On the surface, the idea of editing on your screen can seem like the more efficient choice because you can just get in and change things without the cumbersome process of making  changes on paper and then transferring them onto your digital copy. However there are many reasons why editing by hand is actually more effective and is worth considering as part of your writing routine.

Firstly, editing on paper allows you to engage with your writing in a more tactile and focused way. Reading your work on paper physically feels different than reading it on a screen. This change in medium helps you see your writing from a fresh perspective, making it easier to spot errors that you might have overlooked on a screen. The physical act of marking up a manuscript with a pen also forces you to slow down and consider each change more carefully. There is also evidence to suggest that when reading on a  screen we tend to skim over text whereas reading on paper engages a more thorough absorption of the words in front of us.
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When you are writing a book in these technological times it can be easy to be put off by the thought of having to use fancy software. But this is a myth. Let's face it, the essence of good writing lies in creativity and imagination, not in the physical tools you use. Many of history’s greatest authors wrote their masterpieces using nothing more than quill/pencil/pen and paper or a basic typewriter. A simple word processor like Microsoft Word, Google Docs, or even Notepad can be enough to draft, edit, and finalise a book. Ultimately, your focus should be on actually creating your story, rather than getting caught up in the bells and whistles of advanced writing software.

Specialised writing software takes time to master, which can distract you from the actual writing process. Features like advanced outlining tools, character development sheets, or integrated research databases may seem useful, but they can also lead to procrastination. Simple tools allow you to focus on what matters most—getting your words on the page. In fact, some writers find that too many features actually stifle their creativity, rather than enhance it.
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We've all been there - sitting in front of a blank page or an empty computer screen knowing we should be writing but unable to produce anything of value. There's only so many times you can distract yourself with getting something to eat, making a cup of tea or suddenly deciding that you need to reoganise your entire wardrobe. The annoying thing is, writer's block usually strikes when you have allocated yourself some quality writing time and thus should be at your productive best. Instead of throwing your laptop out the window, take a breath and consider some of these ways to get yourself back in the zone.

First of all, don't wait for inspiration to strike. Start writing, even if what you put on the page doesn't seem perfect or even half decent. Just get some words down. Sometimes, the process of writing itself can kickstart your creativity. Set aside a specific time each day to write, and establish a routine that signals to your brain that it's time to work. Hold firm to this commitment and have everything you need ready rather than distracting yourself by getting up every five minutes. By showing up consistently, you can gradually build momentum and break through the block.

Most writers will agree that there are times when editing feels easier than writing something new. It is usually when you are in the midst of writer's block or not feeling particularly inspired and you would rather be doing anything except working on your manuscript. On the face of it editing would seem to be the more difficult chore, given that it requires more attention to detail and involves fixing  and improving things rather than just getting them down on paper. So why, at times, does it feel like the easier road?

When you're editing, you're working with a draft that already has a structure, making it easier to see what needs improvement. You have a foundation to build upon, which can be less daunting than starting from scratch with that blinking cursor on an empty page. There is something about holding a red pen or highlighter in your hand and circling, underlining and crossing things out that feels like you are making progress. Editing also allows for a more objective evaluation of your work. You're reviewing something that's already there (and thus doesn't need any inspiring creativity), which can make it easier to spot errors, inconsistencies, or areas that need enhancement. Even reading something you've written aloud engages a different sense, which helps see how it can be improved.

There's nothing quite as devastating as a negative review on something you've written. No matter how long you've been writing, seeing a lonely one or two stars in the feedback is always a little dagger to the heart. However as challenging as negative reviews can be, they are an inevitable part of putting your work out into the world. To stop yourself going into a spiral of depression each time you come across negative feedback, it's important to learn to deal with it in a constructive and emotionally healthy way.

The first thing to remember is that negative reviews are not a reflection of your worth as a writer or a person. It's necessary to separate your identity from your work and keep that division front of mind. Even though it hurts on the first reading, stay calm while you read the review and remember that not every reader will connect with your writing (just as you do not connect with everything you read). Acknowledge that it's natural to have an emotional reaction when you first come across a negative review. Give yourself some time to process your feelings before saying or doing anything. Avoid reacting impulsively.

Once you've given yourself time to take it in, read the negative review carefully and try to extract any constructive criticism contained in the words. (This might take a few days to come to terms with). Sometimes, even in harsh reviews, there may be valuable feedback that can help you improve your writing. If there is constructive criticism, use it to refine your writing skills. Consider whether there are areas of your work that need improvement and what you can do to make these improvements. If you notice a consistent pattern in negative feedback (e.g., multiple readers pointing out the same issue), it may be worth addressing that aspect in your future writing.

Q.  The Third Time is a sequel story to the character Jack from The Beach House. Did you always intend to write a sequel or sequels to your first book?

A.  I hadn't decided either way. It wasn't a deliberate plan, but I didn't rule it out either. In saying that, though, I did begin to get the idea for this story not long after finishing The Beach House.

Q.  Was it fun to revisit characters from a previous book?

A.  Yes, definitely. It was great to develop the characters of both Jack and Danny further, especially now that Danny is a teenager and their relationship has evolved in a new direction.

It's hard to believe it's been ten years since my first novel The Beach House was published. Ironically it took the better part of ten years to get the book finished, but I got there in the end and it finally made it's way out into the world.

What a journey it's been! Although my book did not go on to become an international bestseller (still hoping!), it did enjoy a moderate level of success and still sells copies today. Fortunately I have refined my processes since then so it no longer takes me that long to write one book, but I am grateful for all the lessons my first book taught me - especially in the editing field.

In the intervening decade I have published two more novels and a collection of short stories and I am currently working on my fourth novel. Although I did not anticipate The Beach House would be the start of a series, it did happen with The Perfect Proposal (short story) and Third Offence both being sequels to one of the characters from The Beach House.

So happy anniversary to The Beach House. Thank you for allowing me to achieve my dream of being an author and for staying in my head all those times I decided I just couldn't do it. And thank you for the other stories you inspired through my sequels.

What Inspired You To Write Room 46?

There were a few influences behind the story of Room 46. The first was visiting an elderly friend in a nursing home and seeing how such places are run. The staff do such an amazing job as do the volunteers who so freely give their time to bring some joy into the life of the residents there. Another was the way that people can get lost in the welfare system. I am certainly not saying that people don't deserve to get welfare, more that they don't always have the right support to realise their own potential and that there can be a positive way forward.

You have used the 'story within the story' again with Room 46? Is this your preferred book format?

No, not really. It just happened to be the way the story came out. The stories within the story are a bit different with Room 46 though as they are seemingly unrelated to begin with. That was the challenge for me - how to weave them together into a novel. I'm fairly sure my next book will follow a more standard novel format as I would like to try that style of story as well.

Are any of the characters based on real people?

No, not entirely. Grace is based loosely on somebody I saw on a news story once, but of course not knowing this person I have added my own interpretation to the character. The character of Marion is a combination of a few people and I think she is the kind of person that most of us have met somewhere in our lives.

Speaking of Marion it is not often that a cleaner is a pivotal character in a novel. Was this a deliberate choice?

What I wanted to do with Marion was to illustrate that sometimes the people we overlook in life are actually much more substantial than we give them credit for. Marion loves her job and sees it as a genuine career, which goes against the grain of what society at large thinks. We can often take people like that for granted without acknowledging what they contribute to society.

It's one of those funny things, you are meandering around the Op Shop when you come to the book section and there is your book on the shelves. In some ways it's great - it's still that thrill to see a book you wrote in print on a shelf for sale. But it's definitely not as thrilling as seeing it in the New Release section of Dymock's (Insert your own local bookshop). In fact it can even feel a little bit embarrassing.

Of course there is ego involved in this reaction. Things in an op shop are essentially unwanted - items past their prime, or simply surplus to needs. You know yourself when you are having a clear out and just want to get rid of things, commonly referred to as "junk". It stings just a bit to think that your book, that once graced somebody's bookshelf, has been looked at, considered and then turfed into the "donate" box. Once you get past this little dagger to the heart, however there is a more positive way to look at featuring on an op shop shelf.