro‑write.  Weekly 30‑min reading of narrative non‑fiction (e.g., The Immortal Life of Henrietta Lacks).  Joined a local critique group focused on voice.	• Reduced average sentence length by 15 %. • Client satisfaction score rose from 3.2 → 4.6/5. • Secured a new contract for a storytelling‑heavy whitepaper series.

Maya’s story illustrates that structured, feedback‑rich practice beats sheer volume—and that reading narrative work made her own prose “contagiously” richer.

---

6. Quick‑Start Checklist (Print & Pin)

•  Write a 10‑minute “seed” piece every morning (no edits).
•  Pick one skill goal per week (e.g., stronger verbs).
•  Read a 5‑minute passage from a master writer daily and annotate.
•  Submit a draft for critique at least once a week.
•  Imitate a favourite paragraph once a month, then rewrite it in a new genre.
•  Log your metrics (output, revision ratio, feedback rating) every Friday.

---

7. The Bottom Line

Yes—if you do something seriously long enough, you will improve. But the quality of that “serious” effort is what determines how much you improve.

Good writing spreads like a good meme: you absorb it through reading, imitation, and community, and you amplify it by giving feedback and teaching.

By marrying deliberate practice with contagious exposure, you turn the simple mantra “write more” into a powerful, measurable growth engine.

Your next step? Choose one of the tactics above, commit to it for the next 30 days, and watch your prose evolve from “just getting longer” to “getting better.”

Happy writing—and may the contagion be ever in your favour!

---

If you found this post helpful, share it with fellow writers, and let us know which of the strategies you tried in the comments.