Rules: We’re snooping on your playlist. Set your entire music library on shuffle and report the first ten tracks that pop up! Then choose ten additional friends.

Tagged by: @larkin21 @skysquid22 @shaolinmediocre – thank you! And another last minute tag by @thatblindworm. 😃

01. Tori Amos - Space Dog
02. Regina Spektor - Grand Hotel (always reminds me of Hannibal. And The Shining)
03. Frozen Silence - Decision
04. India.Arie - Interlude
05. Alanis Morissette - Offer
06. Emilie Autumn - Mad Girl
07. Herrenmagazin - Erinnern
08. Tori Amos - Over It
09. El Madmo - The Best Part
10. Tori Amos - Yes, Anastasia

Nothing too embarrassing this time, yay!

Tagging @mrschiltoncat, @locke-writes, @suspectsim, @sommertagshimmelblau, @tinkerbelldetective, @writing-journeyx, @chiltonsfluffyhair, and everyone else who wants to do this. 

  • me, trying to write a poem: oh death! oh pomegranate! u grief me. look into the sky and talk to moon, talk to star, talk to tree, talk to sea. i am god girl, sad girl, mad girl, bad girl, girl girl. despair. despair. despair. ribs, lungs, my spine. i sad

You know I’m mad about the powerpuff girls reboot, but not because it was just shitty.

This used to be a story of three little girls who were capable of making critical decisions, portraying kindness, showing intelligence and expressing strength all while still remaining little girls. They were children who liked dolls and reading and mud, but they also weren’t just cartoony. They had depth, even while they were children. It was written by adults who respected kids–who wanted kids to feel important and capable.

The reboot flattens these girls. It turns them into stereotype of their characters. OriginalBlossom was smart and a little domineering, but she loved her sisters and always apologized for her mistakes. She believed in justice and equality and doing what was right. RebootBlossom is bossy, hateful, and is just mean to her sisters.

Originalbuttercup had flaws. She could go off the rails sometimes, overestimate her reactions, and act violently. But she always knew what was right and wrong. She never hurt an innocent, and when she did, she suffered from a guilty conscience. RebootButtercup is the Tomboy™. She’s cool™ and edgy™. She acts violently, but with stupidity and never learns from her mistakes.

And poor Bubbles. Original Bubbles could get scared, nervous, anxious, etc. She liked “girly” things, but was proud of it. She had to have a support doll to comfort her and the writers handled it excellently. She could cry, she could get her feelings hurt, and her sisters ALWAYS backed her up and comforted her. RebootBubbles is literal cancer. I’ve never seen writers spit on a child character as much as they have on this one. RebootBubbles is rude, hateful, a representation of the “easily offended teenager”. They wrote her as transphobic and selfish.

The reboot shits on kids. It made three protagonists that represent what the adult writers think of teens but conveyed them in the form of children. These writers don’t respect kids. They don’t like kids. If they did, they would have given them a show that they could actual watch and relate to.

these days,
the world turns her head in shame when I speak about love.

she says,
‘you have built enough kingdoms
for makeshift loves. for loves
that dig graves right out of your bones,

you have made moons cry for your loves,
made them turn pink and soft-eyed,
made them forget the craters in their own skins.’

she says,
'you have written enough songs for lonely stars
and put them in the eyes of your loves.
you have watched them all collapse.’

these days,
the world turns her head in shame when I speak about love. 

she says,
'you have wasted all your beautiful words
for it,’ she says,
'there is nothing left for you here’.

—  Reena B.| Mad Girl’s Conversation with the World.
Ten things I learned about writing from Stephen King
The novelist James Smythe, who has been analysing the work of Stephen King for the Guardian since 2012, on the lessons he has drawn from the master of horror fiction
By James Smythe

Stephen King is an All-Time Great, arguably one of the most popular novelists the world has ever seen. And there’s a good chance that he’s inspired more people to start writing than any other living writer. So, as the Guardian and King’s UK publisher Hodder launch a short story competition – to be judged by the master himself – here are the ten most important lessons to learn from his work.

1. Write whatever the hell you like

King might be best known – or, rather, best regarded – as a writer of horror novels, but really, his back catalogue is crammed with every genre you can think of. There are thrillers (Misery, Gerald’s Game), literary novels (Bag Of Bones, Different Seasons), crime procedurals (Mr Mercedes), apocalypse narratives (The Stand), fantasy (Eyes Of The Dragon, The Dark Tower series) … He’s even written what I think of as being one of the greatest Young Adult novels of all time: The Long Walk. Perhaps the only genre or audience he hasn’t really touched so far is comedy, but most of his work features moments that show his deft touch with humour. It’s clear that King does what he wants, when he wants, and his constant readers – the term he calls his, well, constant readers – will follow him wherever he goes.

2. The scariest thing isn’t necessarily what’s underneath the bed

Horror is a curious thing. What scares one person won’t necessarily scare another. And while there might be moments in his horror novels that tread towards the more conventional ideas of what some find terrifying, for the most part, the truly scary aspects are those that deal with humanity itself. Ghosts drive people to madness, telekinetic girls destroy whole towns with their powers, clowns … well, clowns are just bloody terrifying full stop. But the true crux of King’s ability to scare is finding the thing that his readers are actually worried about, and bringing that to the fore. If you’re writing horror, don’t just think about what goes bump in the night; think about what that bump might drive people to do afterwards.

3. Don’t be scared of transparency

One of my favourite things about King’s short story collections are the little notes about each tale that he puts into the text. The history of them, the context for the idea, how the writing process actually worked. They’re not only invaluable material for aspiring writers – because exactly how many drafts does it take to reach a decent story? King knows! – but they’re also brilliant nuggets of insight into King himself. Some people might think that it’s better off knowing nothing about authors when they read their work, but for King, his heart is on his sleeve. In his latest collection, The Bazaar of Broken Dreams, King gets more in-depth than ever, talking about what inspired the stories in such an honest way that it couldn’t have come from another writer’s pen. Which brings us to …

4. Write what you know. Sort of. Sometimes

Write what you know is the most common writing tip you’ll find anywhere. It’s nonsense, really, because if we all did that we’d end up with terribly boring novels about writers staring out of windows waiting for inspiration to hit. (If you like those, incidentally, head straight for the literary fiction section of your nearest bookshop.) But King understands that experience is something which can be channelled into your work, and should be at every opportunity. Aspects of his life – addiction, teaching, his near-fatal car accident, rock and roll, ageing – have cropped up in his work over and over, in ways that aren’t always obvious, but often help to drive the story. That’s something every writer can use, because it’s through these truths that real emotions can be writ large on the page.

5. Aim big. Or small

King’s written some mammoth books, and they’re often about mammoth things. The Stand takes readers into an apocalypse, with every stage of it laid out on the page until the final fantastical showdown. It deals with a horror that hits a group of characters twice in their lives, showing us how years and years of experience can change people. And The Dark Tower is a seven (or eight, or more, if you count the short stories set in its world) part series that takes in so many different genres of writing it’s dizzying. When he needs to, King aims really big, and sometimes that’s what you have to do to tell a story. At the other end of the spectrum, some of King’s most enduring stories – Rita Hayworth & Shawshank Redemption, The Mist – have come from his shorter works. He traps small groups of characters in single locations and lets the story play out how it will. The length of the story you’re telling should dictate the size of the book. Doesn’t matter if it’s forty thousand words or two hundred, King doesn’t waste a word.

6. Write all the time. And write a lot

King’s published – wait for it – 55 novels, 11 collections of stories, 5 non-fiction works, 7 novellas and 9 assorted other pieces (including illustrated works and comic books). That’s over a period of 41 years. That’s an average of two books a year. Which is, I must admit, a pretty giddying amount. That’s years of reading (or rereading, if you’re as foolishly in awe of him as I am). But he’s barely stopped for breath. This year has seen three books published by him, which makes me feel a little ashamed. Still, at my current rate of writing, I might catch up with him sometime next century. And while not every book has found the same critical and commercial success, they’ve all got their fans.

7. Voice is just as important as content

King’s a writer who understands that a story needs to begin before it’s actually told. It begins in the voice of the novel: is it first person, or third? Is it past or present tense? Is it told through multiple narrators, or just the one? He’s a master at understanding exactly why each story is told the way it’s told. Sure, he might dress it up as something simple – the story finding the voice it needs, or vice versa – but through his books you can see that he’s tried pretty much everything, and can see why each voice worked with the story he was telling.

8. And Form is just as important as voice

King isn’t really thought of as an experimental novelist, which is grossly unfair. Some of King’s more daring novels have taken on really interesting forms. Be it The Green Mile’s fragmented, serialised narrative; or the dual publication of The Regulators and Desperation – novels which featured the same characters in very different situations, with unsettling parallels between the stories that unfolded for them; or even Carrie’s mixed-media narrative, with sections of the story told as interview or newspaper extract. All of these novels have played with the way they’re presented on the page to find the perfect medium for telling those stories. Really, the lesson here from King is to not be afraid to play.

9. You don’t have to be yourself

Some of King’s greatest works in the early years of his career weren’t published by King himself. They were in the name of Richard Bachman, his slightly grislier pseudonym. The Long Walk, Thinner, The Running Man – these are books that dealt with a nastier side of things than King did in his properly attributed work. Because, maybe it’s good to have a voice that allows us to let the real darkness out, with no judgments. (And then maybe, as King eventually did in The Dark Half, it’s good to kill that voice on the page … )

10. Read On Writing. Now

This is the most important tip in the list. In 2000, King published On Writing, a book that sits in the halfway space between autobiography and writing manual. It’s full of details about his process, about how he wrote his books, channelled his demons and overcame his challenges. It’s one of the few books about writing that are actually worth their salt, mainly because it understands that it’s about a personal experience, and readers might find that useful. There’s no universal truths when it comes to writing. One person’s process would be a nightmare for somebody else. Some people spend years labouring on nearly perfect first drafts; some people get a first draft written in six weeks, and then spend the next year destroying it and rebuilding it. On Writing tells you how King does it, to help you to find your own. Even if you’re not a fan of his books, it’s invaluable to the in-development writer. Heck, it’s invaluable to all writers.

sistar is not only disbanding but being robbed of a proper goodbye. the new song is coming out soon and all we’ve gotten is a photo that can be made on photoshop in ten minutes. i understand all groups must disband but starshit really lives up to its name when they completely shit out on sistar like this. I’m so mad for my girls :///

Mad Girl’s Love Song

by Sylvia Plath

I shut my eyes and all the world drops dead;
I lift my lids and all is born again.
(I think I made you up inside my head.)

The stars go waltzing out in blue and red,
And arbitrary blackness gallops in:
I shut my eyes and all the world drops dead.

I dreamed that you bewitched me into bed
And sung me moon-struck, kissed me quite insane.
(I think I made you up inside my head.)

God topples from the sky, hell’s fires fade:
Exit seraphim and Satan’s men:
I shut my eyes and all the world drops dead.

I fancied you’d return the way you said,
But I grow old and I forget your name.
(I think I made you up inside my head.)

I should have loved a thunderbird instead;
At least when spring comes they roar back again.
I shut my eyes and all the world drops dead.
(I think I made you up inside my head.)