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Yes, it is exciting to see Didion's unpublished work, but is it right to publish her personal journals?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.