Tag Archives: Advice

My Writing Process Rachel Billington

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A bit about you. 

Place matters to me. In books and in life. I’m a hybrid: city and country, I need both. London, always London, apart from two years when I worked in New York and met my husband, Kevin, there.  In 1968 we bought a fourteenth century house in Dorset. We still have it. I’ve always written. I edited a magazine when I was eleven. I published my first novel in my twenties. I have to write every day. When I had four children in day school, I still wrote. I can’t imagine how people manage without writing. Now I have five grandchildren and my youngest wrote a book so I illustrated it. That was a surprise. From 1998-2001 I was President of PEN. I am Associate Editor of Inside Time, the National Newspaper for Prisoners. I write for every issue. I have always reviewed and written comment pieces for various newspapers.

What you have written, past and present.

I’ve published over thirty books. 23 novels, last 3 historical, Glory – The Story of Gallipoli and Maria and the Admiral. My favourites before that are A Woman’s Age, Bodily Harm and Lies and Loyalties. All very different subjects which publishers complain about. I have also written six novels for children, including Poppy’s Hero and Poppy’s Angel, about a girl whose Dad is in prison. Plus four religious books for children and a sequel to Jane Austen’s Emma.

What you are promoting now. 

Clouds of Love and War is about a Spitfire pilot in WW2 and a young isolated woman. It tells the story if their love affair against a background of war. Eddie wants to escape the world and reach the clouds. But he hadn’t counted on killing. Eva wants to paint and she wants Eddie. The war makes their coming together rare and remarkable. 

A bit about your process of writing.

Until my last book, I wrote longhand with a pen (black ink) and then paid a friend to put it on the computer. Once it was there I went through many drafts, editing down, particularly the opening chapters because I like to write forward without doing more than minor corrections until I’ve finished the whole book. This means I am over-writing early on and self-editing as I progress. 

Do you plan or just write?

It depends on the book. Longer books need more planning, chapter by chapter, bit shorter books can be freer. Often I know everything except how the story will end. But sometimes the ending is what inspires me to write the book. Characters come first of all and continue their wayward path through the book. When their personalities change, I change their names. Sometimes I’ll run through three or four. I write to surprise myself.

What about word count?

Again it depends on the book – or rather on the subject, although my books were much shorter when I started writing, one was only about 60,000 words while Glory was well over the 200 hundred mark. Circular books tend to be shorter, books with a strong narrative flow longer. The book I’m working on at the moment, They Were Sisters, is about 120,000 words.

 

What do you find hard about writing?

I find it all difficult but absolutely enthralling.  I do find it really hard when my characters are suffering. I wrote a novel called ‘The Missing Boy and found the thirteen year old’s unhappiness horribly upsetting. I long to write books with happy endings but seldom achieve it. 

 

What do you love about writing? 

I love being totally in charge of interesting people and events, but totally on my own. I love the look of a blank page – or blank screen. I love the way I challenge myself to make my brain imagine and invent.  I love the excitement when an idea comes into my head; my heart beats as fast as if I was running. I love using words like an artist uses paint. I love the balance of certain sentences, like a musical phrase.  

 

Advice for other writers.

Write! If you’re not sure what to write, write a diary. Write every single day. When you do set off on a bit of work, finish it. This very important. Anyone can begin a piece of writing but not many can get to the end. Keep at least something about it secret. Great ideas can dissipate if shown too much light of day. Only show it for criticism when you have gone as far as you can. Never despair. Often the best writing comes out of the worst. Good luck!

 

My Writing Process Sheila O’Flanagan

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The Women Who Ran Away by Sheila O’Flanagan is published 16th July 2020 (Headline Review, £18.99). 

Sheila O'Flanagan author imageI’ve always loved reading and used to write sequels to Enid Blyton stories when I was young because I always wanted to know what happened next. Everyone thought I’d end up, if not a novelist, at least working in a library or a bookshop. However I was offered job in a bank and got side-tracked into the world of finance. I occasionally wrote short stories in the evenings as a way of unwinding but I didn’t think I had the time to write a novel, even though I had lots of different ideas and would think about my various characters whenever I wasn’t working. Eventually I realised that if I wanted to fulfil my dream of being a published author I’d have to make the time to write – unfortunately the ideas don’t magically appear on the page. So I bought myself a laptop, opened a Word document, typed Chapter 1 and wrote every evening until it was finished. I’ve kept going ever since.

2. What you have written, past and present.

My first novel, Dreaming of a Stranger, was published in 1997. I’ve written 25 novels for adults, 3 collections of short stories, 2 children’s books and contributed to both the Quick Reads and Open Door series of short novellas.

3. What you are promoting now.
My latest book is The Women Who Ran Away and is about two women, Grace and Deira, who meet on a car ferry from Ireland to France. Both have reasons for travelling alone but a sudden change of circumstance mean that they end up driving together. As a friendship forms between them, Deira helps Grace try to solve a complicated mystery that her late husband has left her. This takes them on a spectacular journey along the French Atlantic coast and through the heart of Spain to Cartagena on the Mediterranean sea. By the end of the novel they’ve completed both a physical and an emotional journey as they discover that sharing their secrets turns out to be a strength and not a weakness, and that there’s always more than one solution to a problem.

4. A bit about your process of writing.

I try to write every day but that’s not always possible. I generally work for a couple of hours in the morning, then take a break and return for some more writing in the afternoon. I move backwards and forwards through the novel, writing a few chapters and then editing them before moving on.

5. Do you plan or just write?

I wish I was an author who planned! But I can’t. I start at the beginning with a vague idea and just hope for the best.

6. What about word count?

I don’t get hung up on a daily word count, especially at the start of the novel, but I try to write in scenes. If I finish a scene I’ll take a break before moving to the next one. That means sometimes writing a few hundred words, sometimes significantly more.

7. How do you do your structure?

Badly, to be honest. But the process of writing, then editing, writing, then editing helps. I usually come up with a slightly more formal plan about a third of the way through the novel when I have a better idea of the characters and how to move them through the story.

8. What do you find hard about writing?

Sitting at the laptop. It’s physically demanding even though you don’t realise it. Most of my author friends have bad backs and I’m no exception. I try to take more mini-breaks now. Distractions are more of a problem these days than they used to be with social media getting in the way. I’m more easily distracted now than before.

9. What do you love about writing?

Creating characters, seeing them grow and evolve and take control of their own stories. Sometimes the research is good too!

10. Advice for other writers?

Don’t get hung up on trying to write for a genre, or following weird rules about how your book should be structured. Write the story that’s inside you in the way that suits you best. Do remember, though, that while joining various groups about writing and following them on social media can make you feel less alone, the only thing that will get your book written is sitting down and writing it. Talking about writing isn’t actually writing. Reading about writing isn’t writing. The only person who can write your book is you.

Sheila is @sheilaoflanagan on Twitter and follow Headline too @headlinepg

My Writing Process Stephen Deutsch

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Stephen Deutsch, author, writerI was born in New York, but have been living in Britain for fifty years! The first part of my career was spent as a pianist, composer and conductor.  Many of my works have been broadcast on the BBC, especially as scores for their Classic Serial, but that was some time ago. I live in Dorset with my wife and her garden.

What you have written, past and present.

A late arrival to novels, I had previously written TV plays, some of which were broadcast on the BBC. My first novel, Zweck, a historical comedy about music, was published four years ago. It concerns a fictitious nonagenarian composer who knew everyone and hated most of them. In this novel, the main characters are fictitious but everyone else is real. It is set in the 1970s.

What you are promoting now. 

My most recent novel, Champion, is a true story, a novel of persecution and heroism during the Second World War. It is based on the stories of two men from different worlds, both struggling in the febrile atmosphere of Nazi Dominated Europe. 

The first is Herschel Grynszpan, dark haired, slight, with deep-set eyes. He is an undocumented Jewish adolescent living in Paris. He receives a postcard from his parents – recently bundled from their Hanover flat, put on a train and dumped, with 12,000 others, on the Polish border. Enraged, Herschel buys a gun and murders a minor official in the German Embassy.  The repercussions trigger Kristalnacht, the nationwide pogrom against the Jews in Germany and Austria, a calamity which some have called ‘the opening act of the Holocaust’.

Intertwined is the parallel life of the German boxer, Max Schmeling, who as a result of his victory over the ‘invincible’ Joe Louis in 1936, became a poster boy of the Nazis. He and his movie-star wife, Anny Ondra, were feted by the regime – tea with Hitler, a passage on the Hindenburg – until his brutal two-minute beating in the rematch with Louis less than two years later. His story reaches a climax during Kristalnacht, where the champion performs an act of quiet heroism.

A bit about your process of writing. 

I try to write every day. Usually I write in the morning and revise in the afternoon (often something I had written some days before – one chapter might be revised several times, even in the first draft).  I try to read every word out loud, to get the sense of the rhythm of the words. This is especially true for dialogue, which I really enjoy writing. You can tell so much about a character by the slight variations in their speech patterns, not the ums and ahs, but the choice and order of the words they use. I like to feel that when the book is finished, I had written, read and weighed every word.

Do you plan or just write?

Both.  I normally have a plan, but once that scaffolding is in place, I let the characters do the writing themselves. It depends on the story.  In Champion, the events unfold as they actually happened, so I didn’t need to work out a plot structure. In the historical novel I am now writing, Dallas, fictional characters set in a real historical time and place, The structure is fluid, but to some extent needs to fit into the chronology of actual events. It isn’t set at the time of Kennedy’s assassination – I was at the parade, but didn’t witness the shooting. A story for another time.

What about word count?

Horses for courses, really. Zweck  was a heavyweight, coming it at 120,000 words. Champion is leaner and meaner, only 80,000 words.

What do you find hard about writing?

Starting.  It is a new problem every day. It’s easier to encourage myself to edit a previous chapter than to begin a new one. There are various subterfuges and helpers I can use to get started.  Dictating some random thoughts onto a recorder can grease the wheels. A blank page is less terrifying if it contains even the smallest thought, the shortest sentence.  Then you feel like going on. I also use a software package called ‘Scrivener’. This allows me to enter text, import web pages, and most importantly, to see and change the shape of the entire book as it develops.

What do you love about writing? 

Almost everything.  Each book, each situation teaches me new things. And of course the internet makes researching both pleasurable and far less tedious than it used to be – especially as I don’t live in a large urban area with libraries, etc., at my disposal. Sometimes, when researching a particular item, I accidentally find something else, which can liven up what I am writing. And the act of writing itself, passing the time with my characters, is immensely pleasurable.

Advice for other writers. 

Whatever your style or genre, literary fiction or mass market romances, my advice is always to write as well as you can. Write every word. Spot clichés and either remove them, or turn them on their heads. For example, ‘You make a happy man very old’ is a great twist on a sclerotic saying. The best advice I can give is to enjoy what you are doing, do it every day, and while doing it forget everything else.

 

My Writing Process Caroline Walker

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caroline walker, authorI came to writing through teaching. After graduating in Geology, I couldn’t find a job (in the 1970s it was virtually impossible for a woman to be employed in what was still considered a man’s world), so I changed direction and trained to teach English as a Foreign Language. It was a decision I’ve never regretted. I’ve taught teenagers, overseas graduates and business professionals both in the UK and abroad and a big part of my job was improving their writing skills for letters, reports and dissertations. It was good preparation for the writing I began at the end of 2006.

 What you have written, past and present?

I’d become fascinated by my great-uncle MacDonald ‘Max’ Gill (1884-1947), artist brother of the controversial sculptor Eric Gill. Max was best known for the beautiful maps he painted for places like Lindisfarne Castle and the humorous posters he designed for the London Underground. I was astonished to find that his story had never been told so I decided to write it myself. Over the years I’ve curated several exhibitions of his work and written text for these as well as articles for magazines such as Country Life. This year – fourteen years after I started – my biography MacDonald Gill: Charting a Life has finally been published, receiving a five-star rating in its first national review.

What are you promoting now?

Recently I’ve been busy writing articles for various publications to promote the biography. I don’t have any plans for another book at the moment – this one has taken so long, I think I deserve a break!

A bit about the process of writing

The key to writing a good biography is meticulous research. This has been one of the greatest pleasures too – days spent delving in libraries and archives, the excitement of finding pieces of key information and long-lost artworks, and the joy of meeting hundreds of people eager to share their own connections to Max. A pivotal moment was the discovery of a major private collection of Max’s work and memorabilia. Thankfully, I was permitted to photograph all the letters, diaries and work documents, so I could pore over these at home. I made copious notes, highlighting important events and quotes that I might want to use later. I also kept separate lists of names, artworks and key dates. Setting aside good chunks of quiet time for writing was essential, as was having a table and space of my own.

Do you plan or just write?

I don’t write a plan although I do think it’s vital to have a basic structure in mind. With a biography, it’s quite easy as it’s a chronological narrative. Writing articles is different – I always think hard about the audience so that the angle, text and images are relevant.

What about word count?

As my publisher’s submission deadline for the biography came ever closer, it was clear the manuscript was far too long so I had to make some major cuts and revisions. It still ended up at just over 300,000 words! 

What do you find hard about writing?

I was unsure how to begin until a writer friend suggested: ‘Why don’t you start by setting down why you want to write this book?’ So that’s what I did. The words then flowed easily and I often found it hard to stop. I do sometimes agonise over sentences and even single words – I may change a passage umpteen times but end up with the original. 

What do you love about writing?

It’s an absorbing, creative process that – for me – has been the way to achieve recognition for a neglected artist and relative. And I now realise that I can actually write quite well!

Advice for other writers

Don’t be afraid of the blank page – just get something down – you can always change it. Use your own ‘voice’ – don’t be tempted to copy others. Remember to save when you’re writing (I once lost several pages when my laptop crashed). Avoid cliché and don’t be afraid of using tools such as a thesaurus if you can’t find the right word. And finally, have faith in yourself and enjoy the experience!

MacDonald Gill: Charting a Life is available here. 

My Writing Process David Gilman

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  • David Gilman, writerWhat you have written, past and present.

I wrote my first story when I was about six years old. It was The Runaway Sixpence,  written in the first person, and the sixpence got swallowed by a cow. I remember the teacher berating me in front of the class, saying how could I write from beyond the grave. Stupid woman. Obviously, she had never seen Sunset Boulevard.  That put an end to my writing career there and then. But a storyteller is not someone you can keep down. My verbal storytelling skills got me out of plenty of jams and allowed me to talk my way into jobs I would never have had otherwise. I left school at 15 to support my mother and siblings. When I was a teenager, I wrote a few Battle Picture Library comic books. It was wonderful. All those ‘movies’ in my head, the visual images being described to the artist in the script, and then writing the dialogue, tight and expressive with a narrative description. Economy of scale and a lot of fun. That was abandoned when I travelled around the world and took any job I could to pay my way.

After a few adventures over the years, I ended up in South Africa working as a sales rep for an international publisher. I had hundreds of books to read – and sell – and I was good at it. So much so I ended up going to night school to study marketing and management and became a regional marketing manager for Penguin SA. But the urge to tell stories nagged away. Visual imagery was my strong suit. I had once worked as a professional photographer, so I decided that radio drama was my milieu. It is the perfect visual medium for the listener. Dialogue and sound effects creating every listener’s unique picture in their mind.

In those days there were no writing schools, no one extended a helping hand, and you could not get your hands on a script to see the layout and how to present it for love or money. It was a lockdown business. The broadcaster owned the scripts, and they had no intention of letting you see one.  I stumbled on an old BBC publication, long out of date but gave a couple of pages from an example radio script. I copied the format, was forgiven a lot of sins by a producer, rewrote, learnt – and ended up writing hundreds of radio dramas and a daily soap that ran for 18 months. I did all of this late at night and every weekend while working full time. The payments were abysmal. Barely enough to buy typing paper. 

But that’s where I learnt to write.

I felt confident enough to hand back the company car, quit the well-paying job and have a crack at television. I wrote several 13×60 minutes of multi-stranded drama series and 4×60 minutes mini-series.

I returned to the UK in 1995 and started from the bottom again at 48 years old. And that’s a late time to start from scratch once more. I came to realize that the stiff competition here meant producers of existing series preferred to work with writers they knew. It was all a bit of a club. I found a tv agent and wrote outlines for tv producers and a couple of television movies for the German market that did very well, but I still could get none of my scripts for tv series being picked up here. Some years previously I had met the producer for A Touch of Frost when he filmed a movie in South Africa. So six years after my arrival here The producer asked me to submit a script, (you had to be invited onto the series) it was accepted and I ended up writing A Touch of Frost for several years until Sir David Jason retired from the series.

I then had a choice. Stay in television or have a crack at writing novels. Once again I threw caution to the wind and wrote a Young Adult series called Danger Zone: The Devil’s Breath, Ice Claw, Blood Sun. The three books were published by Puffin, won a French literary award, was short and long-listed for the Carnegie Medal. I spent a lot of time travelling to schools, giving talks and attending all the major literary festivals. I decided to have a crack at adult fiction. What was it going to be? Crime fiction, which is so popular, or something fresh and challenging. I had seen a painting of an English adventurer who fought for Italy in the 14th century and not knowing anything about the period plunged in to research the period. That was how the Master of War series began. I have just finished writing the seventh book in the series, and I’m pleased to say that because of the various established characters – especially the main protagonist Thomas Blackstone – and the breadth of the storylines and the strong women characters in the books, I have a diverse readership with many women readers who are fans.

The long, hard slog of writing a series means time is at a premium. But I also wanted to write other books, and that meant writing longer hours to achieve this. A favourite is my children’s book Monkey and Me, and then I squeezed in an evocative story set in Southern Africa, The Last Horseman which was shortlisted for the Wilbur Smith Adventure Writing Award. And last year my standalone novel,  Night Flight to Paris, set in France during WW11 was well received.

Now I have created a new character for a new contemporary thriller series. The first book is called The Englishman. Dan Raglan is a former Foreign Legion soldier who works quietly behind the scenes and who is a modern Paladin – a knight errant who rights the wrongs – and gets hurt along the way. Perilous journeys undertaken to help those in danger.

I write this lengthy explanation in the hope of encouraging writers starting out, and others who look at the blank page and think the journey might be too difficult. It can be a natural and daunting experience but if an uneducated, wandering storyteller like me can make it then so can others. Never give up. Let the passion and determination drive you on. 

  • What you are promoting now. 

The Englishman. The first book in a new series.

  • A bit about your process of writing.

I start in the morning and write my day’s worth – but it’s a mixed full day at my desk because of the breadth of research I do. The added hours come in when I want to write a standalone novel in between my ongoing series. That means I have to go back to my desk late at night for a few more hours.

  • Do you plan or just write?

When I wrote A Touch of Frost, for example, the producers needed a synopsis or an outline so they could see where the storylines were going (there was always more than one in every episode). This was a broad brush stroke and often became embellished or diminished as the writing went on. There are writers meticulous in their planning and when it comes to the actual writing, they tend to breeze through it. I have tried that approach with my novels but abandon it. I get bored. So I just write.

  • What about word count?

I have a year planner next to me and every day I mark my word count. It’s a ‘kick up the pants’ aid. I can see when I have to finish a book – I have never yet missed a deadline – and what it is going to take to finish it in time. I plan for 1500 words a day. They have to be good words. Considered and rewritten every day.

  • How do you do your structure?

For books  – there isn’t one. A general idea, an incident or a place that attracts me. Something that pops into my head. I write the first line and see where it takes me. If I can be entertained and surprised by the journey, then so too will my reader. There is, though, an understanding in the writing that the rhythm has to feel right. It’s a composition. And as the story builds and often changes, then the structure emerges. Plant the seeds and watch them blossom. It’s a wonder.

  • What do you find hard about writing?

Everything. The long hours. The misery of self-doubt. The grappling with the jigsaw puzzle of a story without being able to see the picture on the box.

  • What do you love about writing?

Everything.

 

 

The Unknown Health Benefits of Indoor Plants

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Plants can certainly brighten up your living space, but did you know that they can help improve your health too? There are a multitude of different ways that indoor plants can benefit you, both physically and mentally.

Indoor plants can improve the air quality in your home by breaking down compounds from man-made fibres and absorbing nasty chemicals from the air, essentially acting like a natural air filter. They are also highly effective at balancing humidity levels in the home as plants are capable of harvesting moisture from the air and absorbing it.

Having balanced humidity levels is essential for good overall air quality but it also prevents the growth of mould and mildew which are particularly common in damp spaces like the bathroom.

Houseplants have also been proven to help alleviate stress, resulting in reducing blood pressure, fatigue and even headaches. This combined with their air purifying abilities means that houseplants can help with sleep, as they create a fresh and breathable space. Plus, they also look super stylish and can really brighten up your bedroom.

 

wilko’s guide to helpful houseplants, and how to look after them:

Cactus plants

Cacti help to remove carbon dioxide in the air by absorbing it and then supplying us with fresh oxygen to breathe. They are easy to care for as they require very little watering. Miniature cacti look great on a home office desk – perfect for those who like clean, contemporary living spaces.

Snake plants

Snake plants have a lot of character and resemble the skin of a reptile with long, dark green leaves with colourful yellow edges. They survive with little moisture – perfect for those who forget to give it a water! They’re usually quite large in size so would be perfect sat next to French doors or on a large table top.

Succulent plants

Succulents are the perfect companion for your home office and are very on-trend with lots of stylish options to choose from. As a rough guideline, water them every 7-14 days in the warmer months and every 3-4 weeks in winter. Make sure to let the soil dry thoroughly between watering and put them near the window for some time to get extra light.

Peace lily

If the name isn’t calming enough then the plant certainly will be. This plant purifies the air and doesn’t need a lot of light. It does however need adequate watering when the soil is dry so does require some attention but remember, too damp and it won’t flourish!

Fresh flowers

If leafy plants aren’t your thing, or you can’t get hold of any, a nice big bunch of fresh flowers in a stylish vase will do the trick. You can even look for pretty foliage and flowers from your own garden – wild flowers and lavender also produce a beautiful smell throughout the home, perfect for creating a calm, relaxed ambience.

Indoor herb garden

If you want to kill two birds with one stone, then an indoor herb garden is just the thing. Not only will the process of growing the herbs purify the air, but the end result should provide you with tasty herbs for dinner! Not to mention, growing your own herbs is a great hobby that can bring the family together. To create your own mini indoor herb garden, all you’ll need is some small plant pots, compost and seeds. Herbs thrive best when soil is moist, but not soggy. A great tip is to use separate pots for each type of herb – this means you can care for each plant individually and top up any that may need more water than others.

Peter Hardie, garden buyer at wilko, said: “Indoor plants and herb gardens are a great way to inject a touch of nature into the home, particularly as they have been proven to benefit our physical and mental health. Not only can we accessorise our homes with trendy plants and pots, we can also create a breathable and non-toxic environment in our homes, just by adding a few plants around the house.

“We recommend choosing pots and planters to suit your interior style, but bold colours and fun prints are really on-trend at the minute, and can be a great way to accentuate mantlepieces, balconies or windowsills.”

 

For more information on wilko’s garden and outdoor living range, please visit wilko.com.

 

 

Coronavirus SARS-COV-2 Health Advice From GPDQ’s Dr Gero Baiarda

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NHS GP Dr Gero Baiarda is one of the hundreds of GPs currently on-call at GPDQ – the UK’s leading GP-on-demand service. Dr Baiarda has myth-busted 10 common beliefs associated with the SARS-COV-2:

The virus is a living organism that we can kill. It is not alive. It is a protein chain of RNA within a protective layer of fat. Since the virus is a protein super molecule rather than a living organism, you cannot kill it. It will, however, decay spontaneously given enough time. The time it takes to break down depends on the environmental temperature, humidity and type of material upon which it settles.

People are most contagious before they even know they have the virus. This is untrue. Infected cells are invaded and destroyed by the virus, allowing millions of new viruses to burst forth and be shed on surfaces or passed to other people. Spread is most effective, therefore, in coughed droplets. Patients who are asymptomatic can, however, pass on the virus as soon as they are infected.

SARS-COV-2 is a hardy virus. It isn’t. SARS-COV-2 is surprisingly fragile. The only protection it has is a thin outer layer of lipid or fat. That is why any soap or detergent (both of which break down fat) will destroy it – even washing up liquid works well. By dissolving the external lipid layer of the virus, the virus is rendered completely inert and unable to penetrate human cells. Hence why washing hands often with soap and water is so important.

If delivery drivers wear gloves, they won’t spread it. This is wrong. Every item that a gloved hand touches can then be contaminated. According to a recent study from the New England Journal of Medicine, the virus can live up to eight hours on cardboard. To stay safe, the best advice is not to touch the parcel until ideally the following day.

The virus can’t be passed on by food. It can be transferred easily. If someone who has the virus on their hands touches food, it is very likely to become contaminated for many hours. To denature and inactivate the virus, food should either be washed or cooked at 65 degrees celsius at least for 4 minutes or more.

Alcohol-based sanitizer with a 60 percent alcohol concentration is as effective as washing your hands in soap and water. Wrong. Squirting a little bit of alcohol gel on your palms and rubbing them together is not effective. You need to cover the entire surface of both hands including fingers and thumbs, but this should be done only after the hands are free of any residues – such as after sneezing. The small nozzle on bottles of sanitizer are part of the problem, as people assume a small amount is ample.

Drinking alcohol will prevent people getting the virus. This is not true. The only alcohol that will help to prevent the spread of the SARS-COV-2 is that in hand sanitizer. This is only for external use, and even then, it is only effective if it has a concentration of 60 percent or above, if you use enough, and in the right way.

Moisturising hands after washing reduces cleanliness. Incorrect. Moisturizing the skin is very important. The virus can lodge itself in damaged skin on your hands cracked by repeated washing, so it’s important to try to avoid this. Keeping fingernails short will reduce the risk of sheltering and passing on the virus too.

Washing hands isn’t as important when self-isolating, as you’re all virus-free. Wrong. If there are any external items (shopping / deliveries / post etc) entering your home, hand washing remains important. Every time you wash your hands you will break the chain of infection. If in doubt, give them a wash! Do this for at least 20 seconds with warm, soapy water and if you have paper towels that you can throw away, this is better than using a communal towel. If using towels, dedicate one to each person in the house, keep them separate, and wash them daily.

Vinegar is good for keeping bathrooms and kitchens free of the virus. Incorrect. Vinegar will not work against SARS-COV-2 and is not advised. The cleaning of bathrooms, kitchens and surfaces is still best carried out with hot water from the tap and a surface detergent as you have always done. If you have a case of SARS-COV-2 in your house and want to disinfect common areas, you can use a dilution of household bleach or hydrogen peroxide – this is a mild antiseptic.

Will you be covered by your travel insurance?

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We are in worrying times and faced with the ultimate decision would you choose health over money. Is it worth the risk?
Insurance is a necessary evil and an added expense designed to safeguard travellers. It could be a saviour if you are caught in a difficult situation once you are on your holiday. But will it cover you if you want to cancel your holiday and stay at home?  

Insurance rules for epidemics and pandemics

Unfortunately, everything comes down to the stuff we hardly ever read – the small print. Previous outbreaks of world-threatening viruses like SARS, Ebola and Zika, have influenced insurers to be cautious and include only the necessary coverage for such events. And epidemics and pandemics have become excluded from most insurance coverage. Leaving holidaymaker covered for what will happen to them, but not what might happen to them. The World Health Organization has declared the latest virus outbreak as an international health emergency. However, although the insurance companies agree, they aren’t surprised by the newest virus to reach epidemic proportions, and to them, it is an expected risk they have already factored into their policies

Despite the lockdown happening in Italy at the moment, Europe is not on code red yet. There has been no official warning from the FCO not to travel in Europe. Special care should be taken in areas of South Korea (Daegu & Cheongdo) and China is still a no go zone. An FCO warning is the deciding factor for the airlines, travel agents, holiday and insurance companies, to motivate them to cancel flights or holiday packages and issue refunds.

Should I take my family on holiday?

The general insurance small print on the matter of epidemics or pandemics states that most claims will be assessed based on individual cases. But this doesn’t give much assurance to an average family about to embark on an international flight. And it doesn’t provide enough information for anyone debating whether to put health & safety first and stay at home instead. At the moment The Foreign and Commonwealth Office (FCO)  and the government are asking travellers to reconsider their need to travel rather than giving a direct warning. Unfortunately, this doesn’t mean much to the insurance companies and asking the public to contemplate whether it is wise to travel will not entitle them to a refund for their holiday. Deciding to travel without heeding the advice of the FCO may forfeit your right to claim back any of your medical expenses or costs of repatriation. However, if your destination was not on the ‘no go’ list when you travelled but has subsequently been upgraded, you will fall into an insurance grey area, and any settlement will be based on discretion when you make a claim. In some areas, the risk may be low, but that doesn’t mean that in the worst-case scenario, it won’t escalate or in the best-case, diminish to nothing. Cancelling a holiday you have promised your kids for months. Or have saved your pennies to make happen, is a tough choice. But there may be other factors to consider when making a final decision. Do you need to go? Is your health good? Is anyone you will be travelling with vulnerable (young, elderly, or has a suppressed immune system? The decision will be a real tug of war between your head and your heart.

Best and worst-case scenarios

If you’ve planned your trip a long way in advance. Hopefully, you booked your insurance before the latest epidemic scare started too. If so, it is likely you will be refunded if the FCO advises against travel to your destination, and your journey is cancelled, rescheduled or shortened by the providers. Unfortunately, if the FCO haven’t declared your destination a ‘no go’ zone, it is unlikely that you will be able to recoup any of your initial your costs unless you can change or defer your holiday. Hotels are usually more forgiving in these cases. And some airlines are more forgiving when changing flights than others. However, the budget airlines tend to be strict unless you have taken precautions in advance and booked a trip with extra adaptability. If you decide to take the risk and travel to a destination not banned by the FCO, you should be medically covered if something happens, as long as your insurance policy was booked in advance. However, the level of cover differs between companies and policies. And make sure you take appropriate precautions to reduce the risk of infection. Otherwise, it is unlikely you will receive any compensation at all.