365 Days of writing, 2026 – 16

Day 16 – The right characters for the story

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

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

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

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

Step 1: Start with Motivation, Not Archetype

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

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

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

Step 2: Embrace Contradictions

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

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

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

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

Step 3: Avoid Monolithic Labels

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

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

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

Step 4: Let Characters Evolve

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

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

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

Step 5: Listen to Your Characters

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

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


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

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

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

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

If I only had one day to stop over in – New York – what would I do?

A One-Day Stopover in New York: Making Memories at the Unforgettable High Line

Travelling, by its very nature, is about discovery. But what do you do when time is truly limited? Imagine this: You’re sitting on a transatlantic flight, mid-Atlantic, with a layover in New York City. Your window seat offers a bird’s-eye view of the East River, and the next 24 hours are yours to craft a moment you’ll remember. One place. One day. One memory. What do you choose?

If you’re like me, you’ll go where the past and present dance together, where nature defies urban grit, and where art whispers to the soul—The High Line.

Why the High Line?

The High Line is a 1.45-mile-long elevated linear park built on a disused railway track. Converted from an industrial relic to a lush, living mosaic of wildflowers, art, and urban soul, it’s the epitome of New York’s reinvention. Unlike museums that demand hours or skyscrapers that require reservations, the High Line is free, open-air, and designed for the kind of slow, sensory experience that sticks with you long after the plane takes off.

What to Do (and See) in One Day

1. Walk the Wild Path
Start at the southernmost point near Gansevoort Street, where the park blends with the Meatpacking District. The path is a tapestry of native plants and grasses, curated to feel like a meadow in the sky. As you stroll, pause at Spur—a small extension of the park with a glass-walled café and breathtaking views of the Hudson Yards and the Hudson River. It’s like watching the city from a secret balcony.

2. Encounter Living Art
The High Line isn’t just a garden; it’s an art gallery in motion. Over a dozen open-air installations line the route, from Marcel Duchamp’s Bicycle Wheel to the whimsical Curl by Sarah Sze. The programming changes seasonally, so even if you’ve been before, there’s always something new. Pro tip: Keep an eye out for the Chambers Street Poetry Spots—poems etched into the paving stones, blending literature with the cityscape.

3. Marvel at the City’s Skyline
The park’s vantage points are priceless. At the Hudson Yards Terminal, look down into the massive Vessel structure and the glowing facades of the area’s towers. At the Diller–vonn Imhoff Courtyard, see the juxtaposition of modern art with the Lower West Side. And when the sun sets, don’t miss the Standard High Line rooftop—order a cocktail and watch the Empire State Building glisten in the distance.

4. Sip and Savour
Post-walk, refuel with a coffee at The Porch, the Spur’s airy café, or enjoy a globally inspired snack from The High Line’s food kiosks (they rotate seasonal vendors). For a deeper dive, venture to nearby Chelsea Market across the 10th Avenue Connector for soups, sushi, or sweet treats.

5. End with a Ferry Ride
Time your exit at the northern end near 34th Street. Take the Hudson River Ferry (free with a MetroCard) for a 20-minute voyage past the Statue of Liberty, the Vessel, and the glittering East River. It’s the perfect finale—a different perspective of the city, one that feels like a hidden New York only insiders know.

Why This Day Stands Out

The High Line isn’t just a place; it’s an experience of contrasts. It’s the crunch of gravel underfoot versus the silence of a hidden garden. It’s a city that breathes, where art and ecology thrive in harmony. Unlike ticking off landmarks, this stopover invites you to feel the pulse of New York, not just observe it.

When your time runs out, and you’re back in the airport, you’ll leave with more than photos: You’ll have memories of the way the sunlight filtered through the willows, the scent of wild thyme in the air, and the realisation that even in the most crowded city in America, there’s a place to find peace.

A one-day stopover in New York should be memorable. With the High Line, it will be.

What I learned about writing – Three rough, flawed drafts are better than nothing

Find Your Voice by Writing—Not by Waiting

Why Practice, Not Planning, Is the True Path to a Unique Writing Voice

There’s a myth that haunts every aspiring writer: Before I can write, I need to get it right.

We tell ourselves we need to study the masters—their sentence structures, their narrative arcs, their perfect dialogue. We pore over query letter templates, craft elaborate character backstories, and plan chapter outlines with military precision. We believe that if we can just prepare enough, analyse enough, or emulate enough, then—then—we’ll finally have a voice worth sharing.

But here’s the truth no one wants to admit:
Your voice doesn’t come from planning. It comes from writing.

Not from reading how Stephen King builds tension.
Not from reverse-engineering a Margaret Atwood paragraph.
Not from polishing a pitch before the first sentence of your novel exists.

Your voice develops through practice—through showing up and putting words on the page, even when they’re messy, clichéd, or downright terrible.

The Myth of the Perfect Start

We often treat our writing like a performance we must rehearse endlessly before stepping on stage. We think we need to “find” our voice before we begin, as if it’s a hidden object buried under research and technique. But voice isn’t something you discover in books or templates.

Voice is born in the doing.

It’s in the flawed first draft where you overwrite dramatic scenes.
It’s in the clumsy dialogue that somehow reveals a character’s vulnerability.
It’s in the thousand bad sentences that eventually—inevitably—teach you what a good one feels like.

The only way to develop a voice is to write enough that the artifice falls away. When you’ve filled notebooks with false starts and deleted 20,000 words, something shifts. You stop trying to sound like someone else. You stop asking, What would my favourite author do? and start trusting, This is what I think. This is how I say it.

Why Practise Beats Planning Every Time

Studying technique has its place—it’s valuable. But technique is a tool, not the source of your voice. You can study every brushstroke of Van Gogh’s paintings, but you’ll never paint like him by analysis alone. You paint like yourself by painting—by making mistakes, by experimenting, by trying and failing and trying again.

Writing is the same.

Each sentence you write—whether brilliant or banal—shapes your natural rhythm, your tone, your perspective. Even “bad” writing teaches you more than passive study ever can. It reveals your tics, your obsessions, your blind spots, and eventually, your strengths.

Voice emerges through accumulation. Through repetition. Through the invisible, daily work of putting words in order.

Embrace the Awful First Draft

Anne Lamott famously wrote about the “Shitty First Draft”—and she wasn’t being harsh. She was being honest. Most great writing begins as a mess. And that’s not a failure. It’s a necessity.

When you accept that your early work will be imperfect, you free yourself to write anything. You stop waiting for permission. You stop curating your thoughts to fit someone else’s idea of “good.” You begin to trust your instincts—and that’s where voice lives.

So stop waiting.

Stop over-planning.
Stop over-analysing.
Stop waiting for confidence.

Just write.

Write when you’re uninspired. Write when you’re uncertain. Write when you’re convinced it’s all garbage. Write especially when it’s garbage.

Because on the other side of those messy, imperfect pages is you—your authentic voice, emerging not from a plan, but from practice.

The Only Assignment That Matters

Your only job today isn’t to write beautifully.
It’s to write.

Put words on paper.
Make mistakes.
Fail forward.

Your voice isn’t waiting to be found.
It’s waiting to be used.

And it will grow—stronger, truer, and unmistakably yours—every time you let it speak.

Top 5 sights on the road less travelled – Canberra, Australia

Discovering Canberra’s Hidden Gems: Top Five Adventures on the Road Less Travelled

Canberra, Australia’s capital, is often celebrated for its iconic landmarks like the Australian War Memorial and Parliament House. Yet, beyond the well-trodden paths lies a treasure trove of hidden gems waiting to be uncovered. For travelers seeking a more authentic and offbeat Australian experience, here are five unique adventures to explore in and around Canberra.


1. Tidbinbilla Nature Reserve: A Wild Encounter with Australia’s Flora and Fauna

Tucked in the scenic Tidbinbilla Valley, this 8,600-hectare wildlife sanctuary offers a serene escape from the city. Home to over 130 species of native animals, including kangaroos, koalas, and wallabies, Tidbinbilla is a haven for nature lovers. Take a guided wildlife tour to spot nocturnal animals like the elusive bilby or join a ranger-led walk to learn about the reserve’s conservation efforts. The reserve’s picturesque landscapes and peaceful atmosphere make it a perfect day trip. Admission is by donation, supporting the reserve’s vital work.


2. National Arboretum ACT: A Journey Through Trees and Time

While the Australian National Botanic Gardens are popular, the National Arboretum, located 15 km south of Canberra, is a less-known haven for tree enthusiasts. This 120-hectare living museum features over 150 types of trees from around the world, including the vibrant Great Gymea Lily (the world’s tallest flowering plant). Explore themed trails like the “Koala Zone” or take a peaceful stroll through the “Mourning Glory Tree Walk,” which blooms with pink flowers. The arboretum’s peaceful groves and art installations make it a unique spot for reflection and photography.


3. The Spinning Wheel Sculpture Park: Queanbeyan’s Quirky Art Haven

A short 15-minute drive from Canberra, Queanbeyan’s Spinning Wheel Sculpture Park is a whimsical celebration of art and creativity. Hosted by the Queanbeyan Artists Group, this ever-changing exhibition features over 100 sculptures in an eclectic mix of styles and materials. Wandering through this free-entry park feels like stepping into a fairytale, with interactive installations like a giant teacup and a rotating wheel inviting playful exploration. It’s a feast for the senses and a must for art lovers.


4. Lanyon Homestead: Stepping into Australia’s Pioneering Past

Nestled in the suburbs of Narrabundah, Lanyon Homestead offers a glimpse into Australia’s colonial heritage. This 1837 sandstone cottage and its surrounding heritage gardens are preserved as a living museum. Self-guided tours reveal stories of early settlers, while the formal gardens, filled with native plants and historic artifacts, provide a tranquil setting. The homestead also hosts seasonal events like harvest festivals and open-air concerts. Admission is by donation, and it’s a delightful way to connect with Canberra’s rich history.


5. Yidnek Indigenous Walking Tour at the National Museum of Australia

For a profound cultural experience, join the Yidnek Indigenous Walking Tour at the National Museum of Australia. This immersive 90-minute guided tour, led by Ngunnawal Elder Uncle Kevin Smith, explores the museum’s exhibits through the lens of the local Indigenous community. Learn about the deep connection between the Ngunnawal people and the Molonglo River, along with stories of resistance, resilience, and contemporary life. While the museum is well-known, the Yidnek tour offers a rare, in-depth perspective that’s often overlooked. Booking in advance is recommended.


Final Thoughts: Canberra’s Secret Side Awaits

From encounters with native wildlife to quirky art parks and cultural revelations, Canberra’s road less travelled offers experiences that enrich the soul and broaden horizons. Whether you’re chasing nature, history, or art, these hidden treasures promise memories to last a lifetime. So, venture beyond the usual spots and let Canberra surprise you.

Practical Tips:

  • Transport: Most of these attractions are accessible by car. Public transport options are limited, so consider carpooling or using ride-sharing apps.
  • Seasonal Considerations: Check weather and seasonal events for optimal visits.
  • Reservations: Some experiences, like the Yidnek tour, require advance booking.

Embrace the adventure—Canberra’s hidden heartbeat is waiting for you. 🌿✨

Harry Walthenson, Private Detective – the second case – A case of finding the “Flying Dutchman”

What starts as a search for a missing husband soon develops into an unbelievable story of treachery, lies, and incredible riches.

It was meant to remain buried long enough for the dust to settle on what was once an unpalatable truth, when enough time had passed, and those who had been willing to wait could reap the rewards.

The problem was, no one knew where that treasure was hidden or the location of the logbook that held the secret.

At stake, billions of dollars’ worth of stolen Nazi loot brought to the United States in an anonymous tramp steamer and hidden in a specially constructed vault under a specifically owned plot of land on the once docklands of New York.

It may have remained hidden and unknown to only a few, if it had not been for a mere obscure detail being overheard …

… by our intrepid, newly minted private detective, Harry Walthenson …

… and it would have remained buried.

Now, through a series of unrelated events, or are they, that well-kept secret is out there, and Harry will not stop until the whole truth is uncovered.

Even if it almost costs him his life.  Again.

365 Days of writing, 2026 – 16

Day 16 – The right characters for the story

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

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

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

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

Step 1: Start with Motivation, Not Archetype

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

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

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

Step 2: Embrace Contradictions

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

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

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

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

Step 3: Avoid Monolithic Labels

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

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

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

Step 4: Let Characters Evolve

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

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

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

Step 5: Listen to Your Characters

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

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


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

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

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

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

An excerpt from “Mistaken Identity” – a work in progress

The odds of any one of us having a doppelganger are quite high. Whether or not you got to meet him or her, or be confronted by them was significantly lower. Except of course, unless you are a celebrity.

It was a phenomenon remarkable only for the fact, at times, certain high-profile people, notorious or not, had doubles if only to put off enemies or the general public. Sometimes we see people in the street, people who look like someone we knew, and made the mistake of approaching them like a long lost friend, only to discover an embarrassed individual desperately trying to get away for what they perceive is a stalker or worse.

And then sometimes it is a picture that looms up on a TV screen, an almost exact likeness of you. At first, you are fascinated, and then according to the circumstances, and narrative that is attached to that picture, either flattered or horrified.

For me one turned to the other when I saw an almost likeness of me flash up on the screen when I turned the TV on in my room. What looked to be my photo, with only minor differences, was in the corner of the screen, the newsreader speaking in rapid Italian, so fast I could only translate every second or third word.

But the one word I did recognize was murder. The photo of the man up on the screen was the subject of an extensive manhunt. The crime, the murder of a woman in the very same hotel I was staying, and it was being played out live several floors above me. The gist of the story, the woman had been seen with, and staying with the man who was my double, and, less than an hour ago, the body had been discovered by a chambermaid.

The killer, the announcer said, was believed to be still in the hotel because the woman had died shortly before she had been discovered.

I watched, at first fascinated at what I was seeing. I guess I should have been horrified, but at that moment it didn’t register that I might be mistaken for that man.

Not until another five minutes had passed, and I was watching the police in full riot gear, with a camera crew following behind, coming up a passage towards a room. Live action of the arrest of the suspected killer the breathless commentator said.

Then, suddenly, there was a pounding on the door. On the TV screen, plain to see, was the number of my room.
I looked through the peephole and saw an army of police officers. It didn’t take much to realize what had happened. The hotel staff identified me as the man in the photograph on the TV and called the police.

Horrified wasn’t what I was feeling right then.

It was fear.

My last memory was the door crashing open, the wood splintering, and men rushing into the room, screaming at me, waving guns, and when I put my hands up to defend myself, I heard a gunshot.

And in one very confused and probably near-death experience, I thought I saw my mother and thought what was she doing in Rome?

I was the archetypal nobody.

I lived in a small flat, I drove a nondescript car, had an average job in a low profile travel agency, was single, and currently not involved in a relationship, no children, and according to my workmates, no life.

They were wrong. I was one of those people who preferred their own company, I had a cat, and travelled whenever I could. And I did have a ‘thing’ for Rosalie, one of the reasons why I stayed at the travel agency. I didn’t expect anything to come of it, but one could always hope.

I was both pleased and excited to be going to the conference. It was my first, and the glimpse I had seen of it had whetted my appetite for more information about the nuances of my profession.

Some would say that a travel agent wasn’t much of a job, but to me, it was every bit as demanding as being an accountant or a lawyer. You were providing a customer with a service, and arguably more people needed a travel agent than a lawyer. At least that was what I told myself, as I watched more and more people start using the internet, and our relevance slowly dissipating.

This conference was about countering that trend.

The trip over had been uneventful. I was met at the airport and taken to the hotel where the conference was being held with a number of other delegates who had arrived on the same plane. I had mingled with a number of other delegates at the pre conference get together, including one whose name was Maryanne.

She was an unusual young woman, not the sort that I usually met, because she was the one who was usually surrounded by all the boys, the life of the party. In normal circumstances, I would not have introduced myself to her, but she had approached me. Why did I think that may have been significant? All of this ran through my mind, culminating in the last event on the highlight reel, the door bursting open, men rushing into my room, and then one of the policemen opened fire.

I replayed that last scene again, trying to see the face of my assailant, but it was just a sea of men in battle dress, bullet proof vests and helmets, accompanied by screaming and yelling, some of which I identified as “Get on the floor”.

Then came the shot.

Why ask me to get on the floor if all they were going to do was shoot me. I was putting my hands up at the time, in surrender, not reaching for a weapon.

Then I saw the face again, hovering in the background like a ghost. My mother. Only the hair was different, and her clothes, and then the image was going, perhaps a figment of my imagination brought on by pain killing drugs. I tried to imagine the scene again, but this time it played out, without the image of my mother.

I opened my eyes took stock of my surroundings. What I felt in that exact moment couldn’t be described. I should most likely be dead, the result of a gunshot wound. I guess I should be thankful the shooter hadn’t aimed at anything vital, but that was the only item on the plus side.

I was in a hospital room with a policeman by the door. He was reading a newspaper, and sitting uncomfortably on a small chair. He gave me a quick glance when he heard me move slightly, but didn’t acknowledge me with either a nod, or a greeting, just went back to the paper.

If I still had a police guard, then I was still considered a suspect. What was interesting was that I was not handcuffed to the bed. Perhaps that only happened in TV shows. Or maybe they knew I couldn’t run because my injuries were too serious. Or the guard would shoot me long before my feet hit the floor. I knew the police well enough now to know they would shoot first and ask questions later.

On the physical side, I had a large bandage over the top left corner of my chest, extending over my shoulder. A little poking and prodding determined the bullet had hit somewhere between the top of my rib cage and my shoulder. Nothing vital there, but my arm might be somewhat useless for a while, depending on what the bullet hit on the way in, or through.

It didn’t feel like there were any broken or damaged bones.

That was the good news.

On the other side of the ledger, my mental state, there was only one word that could describe it. Terrified. I was looking at a murder charge and jail time, a lot of it. Murder usually had a long time in jail attached to it.

Whatever had happened, I didn’t do it. I know I didn’t do it, but I had to try and explain this to people who had already made up their minds. I searched my mind for evidence. It was there, but in the confused state brought on by the medication, all I could think about was jail, and the sort of company I was going to have.

I think death would have been preferable.

Half an hour later, maybe longer, I was drifting in an out of consciousness, a nurse, or what I thought was a nurse, came into the room. The guard stood, checked her ID card, and then stood by the door.

She came over and stood beside the bed. “How are you?” she asked, first in Italian, and when I pretended I didn’t understand, she asked the same question in accented English.

“Alive, I guess,” I said. “No one has come and told what my condition is yet. You are my first visitor. Can you tell me?”

“Of course. You are very lucky to be alive. You will be fine and make a full recovery. The doctors here are excellent at their work.”

“What happens now?”

“I check you, and then you have a another visitor. He is from the British Embassy I think. But he will have to wait until I have finished my examination.”

I realized then she was a doctor, not a nurse.

My second visitor was a man, dressed in a suit the sort of which I associated with the British Civil Service.  He was not very old which told me he was probably a recent graduate on his first posting, the junior officer who drew the short straw.

The guard checked his ID but again did not leave the room, sitting back down and going back to his newspaper.

My visitor introduced himself as Alex Jordan from the British Embassy in Rome and that he had been asked by the Ambassador to sort out what he labelled a tricky mess.

For starters, it was good to see that someone cared about what happened to me.  But, equally, I knew the mantra, get into trouble overseas, and there is not much we can do to help you.  So, after that lengthy introduction, I had to wonder why he was here.

I said, “They think I am an international criminal by the name of Jacob Westerbury, whose picture looks just like me, and apparently for them it is an open and shut case.”  I could still hear the fragments of the yelling as the police burst through the door, at the same time telling me to get on the floor with my hands over my head.

“It’s not.  They know they’ve got the wrong man, which is why I’m here.  There is the issue of what had been described as excessive force, and the fact you were shot had made it an all-round embarrassment for them.”

“Then why are you here?  Shouldn’t they be here apologizing?”

“That is why you have another visitor.  I only took precedence because I insisted I speak with you first.  I have come, basically to ask you for a favour.  This situation has afforded us with an opportunity.  We would like you to sign the official document which basically indemnifies them against any legal proceedings.”

Curious.  What sort of opportunity was he talking about?  Was this a matter than could get difficult and I could be charged by the Italian Government, even if I wasn’t guilty, or was it one of those hush hush type deals, you do this for us, we’ll help you out with that.  “What sort of opportunity?”

“We want to get our hands on Jacob Westerbury as much as they do.  They’ve made a mistake, and we’d like to use that to get custody of him if or when he is arrested in this country.  I’m sure you would also like this man brought into custody as soon as possible so you will stop being confused with him.  I can only imagine what it was like to be arrested in the manner you were.  And I would not blame you if you wanted to get some compensation for what they’ve done.  But.  There are bigger issues in play here, and you would be doing this for your country.”

I wondered what would happen if I didn’t agree to his proposal.  I had to ask, “What if I don’t?”

His expression didn’t change.  “I’m sure you are a sensible man Mr Pargeter, who is more than willing to help his country whenever he can.  They have agreed to take care of all your hospital expenses, and refund the cost of the Conference, and travel.  I’m sure I could also get them to pay for a few days at Capri, or Sorrento if you like, before you go home.  What do you say?”

There was only one thing I could say.  Wasn’t it treason if you went against your country’s wishes?

“I’m not an unreasonable man, Alex.  Go do your deal, and I’ll sign the papers.”

“Good man.”

After Alex left, the doctor came back to announce the arrival of a woman, by the way she had announced herself, the publicity officer from the Italian police. When she came into the room, she was not dressed in a uniform.

The doctor left after giving a brief report to the civilian at the door. I understood the gist of it, “The patient has recovered excellently and the wounds are healing as expected. There is no cause for concern.”

That was a relief.

While the doctor was speaking to the civilian, I speculated on who she might be. She was young, not more than thirty, conservatively dressed so an official of some kind, but not necessarily with the police. Did they have prosecutors? I was unfamiliar with the Italian legal system.

She had long wavy black hair and the sort of sultry looks of an Italian movie star, and her presence made me more curious than fearful though I couldn’t say why.

The woman then spoke to the guard, and he reluctantly got up and left the room, closing the door behind him.
She checked the door, and then came back towards me, standing at the end of the bed. Now alone, she said, “A few questions before we begin.” Her English was only slightly accented. “Your name is Jack Pargeter?”

I nodded. “Yes.”

“You are in Rome to attend the Travel Agents Conference at the Hilton Hotel?”

“Yes.”

“You attended a preconference introduction on the evening of the 25th, after arriving from London at approximately 4:25 pm.”

“About that time, yes. I know it was about five when the bus came to collect me, and several others, to take us to the hotel.”

She smiled. It was then I noticed she was reading from a small notepad.

“It was ten past five to be precise. The driver had been held up in traffic. We have a number of witnesses who saw you on the plane, on the bus, at the hotel, and with the aid of closed circuit TV we have established you are not the criminal Jacob Westerbury.”

She put her note book back in her bag and then said, “My name is Vicenza Andretti and I am with the prosecutor’s office. I am here to formally apologize for the situation that can only be described as a case of mistaken identity. I assure you it is not the habit of our police officers to shoot people unless they have a very strong reason for doing so. I understand that in the confusion of the arrest one of our officers accidentally discharged his weapon. We are undergoing a very thorough investigation into the circumstances of this event.”

I was not sure why, but between the time I had spoken to the embassy official and now, something about letting them off so easily was bugging me. I could see why they had sent her. It would be difficult to be angry or annoyed with her.

But I was annoyed.

“Do you often send a whole squad of trigger happy riot police to arrest a single man?” It came out harsher than I intended.

“My men believed they were dealing with a dangerous criminal.”

“Do I look like a dangerous criminal?” And then I realized if it was mistaken identity, the answer would be yes.

She saw the look on my face, and said quietly, “I think you know the answer to that question, Mr. Pargeter.”

“Well, it was overkill.”

“As I said, we are very sorry for the circumstances you now find yourself in. You must understand that we honestly believed we were dealing with an armed and dangerous murderer, and we were acting within our mandate. My department will cover your medical expenses, and any other amounts for the inconvenience this has caused you. I believe you were attending a conference at your hotel. I am very sorry but given the medical circumstances you have, you will have to remain here for a few more days.”

“I guess, then, I should thank you for not killing me.”

Her expression told me that was not the best thing I could have said in the circumstances.

“I mean, I should thank you for the hospital and the care. But a question or two of my own. May I?”

She nodded.

“Did you catch this Jacob Westerbury character?”

“No. In the confusion created by your arrest he escaped. Once we realized we had made a mistake and reviewed the close circuit TV, we tracked him leaving by a rear exit.”

“Are you sure it was one of your men who shot me?”

I watched as her expression changed, to one of surprise.

“You don’t think it was one of my men?”

“Oddly enough no. But don’t ask me why.”

“It is very interesting that you should say that, because in our initial investigation, it appeared none of our officer’s weapons had been discharged. A forensic investigation into the bullet tells us it was one that is used in our weapons, but…”

I could see their dilemma.

“Have you any enemies that would want to shoot you Mr Pargeter?”

That was absurd because I had no enemies, at least none that I knew of, much less anyone who would want me dead.

“Not that I’m aware of.”

“Then it is strange, and will perhaps remain a mystery. I will let you know if anything more is revealed in our investigation.”

She took an envelope out of her briefcase and opened it, pulling out several sheets of paper.

I knew what it was. A verbal apology was one thing, but a signed waiver would cover them legally. They had sent a pretty girl to charm me. Perhaps using anyone else it would not have worked. There was potential for a huge litigation payout here, and someone more ruthless would jump at the chance of making a few million out of the Italian Government.

“We need a signature on this document,” she said.

“Absolving you of any wrong doing?”

“I have apologized. We will take whatever measures are required for your comfort after this event. We are accepting responsibility for our actions, and are being reasonable.”

They were. I took the pen from her and signed the documents.

“You couldn’t add dinner with you on that list of benefits?” No harm in asking.

“I am unfortunately unavailable.”

I smiled. “It wasn’t a request for a date, just dinner. You can tell me about Rome, as only a resident can. Please.”

She looked me up and down, searching for the ulterior motive. When she couldn’t find one, she said, “We shall see once the hospital discharges you in a few days.”

“Then I’ll pencil you in?”

She looked at me quizzically. “What is this pencil me in?”

“It’s an English colloquialism. It means maybe. As when you write something in pencil, it is easy to erase it.”

A momentary frown, then recognition and a smile. “I shall remember that. Thank-you for your time and co-operation Mr. Pargeter. Good morning.”

© Charles Heath 2015-2021

365 Days of writing, 2026 – 15

Day 15 – How to keep on track

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

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

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

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

Here’s how.


1. Remember Your “Why” — Revisit Your Premise

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

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

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


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

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

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

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


3. Create a “Someday” Folder

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

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

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


4. Set Incremental Goals and Deadlines

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

Break your project into small, manageable tasks:

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

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

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


5. Practice the “So What?” Test

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

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

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


6. Schedule “Exploration Time”

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

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

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


7. Trust the Power of Revision

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

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

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


Final Thought: Focus Is a Muscle

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

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

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

Then return to the road. Your story is waiting.

Top 5 sights on the road less travelled – Canberra, Australia

Discovering Canberra’s Hidden Gems: Top Five Adventures on the Road Less Travelled

Canberra, Australia’s capital, is often celebrated for its iconic landmarks like the Australian War Memorial and Parliament House. Yet, beyond the well-trodden paths lies a treasure trove of hidden gems waiting to be uncovered. For travelers seeking a more authentic and offbeat Australian experience, here are five unique adventures to explore in and around Canberra.


1. Tidbinbilla Nature Reserve: A Wild Encounter with Australia’s Flora and Fauna

Tucked in the scenic Tidbinbilla Valley, this 8,600-hectare wildlife sanctuary offers a serene escape from the city. Home to over 130 species of native animals, including kangaroos, koalas, and wallabies, Tidbinbilla is a haven for nature lovers. Take a guided wildlife tour to spot nocturnal animals like the elusive bilby or join a ranger-led walk to learn about the reserve’s conservation efforts. The reserve’s picturesque landscapes and peaceful atmosphere make it a perfect day trip. Admission is by donation, supporting the reserve’s vital work.


2. National Arboretum ACT: A Journey Through Trees and Time

While the Australian National Botanic Gardens are popular, the National Arboretum, located 15 km south of Canberra, is a less-known haven for tree enthusiasts. This 120-hectare living museum features over 150 types of trees from around the world, including the vibrant Great Gymea Lily (the world’s tallest flowering plant). Explore themed trails like the “Koala Zone” or take a peaceful stroll through the “Mourning Glory Tree Walk,” which blooms with pink flowers. The arboretum’s peaceful groves and art installations make it a unique spot for reflection and photography.


3. The Spinning Wheel Sculpture Park: Queanbeyan’s Quirky Art Haven

A short 15-minute drive from Canberra, Queanbeyan’s Spinning Wheel Sculpture Park is a whimsical celebration of art and creativity. Hosted by the Queanbeyan Artists Group, this ever-changing exhibition features over 100 sculptures in an eclectic mix of styles and materials. Wandering through this free-entry park feels like stepping into a fairytale, with interactive installations like a giant teacup and a rotating wheel inviting playful exploration. It’s a feast for the senses and a must for art lovers.


4. Lanyon Homestead: Stepping into Australia’s Pioneering Past

Nestled in the suburbs of Narrabundah, Lanyon Homestead offers a glimpse into Australia’s colonial heritage. This 1837 sandstone cottage and its surrounding heritage gardens are preserved as a living museum. Self-guided tours reveal stories of early settlers, while the formal gardens, filled with native plants and historic artifacts, provide a tranquil setting. The homestead also hosts seasonal events like harvest festivals and open-air concerts. Admission is by donation, and it’s a delightful way to connect with Canberra’s rich history.


5. Yidnek Indigenous Walking Tour at the National Museum of Australia

For a profound cultural experience, join the Yidnek Indigenous Walking Tour at the National Museum of Australia. This immersive 90-minute guided tour, led by Ngunnawal Elder Uncle Kevin Smith, explores the museum’s exhibits through the lens of the local Indigenous community. Learn about the deep connection between the Ngunnawal people and the Molonglo River, along with stories of resistance, resilience, and contemporary life. While the museum is well-known, the Yidnek tour offers a rare, in-depth perspective that’s often overlooked. Booking in advance is recommended.


Final Thoughts: Canberra’s Secret Side Awaits

From encounters with native wildlife to quirky art parks and cultural revelations, Canberra’s road less travelled offers experiences that enrich the soul and broaden horizons. Whether you’re chasing nature, history, or art, these hidden treasures promise memories to last a lifetime. So, venture beyond the usual spots and let Canberra surprise you.

Practical Tips:

  • Transport: Most of these attractions are accessible by car. Public transport options are limited, so consider carpooling or using ride-sharing apps.
  • Seasonal Considerations: Check weather and seasonal events for optimal visits.
  • Reservations: Some experiences, like the Yidnek tour, require advance booking.

Embrace the adventure—Canberra’s hidden heartbeat is waiting for you. 🌿✨

What I learned about writing – The perfect first draft is a myth

The Myth of the Perfect First Draft – Is It Even Possible?

“Write drunk, edit sober.” – Ernest Hemingway (probably)

If you’ve ever stared at a blank screen, convinced that the first version of your article, novel, or proposal must be flawless, you’re not alone. The idea of a “perfect first draft” has been romanticised in writing workshops, self‑help books, and even on Twitter, where aspiring authors proudly post “my first draft is done!”—only to follow up with a list of rewrites that would make even Stephen King wince.

In this post we’ll pull apart the myth, explore why it persists, and—most importantly—give you a practical roadmap for turning that inevitable mess of a first draft into a polished piece without losing your sanity (or your voice).


1. Why the Myth Exists

SourceWhat It PromisesUnderlying Fear
Creative Writing Classes“Write your story in one go, then you’re done.”Fear of being mediocre or unproductive.
Productivity Gurus“The 5‑minute rule: finish a draft before coffee gets cold.”Fear of procrastination and time‑wasting.
Social Media“My manuscript is 10,000 words and I’m ready to publish.”Fear of social judgment—if you share, you’re judged.
Self‑Help Books“The perfect draft is the secret to success.”Fear of failure—if you don’t nail it the first time, you’re a failure.

The perfection‑first narrative is a defensive armor against self‑doubt. It tells us: If I can’t get it perfect right away, I’m not a real writer. The catch? It also paralyses us. The very act of writing becomes a high‑stakes performance, and performance anxiety is the enemy of creativity.


2. The Science of Drafting

2.1. Brain Plasticity & Idea Generation

Neuroscience shows that creative thinking is a two‑stage process:

  1. Divergent Thinking – generating raw, unfiltered ideas.
  2. Convergent Thinking – refining, selecting, and structuring those ideas.

During the divergent stage, the prefrontal cortex relaxes, allowing “no‑filter” thinking. This is the brain’s ideal mode for a first draft. Trying to be perfect at this stage forces the brain into convergent mode prematurely, stifling innovation.

2.2. The “Zeigarnik Effect”

The mind remembers unfinished tasks better than completed ones. An imperfect first draft stays active in your subconscious, feeding you subtle insights while you’re jogging, cooking, or taking a shower. In other words: the messier the draft, the more your brain continues to work on it.


3. What “Perfect” Actually Means

Before we trash the myth, let’s define perfect:

DimensionTypical ExpectationRealistic Goal
Grammar & MechanicsZero typos, flawless punctuationAccept a few minor errors; fix them in editing
StructureLogical flow, perfect pacingOutline first, then let the draft reveal gaps
Voice & ToneConsistent, “author‑approved”Capture your authentic voice; refine later
Idea CompletenessAll arguments fully fleshed outRough, exploratory ideas are fine; you’ll expand later

Perfect is a moving target. In a first draft, you are creating the material, not perfecting it. The goal is progress, not perfection.


4. The Cost of Chasing Perfection Early

CostHow It Shows UpImpact on Your Work
Time DrainEndless re‑reading, tweaking, and “just one more sentence.”Slower output → missed deadlines, burnout
Creative BlockFear of making a mistake → writer’s blockStunted ideas, fewer experiments
Reduced VoiceOver‑editing leads to a “generic” toneReaders sense the lack of authenticity
Lost MomentumConstantly stopping to fix → fragmented workflowDecreased overall word count, lower morale

When you try to turn a first draft into a final product, you’re essentially double‑booking your mental resources: you’re simultaneously creating and editing. That’s a recipe for chaos.


5. A Pragmatic Drafting Workflow

Below is a step‑by‑step system that acknowledges the messy nature of the first draft while ensuring you still end up with a high‑quality piece.

Step 1 – Set a “Draft‑Only” Timer

  • Duration: 15–45 minutes (adjust to length of the piece).
  • Rule: No pausing to edit, no back‑spacing. Write whatever comes to mind.
  • Why it works: You exploit the Zeigarnik effect and force divergent thinking.

Step 2 – Create a High‑Level Outline (Post‑Draft)

  • Sketch headings, sub‑headings, or scene beats.
  • Mark missing sections with placeholders (e.g., [INSERT EXAMPLE HERE]).
  • Outcome: You now have a roadmap for the next pass, without rewriting everything.

Step 3 – First “Clean‑Up” Pass – Macro Editing

  • Goal: Fix structure, logic, and flow.
  • Tasks:
    • Re‑order paragraphs or scenes.
    • Fill the placeholders.
    • Delete whole sentences/paragraphs that don’t serve the purpose.

(Think of this as “building the house” rather than “painting the walls.”)

Step 4 – Second Pass – Micro Editing

  • Goal: Polish language, tone, and mechanics.
  • Tools:
    • Grammar checkers (Grammarly, Hemingway, ProWritingAid).
    • Read aloud to catch awkward phrasing.
    • Use a style guide (APA, Chicago, AP) if needed.

Step 5 – Optional: Peer Review or “Beta Reader”

  • Ask for one focused piece of feedback (e.g., “Is the argument clear?”).
  • Incorporate suggestions only if they align with your vision.

Step 6 – Final Polish & Formatting

  • Check citations, images, links, SEO meta data, etc.
  • Run a final spell‑check.
  • Publish or submit.

TL;DR: Write fast, edit slower. Separate the creative sprint from the analytical marathon.


6. Real‑World Examples: When “Bad” Drafts Became Masterpieces

AuthorOriginal Draft DescriptionFinal Outcome
Ernest Hemingway“A dozen pages of rambling, drunk on whiskey.”The Old Man and the Sea – concise, powerful prose
J.K. Rowling“A 2,000‑word fragment about a boy and a school.”Harry Potter and the Philosopher’s Stone – 76,944 words after multiple rewrites
Neil Gaiman“Pages of disjointed fairy‑tale ideas.”American Gods – won Hugo, Nebula awards
Anne Lamott“An essay that read like a diary entry, full of typos.”Bird By Bird – celebrated guide to writing

All of these authors embraced the mess. Their first drafts were far from perfect; what mattered was the willingness to return, revise, and refine.


7. Frequently Asked Questions

QuestionAnswer
Can I ever write a perfect first draft?Only if you define “perfect” as “good enough for you to stop writing.” For most projects, no.
What if I’m a perfectionist by nature?Set minimum quality thresholds (e.g., “no more than 5 sentences of passive voice”). Allow yourself a “good‑enough” box to tick before moving on.
Does the myth affect only creative writers?No. Academic papers, business proposals, and even code documentation suffer from the same pressure.
How many drafts are typical?Varies, but 3–5 passes (macro → micro → peer → final) is common. The key is quality over quantity.
What tools can help me separate drafting from editing?Distraction‑free writing apps (Scrivener, iA Writer), version control (Google Docs “Suggesting” mode), and timer apps (Pomodoro).

8. Bottom Line: Perfection Is a Destination, Not a Starting Point

The myth of the perfect first draft persists because we want quick validation. In reality, writing is a journey of transformation: raw thought → structured argument → polished narrative. Each stage needs its own mental mode and its own time budget.

So, the next time you sit down to write, ask yourself:

“Am I trying to be a novelist or a draftsman?”

If the answer is “draftsman,” give yourself permission to scrap, scribble, and stall. The perfect piece will emerge in the later passes—not in the first.


9. Take Action: Your 48‑Hour Draft Challenge

  1. Pick a piece (blog post, chapter, report) you’ve been postponing.
  2. Set a timer for 30 minutes and write without editing.
  3. Save the file, close it, and wait 24 hours.
  4. Return and do a macro edit using the workflow above.
  5. Celebrate any improvement, no matter how small.

Share your results in the comments or on Twitter with #DraftNotPerfect. Let’s collectively debunk the myth and prove that messy drafts lead to magnificent works.


Happy drafting, fearless editor! 🚀