Tag: Writing

First Dig Two Graves

A sequel to “The Devil You Don’t”

…

Revenge is a dish best served cold – or preferably so when everything goes right

Of course, it rarely does, as Alistair, Zoe’s handler, discovers to his peril. Enter a wildcard, John, and whatever Alistair’s plan for dealing with Zoe was dies with him.

It leaves Zoe in completely unfamiliar territory.

…

John’s idyllic romance with a woman who is utterly out of his comfort zone is on borrowed time. She is still trying to reconcile her ambivalence, after being so indifferent for so long.

They agree to take a break, during which she disappears. John, thinking she has left without saying goodbye, refuses to accept the inevitable, calls on an old friend for help in finding her.

After the mayhem and being briefly reunited, she recognises an inevitable truth: there is a price to pay for taking out Alistair; she must leave and find them first, and he would be wise to keep a low profile.

But keeping a low profile just isn’t possible, and enlisting another friend, a private detective and his sister, a deft computer hacker, they track her to the border between Austria and Hungary.

What John doesn’t realise is that another enemy is tracking him to find her too. It could have been a grand tour of Europe. Instead, it becomes a race against time before enemies old and new converge for what will be an inevitable showdown.

Writing a book in 365 days – 272

Day 272

Coffee, Crumbs, and Creativity: The Writer’s Fuel Dilemma

There’s a specific kind of alchemy that happens when you’re truly in the writing zone. Words flow, ideas connect, and the world outside the screen (or notebook) fades into a hazy, unimportant blur. It’s a magical, almost spiritual state where the story dictates the pace and you’re merely its conduit.

But let’s be honest, that magic often comes at a cost, doesn’t it?

The Sustenance Struggle

For many of us, the quest for sustained creative output inevitably clashes with the very human need for sustenance. The ubiquitous cup of coffee, the endless mug of tea – these become less a beverage and more a life support system. We sip, we type, we chase the next sentence, convinced that stopping for something as mundane as a meal will shatter the fragile spell.

The thought of breaking that momentum, of stepping away from a scene that’s finally unravelling just right, for a sandwich or a proper dinner, feels like artistic treason. We tell ourselves we don’t have time. We can’t interrupt the process. The words are right there.

The Inevitable Crash

This fierce dedication, while admirable in its intensity, is a double-edged sword. Our brains, despite their boundless capacity for imagination, are still physical organs. They run on glucose, not just caffeine and sheer willpower. Our bodies, too, require fuel and rest.

So, what happens? We push through. We ignore the growling stomach, the flickering headache, the creeping brain fog. We power through on adrenaline and the rapidly diminishing returns of our stimulant of choice. Until, of course, the well dries up.

The words blur. The plot holes yawn. The characters suddenly feel flat. That vibrant spring of inspiration suddenly looks suspiciously like a dry puddle. We drop from exhaustion, or are forced to stop because the mental engine has finally sputtered out. The creative fire is banked, not because the ideas are gone, but because the vessel carrying them is depleted.

Refueling for the Long Haul

It’s in this forced pause that the deeper sustenance often arrives. Sleep isn’t just downtime; it’s vital processing time. It’s where your subconscious untangles plot knots, brews new ideas from disparate elements, and recharges the very batteries you’ve drained. Perhaps dreams, those wild, untamed narratives of our minds, become fertile ground for unexpected inspiration, offering a fresh perspective when you finally return to the page.

The lesson? Nurturing your body isn’t a distraction from your craft; it’s an integral part of it. Think of fueling yourself not as an interruption, but as an investment into longer, more productive, and ultimately more enjoyable writing sessions.

  • Pre-emptive Power: Before you dive deep, have a proper meal or at least a substantial snack. Think protein and complex carbs to avoid that precipitous sugar crash.
  • Hydrate Smarter: Water is your brain’s best friend. Keep a bottle within reach and sip regularly.
  • Strategic Breaks: A five-minute stretch, a quick walk to the kitchen for that piece of fruit, genuinely stepping away for a meal – these aren’t breaks from writing, they’re part of a sustainable writing practice. They allow your subconscious to work, your eyes to rest, and your body to refuel.
  • Listen to Your Body: Learn to recognize the early signs of fatigue and hunger. Don’t wait until you’re crashing to address them.

So, next time you feel that familiar pull into the writing vortex, pause for a moment. Ask yourself: Is my body fueled? Is my mind sustained? Because the most brilliant stories are often born not just from passion, but from the well-being that allows that passion to truly flourish.

How do you navigate the delicate dance between creative flow and basic needs? Share your tips for staying nourished and inspired in the comments below!

…

Another excerpt from ‘Betrayal’; a work in progress

…

My next destination in the quest was the hotel we believed Anne Merriweather had stayed at.

I was, in a sense, flying blind because we had no concrete evidence she had been there, and the message she had left behind didn’t quite name the hotel or where Vladimir was going to take her.

Mindful of the fact that someone might have been following me, I checked to see if the person I’d assumed had followed me to Elizabeth’s apartment was still in place, but I couldn’t see him. Next, I made a mental note of seven different candidates and committed them to memory.

Then I set off to the hotel, hailing a taxi. There was the possibility the cab driver was one of them, but perhaps I was slightly more paranoid than I should be. I’d been watching the queue, and there were two others before me.

The journey took about an hour, during which time I kept an eye out the back to see if anyone had been following us. If anyone was, I couldn’t see them.

I had the cab drop me off a block from the hotel and then spent the next hour doing a complete circuit of the block the hotel was on, checking the front and rear entrances, the cameras in place, and the siting of the driveway into the underground carpark. There was a camera over the entrance, and one we hadn’t checked for footage. I sent a text message to Fritz to look into it.

The hotel lobby was large and busy, which was exactly what you’d want if you wanted to come and go without standing out. It would be different later at night, but I could see her arriving about mid-afternoon, and anonymous among the type of clientele the hotel attracted.

I spent an hour sitting in various positions in the lobby simply observing. I had already ascertained where the elevator lobby for the rooms was, and the elevator down to the car park. Fortunately, it was not ‘guarded’ but there was a steady stream of concierge staff coming and going to the lower levels, and, just from time to time, guests.

Then, when there was a commotion at the front door, what seemed to be a collision of guests and free-wheeling bags, I saw one of the seven potential taggers sitting by the front door. Waiting for me to leave? Or were they wondering why I was spending so much time there?

Taking advantage of that confusion, I picked my moment to head for the elevators that went down to the car park, pressed the down button, and waited.

The was no car on the ground level, so I had to wait, watching, like several others, the guests untangling themselves at the entrance, and an eye on my potential surveillance, still absorbed in the confusion.

The doors to the left car opened, and a concierge stepped out, gave me a quick look, then headed back to his desk. I stepped into the car, pressed the first level down, the level I expected cars to arrive on, and waited what seemed like a long time for the doors to close.

As they did, I was expecting to see a hand poke through the gap, a latecomer. Nothing happened, and I put it down to a television moment.

There were three basement levels, and for a moment, I let my imagination run wild and considered the possibility that there were more levels. Of course, there was no indication on the control panel that there were any other floors, and I’d yet to see anything like it in reality.

With a shake of my head to return to reality, the car arrived, the doors opened, and I stepped out.

A car pulled up, and the driver stepped out, went around to the rear of his car, and pulled out a case. I half expected him to throw me the keys, but the instant glance he gave me told him was not the concierge, and instead brushed past me like I wasn’t there.

He bashed the up button several times impatiently and cursed when the doors didn’t open immediately. Not a happy man.

Another car drove past on its way down to a lower level.

I looked up and saw the CCTV camera, pointing towards the entrance, visible in the distance. A gate that lifted up was just about back in position and then made a clunk when it finally closed. The footage from the camera would not prove much, even if it had been working, because it didn’t cover the life lobby, only in the direction of the car entrance.

The doors to the other elevator car opened, and a man in a suit stepped out.

“Can I help you, sir? You seem lost.”

Security, or something else. “It seems that way. I went to the elevator lobby, got in, and it went down rather than up. I must have been in the wrong place.”

“Lost it is, then, sir.” I could hear the contempt for Americans in his tone. “If you will accompany me, please.”

He put out a hand ready to guide me back into the elevator. I was only too happy to oblige him. There had been a sign near the button panel that said the basement levels were only to be accessed by the guests.

Once inside, he turned a key and pressed the lobby button. The doors closed, and we went up. He stood, facing the door, not speaking. A few seconds later, he was ushering me out to the lobby.

“Now, sir, if you are a guest…”

“Actually, I’m looking for one. She called me and said she would be staying in this hotel and to come down and visit her. I was trying to get to the sixth floor.”

“Good. Let’s go over the the desk and see what we can do for you.”

I followed him over to the reception desk, where he signalled one of the clerks, a young woman who looked and acted very efficiently, and told her of my request, but then remained to oversee the proceeding.

“Name of guest, sir?”

“Merriweather, Anne. I’m her brother, Alexander.” I reached into my coat pocket and pulled out my passport to prove that I was who I said I was. She glanced cursorily at it.

She typed the name into the computer, and then we waited a few seconds while it considered what to output. Then, she said, “That lady is not in the hotel, sir.”

Time to put on my best-confused look. “But she said she would be staying here for the week. I made a special trip to come here to see her.”

Another puzzled look from the clerk, then, “When did she call you?”

An interesting question to ask, and it set off a warning bell in my head. I couldn’t say today, it would have to be the day she was supposedly taken.

“Last Saturday, about four in the afternoon.”

Another look at the screen, then, “It appears she checked out Sunday morning. I’m afraid you have made a trip in vain.”

Indeed, I had. “Was she staying with anyone?”

I just managed to see the warning pass from the suited man to the clerk. I thought he had shown an interest when I mentioned the name, and now I had confirmation. He knew something about her disappearance. The trouble was, he wasn’t going to volunteer any information because he was more than just hotel security.

“No.”

“Odd,” I muttered. “I thought she told me she was staying with a man named Vladimir something or other. I’m not too good at pronouncing those Russian names. Are you sure?”

She didn’t look back at the screen. “Yes.”

“OK, now one thing I do know about staying in hotels is that you are required to ask guests with foreign passports their next destination, just in case they need to be found. Did she say where she was going next?” It was a long shot, but I thought I’d ask.

“Moscow. As I understand it, she lives in Moscow. That was the only address she gave us.”

I smiled. “Thank you. I know where that is. I probably should have gone there first.”

She didn’t answer; she didn’t have to, her expression did that perfectly.

The suited man spoke again, looking at the clerk. “Thank you.” He swivelled back to me. “I’m sorry we can’t help you.”

“No. You have more than you can know.”

“What was your name again, sir, just in case you still cannot find her?”

“Alexander Merriweather. Her brother. And if she is still missing, I will be posting a very large reward. At the moment, you can best contact me via the American Embassy.”

Money is always a great motivator, and that thoughtful expression on his face suggested he gave a moment’s thought to it.

I left him with that offer and left. If anything, the people who were holding her would know she had a brother, that her brother was looking for her, and equally that brother had money.

…

© Charles Heath – 2018-2025

Writing a book in 365 days – 272

Day 272

Coffee, Crumbs, and Creativity: The Writer’s Fuel Dilemma

There’s a specific kind of alchemy that happens when you’re truly in the writing zone. Words flow, ideas connect, and the world outside the screen (or notebook) fades into a hazy, unimportant blur. It’s a magical, almost spiritual state where the story dictates the pace and you’re merely its conduit.

But let’s be honest, that magic often comes at a cost, doesn’t it?

The Sustenance Struggle

For many of us, the quest for sustained creative output inevitably clashes with the very human need for sustenance. The ubiquitous cup of coffee, the endless mug of tea – these become less a beverage and more a life support system. We sip, we type, we chase the next sentence, convinced that stopping for something as mundane as a meal will shatter the fragile spell.

The thought of breaking that momentum, of stepping away from a scene that’s finally unravelling just right, for a sandwich or a proper dinner, feels like artistic treason. We tell ourselves we don’t have time. We can’t interrupt the process. The words are right there.

The Inevitable Crash

This fierce dedication, while admirable in its intensity, is a double-edged sword. Our brains, despite their boundless capacity for imagination, are still physical organs. They run on glucose, not just caffeine and sheer willpower. Our bodies, too, require fuel and rest.

So, what happens? We push through. We ignore the growling stomach, the flickering headache, the creeping brain fog. We power through on adrenaline and the rapidly diminishing returns of our stimulant of choice. Until, of course, the well dries up.

The words blur. The plot holes yawn. The characters suddenly feel flat. That vibrant spring of inspiration suddenly looks suspiciously like a dry puddle. We drop from exhaustion, or are forced to stop because the mental engine has finally sputtered out. The creative fire is banked, not because the ideas are gone, but because the vessel carrying them is depleted.

Refueling for the Long Haul

It’s in this forced pause that the deeper sustenance often arrives. Sleep isn’t just downtime; it’s vital processing time. It’s where your subconscious untangles plot knots, brews new ideas from disparate elements, and recharges the very batteries you’ve drained. Perhaps dreams, those wild, untamed narratives of our minds, become fertile ground for unexpected inspiration, offering a fresh perspective when you finally return to the page.

The lesson? Nurturing your body isn’t a distraction from your craft; it’s an integral part of it. Think of fueling yourself not as an interruption, but as an investment into longer, more productive, and ultimately more enjoyable writing sessions.

  • Pre-emptive Power: Before you dive deep, have a proper meal or at least a substantial snack. Think protein and complex carbs to avoid that precipitous sugar crash.
  • Hydrate Smarter: Water is your brain’s best friend. Keep a bottle within reach and sip regularly.
  • Strategic Breaks: A five-minute stretch, a quick walk to the kitchen for that piece of fruit, genuinely stepping away for a meal – these aren’t breaks from writing, they’re part of a sustainable writing practice. They allow your subconscious to work, your eyes to rest, and your body to refuel.
  • Listen to Your Body: Learn to recognize the early signs of fatigue and hunger. Don’t wait until you’re crashing to address them.

So, next time you feel that familiar pull into the writing vortex, pause for a moment. Ask yourself: Is my body fueled? Is my mind sustained? Because the most brilliant stories are often born not just from passion, but from the well-being that allows that passion to truly flourish.

How do you navigate the delicate dance between creative flow and basic needs? Share your tips for staying nourished and inspired in the comments below!

…

Writing a book in 365 days – Days 270 and 271

Days 270 and 271

Writing Exercise – An old, inhabited house

…

I was stuck in a time warp.

It may have been amusing back when I was a child, stepping through a broken mirror and imagining i had gone back in time, to an age when the house was a beautiful old mansion.

Once it was a landmark, a place with many rooms and a sprawling, manicured garden surrounding it, with a maze and a lake with fish.

Now it was a frightening outline against a dark, lightning-filled sky, surrounded by townsfolk who wanted the eyesore demolished.

The city authorities had issued a repair order on the house and gardens, and failure to comply would see it declared unfit for habitation and a demolition order.

The thing is, my grandmother, a very sprightly 90-year-old, was determined to fight them and everyone else, often brandishing her trusty old blunderbuss at anyone who dared to breach the front gates.

The mayor’s brother wanted the land so he could finish his condominium conversion and fulfil his promise to the other condo holders that the noise would be gone and a golf course and swimming pool, along with a clubhouse and cinema, would be built.

She was fighting a losing battle.

She didn’t have the money to do the repairs or to fight any more court battles.

My mother didn’t see the point.  The developer had offered five million, enough to get a new house somewhere else.  Gran wanted twenty million, what it was worth.  The authorities were going to resume it for one million.

Such machinations were beyond my comprehension.  I might be older now, but it was still a fairytale castle.  Just the duel curved staircase from the foyer to the first floor was magic.

I had seen my sister descend that staircase in her prom dress like a princess, and could imagine all who came before her.

Standing in the middle of the ballroom, it was not hard to imagine the dances held there, the people doing a synchronised waltz as I had done once when learning it for my prom, the school orchestra playing, and all the boys and girls dancing.

And the parties it once hosted.

Now dusty, abandoned, silent except for the odd creaking of purported ghosts.

There were eighty rooms, sixty of them bedrooms, in two wings over three floors.  Fifteen families were living in the house: my grandmother, each of her eight children, of which my mother was one, twenty-three grandchildren, and seven great-grandchildren.

None of the family left the city where they were born, lived, and most likely would die.  None had ever seen the need to leave.

Until now.

I was sitting on the bottom step of the elegant but decrepit staircase, contemplating whether it would be safe to slide down the banister, when Aunt Ruby skipped down the stairs and plonked herself down next to me.

Aunt Ruby was always in Halloween costumes, or so I thought.  She kept saying she was a Goth, but I had no idea what that meant.

She was also a computer hacker, and I knew what that was.  Every day, we were waiting for the FBI or the CIA to turn up at the front door. 

“Guess what?”

“The cops are coming to take you away?”

It was a running joke.

“No.  Cracked it.  We’re rich.”

Until the cops came and took her away.

“I’ll believe it when I see it.”

She handed me a piece of paper.  It had the name of a bank that I had never heard of in the Cayman Islands, in the name of some corporation no one could pronounce.

The sum of money $22,176,328.76.

“You are this corporation?”

“After it slushes through forty-three shell companies that will keep whoever it is used for a year.  It’s on its way to a Swiss numbered account, then Cloverville will be born.”

“Cloverville?”

“My money, my name.”  She jumped up and ran off to tell Granny.

…

Of course, having the money and deciding what to do were two very different things. Everyone had a very different idea.

My parents wanted their room, already palatial, to be even more so. I wanted my room to be bigger with my own bathroom, now very tired of being last in line. Maybe if I got up earlier…

Everyone wanted a cafeteria and kitchen separate, modelled on the dining room at the Savoy, but my grandmother liked the current kitchen with a wooden stove that kept us all warm in winter and boiling in summer, and we were all together around a large table.

It also meant that we all wanted servants, but as Aunt Ruby said, people didn’t have servants these days, and we had to do our dirty work, like cooking and cleaning, and she would not be employing servants. Gran could remember the day when there were servants, and she said they had never been treated very well or taken for granted.

People were doing it now, so people could keep doing it after the renovations.

Everyone wanted their own TV, and of course, it was going to be like a motel. A TV in every bedroom. Maybe. Aunt Ruby said the children were not getting a TV; they would get an iPad, and that was it. Parents could go to the Cinema Room.

What Cinema Room?

The basement was being cleared out of 200 years of clutter, and it was going to be a cinema, holding about 100 or so people.

I was surprised Aunt Ruby didn’t want to take over the bedroom that my parents were in. That’s when I learned she was taking up residence in the north tower.

What north tower?

And then there was the moat and drawbridge…

…

©  Charles Heath  2025

Writing a book in 365 days – Days 270 and 271

Days 270 and 271

Writing Exercise – An old, inhabited house

…

I was stuck in a time warp.

It may have been amusing back when I was a child, stepping through a broken mirror and imagining i had gone back in time, to an age when the house was a beautiful old mansion.

Once it was a landmark, a place with many rooms and a sprawling, manicured garden surrounding it, with a maze and a lake with fish.

Now it was a frightening outline against a dark, lightning-filled sky, surrounded by townsfolk who wanted the eyesore demolished.

The city authorities had issued a repair order on the house and gardens, and failure to comply would see it declared unfit for habitation and a demolition order.

The thing is, my grandmother, a very sprightly 90-year-old, was determined to fight them and everyone else, often brandishing her trusty old blunderbuss at anyone who dared to breach the front gates.

The mayor’s brother wanted the land so he could finish his condominium conversion and fulfil his promise to the other condo holders that the noise would be gone and a golf course and swimming pool, along with a clubhouse and cinema, would be built.

She was fighting a losing battle.

She didn’t have the money to do the repairs or to fight any more court battles.

My mother didn’t see the point.  The developer had offered five million, enough to get a new house somewhere else.  Gran wanted twenty million, what it was worth.  The authorities were going to resume it for one million.

Such machinations were beyond my comprehension.  I might be older now, but it was still a fairytale castle.  Just the duel curved staircase from the foyer to the first floor was magic.

I had seen my sister descend that staircase in her prom dress like a princess, and could imagine all who came before her.

Standing in the middle of the ballroom, it was not hard to imagine the dances held there, the people doing a synchronised waltz as I had done once when learning it for my prom, the school orchestra playing, and all the boys and girls dancing.

And the parties it once hosted.

Now dusty, abandoned, silent except for the odd creaking of purported ghosts.

There were eighty rooms, sixty of them bedrooms, in two wings over three floors.  Fifteen families were living in the house: my grandmother, each of her eight children, of which my mother was one, twenty-three grandchildren, and seven great-grandchildren.

None of the family left the city where they were born, lived, and most likely would die.  None had ever seen the need to leave.

Until now.

I was sitting on the bottom step of the elegant but decrepit staircase, contemplating whether it would be safe to slide down the banister, when Aunt Ruby skipped down the stairs and plonked herself down next to me.

Aunt Ruby was always in Halloween costumes, or so I thought.  She kept saying she was a Goth, but I had no idea what that meant.

She was also a computer hacker, and I knew what that was.  Every day, we were waiting for the FBI or the CIA to turn up at the front door. 

“Guess what?”

“The cops are coming to take you away?”

It was a running joke.

“No.  Cracked it.  We’re rich.”

Until the cops came and took her away.

“I’ll believe it when I see it.”

She handed me a piece of paper.  It had the name of a bank that I had never heard of in the Cayman Islands, in the name of some corporation no one could pronounce.

The sum of money $22,176,328.76.

“You are this corporation?”

“After it slushes through forty-three shell companies that will keep whoever it is used for a year.  It’s on its way to a Swiss numbered account, then Cloverville will be born.”

“Cloverville?”

“My money, my name.”  She jumped up and ran off to tell Granny.

…

Of course, having the money and deciding what to do were two very different things. Everyone had a very different idea.

My parents wanted their room, already palatial, to be even more so. I wanted my room to be bigger with my own bathroom, now very tired of being last in line. Maybe if I got up earlier…

Everyone wanted a cafeteria and kitchen separate, modelled on the dining room at the Savoy, but my grandmother liked the current kitchen with a wooden stove that kept us all warm in winter and boiling in summer, and we were all together around a large table.

It also meant that we all wanted servants, but as Aunt Ruby said, people didn’t have servants these days, and we had to do our dirty work, like cooking and cleaning, and she would not be employing servants. Gran could remember the day when there were servants, and she said they had never been treated very well or taken for granted.

People were doing it now, so people could keep doing it after the renovations.

Everyone wanted their own TV, and of course, it was going to be like a motel. A TV in every bedroom. Maybe. Aunt Ruby said the children were not getting a TV; they would get an iPad, and that was it. Parents could go to the Cinema Room.

What Cinema Room?

The basement was being cleared out of 200 years of clutter, and it was going to be a cinema, holding about 100 or so people.

I was surprised Aunt Ruby didn’t want to take over the bedroom that my parents were in. That’s when I learned she was taking up residence in the north tower.

What north tower?

And then there was the moat and drawbridge…

…

©  Charles Heath  2025

Writing a book in 365 days – My Story 40

Letting others see your work and…

…

When Reality Bites: Navigating Overly Critical Beta Reviews

You pour your heart, soul, and countless hours into your manuscript. You polish it, you fret over it, you dream of the day it shines. Then, with a mixture of excitement and trepidation, you send it off to your beta readers, anticipating encouraging words, a few minor suggestions, and perhaps a high-five for a job well done.

Then the reviews come in. And they’re not what you expected.

Suddenly, those minor suggestions are major critiques. The encouraging words are overshadowed by lists of plot holes, character inconsistencies, and pacing issues. It’s a gut punch, isn’t it? That initial sting of disappointment, perhaps even defensiveness, confusion, and a creeping sense of “What just happened?”

If you’ve just received a batch of overly critical beta reviews that blindsided you, you are far from alone. This is a common and often painful rite of passage for creators of all kinds.

The Gut Punch: When Expectation Meets Harsh Reality

The most challenging part of these reviews isn’t just the criticism itself, but the massive chasm between what we hoped for and what we actually received. We expected validation, a pat on the back, and perhaps a few tweaks. What we got was a stark reminder that our vision, however clear to us, might not be translating as effectively as we thought.

This disconnect can be intensely disheartening. It makes you question your abilities, your story, and even your decision to share your work in the first place.

What to Do When the Feedback Feels Overwhelming

So, you’re reeling. What now? Here’s a practical, empathetic guide to help you move from disappointment to constructive action:

  1. Step Away. Seriously. Your first reaction will likely be emotional. You might feel defensive, angry, or utterly defeated. This is not the headspace for objective analysis. Close the reviews. Go for a walk. Meditate. Vent to a trusted friend (not about the specifics of the reviews, but about how you feel). Give yourself at least 24-48 hours before you even think about looking at them again. Your emotional brain needs to cool down.
  2. Shift Your Perspective: They’re Not Attacking YOU, They’re Helping Your WORK. This is perhaps the hardest mental shift. Beta readers are not paid critics; they’re volunteers who have invested their time to help you. Even if their feedback feels harsh or poorly worded, their intention (mostly) is to assist you in making your project better. They are your first line of defense against a wider, potentially harsher, public. They’re finding the flaws now, so you don’t have to later.
  3. Read with an Editor’s Eye, Not an Author’s Heart. Once you’ve cooled down, go through the reviews again. This time, try to detach. Pretend you’re reading feedback for someone else’s work.
    • Look for Patterns: Where do multiple readers flag the same issue? These are your “golden nuggets” – the areas that definitively need attention. If three different people say the pacing drags in Chapter 5, that’s not subjective opinion; it’s a verifiable problem.
    • Distinguish Constructive vs. Unhelpful:
      • Constructive: “I got confused by Character X’s motivations here,” or “The tension dropped in the middle,” or “I didn’t understand the world-building rules.” These offer a problem you can solve.
      • Unhelpful: “I just didn’t like it,” or “This isn’t my kind of story,” or “You should change the ending entirely to what I would do.” These are often personal preferences or lack the specificity you need to act.
    • Prioritize: Make a list of the recurring, actionable issues.
  4. Acknowledge the Gap, Then Bridge It. The unexpected nature of these reviews highlights the gap between your intent and the reader’s experience. This gap isn’t a failure; it’s an opportunity. It means you have clearer targets for revision.
    • Instead of thinking, “They didn’t get it,” ask, “How can I make it impossible to not get it?”
    • Instead of, “They’re wrong,” ask, “What in my work led them to this conclusion, and how can I guide them differently?”
  5. Don’t Feel Obligated to Implement Everything. Your work is ultimately yours. You are the captain of your ship. Take the valuable feedback, discard the unhelpful, and politely consider (but don’t necessarily act on) the subjective preferences that don’t align with your core vision. If one reader hates your protagonist and everyone else loves them, that’s likely an outlier opinion.

Moving Forward with Resilience

Receiving critical beta reviews is tough. It can feel like a setback, a betrayal of your hopes. But it’s also an invaluable part of the creative process. It builds resilience, hones your critical eye, and ultimately makes your work stronger.

Remember, the goal of beta readers isn’t to tell you your work is perfect – it’s to help you make it perfect (or as close to it as possible). Embrace the sting, learn from the feedback, and let it fuel your next round of revisions. Your best work is often forged in the fires of honest critique.

What I learned about writing – Where does time go?

When has time gone?  I mean, just yesterday it felt like the start of a new year, and all those projects I had lined up are still on paper, somewhere.

Does anyone else over sixty-five get the feeling time is speeding up rather than slowing down?  It sounds weird, doesn’t it, that as you slow down as old age approaches, time goes faster, and those things you wanted to get done seem further away.  I’m 72 this year, and it feels like I only turned 65 a year ago!

When you’re young, it always seems like you will have all the time in the world, and that seems to play out over the first forty or fifty years, while you’re putting this off, putting that off, while all the little details of life take more and more of your time.

And there’s that one huge thing that hangs over your head, the fact that you might never get to that time when you said you would have time for it.  People are dying younger again, of stress, bad habits and overexercising.

I’ll never be guilty of the last once.  It’ll probably be bad habits, something we are all guilty of.

That’s also a reason why I don’t have New Year’s resolutions, and I try not to make plans for anything too far ahead.

It’s also the reason why we decided to travel and do all those things people say they’re going to do when they retire, only to discover they can’t for one reason or another, or they just simply died.

Stopping work after being so wrapped up in it can kill you, and it’s not beyond the realms of possibility that you can quite literally die of boredom.

It’s why I write.  Keeps the mind active, gives me something to do, and believe me, when I’m writing, I’m never bored, and it’s a perfect fit between bouts of being a grandfather, a taxi service, and doing everything else that needs a not-so-handy handyman.

Time literally flying by is the same reason why my granddaughters have grown so much, because it seems like it was only yesterday, they were babies, and now the eldest is 22.  When did she get so grown-up?

Oh, well, back to childminding duties.  It’s the school holidays and tomorrow we’re off to travel down ‘the coast’, which is most ubiquitously called the Gold Coast or otherwise known as Surfer’s Paradise.  It’s glitzy, has a dark side, and always looks shiny until the sun goes down.  We go there during the day.  Tomorrow will be the first time in over a year.

If we can get the kids off their computers and smartphones.

“The Things we do for Love”, the story behind the story

This story has been ongoing since I was seventeen, and just to let you know, I’m 71 this year.

Yes, it’s taken a long time to get it done.

Why, you might ask.

Well, I never gave it much interest because I started writing it after a small incident when I was 17, and working as a book packer for a book distributor in Melbourne

At the end of my first year, at Christmas, the employer had a Christmas party, and that year, it was at a venue in St Kilda.

I wasn’t going to go because at that age, I was an ordinary boy who was very introverted and basically scared of his own shadow and terrified by girls.

Back then, I would cross the street to avoid them

Also, other members of the staff in the shipping department were rough and ready types who were not backwards in telling me what happened, and being naive, perhaps they knew I’d be either shocked or intrigued.

I was both adamant I wasn’t coming and then got roped in on a dare.

Damn!

So, back then, in the early 70s, people looked the other way when it came to drinking, and of course, Dutch courage always takes away the concerns, especially when normally you wouldn’t do half the stuff you wouldn’t in a million years

I made it to the end, not as drunk and stupid as I thought I might be, and St Kilda being a salacious place if you knew where to look, my new friends decided to give me a surprise.

It didn’t take long to realise these men were ‘men about town’ as they kept saying, and we went on an odyssey.  Yes, those backstreet brothels where one could, I was told, have anything they could imagine.

Let me tell you, large quantities of alcohol and imagination were a very bad mix.

So, the odyssey in ‘The things we do’ was based on that, and then the encounter with Diana. Well, let’s just say I learned a great deal about girls that night.

Firstly, not all girls are nasty and spiteful, which seemed to be the case whenever I met one. There was a way to approach, greet, talk to, and behave.

It was also true that I could have had anything I wanted, but I decided what was in my imagination could stay there.  She was amused that all I wanted was to talk, but it was my money, and I could spend it how I liked.

And like any 17-year-old naive fool, I fell in love with her and had all these foolish notions.  Months later, I went back, but she had moved on, to where no one was saying or knew.

Needless to say, I was heartbroken and had to get over that first loss, which, like any 17-year-old, was like the end of the world.

But it was the best hour I’d ever spent in my life and would remain so until I met the woman I have been married to for the last 48 years.

As Henry, he was in part based on a rebel, the son of rich parents who despised them and their wealth, and he used to regale anyone who would listen about how they had messed up his life

If only I’d come from such a background!

And yes, I was only a run away from climbing up the stairs to get on board a ship, acting as a purser.

I worked for a shipping company and they gave their junior staff members an opportunity to spend a year at sea working as a purser on a cargo ship that sailed between Melbourne, Sydney and Hobart in Australia.

One of the other junior staff members’ turn came, and I would visit him on board when he would tell me stories about life on board, the officers, the crew, and other events. These stories, which sounded incredible to someone so impressionable, were a delight to hear.

Alas, by that time, I had tired of office work and moved on to be a tradesman at the place where my father worked.

It proved to be the right move, as that is where I met my wife.  Diana had been right; love would find me when I least expected it.

Writing a book in 365 days – My Story 40

Letting others see your work and…

…

When Reality Bites: Navigating Overly Critical Beta Reviews

You pour your heart, soul, and countless hours into your manuscript. You polish it, you fret over it, you dream of the day it shines. Then, with a mixture of excitement and trepidation, you send it off to your beta readers, anticipating encouraging words, a few minor suggestions, and perhaps a high-five for a job well done.

Then the reviews come in. And they’re not what you expected.

Suddenly, those minor suggestions are major critiques. The encouraging words are overshadowed by lists of plot holes, character inconsistencies, and pacing issues. It’s a gut punch, isn’t it? That initial sting of disappointment, perhaps even defensiveness, confusion, and a creeping sense of “What just happened?”

If you’ve just received a batch of overly critical beta reviews that blindsided you, you are far from alone. This is a common and often painful rite of passage for creators of all kinds.

The Gut Punch: When Expectation Meets Harsh Reality

The most challenging part of these reviews isn’t just the criticism itself, but the massive chasm between what we hoped for and what we actually received. We expected validation, a pat on the back, and perhaps a few tweaks. What we got was a stark reminder that our vision, however clear to us, might not be translating as effectively as we thought.

This disconnect can be intensely disheartening. It makes you question your abilities, your story, and even your decision to share your work in the first place.

What to Do When the Feedback Feels Overwhelming

So, you’re reeling. What now? Here’s a practical, empathetic guide to help you move from disappointment to constructive action:

  1. Step Away. Seriously. Your first reaction will likely be emotional. You might feel defensive, angry, or utterly defeated. This is not the headspace for objective analysis. Close the reviews. Go for a walk. Meditate. Vent to a trusted friend (not about the specifics of the reviews, but about how you feel). Give yourself at least 24-48 hours before you even think about looking at them again. Your emotional brain needs to cool down.
  2. Shift Your Perspective: They’re Not Attacking YOU, They’re Helping Your WORK. This is perhaps the hardest mental shift. Beta readers are not paid critics; they’re volunteers who have invested their time to help you. Even if their feedback feels harsh or poorly worded, their intention (mostly) is to assist you in making your project better. They are your first line of defense against a wider, potentially harsher, public. They’re finding the flaws now, so you don’t have to later.
  3. Read with an Editor’s Eye, Not an Author’s Heart. Once you’ve cooled down, go through the reviews again. This time, try to detach. Pretend you’re reading feedback for someone else’s work.
    • Look for Patterns: Where do multiple readers flag the same issue? These are your “golden nuggets” – the areas that definitively need attention. If three different people say the pacing drags in Chapter 5, that’s not subjective opinion; it’s a verifiable problem.
    • Distinguish Constructive vs. Unhelpful:
      • Constructive: “I got confused by Character X’s motivations here,” or “The tension dropped in the middle,” or “I didn’t understand the world-building rules.” These offer a problem you can solve.
      • Unhelpful: “I just didn’t like it,” or “This isn’t my kind of story,” or “You should change the ending entirely to what I would do.” These are often personal preferences or lack the specificity you need to act.
    • Prioritize: Make a list of the recurring, actionable issues.
  4. Acknowledge the Gap, Then Bridge It. The unexpected nature of these reviews highlights the gap between your intent and the reader’s experience. This gap isn’t a failure; it’s an opportunity. It means you have clearer targets for revision.
    • Instead of thinking, “They didn’t get it,” ask, “How can I make it impossible to not get it?”
    • Instead of, “They’re wrong,” ask, “What in my work led them to this conclusion, and how can I guide them differently?”
  5. Don’t Feel Obligated to Implement Everything. Your work is ultimately yours. You are the captain of your ship. Take the valuable feedback, discard the unhelpful, and politely consider (but don’t necessarily act on) the subjective preferences that don’t align with your core vision. If one reader hates your protagonist and everyone else loves them, that’s likely an outlier opinion.

Moving Forward with Resilience

Receiving critical beta reviews is tough. It can feel like a setback, a betrayal of your hopes. But it’s also an invaluable part of the creative process. It builds resilience, hones your critical eye, and ultimately makes your work stronger.

Remember, the goal of beta readers isn’t to tell you your work is perfect – it’s to help you make it perfect (or as close to it as possible). Embrace the sting, learn from the feedback, and let it fuel your next round of revisions. Your best work is often forged in the fires of honest critique.