fcmalby

Why Unstructured Time is the Key to Creativity

I often have conversations with people who are struggling to write, and I think challenges to creativity are increasing. We live in a world of constant connectivity, but our brains weren’t designed to be constantly switched on. We check emails, check social media, and we’re often accessible for most of our waking hours. It takes a conscious effort to step away and to switch off.

We live in a world of constant connectivity, but our brains weren’t designed to be constantly switched on.

Creativity, and writing in particular, needs room to breathe. Our bodies need movement, often in nature, and our minds need time to wander freely without distractions. Movement can unlock creativity in ways that sitting at a desk can’t match. When you’ve had inspiration for a story or a poem, was it when you were busy, or when you had space to think? Was it while you were sitting still, or on the move?

Movement can unlock creativity in ways that sitting at a desk can’t match.

Ideas often come to me on a train journey, a walk, or just as I fall asleep. The most creative ideas often surface when we are not trying to focus on creativity, but when there is space for our minds to wander. If you struggle to write at home, change your scene and find a quiet corner of a cafe. I’ve written with a friend in an office space when no one was working, or online together in silence.

The most creative ideas often surface when we are not trying to focus on creativity, but when there is space for our minds to wander.

Unstructured time is more important than we realise. Allowing ourselves to simply be, rather than constantly doing, is key to creativity. It helps the brain to make new connections and create new ideas. Creating space away from mental busyness involves finding a rhythm that works for you. It will be different for each individual.

Unstructured time is more important than we realise.

National Flash Fiction Day 2026 Anthology Line Up

I’m thrilled to share the news that my recent story, Lotus, has been selected for publication in the National Flash Fiction Day 2026 Anthology. Here is what the editors had to say:

After reading scads of brilliant stories on the theme of BRIDGES, editors Karen Jones and Sharon Telfer have finalised their selections for the 2026 National Flash Fiction Day anthology and for the third annual Editors’ Choice Awards.

Below is the list of the stories that will appear in this year’s anthology. Thank you so much to everybody who submitted their stories for consideration for this year’s anthology. It was an honour to read each and every piece. We appreciate the chance to read your work! We hope that you will all join us for the launch of the anthology on National Flash Fiction Day later this year.

2026 National Flash Fiction Day Anthology Line Up

‘A Brief History of Trolls’ by Anne Howkins
‘A Frog Funeral’ by Finnian Burnett
‘As Easy as Falling Off a Log’ by Paula Durance
‘Bridge Over Troubled Water (Show Choir 6TH Grade)’ by Jessica Edmond
‘Bridge Over Troubled Water’ by Mileva Anastasiadou
‘Bridge That Gap with a Cadbury’s Snack’ by Alison Wassell
‘Cantilever’ by James Roderick Burns
‘Come On’ by Patricia Q. Bidar
‘Dice’ by C. L. Spillard
‘Doggerland (or, 10,000 years ago there were no migrant boats crossing the English Channel)’ by Erin Bondo
‘Don’t Look Down’ by Hilary Ayshford
‘Falling from the Mid-Point’ by Keith Rutter
‘Forty-nine Hedgehogs and the Hump-bottom Bridge’ by Rosaleen Lynch
‘Gentle Yoga Guide to Dealing with Materializing’ by Andy Lavender
‘He and She’ by Shelley Roche-Jacques
‘How to Fill the Space’ by Debra A. Daniel
‘Hue and Cry’ by Sarah Masters
‘If You Leave From the Southwest Gate and Follow the Cliffs for Half a Day, You Will Reach the Chasm, and the Bridge and the Heap’ by Jenna Muiderman
‘In Hebden Bridge at Midnight’ by Lucienne Cummings
‘Jack the Zoo’ by Jaime Gill
‘Learning to Talk Like the Bridge Ladies’ by Lola Page
‘Le Nez’ by Jill Munro
‘Lotus’ by F. C. Malby
‘Maybe Sarajevo’ by Cassandra Parkin
‘Meet Me Halfway’ by Rob Walton
‘Mile Marker 1.5’ by Steven Patchett
‘Mothman Caused the Silver Bridge Collapse’ by Sonora Hills
‘Mudlarking Under Richmond Bridge During the Annual Draw Off’ by Rachael Dunlop
‘Nepenthes’ by Jules Foshee
‘No Jerusalem for Alf Bridges’ by Andy Larter
‘Northolt Park’ by Sally Jane Tate
‘Nose’ by Rebecca Klassen
‘On Southend Pier, Sergeant Cranley Doesn’t Cut the Mustard’ by Gill O’Halloran
‘Placenta’ by Karen Arnold
‘Reasons to Be with You Parts One to Five’ by Emily MacDonald
‘Salad Days’ by Melanie Maggard
‘Seven Bridges Road’ by Sara Hills
‘Sister Benedict’ by Fiona Vigo Marshall
‘The Calm After the Storm’ by Jo Rigg
‘The Keep’ by Beth Sherman
‘The Passing Place’ by Bryony Burton
‘The Valley’ by Isabel McKeough
‘The World Doesn’t Like People It Can’t Mold’ by Christina Tudor
‘This Life’s Span’ by Audrey Niven
‘Vivaldi in B, Please Hold’ by Nivara Lune
‘Watermarked’ by Rosaleen Lynch
‘What It Holds’ by M.M. Bailey
‘What Single People Do on Sundays’ by Cath Holland
‘When Will the Bridge Break?’ by May Suri
‘Why I Sometimes Wish I was a Troll Under a Bridge’ by Rebecca Field
‘Woman by the Spree, April 1945’ by Emma Venables

Author Ingrid Jendrzejewski Published on 16 March 2026 Leave a comment on National Flash Fiction Day 2026 Anthology Line Up

Understanding Subplots: The Key to Storytelling

I’ve had lots of questions and about plotting stories, and my articles on plot and structure continue to be among my most read posts.

What is a Subplot?

A subplot is a secondary storyline which runs alongside the main plot. It often involves supporting characters, additional conflicts, or personal struggles that relate directly or indirectly to the protagonist’s journey. Some of the best subplots connect to the main narrative, either by reinforcing the theme, revealing character traits, or influencing the main plot’s outcome.

Why We Need Subplots?

Whether you are writing scripts, short stories or novels, having multiple plot strands creates a necessary expansion of the main themes and layers your stories. Subplots add depth, complexity, and emotional resonance to a story. They transform a simple narrative into a layered experience that feels more realistic and engaging. Understanding how and why to use them strengthens your writing.

Subplots Add Depth to Characters

One of the greatest strengths of subplots is their ability to develop characters beyond the main storyline. The main plot often focuses on a specific external goal: solving a mystery, defeating an antagonist, or achieving a dream. Subplots, however, often explore the internal lives of characters: their relationships, fears, and motivations. This creates intrigue and insights for the reader, which might be missed through the main plot line.

Creating More Realistic Worlds

Real life rarely follows a single narrative thread. People juggle relationships, responsibilities, and individual struggles. Subplots highlight this layering effect by weaving multiple storylines together. This creates a world which feels more realistic. Supporting characters also show their own motivations and story arcs rather than existing solely to support the protagonist. This creates a richer, more immersive experience for the reader.

Subplots Strengthen Themes

Subplots are powerful tools for reinforcing the central themes of a story. A well-designed subplot often mirrors, contrasts, or adds complications to the central plot. If the main plot explores trust, a subplot might show a different character grappling with betrayal in a different context. These variations allow readers to view themes from multiple angles, making the story feel more authentic.

Change of Pace

A single storyline moving at full intensity from beginning to end can become exhausting for readers. Bringing in subplots shift the focus and builds gradual tension, creating breathing space between key points in the plot. They can also act as narrative bridges which keep readers engaged, while the main plot builds toward a pivotal turning point.

Subplots Drive the Main Plot Forward

Although subplots are secondary, they often have direct consequences for the main storyline. A subplot might influence a character’s choices during a critical moment, or reveal information which changes the direction of the main conflict. When subplots intersect with the main narrative, the story feels more interconnected.

Some Examples in Films

If you’ve ever watched the film, Crash, you’ll see how well subplots are used to increase tension and keep the viewer hooked. Set in LA over several days, we see the stories of different characters interweaving. Its impact is intense. Layering is important, and an interweaving of plot and subplot creates a richer, more diverse experience.

In the film, Shawshank Redemption, the role of Brooks as Red’s negative mentor, tricking the viewer into expecting Red will follow the same path towards destruction.

What about Bilbo Baggins, who saves the dwarves from the spiders in The Hobbit. Baggins is a good example of creating conflict through a subplot to illustrate growth in a character.

Wild Seas, Wilder Cities raises £5,500 for Solent Seagrass Restoration Project

EXCITING NEWS!

My short fiction piece, ‘Prolific,’ was published in the Pens of the Earth Anthology, Wild Seas, Wilder Cities, alongside some wonderful authors in 2025. Since then, a whopping £5,500 has been raised for the Solent Seagrass Restoration Project. The money raised comes both from book sales and related activities. Find out more about the collection.

ABOUT THE COLLECTION

Wild Seas, Wilder Cities is a “wild-seeded” collection of short stories, poems, memoirs, environmental articles and illustrations from 54 unique contributors, all concerned with showing the positive side of our relationship with the earth.

Wild Seas, Wilder Cities is a “wild-seeded” collection of short stories, poems, memoirs, environmental articles and illustrations from 54 unique contributors, all concerned with showing the positive side of our relationship with the earth.

Dive into the depths of Wild Seas, Wilder Cities and let your imagination be fired by the many wonderful projects already making a difference to our world, by stories of hope, celebrations of nature, inspirational people (both real and fictional) and by the local action that every one of us can undertake. A few small differences in your life will ensure you are part of the ever-growing global community dedicated to protecting our precious planet. Let us inspire you!

RESTORATION PROJECT

“The many writers and poets represented in this book have all given their work freely to support the vital work of the Hampshire & Isle of Wight Wildlife Trust in its repair and maintenance of the Solent seagrass meadows.” Pens of the Earth

The Restoration Project is working towards a vision of a wilder future and 30% of land and sea restored for nature. Seagrasses do as much to keep the planet cool as rainforests, so raise your spirits and help us plant the seeds of change.

All profits from this book are donated to the Solent Seagrass Restoration Project.

REVIEWS

‘Bursting with inspiring and hopeful visions’ Carys Bray, author of A Song for Issy Bradley

‘A lyrical force for change’ Nicola Chester, writer for The Guardian

‘Full of love, enlightenment, practicality and poetry’ Toby Litt, author of Patience

‘This collection, evolved from the inspirational Pens of the Earth, shows how meaningful, themed narratives can make a shift towards change’ The London Magazine Review, by Judy Waite, Award-winning author and Senior Lecturer in Creative Writing, University of Winchester.

‘We bear witness to the natural world in many ways, and the pieces come in all shapes and sizes, carrying messages of determination, love for nature, positive actions and the power of community.’ Sarah Jane Butler, author of Starling

‘A delightfully encouraging collection of writings on the ways we can help make the world wilder again, how we can change the narrative on climate change. Vibrant and alive, these are wonderful tales told of renaturing – of striving to support life in all its glorious forms on the earth, of restoring hope for the future.’ Dr James Canton, Director of Wild Writing, University of Essex

Pens of the Earth have a number of activities coming up this year, including online and in-person workshops (check out Tamsin’s Mar 2nd Portsmouth BookFest workshop), the launch of an audiobook, and further book sales, to continue to raise money.

In the meantime, listen to Pens of the Earth in conversation on Radio Victory‘s Between the Lines, this Sunday, at 6pm. Rachel Birchley will be chatting with Loree and Matt about environmental writing, Tamsin’s forthcoming BookFest workshop and what it takes to put a good anthology together. It will also be available on catch up: https://radiovictory.co.uk/betweenthelines.

The Power of Character-Driven Stories

One of the questions I’m most frequently asked as a writer is, ‘do you focus on plot or character?’ I predominantly write thrillers, so character is particularly important and often drives the story line (the plot). Jana in Take Me to the Castle and Leisl in Dead Drop are strong female protagonists. Their thoughts, lives and actions drive the plot.

It works well for short stories, particularly given the brevity of the craft and the constraints of needing to hook a reader quickly, drawing them into a story. When the reader is engaged with the character, they are more likely to engage with the story and understand the motives driving the character’s decisions and actions.

When a reader knows what a character has experienced and understands their weaknesses and specific character traits, the story makes more sense and the reader wants to go on the journey with them.

Who your characters are is much more intriguing than what they do in a character driven story. We don’t engage with perfection as readers, we engage with vulnerability. Vulnerability leads to trust and connection.

It works with fictional characters in the same way as in real life. The writer’s job is to make the reader care, and the most effective way to do this is to highlight a character’s fears, vulnerabilities, and internal conflicts. I’ve written more about this in other posts on plot writing here and here, as well as on the narrative arc.

Examples of character driven stories…

Of Mice and Men

Crime and Punishment

Brooklyn

A Man Called Ove

Eleanor Oliphant is Completely Fine