Don’t Get it Right, Get it Written! – The Importance of Revision

 Welcome back to, Don’t Get it Right, Get it Written! By Stuart White

Stuart White

Stuart White

 More on Stuart HERE

Stuart continues his tips on how to….Revise Your Work!

                    OTHER IMPORTANT STUFF


It shouldn’t need to be said, but given what I’ve seen over the years while teaching writing, it does need to be said. Maybe not to YOU, or YOU…but hey, you over there tapping in your iPhone, YOU need to pay attention.

Each time you finish writing for the day – CHECK YOUR WORK. I can’t emphasize that enough. Check it, check it again, and then check it as much as you have time and patience to do the next day. We all make mistakes, me, you, even Tolstoy and Victor Hugo did. We’re all human. So check your words and if you can, have someone else check them too.

                       ENGLISH, USE OF


And make sure it’s grammatically correct. When a publisher sees a sentence that says, “your the one for me..” instead of “you’re the one for me..” Or..”I could of sworn I left that watch there,” instead of “I could’ve sworn…” then you will lose a great deal of credibility as a writer.

When earlier I typed the heading, YOUR NOVEL into this post, a green line came up under it on my computer. When I checked, it suggested I write, “You’re novel.” Well maybe you ARE novel (as in new and different) but that isn’t what I intended to write. So don’t always trust computer loaded checks.

Now you may think writing is simply about the creativity, the work, the idea and your God-given talent. Up to a point, Lord Copper, to quote a line from Evelyn  Waugh’s, Scoop. Which means, basically, no, you’re wrong, but I’m trying to be polite.

Publishers from my experience tend to think – and I agree – that if you’re using the English language you should be using it correctly.

It might be a work of staggering genius, but if it’s littered with spelling mistakes and bad grammar the genius might go unnoticed. Don’t risk that.

 OK, there are exceptions. If you write another Harry Potter, a publisher won’t care if you can only write Swahili or text language. But Harry Potter books, ideas that hit a vein, don’t come along every day. Make your work shine for its literacy as well as its readability.

Watch dangling modifiers. This is where a sentence contains two subjects and confuses them. For example: “You know Rita, my dog Betsy has been SO ill….and to make matters worse my Mom is in the hospital having an operation. She’s so sick we may have to have her euthanized.” As that sentence reads, it is the mother about to be put to sleep. Check for those because we ALL do them.

                NOW, GET IT WRITTEN

 All you’ve got to do now is write the damn thing! Here’s where I effectively bow out because I can’t actually tell you how to write it, that is now down to your talent, ability, application and desire to do it. But I can suggest ways to avoid NOT writing it, the dreaded writers’ block. The headline on this posting regurgitates an old newspaper and Hollywood saying: “Don’t get it right, get it written.”

 In newspapers it means you write the number of words you’re told to write and deliver them when they’re needed – usually NOW or sooner than that. As a journalist you can’t say, “I’m not in the mood. I’m blocked. I just can’t seem to write.”

You’re being paid, and usually quite handsomely in your later career, because you can write to order and whenever you’re required to do so. Fail to do that and you’ll be joining the unemployment line.

Additionally, you write to length. So an editor will say, “Give me two hundred words on that freeway crash.” And that’s what you write, two hundred words, give or take five either side. Somehow you learn to write to the length required. But then the Editor might say, “Hey, we’re short of space. I need you to cut that to 100 words.” So, you do. Or, “Hey, we’ve got some good pictures on that crash; give it another two hundred words.” That’s good training.


 But you’re not journalists, you want to write a book. The reason I’m citing the ‘get it written’ aphorism is because wherever possible you’ve got to train yourself to write on demand. That is, your own demand. When your heart says you’ve got to write, your head and body must follow. But unfortunately the old Nike motto of JUST DO IT seems to not just do it for many writers. But there’s a middle course, and here are some hints.

Try to have a schedule. For example, before dinner (or after) you sit down and write for an hour, or even just half an hour. You get a habit. It’s what you do. Your mind will become accustomed to it. Try that. And if you feel you just can’t write, sit down, look at the screen and say to yourself, “Writer’s write, if I want to be a writer then I must write.”

Then, write something. Anything. I mean it. Write ‘the cat sat on the mat’….’Little Bo Beep has lost her sheet’…just so that some words start to appear on that blank screen or paper. Then just think of anything to do with your novel…a scene, a snatch of dialogue, anything. Nothing is EVER wasted when you write, you can always go back and cannibalize it, strip it like an old engine and take the best bits.



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Are Your Characters Poor?

I found myself needing to research just WHAT is middle class in my state. Yes, my story is set, loosely, in the state where I currently reside. : )

How much money do you have to make to be middle class? For myself, the numbers were a tiny bit discouraging, but the chart linked below helped me out tremendously figuring out what my main character in my book, From Where I Lived, made before the world went down in volcanic ash. I’m guesstimating that his take home pay was roughly $29K. Seemed right. Why should I go to all the trouble to look this up? Stuart White answers that question HERE.

I found a site where you can look up what the median income and middle class income numbers are per state. It was immensely helpful in helping me figure out my character and where he was financially before volcano eruptions.

Hope this helps your with your writing journey!

What do you use to help build your characters? Comment below…

Don’t Get it Right, Get it Written! – Wrapping Up Your Novel

 Welcome back to, Don’t Get it Right, Get it Written! By Stuart White

Stuart White

Stuart White

 More on Stuart HERE

Stuart continues his tips on how to….Wrap up your novel. 



So you come to Chapter Twenty. The end. Here’s another tip for your novel. We’ve seen full-of-hope-and-innocence get to Hollywood and tracked her delusion. We opened on her being semi-drunk with her lover, bemoaning her lost soul. But that’s not enough; we’ve all heard and read enough real-life stories like that. Why leave your novel on a sour note? Hope springs eternal and everyone – publishers especially – love a happy ending.


Why not have some spiritual Damascene moment for Gretchen? Maybe her childhood sweetheart turns up, now divorced, successful businessman; sick of his own shallow life. Maybe she secretly wants to open a pet sanctuary with all her ill-gotten loot. (Remember Doris Day?) Above all seeing something, maybe a pet she rescues from an alley, or the old boyfriend, or the view of a lake – something – finally convinces her she wants out.


She goes to the studio does her last take. Movie mogul offers her a $15 million role, she tears up his offer. Then gets into ex-boyfriend’s car, and they drive past the Hollywood sign heading East (I know that’s not geographically correct but you get my drift). She leaves the smog ridden den of iniquity called Hollywood and we see her ascend into the snow-topped alpine air of the San Gabriel mountains. Geographic contrast here paralleling moral conduct. From smog to snow, from traffic choked streets to fresh cold upland air. You’re making a moral point with a visual allusion. -And your story has taken her from belief to disillusionment back to belief and hope again.

                  HEY, HOLD ON A SECOND!


 And at this point you’re going, “Back the truck up here buddy, that’s not my damned story. Why is he droning on about Hollywood and smog and snow-capped mountains?” I’ll tell you why. No, it’s not your story. What I’m trying to show is what you could do with YOUR story. I’m giving suggestions – that’s all they are – on how possibly to use suspense and visual metaphors in your writing.

I’m giving you guideposts as to how to construct YOUR story. Surprise, confound, turn things on their heads when you can, but above all write a good, gripping, interesting and coherent story. Use the above as a kind of sketch of what you COULD do with your story. How to start it, write it and end it.


                   LET’S RECAP


To recapitulate:


* Be sure you know what your story is about.

* Be sure to understand your characters, what moves them and motivates them and physically and psychologically how they look and act.

* Plan out your story. (And don’t be afraid to rejiggle the order if you think, en route, it works better).

* Make sure your chapters – if you are able to – end on a note that leads us wanting desperately to know what happens next.



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Jason Seare Series: About Chapter One

Hello friends! This is Scout.

I’ve posted my first portion of my novel!

It’s a Dystopian/Paranormal Romance novella. Is that a genre? Well, it is now…I’m aiming for a total of 25,000-30,000 words.

Let’s call it Chapter One. You can read it HERE.

I’ve tried to use some of Stuart White’s many awesome recommendations when it comes to writing a novel and I look forward to his comments. In this first chapter, I focused on getting and keeping the reader’s attention. Tried to use a “hook,” two actually, for the chapter.

I’ll be posting more as I write it, so stay tuned!

Please read, enjoy, share and comment below.

Don’t Get it Right, Get it Written! – Keep Your Readers’ Attention

 Welcome back to, Don’t Get it Right, Get it Written! By Stuart White

Stuart White

Stuart White

 More on Stuart HERE

Stuart continues his tips on how to….KEEP YOUR READERS’ ATTENTION




Chapter Two: We start the journey. Molly is a wretched kid. Her mother is unloving, her father a brute, but she loves school. It’s her sanctuary. One day Gretchen is asked to take part in a school play. To her delight she does it and gets applause. She gets hooked on applause. Gretchen’s just a child but now she has stars in her eyes.

Then….no I’m not going on, this is for YOU to do. As in, Chapter Three, another development, Four; another…and so on…by halfway through she’s arrived in Hollywood a young starlet.

Each chapter is taking you through another phase of the story.




Here’s a professional tip. Much like with scenes in movies, let each one propel the story forward, add to your knowledge of the story and take you on.

 And try to leave each chapter on a precipice moment. There’s nothing worse than reading a chapter that does NOT make you immediately want to read the next one. So for example, instead of, “And with that Gretchen popped another pill, and drifted off to sleep. She had a four am wake-up call for the studio.” Really? So what? She’s gone to sleep has she, yeh, yawn, I’m nodding off too, I think I’ll put the book down.


The Precipice Moment


So how about, “Gretchen drifted off to sleep in her usual moral despair. She had a four am wake-up call for the studio. But after the amount of sleeping pills she’d taken she wasn’t entirely sure she’d be alive to hear the alarm. More poignantly, as the abyss of the narcotic-induced sleep swallowed her, she prayed with all her heart that she WOULD never wake.”

Get it? Wow….she might have overdosed. This woman has everything and doesn’t even wasn’t to wake up!!!!

Now your reader isn’t drowsy at all. Your reader damn well wants to know if Gretchen will die or not.

So another tip: don’t tell them – yet. Definitely don’t start the next chapter with, “In fact Gretchen woke up quite easily when the alarm went and felt quite cheerful.” Whoa…lack of suspense.

 Better to open somewhere else. A sound stage at MegaBucksMovie Studios. “Director Harold Menton was incandescent. His star was late again. Three minutes from shooting and she was nowhere. He screamed at his assistant, “Where the f*** is this cut-price Marilyn Monroe? She’s late again?” His assistant quavered, “I don’t know Mr. Menton. We called her at the usual time but she didn’t answer. The hotel staff can’t seem to get in the room.”


Keep Your Readers’ Attention


So the reader is going, “Oh no she DID it! She overdosed. She’s dead, oh no…” Seconds later Gretchen comes sweeping in majestically looking a million dollars, kisses Harold, and says, “Dahling! Sorry I’m late, the traffic on Sunset is murderous and the studio driver is a moron.” Phew. Get the picture? Pick the reader up and hold them; tease them, tantalise, torture them with suspense if you can. Then surprise them.



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Don’t Get it Right, Get it Written! – NOVEL CHAPTERS

Welcome back to, Don’t Get it Right, Get it Written! By Stuart White

Stuart White

Stuart White

 More on Stuart HERE

Stuart continues his tips on how to….WRITE CHAPTERS IN A NOVEL



[Click HERE to See earlier post on example character, “Gretchen Sunflower”]

So you’re all dossiered up. You know you who heroine/hero, singular or plural is/are. You know roughly the story arc which is how Molly Perkins goes from being a poor little girl in the projects of Philadelphia, to Gretchen Sunflower on the palm-lined streets of Beverly Hills and the Oscar-night red carpets. Well you now you know the start – but do you know the end.

 I always, always make sure I know what the ending is before I start. It seems somehow important for the development of the story AND it’s almost like a tiny distant beacon towards which you are heading and its feeble light is saying, ‘Don’t give up. I’m here. You can reach the end.’). So ask yourself this question before you start: “What’s the ending. What REALLY happens to Molly/Gretchen?” More on that later.




 Now you must plot the story. So do. Most novels are about 80,000 words. Sometimes less sometimes more, but that’s a reasonable average to head for. So how many chapters? How about twenty? Twenty into 80,000 goes, er…let’s see, right, so that’s four thousand words a chapter.

 So start to write out 20 chapter headings. And here’s a quick professional tip while I still remember it – when you come to write the first chapter, why not start near the end of the story and flash back, rather than just take the viewer on a chronological trip from Point A to Point Z – the projects to Tinseltown. Instead give us a taste of what she ends up with.


                     THE CHAPTERS


For example: Chapter One: A semi-drunken Gretchen late Thirties, lounges on her sofa with her handsome lover (add name). Gretchen is bemoaning the fact that although she has everything materially, she has lost her honor and her morality. She gained the whole world and lost her soul. Then FLASHBACK – as they would say in screenplay – to what-was-then-Molly playing by the fire hydrant on a  hot and steamy Philly night.

 Geddit? You’ve shown the reader where she’s ended up, now you are going to show them why and how she got there, and why she became disillusioned. That’s Chapter One. Your Hollywood scene can be five/six pages…then go back to the Philly Streets.


The idea is to hook your reader into the story. This glamorous, famous, filthily rich star who has it all. But somehow – hasn’t. And…look, she was this poor little kid in a tattered dress. How did she get from THERE – the projects – to HERE, Beverly Hills? And why is that bright-eyed kid, so lovely and innocent, now hard, cynical and LOST. Hopefully first an agent, then a publisher and then millions of readers, will want to know. You’re taking them on a journey remember, you’re telling them a story. Never underestimate that it’s a read. In newspapers they used to call meaty news or feature stories “a good read.” Books are a good read. It’s why people by them. To be taken out of themselves into another world by a good STORY. Suck them in as soon as possible.


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Don’t Get it Right, Get it Written! More Character Building

Welcome back to, Don’t Get it Right, Get it Written! By Stuart White

Stuart White

Stuart White

 More on Stuart HERE

Stuart continues his tips on how to build your characters



Questions to ask yourself:


  1. What are your character’s political views? (This may never come out on the book itself, but it might show up in conversation and general attitude) Are they conservative, radical, Right/Left, liberal; tough on crime or liberal on crime; pro-choice or anti?
  2. What is her/his favourite color; favourite food.
  3. Do they drink alcohol, a lot, a bit or not at all? If so what favourite drink; bourbon, champagne, red burgundy, tequila?


Be true to your character:

When doing this list don’t just pick out attributes like food from a buffet. Remember WHO your hero or heroine is. So, make the attributes believable.


It’s not set in stone:

And also remember that they can change slightly along the route. In fact the best books is where the character grows and changes from empirical experience.


An example:

Click HERE to See earlier post on example character, “Gretchen Sunflower”

Gretchen Sunflower aka Molly Perkins from Philly might be a Prohibition Pin Up at eighteen, but by the time she gets to Hollywood she might be downing pina coladas as an early breakfast. All is change nothing is stasis; that goes for your characters as it does for you and me.


Be Consistent!

Characters though are usually consistent. So a conservative character, especially a female, is likely to be extremely anti-abortion; a radical or liberal female character more likely to be pro-choice. So keep her real and believable. But a nice little inconsistent idiosyncrasy doesn’t hurt either.


Ok, don’t ALWAYS be consistent. Idiosyncrasy is interesting, just don’t over-do it:

 Real life example: Gun-toting liberal

 I had a friend in Arizona who was about as Left-wing as it was possible to get in America, and especially in Arizona. But she was absolutely AGAINST gun control, loved firearms and packed enough firepower in her home to see off al Qaeda. She made it clear that any intruder in her home was leaving in a body bag if he didn’t flee when she told him to at gunpoint.

OK…complete your dossier with anything and everything you can lay your hands on that will help you flesh out your character. And don’t misunderstand me; I’m not saying close your eyes and go, “Let me see…Gretchen’s Jewish…no, no…she’s a Mormon!” THINK about your character, you’re creating her/him after all.



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BY Guest, Stuart White

Stuart White

Stuart White

About Stuart White


We started yesterday with a post on HOW TO GET STARTED WITH YOUR NOVEL.  Today, we are continuing with some tips on



 So you have your title and what the story is about. Now don’t worry, these are not the Ten Commandments written in stone for which you’ll be tortured to death if you should deviate from them. They’re guidelines. Remember that. They’re sort of rails on a bridge, or ropes on a cliff to help you hang on if you falter.

 What to do next…? NAMES!

Next thing to write down: “Who is the hero or heroine or the plurals of those?” Write down the name of that person or persons. Then the names of any subsidiary characters you can think of.


 IMPORTANT NOTE: Give them a name that springs out. Rather than Molly Perkins, Gretchen Sunflower. Rather than Dan Smith, Alban Lightsaber. Get the drift?

 “Good” Character Names

 Good character names stand out and publishers like them and readers love them. But, if you think your character is Molly Perkins, then call her that. It’s your book, no-one else’s. And there’s a good argument that your readers will identify more with Molly Perkins or Sue-Ann Jones, than Gretchen Sunflower. (For this exercise you can have her Molly at the beginning and she’ll change her name to Gretchen Sunflower en route to Hollywood and fame. Most Hollywood stars after all do not use the names they were born with. Deal? OK.)

 “Bad” Character Names

 Definitely avoid like the plague of that cliché, names that readers will find hard to pronounce or stumble over. When they do they might just stumble enough to not bother walking on. I once unforgivably called one of my characters, Uwe. It’s a German name pronounced Oo-vay. No-one I knew who read the novel could pronounce it, and used to say to me, “That guy, the German spy, ooo-weee…or uh-way..” they couldn’t pronounce it. So don’t choose one people will have problems pronouncing, like Brezezinski, Sczesny, or a long incongruous name like Aristotle Van Takhmanangakal (unless it’s some eccentric professor or mad scientist and the name is deliberately weird). Because those are names that people will stumble on, and when they stumble they lose the thread of your book. So – go for a name that springs out but doesn’t overwhelm.

 Helpful tip: 

Make A List

 Start to list their information as though they were a real person. Date and place of birth. (Remember in your novel that the chronology must always fit).

  1. What kind of school did they go to?
  2. Are they Catholic, Jewish, Buddhist, whatever?
  3. Are they tall, short, fat, thin? I’m serious. I’ve read novels where people start out small and then suddenly grow about six inches as the story goes on; amazing to have a growth spurt at thirty-five.
  4. What color is her/his hair.
  5. Teeth? Regular, irregular

NOTE ABOUT IRREGULARITY: And a bit of irregularity always makes a more interesting character; a freckle there, a slightly larger eye, a mole. But it’s your character, so if you want them to be six three with ice-blue eyes, blonde/blond with bulging biceps, fine, a kind of Swedish cyborg then so describe them. Just don’t then have them as a shy, retiring middle-school teacher in small-town Alabama because that’s stretching your credibility. Now keep your dossier to hand and remember it when writing your scenes.


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Useful tips for writing your book, making sure it doesn’t founder mid-chapter, and avoiding writer’s block –

Credentials First.

Stuart White

Stuart White

Whenever someone stands before me on a stage to tell me how to write a book or screenplay, get fit, improve my romantic relationships or make a million dollars out of real estate, my first question is: What qualifications do you have for telling me this, pal?

Same with books that carry improbable titles like: “Why you need never grow old,” or “How to write your best-selling book in just 7 days.”

My reaction is, So, are YOU not growing old?” “Did you write a best-selling book in just 7 days, and if so what was it called?

Call me a sceptic, call me a cynic – “OK Stuart you’re a sceptic and a cynic – but I think everyone reading advice is entitled to ask from what well of experience or expertise is it coming.

So here are my credentials, and you can put the value on them you choose, and thus on the advice I give you.


I’ve had six novels published by mainstream (not self-published) publishing houses in Britain, the United States, Canada, Australia, New Zealand, Japan, Turkey, Germany and Slovenia.

Apart from English I’ve been published in the following languages: German, Japanese, Turkish and Slovenian. Three novels have been optioned for movies. One of those, ‘Crossmaglen’ is currently in pre-production. Additionally I’ve written eleven screenplays, three of which have been optioned in Hollywood. Two were written under commission – that is a production company hired me and paid me to write each of them.

I’ve also had two what are called ‘Pocket Novels’

published in America, and I’ve got a collection of short stories published on Amazon Kindle. Precise details at foot of this article.

I’ve also written two non-fiction books, basically ghosted but credited autobiographies, one with a ship disaster hero, and the other with the ex-wife of a former world champion boxer.

In the 1980s I ghost-wrote two successful novels under the name of a writer who is now sadly deceased, but also now can’t sue me for revealing that I did. Both were best-sellers, and one was serialised in a British national newspaper.

I was also a reporter and foreign correspondent for more than 35 years. This isn’t a look-at-me exercise it’s meant to be a way of letting you know that I’m I have actually written and been published, and what I tell you here has been learned from hard and often bitter experience.


OK. You want to write a novel? You’ve got a great idea and you’re full of enthusiasm? So you sit down late at night, or get up before even the sparrows have staggered to the bathroom, you grab your notebook your laptop, maybe even your cute but eccentric old typewriter. And you start.

You write for several hours and you’ve got maybe ten pages. You then lose some energy and realize it’s a damned sight quicker to read a book than write one. You get discouraged. It’s like you’ve set off to walk to the Himalayas and hours later you’ve still not made it to the freeway on-ramp.

You put your work aside and even if you pick it up again the next day just a little of that enthusiasm has waned. And worse…you sort of, kind of, knew what the story was but as it’s gone along you’re stuck at some point thinking: Where do I go next?

Don’t worry, everyone has done that. I’ve done it and I’m sure Ernest Hemingway and Leo Tolstoy did it when they first started out. (I’m trying to give you a vivid example here not compare myself with those two greats).

It’s like building a bridge without a plan or a base. You start sticking stones or bamboo together or bits of steel, they stretch a few yards out over the river and then with nothing to support them and nowhere to go they either hang precariously or fall into the water with a resounding splash.

I don’t want to tell you what Basil Fawlty might have

called ‘the bleedin’ obvious,”

[Watch Fawlty Towers bits here]

but you need a plan, and you need a method. And you need to do as much preparation as possible before you even start writing.


Here’s what I do and you might do if you wished. Sit down with a paper and pad, not a laptop, just some clear paper, a yellow legal pad perhaps.

Then, if you’ve got a title write it down. Ok, for this exercise let’s invent one…The Road to Fond Rememberings.” (For the record that’s mine not yours, so hands off. My lawyer is not known as Jaws for nothing.)

If you haven’t got a title get one and quick, even just a working title. To get a title work out what your story is: for the sake of example it’s about a girl who makes it out of poverty in Philadelphia and ends up in Hollywood as a star.

So how about The Philly Girl. Or, The Road to the Hollywood Sign? Anything will do right now, call it Project X if you want. But write your title down.

Beneath it write this question: “What is this story about?” Then answer it. Yes I know you could do all this in your head but writing clarifies and reminds. What we write we remember, and of course have a record of.

The answer might be: “The story of a poor girl who makes it to Hollywood but CAN’T FIND HAPPINESS because she has forgotten how to love.” That’s my answer, YOU discover yours. Just one sentence: “A rogue nuclear scientist decides to destroy earth with a dirty bomb but he and the world are saved by the love of a good woman.” (Actually not a bad idea that. Kerching! Copyrighted. Beware of Jaws).


So you have your title and what the story is about. Now don’t worry, these are not the Ten Commandments written in stone for which you’ll be tortured to death if you should deviate from them. They’re guidelines. Remember that. They’re sort of rails on a bridge, or ropes on a cliff to help you hang on if you falter.

TO BE CONTINUED….Sign up for updates on the LATEST CONTENT.


BUY HIS BOOK HERE – We’ll Always Have Paris


Stuart White is the author of the novels Death Game; Operation Raven; The Shamrock Boy; Kiss of the Angel; Til the Fat Lady Sings and The Valhalla Secret. His non-fiction books include, “Zeebrugge a Hero’s Story,” with Stephen Homewood, and “You Can Run But You Can’t Hide,” with Cynthia Lewis Foreman.

He also co-authored the novels, “The Lady and the Champ,” and “Rags to Riches,” with the late Pat Booth.

His Pocket Novels published in America include, “A GI called Joe.” And “The Visitor.” He has a 70,000 word long compendium of short stories entitled, “We’ll Always Have Paris,” for sale on Amazon Kindle.

His optioned screenplays include, To the Very Gates; To Kill a King; Black Jacques and Crossmaglen. He has also written on commission, “Death at Sea,” and “Art of the Warrior.” He is currently writing the supernatural cop TV series, Pendragon.

Guest Post: Stuart White

Hello friends! I will have the honor of having Stuart White guest-post to my blog with tips of how to get rid of writer’s block.

STARTING FRIDAY! We will begin a blog series of writing how-to’s for the stumped writer. This guy is great. He has helped me with several projects including a screenplay! He really knows his stuff and is a great guy too.

BE BACK FRIDAY! Sign up for our email’s to get a reminder.

Here is a link to his recent publication, a collection of short stories: We’ll Always Have Paris

Stuart is a professional and has traveled all over the world!

My beautiful picture

Stuart White – Author

Here’s his bio…

Stuart White grew up in an English industrial town close

to Liverpool, birthplace of the Beatles. At the age of

twenty-two he was in London working on newspapers

including the Evening News, Daily Sketch and The Sun.

During his career he covered the ‘troubles’ in Northern

Ireland, the drug wars in Colombia, the refugee crisis in

Rwanda and Zaire, and was in Israel for the Scud missile

attacks on Tel Aviv during the First Gulf War.

He also covered the civil wars in Croatia and Bosnia,

flying twice into beleaguered Sarajevo. He has been shot

at, shelled, arrested frequently, beaten up, and was once

detained and deported from the African country of Malawi

when he attempted to report on the plight of the Asian

population there.

He has visited every continent in the world except

Antarctica, a total of ninety-two countries, many of them

on assignment. During his career he also spent two years

in Hong Kong where he was city editor of a daily

newspaper. He also lived for six months in the Persian

Gulf working for the Gulf Daily Mail and helping set up a

leisure magazine.

In 1994 he was made the America bureau chief of a

British national newspaper and spent ten years in Los

Angeles. During that time he covered among other stories

the Oklahoma City bombings, and 9/11 – for which with two

colleagues he drove non-stop the 2,800 miles from Los

Angeles to New York when no planes were flying.

During his time in LA he was a frequent contributor to

TV programmes like Hard Copy, Extra, and CNN. He has

appeared frequently on BBC TV and radio in England, and

in various documentaries.

He has written several newspaper and Magazine columns,

including, “USA Diary,” “Departures”, (for Business

Destinations magazine) and “One Man’s View,” the latter

in Hong Kong’s China Mail.

He studied screenwriting in Hollywood and gave up

journalism in 2005 to write full-time. He has a teenage

daughter and lives variously in London and the South of