How to Create an Online Writer’s Group That Actually Works

Learn how to create an online writer’s group that offers support, accountability, and feedback without burnout or unrealistic expectations.

Writing is often a solitary pursuit, but very few writers truly thrive in isolation. 

An online writer’s group can provide motivation, accountability, feedback, and a sense of belonging, if it is set up thoughtfully.

Many online writing groups fail not because the writers lack talent, but because expectations are unclear, structures are too rigid, or participation becomes overwhelming. 

Creating a successful online writer’s group is less about scale and more about clarity, kindness, and consistency.

This guide walks you through how to create an online writer’s group that supports writers rather than exhausting them.

1. Be Clear About the Purpose of the Group

Before inviting anyone, decide what your group is for.

Ask yourself:

Is this a support and accountability group?

A critique and feedback circle?

A co-working or “write-along” space?

A networking and publishing-focused group?

Trying to do everything at once often leads to frustration. A clear purpose helps attract the right members and prevents mismatched expectations.

You can always evolve later.

2. Decide Who the Group Is For (and Who It Isn’t)

Successful writer’s groups have boundaries.

Consider:

Genre focus (or multi-genre)

Experience level (beginners, intermediate, mixed)

Commitment expectations

Whether neurodivergent-friendly practices are explicitly supported

Being inclusive does not mean being vague. Clear criteria help members feel safe and understood.

3. Choose the Right Platform

The best platform is the one your members will actually use.

Common options include:

Private Facebook groups

Discord or Slack servers

WhatsApp or Telegram groups (best for small numbers)

Dedicated community platforms

Video platforms for live sessions, including Zoom

Avoid overcomplicating things at the start. One main space is usually enough.

4. Set Simple, Written Ground Rules

Clear guidelines prevent most problems before they arise.

Helpful rules might include:

Respectful, constructive feedback only

No unsolicited critique

Confidentiality within the group

No spam or aggressive self-promotion

Clear boundaries around time and availability

These do not need to be long or legalistic — just visible and fair.

5. Keep the Structure Light and Flexible

Rigid schedules can exclude people with caring responsibilities, health conditions, or irregular work patterns.

Instead, consider:

Optional weekly or fortnightly check-ins

Monthly writing prompts

Asynchronous feedback threads

Occasional live sessions that are recorded or optional

Flexibility encourages longevity.

6. Encourage Participation Without Pressure

Many writers struggle with confidence, time, or energy.

Make it clear that:

Lurking is allowed

Sharing is optional

Taking breaks is normal

Progress looks different for everyone

A healthy group values presence, not performance.

7. Handle Feedback Thoughtfully

Feedback can be one of the most valuable, and most sensitive, parts of a writer’s group.

Good practices include:

Asking writers what kind of feedback they want

Encouraging “what works” comments alongside suggestions

Limiting the number of people giving critique at once

Allowing writers to decline feedback entirely

Kindness and consent matter more than blunt honesty.

8. Appoint a Moderator (Even if It’s You)

Every group benefits from gentle stewardship.

A moderator helps:

Keep discussions on track

Reinforce group values

Address issues early and calmly

Protect vulnerable members

Moderation is not control — it is care.

9. Let the Group Grow Slowly (or Not at All)

Bigger is not always better.

Many successful writer’s groups remain:

Small

Invitation-only

Purposefully quiet

Depth of connection matters far more than numbers.

10. Remember Why You Started

An online writer’s group should make writing feel less lonely, not more stressful.

If the group:

Supports creativity

Encourages consistency

Builds confidence

Respects boundaries

Then it is doing its job.

Final Thoughts: Community Is a Creative Tool

Writing may be solitary, but writers do not have to be alone.

A well-run online writer’s group can be a place where ideas grow, confidence strengthens, and creativity feels shared rather than strained.

Start small. Stay kind. Keep it human.

How Neurodivergent Writers Can Succeed (Without Trying to Write Like Everyone Else)

For generations, the writing world quietly rewarded one narrow way of thinking: linear, deadline-driven, highly structured, and relentlessly consistent. 

Yet many of the most original, insightful, and influential writers think very differently.

Neurodivergent writers, including those with ADHD, autism, dyslexia, dyspraxia, OCD, and other neurological differences, often bring extraordinary strengths to the page. 

Pattern recognition, intense focus, creativity, empathy, lateral thinking, and original voice can all be powerful assets in writing.

Success, however, rarely comes from forcing yourself to work like a neurotypical writer. It comes from understanding how your brain works and building a writing life around that reality.

1. Stop Trying to “Fix” Your Brain

One of the biggest barriers neurodivergent writers face is internalised pressure to work “properly”.

You may have been told you are:

Too slow

Too scattered

Too obsessive

Too inconsistent

Too sensitive

In reality, your brain is not broken — it's just differently wired.

Many successful neurodivergent writers thrive precisely because they:

Hyperfocus deeply on subjects others skim

Notice details others miss

Make unexpected connections

Write with emotional honesty and intensity

The goal is not to erase your traits, but to use them intentionally.

2. Build Systems That Support Your Brain (Not Fight It)

Traditional writing advice often fails neurodivergent people because it assumes consistent energy, attention, and motivation.

Instead, try:

Flexible routines rather than rigid schedules

Task batching (research days, writing days, editing days)

Visual planning tools like mind maps, colour-coded notes, or kanban boards

Voice notes or dictation if typing blocks your flow

If you work best in short bursts, write in short bursts. If you hyperfocus for hours, plan recovery time afterwards.

Productivity is personal — not moral.

3. Play to Your Strengths

Neurodivergence often brings specific writing advantages:

ADHD writers may excel at idea generation, fast drafting, humour, and conversational tone

Autistic writers often shine in research-heavy work, world-building, consistency, and technical clarity

Dyslexic writers frequently produce strong storytelling, emotional resonance, and big-picture thinking

Identify what comes naturally and lean into it.

You can always outsource, automate, or delay the parts you find hardest — editing tools, grammar software, proof-readers, and AI assistants can be genuine accessibility aids rather than “cheats”.

4. Redefine What “Consistency” Looks Like

Many neurodivergent writers struggle with the idea that success requires writing every day.

It doesn’t.

Consistency can mean:

Publishing weekly, fortnightly, or seasonally

Writing intensively, then resting

Producing work in themed series rather than scattered posts

What matters is sustainability, not daily output.

Burnout does not make you a better writer.

5. Create Boundaries Around Energy, Not Just Time

Neurodivergent burnout is real and often arrives quietly.

Protect your writing life by:

Saying no to projects that drain you disproportionately

Allowing recovery days after heavy cognitive work

Limiting sensory overload (noise, notifications, multitasking)

Writing success is a marathon, not a sprint — and pacing yourself is a professional skill.

6. Find Community (or Create Your Own)

Writing can be isolating, and neurodivergent writers often feel they don’t quite fit in traditional spaces.

Look for:

Neurodivergent-friendly writing groups

Online communities that value openness and flexibility

Collaborators who respect different working styles

You are not alone, and you are certainly not the only one writing this way.

7. Own Your Voice

Perhaps the most important truth of all:

The world needs voices that do not sound the same.

Neurodivergent writers often bring honesty, depth, originality, and insight that cannot be replicated by formulaic writing.

Your difference is not a disadvantage.

It is your competitive edge.

Success does not come from becoming someone else, it comes from writing as yourself, unapologetically, and building a writing life that works with your brain, not against it.

I have worked as a journalist and writer with dyslexia, dyspraxia and OCD for over 30 years, so I have decided to share these ideas with fellow writers. After all, that's why I started Be That Writer to help people be the writer that they want to be.

Why So Many Authors Love Writing in Their Favourite Wetherspoon Pub

For countless writers across the UK, inspiration often strikes far from the desk. Some prefer a cosy armchair at home, others thrive in bustling coffee shops, but there’s a growing number who swear by an unlikely creative haven: their local Wetherspoon pub.

It might seem an unusual choice at first glance, yet once you look a little closer, it makes perfect sense. Wetherspoon pubs offer the kind of atmosphere, affordability and reliable routine that many authors crave when settling down to write.

Here’s why the nation’s wordsmiths are increasingly turning to ’Spoons as their unofficial office.

A Comfortable Buzz That Sparks Creativity

Writing in complete silence doesn’t work for everyone. Many authors prefer a gentle background hum, enough activity to feel part of the world, but not so much that it breaks concentration. Wetherspoon pubs are perfect for this.

The low chatter, clinking glasses and steady flow of customers create a pleasant ambience that feels alive without being chaotic. It’s a kind of white noise that can actually help writers settle into the rhythm of their work.

Spacious Tables and Reliable Layouts

Practicality matters when you’re setting up for a writing session. Wetherspoon locations typically offer:

wide tables with room for laptops, notebooks and drinks

comfortable booths for longer writing stints

predictable layouts, making it easy to find a favourite corner

Authors quickly adopt “their spot” in their local pub, a corner table by a plug socket or a booth with a perfect view—which becomes a little creative sanctuary.

Affordable Fuel: Coffee, Breakfasts and Refills

Let’s be honest: writing can be a long (and caffeine-heavy) process.

Wetherspoon’s budget-friendly menu is a big attraction for writers:

endless free refill coffees or teas, ideal for long writing sessions

affordable breakfasts to start the day right

reliable and free Wi-Fi for research and uploads

low-cost snacks and meals that don’t break the bank (And you can keep the receipts for claiming against tax, if appropriate.)

In cities where cafés can be pricey, ’Spoons offers an accessible alternative for writers on a budget—particularly freelancers and students.

A Sense of Belonging and Routine

Writing can be a solitary endeavour, and many authors find comfort in familiar surroundings. Wetherspoon pubs often become a kind of community hub where regulars recognise each other and enjoy nodding acquaintance.

A daily or weekly writing session in the same pub gives:

structure

a sense of purpose

a reason to leave the house

a break from loneliness

Some authors even treat their favourite pub like a workplace with set “office hours”.

People-Watching Heaven

Characters, dialogue, interactions, overheard conversations, pubs are treasure troves for writers.

Wetherspoon pubs, with their wide range of patrons, offer endless inspiration:

locals chatting at the bar

students debating life

families sharing meals

older regulars offering pearls of wisdom

commuters unwinding after work

Many authors admit their best fictional characters begin with a detail seen at a table across the room.

Historic Buildings and Inspiring Surroundings

One of the most charming quirks of the Wetherspoon chain is its choice of buildings. Former cinemas, theatres, churches, banks and libraries all feature among their premises.

This gives writers something unique:

a creative environment steeped in character and history.

Writing in a converted theatre or old courthouse is far more evocative than a plain coffee shop table, and many authors say the architecture itself sparks ideas.

Freedom to Stay for Hours

Unlike smaller cafés that may need table turnover, Wetherspoon pubs are spacious enough that nobody rushes you out. Writers can settle in, spread out their notes, and stay until the chapter is done.

A single coffee and a quiet corner can easily turn into:

three pages of a novel

a polished article

a finished poem

a well-planned outline

The lack of pressure helps the creativity flow.

It’s a Place That Feels Like Home

When all is said and done, many writers choose their local Wetherspoon because it simply feels right. Familiarity, comfort, affordability and a steady stream of human activity create a unique blend that countless authors find energising.

It’s not just a pub—it’s a creative cocoon.

Final Writing Thoughts

Whether you’re working on a novel, a blogpost, a screenplay or a memoir, writing in a Wetherspoon pub offers a refreshing change of pace. It combines atmosphere, practicality and affordability in a way few other places do.

So next time you're looking for inspiration, grab your notebook or laptop, head to your nearest ’Spoons, and see if the words start flowing. You might just find your new favourite writing spot.

And, of course, I wrote this blogpost at my local 'Spoons, over two pints of Mad Squirrel IPA, although other writers might prefer tea or coffee!

How to Perfectly Craft the Characters in Your Fictional Writing

Creating a compelling plot is important. Of course it is! But it’s your characters who truly bring your story to life. 

They’re the ones your readers laugh with, cry over, root for (or love to hate). 

Whether you’re writing a sweeping fantasy, a gritty crime thriller, or a quiet contemporary drama, believable characters are what make your world feel real.

Here’s how to craft characters that feel like living, breathing people—flawed, fascinating, and unforgettable.

Start With the Core: Who Are They?

Before you get into hair colour and wardrobe choices, ask yourself:

What drives this character? What do they want—and why can’t they have it?

Motivation and conflict are the heartbeat of any character. Try building a simple profile:

Goal: What are they actively trying to achieve?

Fear: What are they afraid of losing?

Flaw: What gets in their way (internally or externally)?

Backstory: What past experience shaped them into who they are today?

A character who wants something but struggles to get it is instantly more compelling.

Show, Don’t Tell

Instead of saying “Maria was bossy,” show Maria taking charge in a meeting, steamrolling everyone’s ideas, then wondering why people are avoiding her. Actions, dialogue, and choices are where personality lives.

Let readers discover your characters the way we do in real life—through what they do, not just what they say about themselves.

Let Them Talk Like Real People

Dialogue is one of the best tools for showing character. Ask yourself:

Do they speak formally or casually?

Do they ramble or get straight to the point?

Do they use humour, sarcasm, swearing, filler words?

Each character should have a distinct voice. If you stripped away all the tags, could readers tell who was speaking?

Give Them Internal Worlds

What are they thinking that they’d never say aloud? What do they believe about themselves or the world? Even the most action-driven characters benefit from internal conflict, doubts, and contradictions.

A stoic detective might secretly believe they’re a failure. A social butterfly might fear abandonment. These layers add richness and resonance.

Make Relationships Matter

Characters don’t exist in a vacuum. They bounce off each other, challenge each other, change because of each other. Use relationships to reveal aspects of your characters that wouldn’t otherwise come out.

How do they behave with:

A sibling who still sees them as a teenager?

A new friend who questions their old beliefs?

A romantic partner they’re afraid to open up to?

The way they relate to others adds emotional depth.

Let Them Grow

A great character arc shows a change—subtle or dramatic—that feels earned. It doesn’t always mean they get what they want. But they should come out the other side altered.

Ask yourself:

By the end of the story, what have they learned (or failed to learn)?

This evolution is what transforms your character from a sketch into a story.

Bonus Tip: Use Character Sheets (But Don’t Get Lost in Them)

Character sheets can be helpful, but don’t let them distract you from the emotional heart of your characters. Knowing their favourite song is nice—but knowing why they lie when they’re scared is better.

Focus on what fuels their decisions, not just the surface-level trivia.

Final Thoughts

Crafting memorable characters isn’t about making them perfect—it’s about making them true. Let them be messy, contradictory, surprising, and deeply human. When your characters feel real to you, they’ll come alive for your readers too.

So take the time to get to know them. Sit with them. Let them surprise you.

That’s when the real magic happens.

The Importance of Setting: Creating Atmospheric Environments

In the realm of storytelling, whether it's in literature, film, or any other form of narrative art, setting plays a pivotal role in captivating audiences and immersing them into the world being presented. 

It's the backdrop against which characters come to life, conflicts unfold, and emotions are evoked.

 Setting isn't just a backdrop; it's a character in its own right, shaping the mood, tone, and overall atmosphere of the narrative. In this blog post, we'll explore the significance of setting and how it contributes to creating atmospheric environments that resonate with audiences.

Setting the Stage

Imagine a story set in a dimly lit Victorian-era mansion, shrouded in mist and mystery. The creaking floorboards, the flickering candlelight, and the eerie silence all contribute to an atmosphere thick with suspense and anticipation. Now contrast that with a bustling futuristic metropolis, where neon lights illuminate towering skyscrapers, hover cars zip through the air, and a constant hum of activity fills the streets. Each setting paints a vastly different picture and sets the stage for unique narratives to unfold.

Setting Enhances Mood and Tone

One of the most significant roles of setting is its ability to enhance the mood and tone of a story. Whether it's a serene countryside setting evoking feelings of tranquility and nostalgia or a bleak, post-apocalyptic wasteland instilling a sense of dread and despair, the setting lays the foundation for the emotional journey that the audience embarks upon. Consider how the barren landscapes of Cormac McCarthy's "The Road" amplify the bleakness of the protagonist's struggle for survival, or how the lush, vibrant setting of Gabriel García Márquez's "One Hundred Years of Solitude" mirrors the magical realism of the narrative.

Setting Influences Character Development

In addition to setting the mood, the environment in which characters exist can significantly impact their development. A character navigating the bustling streets of New York City will face different challenges and experiences compared to one living in a remote mountain village. The setting shapes their worldview, values, and motivations, adding depth and complexity to their character arcs. Think about how J.K. Rowling's Hogwarts School of Witchcraft and Wizardry becomes more than just a setting; it becomes a character itself, influencing the growth and relationships of Harry Potter and his friends throughout the series.

Setting as a Source of Conflict

Moreover, setting can serve as a source of conflict, driving the plot forward and creating tension. Whether it's a natural disaster threatening a coastal town or social unrest brewing in a dystopian society, the environment can present obstacles and challenges for characters to overcome. These conflicts not only propel the narrative but also provide opportunities for growth and revelation. Consider how the harsh, unforgiving landscape of the American frontier in Cormac McCarthy's "Blood Meridian" becomes a relentless antagonist, testing the limits of the characters' endurance and morality.

In conclusion, setting is a fundamental element of storytelling that goes beyond mere backdrop; it's a dynamic force that shapes every aspect of the narrative. From setting the mood and tone to influencing character development and driving conflict, the environment in which a story unfolds is integral to its success. 

As writers, filmmakers, and artists, we must harness the power of setting to create atmospheric environments that captivate audiences and transport them to worlds both familiar and fantastical. By paying attention to the details of setting, we can elevate our stories from mere tales to immersive experiences that resonate long after the final page is turned or the credits roll.

Confronting Impostor Syndrome: A Writer's Guide to Self-Validation

In the creative realm, writers often find themselves grappling with an invisible adversary known as impostor syndrome. 

This psychological phenomenon manifests as persistent feelings of inadequacy, self-doubt, and a pervasive fear of being exposed as a fraud despite evidence of success. 

While it's a common struggle among many creatives, understanding and effectively dealing with impostor syndrome is crucial for personal growth and creative fulfillment. 

In this blog post, we'll explore how writers can identify impostor syndrome and employ strategies to overcome its debilitating effects.

Identifying Impostor Syndrome:

Self-Doubt: Writers experiencing impostor syndrome often doubt their abilities and accomplishments, attributing their success to luck or external factors rather than their own skill and effort.

Perfectionism: The relentless pursuit of perfection can lead writers to feel like they are never good enough, fueling feelings of inadequacy and unworthiness.

Comparison Trap: Constantly comparing oneself to others, especially successful writers, can exacerbate feelings of inadequacy and amplify impostor syndrome.

Fear of Failure: Writers may harbor an intense fear of failure, viewing any setbacks or rejections as confirmation of their inadequacy rather than as opportunities for growth.

Dealing with Impostor Syndrome:

Acknowledge and Accept: The first step in overcoming impostor syndrome is to acknowledge its existence and accept that it's a common struggle among many writers. Recognising that these feelings are not unique to you can be liberating and empowering.

Challenge Negative Self-Talk: Confront the negative self-talk and limiting beliefs that fuel impostor syndrome. Replace self-doubt with affirmations of your skills, talents, and achievements. Remind yourself of past successes and the hard work you've put into your craft. 

Embrace Imperfection: Understand that perfection is an unrealistic standard and that making mistakes is an inevitable part of the creative process. Embrace imperfection as an opportunity for growth and learning rather than a reflection of your worth as a writer.

Set Realistic Goals: Break down your writing goals into manageable tasks and celebrate small victories along the way. Focus on progress rather than perfection, and recognize that success is a journey, not a destination.

Cultivate Self-Compassion: Treat yourself with kindness and compassion, especially during moments of self-doubt and vulnerability. Practice self-care activities that nourish your mind, body, and soul, such as meditation, exercise, or spending time with loved ones.

Seek Support: Don't hesitate to reach out to fellow writers, mentors, or mental health professionals for support and guidance. Sharing your struggles with trusted individuals can provide valuable perspective and reassurance that you're not alone in your journey.

Writer's Block: Impostor syndrome is also a cause of writer's block as it can gnaw away at the confidence of a writer which can bring about writer's block.

Impostor syndrome is a formidable foe that can hinder a writer's confidence and creative expression if left unchecked. By identifying the signs of impostor syndrome and implementing strategies to combat its effects, writers can reclaim their sense of self-worth and embrace their unique voice and talents. 

Remember, you are not an impostor! You are a skilled and deserving writer with valuable stories to share with the world. Trust in your abilities, honor your journey, and never underestimate the power of self-validation in overcoming impostor syndrome.

Overcoming Writer's Block: Strategies to Keep the Words Flowing

Every writer, whether a seasoned professional or a novice, has encountered the dreaded phenomenon known as writer's block. It's that frustrating feeling of staring at a blank page or screen, unable to summon the words to convey your thoughts. 

Writer's block can strike at any time, leaving you feeling stuck and uninspired. However, fear not! There are numerous strategies you can employ to overcome this obstacle and get your creativity flowing once again.

1. Freewriting: Sometimes, the best way to break through writer's block is to simply start writing. Set a timer for 10-15 minutes and write without stopping or worrying about grammar or coherence.

Let your thoughts flow freely, even if they seem disjointed at first. Often, this exercise can loosen up your mind and spark new ideas.

2. Change Your Environment: A change of scenery can work wonders for combating writer's block. If you typically write at your desk, try relocating to a different room, a coffee shop, or a park. The new surroundings can stimulate your senses and provide fresh inspiration.

3. Take a Break: It's important to recognise when pushing through writer's block is counterproductive. Sometimes, stepping away from your writing for a short break can give your brain the rest it needs to come back refreshed and ready to tackle the task at hand. Go for a walk or a run, listen to music, or engage in a different creative activity to recharge your mental batteries.

4. Set Realistic Goals: Break your writing project down into smaller, more manageable tasks. Set realistic goals for yourself, such as writing a certain number of words or completing a specific section within a set timeframe. This can make the writing process feel less overwhelming and help you stay focused and motivated.

5. Use Prompts: If you're struggling to come up with ideas, writing prompts can be a valuable tool for jump-starting your creativity. There are countless websites, books, and apps that offer writing prompts on a wide range of topics. Choose one that intrigues you and use it as a springboard for your writing session.

6. Practice Mindfulness: Writer's block often stems from feelings of anxiety or self-doubt. Practicing mindfulness techniques, such as deep breathing exercises or meditation, can help quiet your inner critic and bring you into the present moment. By cultivating a sense of calm and focus, you may find it easier to tap into your creative energy.

7. Seek Inspiration: Surround yourself with sources of inspiration that resonate with you. Whether it's reading books, watching films, listening to music, or observing nature, exposing yourself to different forms of creativity can reignite your passion for writing and provide fresh ideas to explore.

8. Embrace Imperfection: Remember that writing is a process, and rough drafts are meant to be messy. Don't get bogged down by the pursuit of perfection; allow yourself to write poorly and make mistakes. You can always revise and polish your work later. The important thing is to keep moving forward.

Incidentally one thing I have found that clears writer's block is the adrenaline rush when an editor comes into the office and announces in a tone of panic "We just had a full page advert pull out. They can't get the copy to us. We go to print in just under an hour. I don't want to replace that advert with a house advert, so I'll need you to write me a 1,500 word feature. You pick the topic as long as it's relevant to the magazine!" That creates a buzz that gets the creative juices flowing, but it's a stressful way to beat writer's block and not especially healthy in the long term. 

In conclusion, writer's block is a common challenge that all writers face at some point in their creative journey. By employing these strategies and experimenting with different approaches, you can overcome writer's block and keep the words flowing. Remember to be patient with yourself and trust in your ability to break through the barriers that stand in your way. Happy writing!

GK Chesteron - A forgotten hero of journalism?

G K Chesterton was once one of the most famous writers in Britain,  if not the world. He made several highly popular tours of the United States of America. 

He was a journalist who wrote hundreds of articles -many of them never published in anthology form, so copious was his output. But all of them seemed to be of a high standard. 

He also wrote a number of books, the best remembered being the fantasy novel, "The Man Who Was Thursday". 

But he has long faded into an undeserved obscurity, even though his Father Brown stories about a Catholic priest who is an amateur detective, are still being broadcast on TV. 

He wrote on a wide variety of topics. From what to do on a wet day to the advent of fads and cults and from new religions to the dangers of civil servants and "experts" from charities who seem more interested in following their own rules than looking after the people whose interests they were supposed to look after. No change there, then? 

The following quotes from his writings show that Chesterton still has much to say to the modern world. 

"There is a road from the eye to the heart that does not go through the intellect" The Defendant, 1901 

"Literature is a luxury; fiction is a necessity." The Defendant, 1901 

"Happiness is a mystery like religion, and should never be rationalised." Heretics, 1905 

"If a man wishes to know the origin of human society, to know what society, philosophically speaking, really is, let him not go into the British Museum; let him go into society." Heretics 1905 

"The artistic temperament is a disease that afflicts amateurs." Heretics, 1905 

"The word 'orthodoxy' not only no longer means being right; it practically means being wrong." Heretics, 1905 

"Truth must necessarily be stranger than fiction; for fiction is the creation of the human mind and therefore congenial to it." The Club of Queer Trades, 1905 

"We talk of wild animals; but man is the only wild animal. It is man that has broken out. All other animals are tame animals; following the rugged respectability of the tribe or type." Orthodoxy, 1909 

"The men who really believe in themselves are all in lunatic asylums." Orthodoxy 1909 

"What is bad in the candid friend is simply that he is not candid. He is keeping something back - his own gloomy pleasure in saying unpleasant things." Orthodoxy, 1909 

"Virtue is not the absence of vice or the avoidance of moral dangers; virtue is a vivid and separate thing, like pain or a particular smell." Tremendous Trifles, 1909 

"To be clever enough to get all that money, one must be stupid enough to want it." The Innocence of Father Brown 1911 

Those of you who would like to know more about G K Chesterton might be interested in these resources:-

https://www.chesterton.org/local-societies 

https://www.chesterton.org 

https://www.catholicgkchestertonsociety.co.uk

https://en.wikipedia.org/wiki/G._K._Chesterton

(Image courtesy of FreeImages.com)

Crafting the Perfect Pitch: How Authors Can Woo Publishers

So, you've penned your manuscript, revised it a dozen times, and now you're ready to take the next step in your writing journey, finding a publisher. 

In a world that's bursting with talent, it's crucial to know how to make your book stand out. To do that, you need to craft a compelling pitch. A strong pitch can be your foot in the door to the publishing world, and we're here to guide you through the process.

Understand Your Audience

Before you even think about approaching a publisher, you need to understand your audience and your book's market. What genre does your book fall into? 

Who is your target readership? What other books are similar to yours, and who publishes them? The more you know about your audience and where your book fits in, the better you can tailor your pitch to appeal to publishers who specialize in your genre.

Write a Stellar Query Letter

A query letter is your first point of contact with a publisher. It should be concise, engaging, and professional. Here's what to include:

A strong hook: Begin with an attention-grabbing sentence or two that encapsulates the essence of your book. Make the publisher want to keep reading.

A brief synopsis: Summarise your book's plot and major themes. Be specific and give a sense of what makes your story unique.

Author information: Provide a brief bio that highlights your relevant writing experience and any publications or awards.

A personalised touch: Mention why you're reaching out to this specific publisher. Did you enjoy one of their recent releases? Have you met them at a writer's conference? Personalise your letter to show you've done your homework.

Perfect Your Elevator Pitch

Imagine you're in an elevator with a publisher, and you only have a minute to pitch your book. What would you say? Your elevator pitch should be a concise, one- to two-sentence summary of your book that conveys its essence and what makes it unique. Practice this pitch until it's smooth and captivating.

Create a Compelling Book Proposal

If a publisher expresses interest based on your query letter, they may request a book proposal. This is a more detailed document that includes:

A cover letter: A brief introduction summarizing your book and why you believe it's a good fit for the publisher.

A synopsis: A more in-depth summary of your book, including the main plot, character development, and any unique selling points.

Market analysis: Explain your book's target market and how it fits into the current literary landscape.

Author bio: Provide a more extensive bio, emphasising your qualifications and credibility as a writer.

Marketing and promotion plan: Describe your ideas for promoting your book, such as book tours, social media, or author events.

Sample chapters: Include the first few chapters of your manuscript to showcase your writing style.

Polish Your Online Presence

Publishers often research authors online before making a decision. Make sure your online presence is professional and engaging. This includes your author website, social media profiles, and any other platforms where you connect with readers.

Be Persistent and Patient

Rejection is a part of the publishing world. Don't be disheartened by rejection letters. Keep refining your pitch and sending it out to other publishers. Persistence can pay off, and many successful authors faced numerous rejections before finding the right publisher.

Crafting a compelling pitch is an essential step in the journey of getting your book published. Understanding your audience, perfecting your query letter, creating a comprehensive book proposal, and polishing your online presence are key elements in this process. 

Remember, patience and persistence are vital, as the path to getting published can be long and challenging. Keep honing your pitch, and you'll increase your chances of catching the attention of a publisher who believes in your work as much as you do. Good luck on your publishing journey!

(Image courtesy of Javier Rodriguez from Pixabay)

Embark on Your Journey: How to Write Your First Novel

This is part of an irregular series of blogposts on how to be that writer you always wanted to be.

Writing a novel is a dream shared by countless aspiring authors. It's a creative endeavour that allows you to immerse yourself in a world of your own making, crafting characters, settings, and stories that captivate readers. However, the journey from the initial spark of an idea to a finished novel can be daunting. If you're eager to write your first novel but don't know where to begin, fear not – this blog post will guide you through the process, from the inception of your idea to typing "The End."

Find Your Inspiration

The first step in writing your first novel is to find inspiration. It might come from a personal experience, a dream, a historical event, or just a random idea that pops into your head. Keep a notebook or digital document to jot down these inspirations, no matter how small or seemingly insignificant. Inspiration often strikes at the most unexpected moments, and having a dedicated place to store these ideas can prove invaluable.

Develop Your Idea

Once you have your inspiration, you need to develop it into a concept for your novel. Who are your characters? What's the setting? What's the central conflict? What message or theme do you want to convey? Create a basic outline or mind map to organize your thoughts. This will serve as your roadmap throughout the writing process.

Set Realistic Goals

Writing a novel is a long-term commitment. To avoid becoming overwhelmed, set realistic goals. Determine how many words you aim to write per day or week. Many authors find success in setting a daily word count goal, whether it's 500 words, 1,000 words, or more. Consistency is key; even if you're only writing a few hundred words a day, you're making progress.

Create a Writing Space

Having a dedicated writing space can boost your productivity. It doesn't need to be a lavish home office; a quiet corner of a room or a local café can suffice. Make sure your writing space is comfortable, organized, and free from distractions. Establish a routine so your mind associates this space with writing.

Read and Research

To be a good writer, you must also be a good reader. Read widely in the genre you're writing, but don't limit yourself to it. Explore various genres and styles to expand your knowledge and inspiration. Additionally, conduct research as needed for your novel, ensuring that your story feels authentic and well-informed.

Begin Writing

With your inspiration, goals, and research in place, it's time to start writing. Don't worry too much about perfection in your first draft; it's normal for it to be messy and full of imperfections. The key is to get your ideas on paper. Embrace the process and enjoy the journey.

Revise and Edit

Once you've completed your first draft, take a step back. Give your work some time to breathe before you start revising and editing. This is when you'll improve the structure, pacing, and character development. Seek feedback from beta readers or writing groups to gain fresh perspectives.

Polish Your Manuscript

After several rounds of revision, it's time to polish your manuscript. Focus on grammar, punctuation, and clarity. Consider hiring a professional editor if possible, as they can provide valuable insight and help you create a more polished final product.

Seek Publishing Options

With your manuscript polished and ready, you can explore different publishing options. Traditional publishing involves finding a literary agent and submitting your work to publishers, while self-publishing gives you more control but requires self-promotion. Research both paths and decide which one aligns best with your goals.

Never Stop Learning

Even after you've written your first novel, your journey as a writer is far from over. Keep reading, learning, and honing your craft. Every new project you undertake will bring you closer to becoming the writer you aspire to be.

Writing your first novel is a rewarding and transformative journey. While it may seem daunting at the outset, with determination, patience, and consistent effort, you can bring your ideas to life and share them with the world. Remember, every author starts somewhere, and your first novel is a significant step in your writing career. So, take a deep breath, put pen to paper, and embark on your literary adventure. Happy writing!

Crafting Captivating Poetry: A Guide to Writing Poems People Will Want to Read

Poetry is a beautiful and powerful form of artistic expression that has the ability to touch the hearts and minds of its readers. 

But, to create poetry that people will want to read, you need more than just words; you need to evoke emotions, tell a story, and make a connection with your readers. 

In this blog post, we will explore the art of writing poetry that captivates readers and leaves a lasting impression with them.

Find Your Inspiration

To create poetry that resonates with readers, you must start with inspiration. Inspiration can come from anywhere, perhaps a personal experience, a powerful emotion, a painting, a song, or a simple moment in nature. The key is to be open to the world around you and find the extraordinary in the ordinary.

Embrace Your Authentic Voice

Your voice is what sets your poetry apart from others. Don't try to imitate someone else's style or tone; instead, embrace your authentic voice. Your unique perspective and experiences are what make your poetry distinctive and relatable to other people.

Craft a Strong Title

The title is the first thing readers will see, and it can be the hook that draws them into your poem. It should provide a glimpse into the theme, tone, or subject matter of the poem while piquing their curiosity.

Choose the Right Form

Poetry comes in various forms, from traditional sonnets and haikus to free verse. Select the form that best suits your message and your style. Different forms can evoke different emotions, so choose one that complements your poem's content.

Show, Don't Tell

In poetry, it's often more effective to show rather than to tell. Use vivid imagery, sensory details, and figurative language (such as metaphors and similes) to paint a picture and allow readers to experience the emotions rather than simply being told about them.

Use Evocative Language

Every word in your poem should serve a purpose. Choose your words with great care, opting for vivid, precise, and emotionally charged language. Pay careful attention to the sounds and rhythms of the words as well, as they contribute to the overall musicality of the poem.

Create a Strong Opening

The first lines of your poem are vital. Crucial, in fact. They should engage your readers and set the tone for the rest of the piece. Consider using a striking image, a thought-provoking question, or a powerful statement to grab your reader's attention.

Build Emotional Resonance

Emotions are the heart of all poetry. Whether it's love, loss, joy, or despair, your poem should elicit an emotional response in your readers. Share your emotions authentically, and let them shine through your words.

Edit and Revise

Writing poetry is an iterative process. After your first draft, take the time to revise and refine your work. Cut unnecessary words, rearrange lines, and fine-tune the rhythm and flow of your poem. A well-edited poem is more likely to engage and resonate with your readers.

Share Your Work

Don't keep your poetry hidden away. Share your work with others through readings, social media, or by submitting it to literary magazines and competitions. Constructive feedback can help you grow as a poet and gain a wider readership.

Writing poetry that people will want to read is an art that combines personal expression, careful craftsmanship, and the ability to connect with the human experience. By finding inspiration, embracing your unique voice, and following the tips outlined in this guide, you can craft poems that captivate readers and leave a lasting impression. So, pick up your pen or iPad and start creating poetry that will touch the hearts and minds of others.

(Images1 courtesy of Chrissy S from Pixabay and Ghinzo from Pixabay)

Write On! The Writer’s Help Book

This is an essential guide for all writers, from the newest to the more experienced amongst us.

Seasoned and published author and writer Adrian Magson (you’ll probably have seen  his name in writer’s magazines) will help you get your ideas in to action and then on the screen and the printed page.

He reveals the many tricks and tips that professional fiction writers use to help them in their craft.

There’s advice on how you can edit your own work before you submit your work for publication.

Adrian covers a variety of topics and subjects involved with writing from dealing with writer’s block, right through to getting published.

The book is inspirational and makes a fine reference work for all writers, no matter if they have published dozens of articles and books or if they are hungering after their first sale.

Hunger no more! This book will feed you  with what you need!

The book is available via The Be That Writer Amazon Search Box to the right of this item at £9.99 (or less).

It is published by Accent Press and is available from 10 August. Paperback, ISBN 9781908006776.

An article and a critique of that article

Do you remember a time when the streets in your town, village or suburb town were kept clean? When there were enough street lights to keep the streets well-lit and safe for women to walk along alone? When flooding was not caused in heavy rain because drains were cleaned on a weekly basis?

When roads were properly surfaced? When pavements were well maintained? Do you remember when public buildings were looked after properly? When there were enough trains to satisfy public demands? When buses were cheap and plentiful? If you do, then you are probably over 40.

Because prior to 1974, that is by-and-large, what happened in the vast majority of our towns, cities and villages. that has been the fate of many urban areas since 1974?

The advent of the Heathite 1974 Local Government Act. This act put an end to the urban district councils and the rural district councils that had served Britain so well since their creation in the late 19th century.

Whilst it may have been true that the system could have benefited from some minor adjustments (due to changing demographics) the truth was that the changes enacted by the 1974 Local Government Act were driven not by a desire to reform but by a narrow-minded wish to drive through ideological changes.

One must remember that, especially in the 1970s, the political scene in the United Kingdom was beset by the economic theory that: “Big was Beautiful” and that “Big was Best.”

The term “Economies of Scale” was bandied about with something that used to be called “gay abandon.” People would try to look as if they knew what they were talking about and say: “Economies of scale. That’s what it is all about. We must put an end to small and inefficient local government units. Instead, we must introduce large and efficient units of local government.”

Were the previous smaller urban and rural district councils really all that inefficient? In the small, but busy market town in which I lived, prior to 1974 if a resident of a council house had a problem with the house, all they had to do was ‘phone up the office, or pop into town and visit the office.

A person who had been a resident of a council house for many years said: “It was really simple. We just went to the office, told someone there what the problem was and they would say: “The lads are out on a job at the moment. I’ll tell them what you need doing as soon as they come back.” Chances were that the job would be
done later that day or early the next morning.”

“What happened when the 1974 Local Government Act was put into force?”

“Oh, that was a nightmare! They centralised all the housing workers in an office ten miles away. If you wanted a job done, you had to phone them up and tell some kid there that you had a problem. They were supposed to tell the repair team to get the job done.

“But usually, nothing happened, so you had to keep calling time after time after time. It became a real nightmare! From getting a job done in a matter of a day or so, it became so bad that sometimes even a very simple job would take them up to a year to do.”

I remember speaking to a manager at the district council housing department. He suddenly, in the middle of the office, lost his temper in a very spectacular way.

“I am sick to death of this bloody department! I am especially sick to death of these lying, conniving little bitches that work here! Well, work is too strong a word for what they do! All they do is answer calls; lie to people when they ask for repairs to be done! They never bother to tell anyone about the calls that they take! They never bother themselves to fill out work report cards, so as a consequence of their bone idleness, the repairs are never done! And of course, because they never give their names to the callers, the poor sods don’t have a clue who they spoke to, so they can’t make a complaint!”

He then turned to some stunned looking member of staff who was carrying a folder and shouted: “And walking round carrying a folder stuffed full of old paperwork might impress some people, but it doesn’t impress ME!”

In quieter tones he said to me: “It never used to be like this when I worked for one of the smaller urban authorities. Everyone knew every one of the clients we had, so they built up a rapport with them. But now, well, there are hundreds of staff and thousands of clients, so the incentive to actually give a damn has gone.

“Most of the staff here just turn up for their wages, they don’t care about the ethos of public service. It’s not a concept many of them are familiar with. I am only talking like this because I am so sick of working with this bunch of deadbeats that I am taking early retirement. I am finishing later this week and I have wanted this shower to know what I have thought of them for several years.”

Up until 1974 the local urban authority (controlled by a comfortable alliance between Conservatives and some fiercely independent independents) had collected and recycled waste paper and had ensured that the streets were properly swept every day, and that each drain in every street was cleaned out every week by a large road sweeping machine.

By 1976 this drain cleaning had been reduced to once a fortnight. Then it was still further reduced to once a month. I can’t for the life of me recall exactly when the district council decided to completely stop the cleaning out of drains, but stop this vital service they certainly did.

Of course, without any cleaning out of any kind, the drains began to silt up. Some drains in the area are so badly silted up that plants and even in one drain a small shrub have began to grow. Or perhaps it would be more accurate to describe it as a former drain?

This has caused much flooding of parts of the area, which have never experienced flooding before. And the pantomime show of council members and officers wringing their hands and crying out: “Oh, dear! How can these floods during times of heavy rain ever have started to occur?” is amusing, in a sort of “Dick Whittington meets Kafka” sort of a way. Unless your home is one that has suffered from flooding as a result.

And there are in the area pavements that have not been resurfaced since the early 1970s. Just think about that for a moment. There have been the last few moon landings, shuttlecraft launches and disasters, The Falklands war, two wars in Iraq, at least six different prime ministers and in that 30 plus years, some pavements in some
of our towns haven’t even been re-surfaced once.

But in the name of all that is good, why? Why is this the case? Because the 1974 Local Government Act created large behemoth ‘non-local’ authorities that were so divorced from the areas that they were supposed to serve that they never bothered to do the simple things. Such as clean drains, sweep streets, look after street lights and maintain pavements. It almost seems as if there came into being a culture of indifference to the squalor that their policies created and a calculated, cruel indifference to the lives of the electorate.

The indifference was brought home to me in the early 1980s, some six or so years after the creation of the megalithic authority that had replaced the former urban and rural district councils. The council had, due it must be said to the ineptitude of its own officials, made a complete mess of the rent payments of a disabled man who was in his mid 90s. The statement that was made to the press said: “We are aware that there are some problems with this rent account. If Mr Bloggs would like to come to the housing offices, we will explain the situation to him.”

How –or why- they expected an elderly man who was totally disabled to make a 25 mile round trip by a non-existent public transport service, so they could explain their mistakes to him was never made clear. But it did bring home to me the fact that the area the council covered was so vast that it seemed unable to effectively provide the services that the residents of the area have paid for through their very expensive rate bills.

Just after the enactment of the 1974 Local Government Act there was a cynical joke doing the rounds that did sum up one of the problems that we are still feeling the effects of: “What is the difference between a Clerk of works and a director of operational services? - About five times the salary.”

The gravy train that was set in motion has sapped a great deal of the resources that should have been available for basic core services. Such as cleaning drains, maintaining roads, resurfacing pavements and looking after housing.

The critique of the article

Writing this article proved not to be quite so easy a task as I had at first thought. Whilst the concepts are fresh in my mind –after all, I had experienced them at first hand, as it where, whilst trying to look at the various drafts from several differing points of view, I began to become aware that I needed to understand that not everyone who would read the article had lived through the events that I had described.

I therefore had to examine the article and to remove some items and words and also to explain some points in ways that I hoped would be clearer. Ways in which I hoped to be able to help the younger reader who had not been born in the late 1950s as I had, to understand that, for example, road drains were cleaned out every week (as a matter of course, not just because they were blocked) and streets swept clean on a regular basis.

I also detected a hint towards the hyperbolic in my writing. Perhaps using three long words when one shorter word would have served my purposes equally well. In fact, would probably have served my purposes much better.

It is all too easy, I now realise, to lose one’s reader in a sea of over exuberant writing, meaning that the point or points one is trying to get across and to explain are lost to the reader, no matter how well-intentioned the concept behind the article.

There is very little –or perhaps no point at all!- in writing something that, no matter how worthy the concept, completely loses the majority of the readers. I have come to understand that it is far, far too easy to lose readers than it is to catch their attention.

It is said that the first sentence is the important one. Catch them with that and you have them to the end of the article.

Having examined my work, my article, from the perspective of a reader (or at least as close to the perspective of a reader as it is possible for the author of the article to get) I finds that the first sentence is important. But then, so is the next one, and the next one and… well, I am sure you get the picture.

Whilst it is true that it  is easy not to attract the attention of a reader with a poor opening sentence it is even easier to lose them through a poorly structured body of an article. Some of the subsequent paragraphs, if you will.

I have struggled with this article, I have to admit. I realise that there are several different ways to see an article. From the point of view of the author, the editor and the reader.

Search for best beer writer launched

Have you got what it takes to be the Beer Writer of the Year 2011 and win a cool £1,000?

The British Guild of Beer Writers has today announced the launch of its annual competition for beer writing, giving writers about beer the fantastic opportunity to enter their work in seven different categories, with one of the category winners to be named as the Beer Writer of the Year and receive the coveted Michael Jackson Gold Tankard Award.

The competition is open to writers, broadcasters, photographers, poets, illustrators, designers, webmasters and bloggers whose work has broadened the public’s knowledge of beer and pubs.

Guild chairman Tim Hampson said, “We received over 400 entries to the Awards last year – a record level that reflects the vibrancy of beer writing in the UK. We look forward to receiving another bumper crop of articles, books and blogs about beer this year, and to rewarding those whose work is judged the best.”

Nominations and entries are being sought for seven categories:

Molson Coors’ Award for Best Writing in National Publications - prize £1,000 & £500
For the best writing or broadcasting aimed at a general audience, published in the national (and international) press, consumer magazines, books, national television and radio.

Adnams Award for Best Writing in Regional Publications - prize £1,000 & £500
For the best writing or broadcasting aimed at a specific local or regional audience, published in local and regional newspapers, magazines, radio, television and CAMRA newsletters.

Fuller’s ESB Award for Best Writing for the Beer and Pub Trade - prize £1,000 & £500
For the best writing or broadcasting aimed at the brewing and pub industry, published in trade and company newspapers, newsletters, magazines, reports and websites.

Brains SA Gold Award for Best Use of Online Media - £1,000 & £500
For the best use of blogs, websites and social media, whether that be writing or use of other tools such as video or social networking.

Budweiser Budvar John White Travel Bursary - prize £1,000 plus trip to Czech Republic
For the best travel-themed beer writing (or beer-themed travel writing) or broadcasting. Entries can be from national, local or regional media, books, trade publications or online.

Shepherd Neame 1698 Award for Beer and Food Writing - prize £1,000
For the best writing or broadcasting on the subject of matching beer with food (an area formerly dominated by wine). Entries can be from national, local or regional media, books, trade publications or online.

Guild of Beer Writers Award for Corporate Communications – prize trophy to the winner
For the best writing/communication in a corporate environment. Entries can be for in-house or customer magazines, internal or external websites or corporate films/video blogs. This is a new award for 2011 and has been introduced to recognise the excellent work to promote beer which is produced by or on behalf of brewers, pub companies and other related organisations.

Winners to be announced at a prestigious beer banquet:

The winners will be announced at the British Guild of Beer Writers annual awards dinner. The event is being held on 1 December at the Park Plaza Riverbank in central London and will, as in previous years, be one of the beer industry’s ‘must attend’ events. The hotel’s chef will be working with experts from the Guild to create a beer and food matching menu to delight and challenge the 200 dinner guests.

The judges:

Judges are drawn from the worlds of journalism and brewing. Chair of judges is Simon Jenkins, winner of the 2010 Beer Writer of the Year title, who is joined on the panel by: Fiona Matthias, executive editor of The Sunday Telegraph; Martin Ross, journalist, writer and home brewer; Martin Kellaway, founder of Wharfebank Brewery in Leeds and Joanna Copestick, who has commissioned and published a number of books about beer.

How to enter:

Full details of how to enter will be found on the British Guild of Beer Writers website - www.beerwriters.co.uk/awards.php. Entries should be received by the closing date of Friday 9th September, and must have been published between 30 September 2010 and 31 August 2011.

FACTFILE:

Michael Jackson (27 March 1942 – 30 August 2007) who was known as the beer hunter, dedicated over 30 years to discovering, recording and then sharing the world’s finest beers in his numerous books, articles and TV broadcasts. He was the first Chairman of the British Guild of Beer Writers.

www.beerwriters.co.uk

How to Be a Writer

Stewart Ferris' book, How to be a writer is both small and very short. It is also, however, one of the most useful books on writing that I have ever bought.

Ferris is quite clearly a professional writer. He writes no more than is required to put over his point. It is broken down into three sections covering preparation for writing, practicalities of writing and technicalities of writing.

It covers every possible aspect of how to start writing, for the very beginner, to the more advanced writer.

Ferris covers the need for a place to write in, the tools of the trade, (pen, paper, word processor, Ferris really does get right down to the very basics of the craft of writing) how to edit your various drafts, how and when to seek an agent.

He also touches on how to approach different types of writing, comedy writing, fictional writing, writing for the stage, for radio. For the screen (large and small) how to write factual articles, writing songs, whether or not to bother with writing classes or courses, tips and techniques for dealing with writer's block, and so forth.

He also deals with self-publishing, how to enter writing competitions, how to… well, how to be a writer.

I have been a professional writer for 25+ years. Have I learned anything from this book? Oh, definitely. And at £4.99 Be That Writer can heartily recommend it to any writer, at no matter what stage they are in their development as a writer. It is published by Summersdale www.summersdale.com.

Idea generator

Some ideas for writers:

1. Is global warming really harming our weather? If so, what (if anything) can be done about it? Recently the UK government had to call out the army to help evacuate the victims of the worst floods in 350 years.
2. Are our roads really is safe as they could be? What can be done?
3. In Britain every October and November hundreds of people are injured by backyard firework displays. Some people are killed. Should a civilised country allow this?
4. In many countries elections do not attract many voters. Why? What can be done to alleviate this problem?
5. Unsung heroes. There are many unsung heroes in your area. Should their songs be sung? What can be done to ensure that what they do does not go unmarked or unreported on?
6. Some people say religion causes all the problems in the world. Others say it is Satan. Others say human nature.
7. Anglers use all sorts of bait. Some soak their bat in whiskey, for example.
8. Why do some people like to be involved in amateur theatricals.
9. Another child in America is injured with a handgun. What can parents do to protect THEIR children?
10. Local councils often complain that only a minority of people bother to go out to vote. What are the councils doing to change this situation? Apart from complaining, that is?
11. Why are some of our communities so run down?
12. Is recycling really taken seriously by the public or by the government?
13. How can scientists make science more interesting to ordinary people?
14. A nutritionist recently described vegetarianism as “unnatural and unhealthy? Can he be right? If so, why? If you think he is wrong, why do you think he is wrong?
15. Should we be on the dawn of the year 2001 and still be using landfill sites? What alternatives are there?
16. The recent fuel protests started in France, spread to Britain and the rest of Europe, Israel and Australia. What can be done to protect the interests of road users and of the environment at the same time?
17. Should arts and crafts be promoted to help bring some beauty into people’s lives?
18. Is body piercing becoming passé?
19. Should reading be promoted by the government and industry?
20. Should GM crops be banned? Not until proven safe, but for good?
21. Motor bikers are often prejudiced against. Why is this?
22. Irn Bru is a quirky Scottish soda drink with a real taste of iron in it. Recently the company that makes it, Barrs, have launched it in the USA and Russia. In its home territory, Scotland, Irn Bru outsells Pepsi and Coca Cola, one of the few nations where Pepsi and Coca Cola are not the highest selling soda drink. Look for quirky stories like this. Is there something unique that YOU know about?
23. It has been reported that several International car manufacturers have failed to report faults in their vehicles. Some of them potentially life-threatening. Is this so? What can be done to counter this trend? Why is it happening?
24. With E-commerce becoming more and more important to the global economy, why are the nations of the world insisting on sticking to 19^th century tax rules? Isn’t it time some form of International E-commerce tax regimen was created?
25. Hit and run accidents are nothing new. In 1900 a cyclist fell from his bike and was trampled and run over by a horse and cart. The driver of the cart drove off without even stopping, even though the wheels had gone over the neck of the cyclist. Are there any other “new” phenomena that is really very old?
26. Death from drugs? What can be done? Who should be doing it?
27. Global poverty. Who is to blame? Who can fix it? If it can be fixed?
28. Are there any uplifting movies these days? Come to think of it – were there EVER any uplifting movies?
29. The Reliant car company recently announced the end of the road for the three-wheeled cars that the company has made for 65 years. They were known as “plastic pigs” as they were the first fibreglass bodied cars in production. Have you ever seen one?
30. Are there any great men and women left? Or are they as great as they ever were, but ruthlessly chopped down by elements of a baying wolf pack from the media?
31. Mrs Margaret Thatcher, whilst she was Prime Minister of Great Britain, said: “There is no such thing as community.” Is she right? Or was it a wicked thing to say that set community back by 100 years?
32. The Olympics. Should they be scrapped?
33. People need to eat. So why are farmers the world over seemingly given such a raw deal?
34. Should youngsters who live in deprived communities be encouraged to take up music and the arts? How many talents are being wasted?
35. There are some people who are pathologically anti-social. (I.E., live in apartment blocks and play very loud music to the distress of neighbours, etc.) Isn’t it time that society started doing something to stop them from damaging their neighbours?
36. 30 years ago, some people say, the criminal was punished. Now the victim is punished, instead. Is there ANY truth in this? If so, how can the balance be redressed?
37. Is there anything that YOU care about? If so, what is it?
38. Do some parents spend all their time reading books on how to be good parents? At the risk of not really doing much in the way of practical parenting?
39. Do some left wing writers believe that the police can do no right?
40. Why?
41. Do you like gardening? Or hate it? Either way, are you any good at it?
42. Some people get all the luck. Do they? And is it good or bad luck?
43. Should our courts be harsher on people convicted of minor offences? 25 to 30 years ago, if a man urinated in public he would be given a jail sentence of several months in length. Now he might not even be cautioned, yet along arrested. Has this approach to “minor” offences helped make Britain a better or a worse place in which to live?
44. Is there a place for humour in the workplace?
45. Do parents spend enough time playing with their children?
46. Many of the lefties of the early 1970s have become pillars of the establishment by the 1990s. Does this always happen? Can you think of any examples of this type of behaviour?
47. Chinese Traditional Medicine should it be available on the National Health Service?
48. Within the next ten years, will there be a large group of people who have had their hearing damaged by the very high-power sound systems that they are using in their cars? If so, should they be allowed to receive treatment?
49. Should there be a legal limit on the power output of in car sound systems?
50. What can be done to make our communities better places for all to live in?
51. In some of our major cities, noisy nightclub and live music venues are literally next door to developments of houses and apartments. Should there be strict “zoning” laws to ensure that this does not happen?
52. Where are you now, in your life? Are you where you think you should be? Can you do anything to get to where you believe you should be?
53. Why does the traditional British Pantomime feature such blatant examples of cross-dressing?
54. Does every language have its own clichés?
55. An actor fell into working in the scrap industry be accident. -It had been his “in-between roles job. What other strange or dangerous jobs have actors had to take to keep an income coming in, whilst “resting”?
56. Should we be willing to try your hand at anything?
57. Should we know your limitations and work within them?
58. Have you had any unusual or strange accident whilst doing your domestic chores?
59. What can you remember from your past?
60. Free. Can anything ever be truly “free”?
61. Who are you?
62. Is there something that you would like to change about yourself? If so, what is it? How would you change it?
63. Is there something that you would like to change about someone else? Why?
64. Should we try to change other people?
65. Do you know anyone with an allergy to an unusual substance? Some allergies –such as to water- can have disastrous consequences for the sufferer.
66. How well do we really know our friends and family?
67. How well do we really know ourselves?
68. Do we complain too much?
69. Do we resist complaining too much?
70. God is love. So why is their so much hate in the world?
71. A group of squatters were thrown out of a mansion that had remained empty for 15 years and is owned by a property company. Should they have been thrown out? Should a property company be allowed to own houses and keep them empty whilst there are people who are homeless or in sub-standard housing?
72. Are older people given the respect they should be by society in general and the authorities?
73. Why do tobacco firms sponsor sporting events?
74. Should smoking be banned? Or could that bring about a prohibition style era of cigarettes being supplied by “tobacco barons”?
75. Should church and state be separate, as the US Constitution says? Or doesn’t it really matter?
76. If at first you don’t succeed – give up. Yes, or no?
77. Is gossip really dangerous? Years ago, gossip could be considered a criminal offence. Should it be a criminal offence again?
78. The Beatles, contrary to the belief of some commentators, are not given the respect that they deserve. Os this true? If so, what should be done about it to redress this?
79. Many local councils seem to think they are above the law. How can this problem be addressed?
80. Should stun guns be used by the police forces in Britain?
81. “Never attribute to malice anything that can be adequately explained by stupidity.” Is this true?
82. People who drive badly should be re-tested. And banned if they fail.
83. Who can you trust?
84. After decades of closure programmes, there should be a major resurgence in youth club provision all over the country.
85. There should be a Young Volunteer Programme operated all over the UK. Well, should there? Would an element of coercion be unwise?
86. People who live in glass houses should throw stones
87. Why bother doing anything? What causes apathy? Can the causes be addressed? Can it be a form of illness?
88. Wake up England! Is it asleep?
89. The low esteem that many people hold journalists in. Is it deserved?
90. “You should always let your own house hold you.” Is this true? If not, why not?
91. “If music be the food of love…” what type of music or particular tune/artiste would give you indigestion?
92. Is satire dead?
93. A proper concern for our health –or health fascists?
94. Has enough attention been paid to the history of the ordinary man and woman in Britain?
95. Should rural businesses (pubs, garages, shops, etc.) receive special tax breaks?
96. British farmers should be encouraged –with grants if required- to develop and introduce “environmentally-friendly” agriculture.
97. Access to the Internet should be 100% free. 100% of the time. For everyone who wants it. Would that be possible? Should it be possible?
98. There should be less traditional sports in schools and more keep-fit.
99. Should organ donation be encouraged for ever, or until new types of medical procedures are developed that would do away with the need for transplants whenever possible.
100. What is the real history of the area in which you live?
101. Have you ever met a hero and been bitterly disappointed by them?
102. Have you ever met a hero and been impressed by them ?
103. What is your favourite shop?
104. What is your favourite shop?
105. Why do people steal pets?
106. We are now in the 21^st century. Shouldn’t we be beyond using animals in scientific research by now? Or is it still necessary?
107. What are the top scientific discoveries of the last 100 years?
108. Why are cases of food poisoning increasing? What can be done to address this problem?
109. Have you ever made a serious mistake? If so, what were the consequences?
110. Some people say that lies are never justifiable, no matter what the consequences. Is this true? Are there any circumstances were a lie could be justified?
111. “Never attribute to malice anything that can be adequately explained by stupidity.” This would, of course, explain the actions of many councillors and local and national government officials. Why, then, do councils and national government seem to employ so many stupid people?
112. Some young men such as Casius Clay (Later Mohamed Alli) decided they did not believe in the Vietnam War and stayed in the USA and faced the possibility of jail for their firmly held beliefs. Others moved to Canada, Australia, Britain, etc., to dodge the draft into the US Armed forces. Which of these groups were more dedicated to the anti-Vietnam War movement?
113. Why are carers treated so shabbily in Britain?
114. Should drug and alcohol testing be introduced for employees? If so, should the board of directors be the first to be tested, to set an example?
115. Why do humans like a mystery, either fictional or real?
116. Where were you ten years ago? Where are you today? Are you where you expected to be? IF not, why is this?
117. Sometimes people say: “You haven’t got a clue.” What do they mean? Shouldn’t they give you a clue?
118. What was your favourite TV Show of yesteryear?
119. It has been said that radio is preferable to TV, “because the pictures are better.” Use this as the basis for an analysis of the difference between TV And radio.
120. By coincidence, some tittle-tattle about a very popular star falls into your lap. It is something from their past, which is not, in the scheme of things, very important. Though the tabloids would make a meal of it. What should you do with this information?
121. Do you have alternative uses for junk mail?
122. “The British Honours system is probably about the best way to mark the lives of people form all walks of society.” Write an essay or article in support of this premise.
123. The parents of vandals should be held responsible for 100% of the damage their children cause. With jail the ultimate sanction for both parent and child if they fail to fulfil this obligation.
124. Arranged marriages are not necessarily a bad idea. Discuss.
125. Is stupidity hereditary?
126. Is it your business?
127. All councillors have their nose in the trough. Really?
128. If a council has enough money to buy “top of the range” lap top computers for every member of the council, can afford expensive jaunts to exotic locations for councillors and their senior staff members, and can afford meals at every council meeting – why can’t they afford to pay for proper care for the elderly? Or does this question contain it’s own answer?
129. Is it important to know the history of your family?
130. Should sleeping dogs be woken, ever? If not, why not?
131. Is atheism a religious belief?
132. The Internet. 100 million voice, all babbling nonsense? Yes, or no?
133. Why give an idiot a piece of your mind?
134. If illegal drugs were legalised, what would criminal gangs turn to next?
135. An American once said: “We have 90 channels, but there is nothing ever worth watching.” Is that happening in the UK with satellite, cable and digital TV?
136. Have there been too many “survival” type programmes?
137. So-called reality TV shows are lazy and cheap programming. True, or false?
138. We all know talented people. Why don’t they seem to get the break they deserve?
139. Why can’t some people ever tell the truth?
140. Where would you like to live, if not where you currently live?
141. Are there any real deserving cases?
142. “There is no need for anyone to have to beg.” Really? Doesn’t this rather depend on every social security officer and social worker doing their job properly 100% of the time? And doesn’t this negate the basic right of freedom of choice? What if someone would prefer to beg on the streets rather than “sponge” off the state?
143. Should there be legal restrictions on the names that parents can give their children? (Previous examples of odd names include “Murder” and “Lettuce”)
144. Helpful people often cause more problems than they solve. True, or false?
145. There is virtually no news in many newspapers. Should there be a code of practice to ensure that there is more news in the papers? Or is there enough news, anyway?
146. Local papers should get tax breaks in order to ensure that there is a good supply of local news for people.
147. Do you have any hidden talents?
148. Should there be more opportunities for people to do voluntary work? Should there be increased publicity given for already existing opportunities for voluntary work? Should there be a government minister for the voluntary sector and voluntary workers?
149. How safe is your home?
150. Is your workplace a safe workplace?
151. Is your town, village or suburb a safe environment? If not, why?
152. Should there be harsher penalties for those who abuse or harm animals?
153. Should profiteering by –for example- oil companies be a crime?
154. Has media coverage of so-called road rage incidents been a cause of some of these incidents?
155. Do you have some letters in your family that would be better off in the local history archives?
156. Apparently we spend, on average, the equivalent of two full days every year waiting for deliveries that do not arrive and repair technicians that never turn up. Should there be some kind of easy legal redress?
157. Should there be male cheerleaders?
158. Is there too much bureaucracy in the NHS? Often if a medically qualified person wishes to obtain a better position within the NHS, they need to leave their medical career behind and go into management. Can this problem be addressed? IF so, how?
159. It often seems that firms sack people just before a period of holidays. Either summer or Christmas. Is this so? IF it is, why?
160. Why doesn’t society have more respect for the elderly? Does this disrespect stem from the government and local authorities?
161. Look out for unusual or oddball stories in the local press. For example a Midland family returned home form holiday, only to be told that their piano had been destroyed in a fire.
162. Vandals delay hundreds of trains every week. Should the size and budget of the British Transport Police be doubled to help deal with this problem?
163. Do you work too hard? Do you know someone who works too hard?
164. Someone put on a musical about Stalin. Is this in bad taste? If not, what other figures from history would be unlikely candidates to have a musical based on their life?
165. Is their too much emphasis on sport, but especially football, in our newspapers and on local radio stations?
166. When DID our local environment become so nasty and squalid? What should be done about it?
167. In Australia, the very popular Cracker Night (the equivalent to Bonfire Night) was abolished and the only fireworks now available in Australia are those at licensed displays. With the damage caused to property and the injures and deaths to pets and people, isn’t it time that Britain followed suit? Or do you think that the risks are outweighed by the benefits?
168. Some people say that charity begins at home. Or do they mean: “charity never leaves my pocket?”
169. Religion is a private thing. Preaching door-to-door should be made illegal an is unfair on churches that don’t preach door-to-door.
170. Staid churches who do not preach door-to-door have only themselves to blame for falling numbers. They need to get out and preach themselves, instead of criticising others who do preach door-to-door!
171. Pensioners should be encouraged NOT to keep money at home, to decrease their potential as the victims of muggings. Should there be special tax benefits available to encourage pensioners to keep their money in bank accounts?
172. There is no need for public toilets to be filthy, dirty as many of them are.
173. When did our councils give up caring for the environment?
174. The refurbishment of the British canal network should be accelerated and expanded.
175. Toys. What were your favourite childhood toys?
176. What do you think about the fact that some of the toys you played with as a child are now collectables?
177. Should the laws regarding how employees are treated in Britain be toughened up and improved in the favour of the employee?
178. What was or is your favourite band or musical act of all times?
179. Have you thought about going to a junk shop and looking through the postcards for potential stories contained in the messages on the cards?
180. Modern architects betray the environment in which their designs exist. But then, as they probably never use the buildings they design, or do not live in the homes they create, why should they care?
181. “No matter who you vote for, the government always gets in.” This is an old and cynical saying. But does it contain a grain of truth?
182. Are children kept in cotton wool?
183. If parents cannot or will not look after their children properly, should they be sterilised? If not, why not? And what would the alternatives be?
184. Councils are treating hospitals as dumping grounds for the elderly infirm. How should this problem be addressed?
185. Why is it that the more rules and regulations a company or an organisation has to ensure that they function properly, the less likely they are to follow them? Are these rules and regulations counterproductive?
186. Should there be less MPs? Or more?
187. “Councils are merely opportunities for councillors to have junkets. Councils cause more problems than they solve. They should be replaced by administration from Whitehall”. True or false? If not, how can they be improved?
188. Democracy is a good idea. When do you think we will get some?
189. Why do some people in authority seem to have made incompetence their religion?
190. Constant re-skilling of our workforce means that there are many people who have a large number of redundant skills. Should this problem be addressed? If so, how?