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The Ten Point Outline - Why It's All You Need

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  Nearly thirty years ago I wrote a short article about outlining for screenwriters. I can still remember the mood I was in when I sent it off - mildly hopeful, mildly resigned, not entirely convinced anyone would care. It was a practical piece, nothing fancy, recommending a simple ten point outline as the quickest way to get a story moving. No labyrinthine beat sheets. No color coded index cards covering the walls. Just ten clear turning points that mapped the spine of a narrative from beginning to end. The article was accepted immediately and published by the London Screenwriters Workshop. It stayed on their site for over a decade, quietly doing its job, being read by writers who needed permission to keep things simple. I moved on to other projects, wrote books, built courses, taught thousands of students, but that little ten point outline kept humming away in the background of my creative life. And I still believe in it. In fact, I have just proved to myself - again - that it...
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Unreliable Memories - How Real Are They Anyway?

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  Memory is a slippery accomplice. It feels solid while we are standing inside it, but the moment we try to pin it down on paper it dissolves like mist under sunlight. We tell ourselves that we remember clearly. We are certain we know what was said, how the room looked, what color the sky was. Yet the more we revisit a memory, the more it shifts under our feet. Details rearrange themselves. Motives become tidier. Conversations sharpen into neat dialogue that probably never existed in such elegant form. This is where memoir becomes both thrilling and dangerous. We grow up believing that memory is a recording device. We imagine it as a kind of internal camera, faithfully capturing events and storing them in pristine condition. When we reach back into the archive of our past, we expect to retrieve a file and play it back exactly as it happened. Neuroscience has made it clear that this simply is not how memory works. Memory is not a recording. It is a reconstruction. Each time we rec...
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Writing About Modern War and Battles in Fiction

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  War Has Changed - And So Must We There was a time when war, at least in fiction, was a matter of mud, steel, and eye contact. Men in trenches. Horses breaking lines. Bayonets fixed. Orders shouted over cannon smoke. Even when technology advanced - tanks, aircraft, submarines - the drama remained visible. You could see the enemy. You could charge him. You could lock eyes before killing him. Modern war has dismantled that intimacy. And that changes everything for us as writers. Because if war changes, story changes. You cannot write twenty-first-century battle scenes with nineteenth-century assumptions. The emotional architecture has shifted. The theatre of combat has expanded beyond the horizon. And the psychological distance between cause and consequence has widened in ways that are profoundly unsettling. Let’s explore what that means for your war stories - and how you must adapt. The Disappearance of the Battlefield In older war fiction, the battlefield was a place. A f...
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Don't Write What You Know, Write What You Do

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  There is a particular confidence you feel when reading a novel written by someone who has actually lived inside the world they are describing. It is subtle at first. The dialogue sounds unforced. The procedures feel plausible. The small details land with quiet authority. You do not consciously say, “Ah, this writer must be a lawyer.” You simply relax. You trust the page. That trust is veracity. And veracity is gold. Writers are often told to “write what you know,” which is usually misunderstood as “only write autobiography.” That is not what it means. It means draw upon the layers of knowledge, obsession, professional insight, and niche fascinations you already carry. Those layers create texture. They create specificity. They create worlds that behave consistently because you understand how they function. Look at the number of successful novelists who came to fiction through profession rather than through pure literary ambition. John Grisham was a practicing attorney bef...
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Stone Tablets Are Not Software Updates

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  There is something faintly surreal about the way we handle ancient religious texts in the twenty-first century. On the one hand, we have quantum computing, gene editing, interplanetary probes, and smartphones that can translate six languages before breakfast. On the other, we still have heated arguments about what a collection of Bronze Age shepherds thought about shellfish, fabrics, astronomy, or who is allowed to talk to whom on a Tuesday afternoon. At some point, you have to pause and say, gently but firmly, “Perhaps we are misfiling these documents.” Ancient religious texts are extraordinary artifacts. They are windows into the minds of civilizations that did not have microscopes, germ theory, or Google. They are poetic, symbolic, mythic attempts to understand a world that was vast, terrifying, and mysterious. Thunder meant something. Drought meant something. Disease meant something. The cosmos was personal, not mechanical. That is all fascinating, but can never be a lifes...
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