The ADHD plot twist: making sense of ADHD as a writer

This is something of a confession. Something I’ve never shared publicly. I’ve hesitated to say it even privately. Slightly embarrassed, I suppose. 

However, having gone on a bit of a journey with this, it feels like a good time to write about it. 

This time last year, I got diagnosed with ADHD. I know. It sometimes seems that everyone is getting a diagnosis. 

Mine came after one of my children got a diagnosis (both now have one). 

This post is for anyone, writer or otherwise working in this industry, who’s also neurodivergent, or anyone who’s ever felt like their brain doesn’t quite follow the usual rules.

Why you should read Joan Didion: five unforgettable quotes and the best books to start with

Joan Didion didn’t just write essays and novels, she rewired what prose could do. Her work is surgically precise and emotionally raw, offering a style that has inspired generations of writers and captivated readers for over half a century. 

She helped shape the New Journalism movement in the 1960s, bringing a personal, literary sensibility to reportage. She created some of the most arresting portraits of American life in the second half of the twentieth century.

If you liked The Secret History, you’ll love these five dark, literary campus novels

If you’re anything like me, finishing The Secret History leaves a strange kind of void. Donna Tartt’s literary debut is one of those once-in-a-decade novels: intellectually rich, psychologically intense, and impossible to put down. 

It’s a story steeped in atmosphere, with characters who linger in your mind and a setting that feels like it exists outside of time. If you’re looking for books matching that experience, I’ve rounded up five novels that channel similar dark academia energy, moral complexity, and obsession-fuelled tension.

How to write your novel in three drafts: the method that keeps you moving forward

Writing a novel can feel overwhelming, especially when you’re trying to perfect every page as you go. But what if you didn’t have to get it right the first time? What if, instead, you focused on getting it down, shaping it later, and only polishing once the story is in place?

That’s the power of the three-draft method — an approach popularised by Matt Bell in his excellent craft book Refuse to Be Done: How to Write and Rewrite a Novel in Three Drafts. At its heart, this method gives writers structure, clarity and, perhaps most importantly, permission to keep going when things feel messy.

Here's how it works:

The writing struggle is real: how to beat procrastination and get the words down

Revising this latest book has been tough – and that’s with an outline. The story is there, the chapters mapped out, but the act of sitting down and actually doing it? That’s the hard part.

I’ve always found that writing doesn’t get easier just because you know what comes next. 

When to break the rules of writing: how and why to Experiment

There’s a point in every writer’s journey when you realise the rules, the ones you've been diligently following, are not commandments but conventions. They're guidelines. Or handrails. Ideas that work brilliantly until they don’t. And sometimes, the best writing happens when you break them.

This isn’t a green light for chaos. You have to know the rules before you break them. You have to understand how rhythm works before you fragment a sentence. You need to learn what a story arc is before you bend it, or break it. But once you do, experimentation can lead to extraordinary storytelling.

So when should you consider breaking the rules? And how can you do it well? Luckily there are loads of great examples. 

The incredible shrinking novel: why short fiction is having a big moment

In a world of content overload, time-poor readers are gravitating toward something they can actually finish: short novels. Once the preserve of indie publishers and experimental authors, the slim literary novel is now front and centre, scooping prizes, going viral on BookTok, and dominating bookshop displays.

From Claire Keegan's Small Things Like These to Samantha Harvey's Orbital, these compact works of fiction pack a punch around 200 pages. No filler. No indulgent middle act. Just distilled intensity, executed with precision.