A guide to reading Joan Didion

I’m a big fan of Joan Didion. I’ve read most of her published works, with her novel Play It As It Lays, Slouching Towards Bethlehem, and The Year of Magical Thinking among my favourites. What I’ve always appreciated about her writing is the precision and emotional depth she brings to her words. Few others come close. She possessed an unmatched ability to distil complex emotions and cultural shifts into sentences that feel both effortless and weighty.

Joan Didion's writing is a masterclass in precision and insight. Her distinctive style, marked by pared-down, rigorous prose, captured the nuances of American life and personal introspection. As a leading figure in the New Journalism movement of the 1960s, Didion's work blended literary flair with journalistic integrity, offering readers a profound lens through which to view the world.

Whatever happened to Donna Tartt?

I found a box of books in the attic yesterday, and a signed copy of Donna Tartt’s The Goldfinch was buried there. I added it to the bookshelf alongside a signed copy of The Little Friend.

I’m a massive fan of Donna Tartt, particularly (like many people) The Secret History, which I wrote about recently. It got me thinking—whatever happened to Donna Tartt?

It has been more than a decade since Tartt published her last novel, The Goldfinch (2013), which won the Pulitzer Prize and cemented her status as one of the most celebrated literary figures of our time. But since then? Silence.

Tartt has never been a prolific writer. She famously takes a decade (or more) between books, crafting intricate, deeply atmospheric novels that become instant modern classics. The Secret History (1992) and The Little Friend (2002) were each published with long gaps in between, setting a pattern of meticulous, slow-burn literary output. But now, more than ten years have passed since The Goldfinch, and there’s no official word on what comes next.

So, where is Donna Tartt? And why is the wait for her next novel taking even longer this time?

How to find your narrative voice: from first person to omniscient

Finding your narrative voice is one of the most important, and often most challenging, aspects of writing fiction.

It’s what makes your storytelling unique, setting the tone for your novel and shaping how readers connect with your characters.

However, voice is often confused with point of view (POV), the narrative perspective from which you choose to tell your story. First-person, third-person limited, or omniscient each has its strengths and challenges.

I have tried two approaches. First-person for modern fiction (both my published novels) and third-person limited for my long-paused historical novel. I am more comfortable telling a contemporary story with the former, although that style did not feel appropriate for a historical novel.

So, how do you choose the right one? And how do you develop a distinct voice within it? Let’s break it down.

How to write a novel when you have no time

One of the biggest challenges for most writers is finding the time. In my 20s and early 30s, I could sit for hours and devote entire weekends to writing without distractions. But life changes. Responsibilities pile up, free time disappears, and you have to adapt.

For a while, I thought I needed long, uninterrupted stretches before I could write. Otherwise, what was the point? I told myself that anything less than 90 minutes was pointless—but in reality, I was just putting blockers in the way.

I’ve since learned that writing a novel doesn’t require marathon sessions. It can be done in snatches, even 20 minutes here, a paragraph or two there.

If you feel like you don’t have time to write, you’re not alone. But that doesn’t mean you can’t finish a book. I’ve spent ages thinking about this and collected some strategies and wisdom from authors on how to write a novel when your schedule is packed.

Curtis Sittenfeld on Writing: Openness, routine, and authentic storytelling

I'm a huge fan of Curtis Sittenfeld, and Prep and Rodham are favourites. Her writing is always sharply observed and full of depth and memorable characters. In a recent story from The Guardian, she explores her writing process and shares how openness and authenticity influence her best-selling novels.

Publication of Joan Didion’s journal creates an ethical literary dilemma

Joan Didion has been a monumental influence on countless writers, including myself. Her works, from Slouching Towards Bethlehem to The Year of Magical Thinking, have profoundly shaped modern literature.

Anything new by her is a major literary event. So, the recent announcement of the posthumous publication of her personal journal, Notes to John, has ignited a significant ethical debate within the literary world.

Yes, it is exciting to see Didion's unpublished work, but is it right to publish her personal journals? Especially those detailing conversations with her psychiatrist?

There are no New plots: And that’s a good thing

As writers, we often hear the dreaded phrase: "Every story has already been told." It’s the kind of thought that can stop creativity in its tracks. 

However, Lee Child, the author of the Jack Reacher series (29 books and counting), sees it differently. He argues that originality doesn’t come from plot. It comes from execution.

This isn’t a problem. It’s a liberation.

Six novels that demonstrate why “show, don’t tell” is worth getting right

When I wrote about “The art of showing, not telling” recently, I realised how many great examples of this technique exist in literature. Some authors take it to the next level, showing us emotions, relationships, and tension in ways that draw entirely us into the story without a single line of “telling.” 

I thought it might be useful to look at a few of these standout examples and the writers who have mastered the art of showing so well that their stories linger long after you’ve finished reading.

How to nail the crucial first five pages of your novel

I recently wrote about books that can help with style and craft when writing your novel, and now I want to look at those crucial first five pages. 

When it comes to capturing the attention of a literary agent, these opening pages are make-or-break territory. 

Dialogue that does double duty: How to advance plot and reveal character

Dialogue isn’t just there to make characters sound like they’re speaking. It’s one of the most powerful

tools in a novelist’s kit. The right line of dialogue can move the story forward, deepen a character’s personality, and sometimes even hint at future conflicts. 

When your dialogue serves multiple purposes, it pulls more weight, making your prose more efficient and engaging. Here are four well-known literary examples of how you can achieve this.

The art of showing, not telling: Crafting novels readers can’t put down

I've struggled with this one without knowing and have been guilty of too much telling. 

“Show, don’t tell” is one of the oldest pieces of writing advice, but what does it mean? At its core, it encourages readers to experience the story through the characters’ actions, words, and emotions instead of simply being told what to think. 

This approach makes the difference between feeling immersed in the narrative and feeling as though you’re merely reading a summary.

How to develop character backstories that bring your novel to life

Every character, even those that appear briefly, benefits from a backstory. Understanding their past not

only aids in writing them more convincingly—it also makes them feel more real, both to you and your readers. This doesn’t imply cramming pages of history into the novel, but possessing a profound understanding of their origins will manifest in subtle, impactful ways.