- Published on
Last week, to my intense relief, I finally finished a major reconstruction of ‘Unlocked Lies’. I cut several chapters and stripped others back, then rewrote them. I added a lot of new material. Earlier chapters had to be revisited to lay the groundwork for the new plot elements and ensure everything fitted together.
This has been the most difficult novel I’ve written to date. Until now, that dubious honour belonged to ‘After She’s Gone’, because my publisher imposed a deadline that I can only describe as brutal. ‘Unlocked Lies’ has been problematic in a different way. The novel needed much more structural work than I expected, mostly because, as usual, I failed to plan it properly. I ended up with pages of notes and new plot ideas, almost giving up many times because sorting it out seemed overwhelming. I’m determined not to make that mistake again!
Now, though, the basic story is finally out of my head and into Scrivener, the writing software I use. That doesn’t mean the novel is ready to be published. Far from it! The manuscript now stands at around 116,000 words, which is too long, and I’d like to lose at least 20,000 of them. I need to work on tightening, trimming, improving, and making sure every chapter earns its place. Luckily for me, that’s the part I enjoy most. I’ll probably rearrange the chapter sequence as well.
All of that feels very manageable compared with what I’ve just finished, though.
I’d hoped to get ‘Unlocked Lies’ published before Christmas 2026, but I no longer think that’s realistic. I’d rather give the book the time it needs than rush it to hit an arbitrary deadline. For now, though, I’m allowing myself to enjoy this milestone. The hardest part is done, and I’m so relieved.
This has been the most difficult novel I’ve written to date. Until now, that dubious honour belonged to ‘After She’s Gone’, because my publisher imposed a deadline that I can only describe as brutal. ‘Unlocked Lies’ has been problematic in a different way. The novel needed much more structural work than I expected, mostly because, as usual, I failed to plan it properly. I ended up with pages of notes and new plot ideas, almost giving up many times because sorting it out seemed overwhelming. I’m determined not to make that mistake again!
Now, though, the basic story is finally out of my head and into Scrivener, the writing software I use. That doesn’t mean the novel is ready to be published. Far from it! The manuscript now stands at around 116,000 words, which is too long, and I’d like to lose at least 20,000 of them. I need to work on tightening, trimming, improving, and making sure every chapter earns its place. Luckily for me, that’s the part I enjoy most. I’ll probably rearrange the chapter sequence as well.
All of that feels very manageable compared with what I’ve just finished, though.
I’d hoped to get ‘Unlocked Lies’ published before Christmas 2026, but I no longer think that’s realistic. I’d rather give the book the time it needs than rush it to hit an arbitrary deadline. For now, though, I’m allowing myself to enjoy this milestone. The hardest part is done, and I’m so relieved.
- Published on
A quick update on ‘Unlocked Lies’: I’m now deep into the later-stage revisions. It’s been a big job because my manuscript was such a mess. I’ve had to revamp the last part of the book completely, which has created several continuity issues for the earlier part of the book. I’m enjoying the process, though — editing and polishing have always been the parts I love most. The downside is that the forthcoming chapters require a lot of work, and I need to scrap and rewrite some altogether. I’m still hoping to get it all done in 2026! I’ll keep you posted.
Now for a bit of light relief. If ‘Unlocked Lies’ came with warning labels, they might look something like this:
In other words: business as usual for a psychological thriller!
Now for a bit of light relief. If ‘Unlocked Lies’ came with warning labels, they might look something like this:
- Warning: the story you believe about your family may be false.
- Delving into the past is much easier than forgetting what you find.
- A lie told often enough can start to look remarkably like a memory.
- Some people spend years making sure the past stays buried.
- Family history may have been edited for your protection.
In other words: business as usual for a psychological thriller!
- Published on
Setting plays a bigger role in my books than readers might realise. A psychological thriller isn’t just about plot and characters — it’s about atmosphere, and location plays a huge part in that.
My earlier books were set in Bristol, where I used to live. I left that city nearly eight years ago, though, and I don’t feel comfortable now using it as a backdrop for my novels. Cities change quickly, and if I’m writing about a place, I want it to be real and current.
These days, I only use Northumbria as a setting. The coastline, castles, and open moorland — it’s beautiful, but also remote. The kind of place where secrets could stay hidden for a long time, and that works well for a psychological thriller. The area also has some unexpected features; while working on Unlocked Lies, I found myself researching local caves — not something Northumbria is especially known for. All part of the writing process!
Some of the most memorable thrillers use location in exactly this way. Think of Rebecca — Manderley isn’t just a backdrop, it’s part of the story’s psychological grip on the reader. The house, the isolation, the atmosphere all deepen the sense of unease.
What about you — do you enjoy stories set in remote, atmospheric locations, or do you prefer the tension of a busy city?
My earlier books were set in Bristol, where I used to live. I left that city nearly eight years ago, though, and I don’t feel comfortable now using it as a backdrop for my novels. Cities change quickly, and if I’m writing about a place, I want it to be real and current.
These days, I only use Northumbria as a setting. The coastline, castles, and open moorland — it’s beautiful, but also remote. The kind of place where secrets could stay hidden for a long time, and that works well for a psychological thriller. The area also has some unexpected features; while working on Unlocked Lies, I found myself researching local caves — not something Northumbria is especially known for. All part of the writing process!
Some of the most memorable thrillers use location in exactly this way. Think of Rebecca — Manderley isn’t just a backdrop, it’s part of the story’s psychological grip on the reader. The house, the isolation, the atmosphere all deepen the sense of unease.
What about you — do you enjoy stories set in remote, atmospheric locations, or do you prefer the tension of a busy city?
- Published on
I’ve always believed that, in many areas of life, less is more. For example, I loathe clutter, and my house reflects that. My pet peeve? When someone talks too much (often mostly about themself!)
It’s often what’s not said that carries the most weight.
I’ve been reminded of that again recently — both in my writing and, oddly enough, in my garden. I’ve just bought some secateurs to tackle the overgrown areas, and it struck me how similar the process is. You can improve plants by cutting them back, and writing a psychological thriller works in much the same way. Chopping out words often has a bigger impact than adding them. It speeds up the pacing, and stripping back repetition can make a character’s motivation clearer — and sometimes more unsettling.
Of course, an author can overdo it. It’s possible to prune too much, the same as with plants. Just as I hate clutter but am not a minimalist, I try not to overedit. Sometimes an extra word makes the sentence flow better, and that’s more important.
As I continue editing Unlocked Lies, I’m doing a lot of pruning. Not always easy, especially when it means cutting something I like, but it’s making the story leaner and stronger.
And hopefully, harder to put down.
It’s often what’s not said that carries the most weight.
I’ve been reminded of that again recently — both in my writing and, oddly enough, in my garden. I’ve just bought some secateurs to tackle the overgrown areas, and it struck me how similar the process is. You can improve plants by cutting them back, and writing a psychological thriller works in much the same way. Chopping out words often has a bigger impact than adding them. It speeds up the pacing, and stripping back repetition can make a character’s motivation clearer — and sometimes more unsettling.
Of course, an author can overdo it. It’s possible to prune too much, the same as with plants. Just as I hate clutter but am not a minimalist, I try not to overedit. Sometimes an extra word makes the sentence flow better, and that’s more important.
As I continue editing Unlocked Lies, I’m doing a lot of pruning. Not always easy, especially when it means cutting something I like, but it’s making the story leaner and stronger.
And hopefully, harder to put down.
- Published on
I’ve just finished reading the latest draft of Unlocked Lies — and it’s been somewhat of a reality check.
There’s a solid story in there, which is always a relief. A lot of work will be required to dig it out, though. Some scenes need to be added to strengthen the tension. Others will be axed. I’ll tighten the writing throughout, and a few characters aren’t pulling their full weight on the page. That will change! They need to earn their place in the story.
There’s also an important plot issue I haven’t cracked yet. At the moment, I’m leaving it alone and trusting that the solution will reveal itself as I work through everything else. That’s often how it goes — clarity tends to come from momentum rather than staring at the problem head-on.
None of this is unusual. In fact, it’s very much part of the process. First drafts (and even second or third drafts) are often about getting the raw material down. The real work comes in shaping it into something sharper, leaner, and more compelling.
My plan is to tackle the straightforward fixes first — the obvious cuts, the line edits, the smaller improvements. Once those are out of the way, I’ll move on to the more structural changes, which always take more time and thought. I’m hoping to resolve most of these issues over the rest of April. We’ll see how cooperative the story and its characters decide to be!
There’s a solid story in there, which is always a relief. A lot of work will be required to dig it out, though. Some scenes need to be added to strengthen the tension. Others will be axed. I’ll tighten the writing throughout, and a few characters aren’t pulling their full weight on the page. That will change! They need to earn their place in the story.
There’s also an important plot issue I haven’t cracked yet. At the moment, I’m leaving it alone and trusting that the solution will reveal itself as I work through everything else. That’s often how it goes — clarity tends to come from momentum rather than staring at the problem head-on.
None of this is unusual. In fact, it’s very much part of the process. First drafts (and even second or third drafts) are often about getting the raw material down. The real work comes in shaping it into something sharper, leaner, and more compelling.
My plan is to tackle the straightforward fixes first — the obvious cuts, the line edits, the smaller improvements. Once those are out of the way, I’ll move on to the more structural changes, which always take more time and thought. I’m hoping to resolve most of these issues over the rest of April. We’ll see how cooperative the story and its characters decide to be!
- Published on
There’s a time in almost every psychological thriller I write when a character simply refuses to cooperate.
I’ll sit down at my desk with a clear plan. I know what the scene is meant to achieve, what secrets need to be hinted at, where the tension should build. And then… the character tells me they want to do something unexpected. Something that’s not in my chapter plan.
This isn’t surprising. In real life, people are often illogical. We hide uncomfortable truths, both from others and from ourselves. That messy emotional reality is exactly what makes psychological thrillers such fun. But it also means that fictional characters can, and often do, develop a will of their own. They’re telling me that the scene I’d planned could be better, stronger, if I change the script.
Some of my favourite twists in my novels have come from moments like this — when I stopped forcing the story along its pre-planned track and instead followed where the character was leading me. After all, the most unsettling thrillers aren’t just about shocking events. They’re about people making choices we can hardly fathom… even when we wish we could.
Right now, as I work on my current manuscript, I’m once again negotiating with a particularly stubborn character, my antagonist. Where this will lead, I don’t know. I suspect they’re hiding something significant. Whether they’ll reveal it on their own terms or mine remains to be seen.
‘Unlocked Lies’ is undergoing revision and editing, with a publication date yet to be determined, but probably summer 2026. Watch this space!
I’ll sit down at my desk with a clear plan. I know what the scene is meant to achieve, what secrets need to be hinted at, where the tension should build. And then… the character tells me they want to do something unexpected. Something that’s not in my chapter plan.
This isn’t surprising. In real life, people are often illogical. We hide uncomfortable truths, both from others and from ourselves. That messy emotional reality is exactly what makes psychological thrillers such fun. But it also means that fictional characters can, and often do, develop a will of their own. They’re telling me that the scene I’d planned could be better, stronger, if I change the script.
Some of my favourite twists in my novels have come from moments like this — when I stopped forcing the story along its pre-planned track and instead followed where the character was leading me. After all, the most unsettling thrillers aren’t just about shocking events. They’re about people making choices we can hardly fathom… even when we wish we could.
Right now, as I work on my current manuscript, I’m once again negotiating with a particularly stubborn character, my antagonist. Where this will lead, I don’t know. I suspect they’re hiding something significant. Whether they’ll reveal it on their own terms or mine remains to be seen.
‘Unlocked Lies’ is undergoing revision and editing, with a publication date yet to be determined, but probably summer 2026. Watch this space!
- Published on
I’ve finished the revised draft of my next psychological thriller, Unlocked Lies. Such a relief! The messy drafting stage is behind me. I’ve done the structural changes. The new scenes are in place. Now comes the part of the writing process I enjoy most: editing and revision.
This is where the real shaping happens. I try to notice where tension dips. If a scene lingers too long. When a character’s motivation needs sharpening. Psychological thrillers live or die on precision. Suspense isn’t only about shocking twists or dramatic reveals — it’s about emotional pressure, secrets festering beneath everyday life, the slow tightening of tension until people snap. Editing like this is less about fixing mistakes and more about deepening impact. It’s about making sure every chapter earns its place. Each scene serves the story. Every revelation lands exactly when it should.
For the initial edit, I’m going old-school. A printed version of the manuscript, along with a pen or pencil, a comfy seat, my phone on silent. I’ll scribble notes all over the text. ‘Axe this scene.’ ‘Tighten tension here.’ ‘More sensory details needed.’ Once I’ve completed my read-through, I’ll decide how best to put all this into place. What needs to be done first, which parts require most input, etc. Then I’ll create a plan and a timeline to get it all done, ready for another read-through. I’m lucky in that I read very fast, because I do many, many read-throughs during the editing process, always refining and tweaking as I go.
Unlocked Lies explores a mystery rooted in abandonment, obsession and the dark shadow of an unhappy past. I find something exciting about knowing the book exists in full — that the mystery is there, waiting — and my job is to make it as gripping and unsettling as possible before it reaches you.
This is where the real shaping happens. I try to notice where tension dips. If a scene lingers too long. When a character’s motivation needs sharpening. Psychological thrillers live or die on precision. Suspense isn’t only about shocking twists or dramatic reveals — it’s about emotional pressure, secrets festering beneath everyday life, the slow tightening of tension until people snap. Editing like this is less about fixing mistakes and more about deepening impact. It’s about making sure every chapter earns its place. Each scene serves the story. Every revelation lands exactly when it should.
For the initial edit, I’m going old-school. A printed version of the manuscript, along with a pen or pencil, a comfy seat, my phone on silent. I’ll scribble notes all over the text. ‘Axe this scene.’ ‘Tighten tension here.’ ‘More sensory details needed.’ Once I’ve completed my read-through, I’ll decide how best to put all this into place. What needs to be done first, which parts require most input, etc. Then I’ll create a plan and a timeline to get it all done, ready for another read-through. I’m lucky in that I read very fast, because I do many, many read-throughs during the editing process, always refining and tweaking as I go.
Unlocked Lies explores a mystery rooted in abandonment, obsession and the dark shadow of an unhappy past. I find something exciting about knowing the book exists in full — that the mystery is there, waiting — and my job is to make it as gripping and unsettling as possible before it reaches you.
- Published on
For the past few weeks, I’ve been back working on Unlocked Lies, the psychological thriller that’s been sitting quietly on my hard drive while life — and a bout of burnout — took centre stage.
Opening the manuscript again felt like walking into a house I hadn’t visited in a long time. Everything was familiar, yet somehow different. The rooms were all where I remembered them, but I noticed details I’d overlooked before. When you’re deep in the middle of writing a novel, it’s easy to lose perspective. Scenes blur together. Plot threads start to tangle. You can spend hours staring at a paragraph without being able to tell whether it’s working or not.
Stepping away — even when the break wasn’t planned — changes that.
Coming back to Unlocked Lies, I saw the story with fresh eyes. A scene that once felt stubborn and difficult now seemed easier to shape. A character’s reaction that had never quite convinced me was clearly wrong, and fixing it was much simpler than I’d feared.
It reminded me that sometimes the most productive thing a writer can do is step back.
Psychological thrillers in particular rely on delicate balance. Secrets have to be revealed at exactly the right moment. Suspicion needs to build slowly enough to keep readers guessing, but not so slowly that the tension disappears. That kind of pacing is hard to judge when you’re too close to the manuscript.
As I worked through the chapters again this week, I was reminded of one of the reasons I love writing psychological thrillers. They allow you to explore the uncomfortable question of how well we really know the people around us. And… how well we know ourselves.
Stories built around secrets and hidden motives often reflect something very human. Most of us carry things we’d rather keep private. Small truths we avoid saying out loud. Pieces of our past that we quietly hope will stay buried. In fiction, of course, those secrets have a habit of refusing to stay hidden.
Returning to this manuscript after time away has reminded me why this story grabbed my attention in the first place. I’m looking forward to spending more time in this story world again.
I’m curious about something. When you read psychological thrillers, what draws you in most — the shocking twists, the hidden secrets, or the complex characters who may not be telling the truth?
Opening the manuscript again felt like walking into a house I hadn’t visited in a long time. Everything was familiar, yet somehow different. The rooms were all where I remembered them, but I noticed details I’d overlooked before. When you’re deep in the middle of writing a novel, it’s easy to lose perspective. Scenes blur together. Plot threads start to tangle. You can spend hours staring at a paragraph without being able to tell whether it’s working or not.
Stepping away — even when the break wasn’t planned — changes that.
Coming back to Unlocked Lies, I saw the story with fresh eyes. A scene that once felt stubborn and difficult now seemed easier to shape. A character’s reaction that had never quite convinced me was clearly wrong, and fixing it was much simpler than I’d feared.
It reminded me that sometimes the most productive thing a writer can do is step back.
Psychological thrillers in particular rely on delicate balance. Secrets have to be revealed at exactly the right moment. Suspicion needs to build slowly enough to keep readers guessing, but not so slowly that the tension disappears. That kind of pacing is hard to judge when you’re too close to the manuscript.
As I worked through the chapters again this week, I was reminded of one of the reasons I love writing psychological thrillers. They allow you to explore the uncomfortable question of how well we really know the people around us. And… how well we know ourselves.
Stories built around secrets and hidden motives often reflect something very human. Most of us carry things we’d rather keep private. Small truths we avoid saying out loud. Pieces of our past that we quietly hope will stay buried. In fiction, of course, those secrets have a habit of refusing to stay hidden.
Returning to this manuscript after time away has reminded me why this story grabbed my attention in the first place. I’m looking forward to spending more time in this story world again.
I’m curious about something. When you read psychological thrillers, what draws you in most — the shocking twists, the hidden secrets, or the complex characters who may not be telling the truth?
- Published on
It’s been a while since I last published a new novel - December 2022, to be precise.
If you’ve been wondering whether I’ve disappeared, the answer is no. I’ve been working quietly behind the scenes. Over the past few months, I’ve taken the opportunity to step back and strengthen the foundations of my author business. Some of that work isn’t very glamorous, but it matters.
Here’s what I’ve been doing:
All of that groundwork is now in place. Which means I can return to what I love most: writing.
I’m now diving back into Unlocked Lies. There’s still a great deal to do - drafting, tightening, deepening character arcs, sharpening the tension — but it feels good to be back at the desk with a clear plan. I’m looking forward to sharing more as the year unfolds.
In the meantime, here’s a reminder of what Unlocked Lies is about:
Deep in the wilds of Northumbria, two babies lie starving and abandoned in the cellar of a derelict farmhouse. Upstairs is the body of the brutally murdered homeowner, William Mostyn. The only clue is a bracelet inscribed: ‘Mariah—mine forever.’ Despite a massive police investigation, the babies’ identities and their connection to the dead victim remain a mystery.
Years later, Lottie Ryan is all grown-up and seeking answers. Who dumped Lottie and her brother Gabe in that cellar? Was Mariah their biological mother, and did she kill William Mostyn?
As Lottie delves deeper into a twisted web of lies, she realises that the enigmatic Mariah holds the key to unlocking the truth. Mariah is long gone, however, taking her secrets with her. Can Lottie ever uncover what happened that fateful night?
A gripping novel of obsession and deceit, Unlocked Lies unravels the mystery that has darkened two women’s lives for decades.
If you’ve been wondering whether I’ve disappeared, the answer is no. I’ve been working quietly behind the scenes. Over the past few months, I’ve taken the opportunity to step back and strengthen the foundations of my author business. Some of that work isn’t very glamorous, but it matters.
Here’s what I’ve been doing:
- Updating the back matter in all my books
- Reviewing and optimising keywords and categories
- Creating a structured 2026 work schedule
- Designing a proper marketing plan for my backlist
- Moving my email list over to Substack and setting up a new home there
All of that groundwork is now in place. Which means I can return to what I love most: writing.
I’m now diving back into Unlocked Lies. There’s still a great deal to do - drafting, tightening, deepening character arcs, sharpening the tension — but it feels good to be back at the desk with a clear plan. I’m looking forward to sharing more as the year unfolds.
In the meantime, here’s a reminder of what Unlocked Lies is about:
Deep in the wilds of Northumbria, two babies lie starving and abandoned in the cellar of a derelict farmhouse. Upstairs is the body of the brutally murdered homeowner, William Mostyn. The only clue is a bracelet inscribed: ‘Mariah—mine forever.’ Despite a massive police investigation, the babies’ identities and their connection to the dead victim remain a mystery.
Years later, Lottie Ryan is all grown-up and seeking answers. Who dumped Lottie and her brother Gabe in that cellar? Was Mariah their biological mother, and did she kill William Mostyn?
As Lottie delves deeper into a twisted web of lies, she realises that the enigmatic Mariah holds the key to unlocking the truth. Mariah is long gone, however, taking her secrets with her. Can Lottie ever uncover what happened that fateful night?
A gripping novel of obsession and deceit, Unlocked Lies unravels the mystery that has darkened two women’s lives for decades.
- Published on
A new year is just around the corner, and as a die-hard planner I've decided on how I want my career to proceed in 2022. I've already shared on this blog how 2020 proved a difficult year for my writing, with my enthusiasm for creating fiction largely gone. While that's mostly now sorted, I don't want to push myself too hard in 2022 and risk losing my writing mojo again. With that in mind, I've created a fairly relaxed schedule that allows me time off and still publish two novels in 2022.
So where am I with my ninth novel? The answer is that it's well under way, with 23,000 words done. The plan is to complete the first draft by the end of 2021, ready to start editing in January 2022 and publish the book in March. That gives me enough time to plan, write, edit and publish my tenth novel by the end of 2022, while also working on sundry other projects such as getting some of my novels into hardback format.
I also aim to streamline my process and make it more efficient by using speech to text software, which is far quicker and more accurate than my ham-fisted typing. A snail could type quicker than me and probably make a better job of it! I've also bought timeline software that should help during the planning phase of my novels.
I didn't achieve as much as I wanted in 2021, but I did release 'She'll Never Tell' in August and my second box set, 'Shadows of the Mind 2', a month later, which is far more than I managed in 2020. I'm cautiously optimistic about 2022 - bring it on!
So where am I with my ninth novel? The answer is that it's well under way, with 23,000 words done. The plan is to complete the first draft by the end of 2021, ready to start editing in January 2022 and publish the book in March. That gives me enough time to plan, write, edit and publish my tenth novel by the end of 2022, while also working on sundry other projects such as getting some of my novels into hardback format.
I also aim to streamline my process and make it more efficient by using speech to text software, which is far quicker and more accurate than my ham-fisted typing. A snail could type quicker than me and probably make a better job of it! I've also bought timeline software that should help during the planning phase of my novels.
I didn't achieve as much as I wanted in 2021, but I did release 'She'll Never Tell' in August and my second box set, 'Shadows of the Mind 2', a month later, which is far more than I managed in 2020. I'm cautiously optimistic about 2022 - bring it on!