Shout-out to girls with hijab that doesn’t look like they belong on the street style blogs, shout-out to girls with hijab that are not fashionistas, shout-out to girls with hijab that doesn’t have strong eyeliner game, shout-out to girls with hijab that doesn’t wear any makeup, shout-out to plus sized girls with hijab that feels like no hijab suits your face shape, shout-out to girls with hijab that gets catcalled on the street despite the coverings, shout-out to girls with hijab that have to remove so many pins when they’re shopping for clothes, shout-out to girls with hijab that are having a bad hijab day where everything is wrong and you feel like you just look plain messy, y'all look beautiful today. Thanks.
I hope you guys realize that the Stranger things kids are still very young and haven’t matured all the way yet and they’re probably at some point going to do some things that aren’t so great and say things that aren’t so great and when that happens I hope you guys don’t ridicule them or tear them down because they’re still learning just like we were at that age
A note for all of us who feel defeated after Sessions from the Indivisible Team: This is the long game. We are going to lose a lot. We are going to get good at losing. We are going to lose cabinet votes for terrible nominees. We are going to lose bills that are offensive and appalling. But while we are losing, something else is going to happen. We are going to keep raising our voices and slowly our representatives are going to start listening to us. We’ve seen it happen.
It won’t happen because of next week’s call to action. It’ll happen over months, where you keep showing up, regularly. Then, we are going to start winning. It’ll sneak up on us. We won’t understand why we are winning. But it starts with losing in a particular way- where we raise our voices and call it out when we aren’t listened to, where we get close but not quite there.
The first 100 days of a President’s term are the honeymoon period, the moment when he’s most likely to get his agenda enacted. Trump is spending his first 100 days mired in controversy, scandal, and backbiting - and that’s because you haven’t for a moment let anyone in Washington forget just how unpopular he is.
Every time we change the narrative, every time we delay, every time there’s a newspaper story about a member of Congress avoiding his or her constituents, that’s a win. And it matters.
You have already made history. You’ve delayed the confirmation of Trump’s cabinet picks longer than any time in recent history. You stopped the gutting on the congressional ethics office. You’ve made Republicans so nervous about the repeal of the Affordable Care Act that it’s been pushed further and further down the road. You caused an uproar of historic proportions over Trump’s Muslim ban and saved lives and reunited families in the process. You’ve inspired people who have never before taken action to make their voices heard and learn how to do things like check how their members of Congress voted and call them out for it.
We’ll never even know about some of the victories - because those will be the fights that this Administration considered starting and then realized it couldn’t win.
We’re in this together. Every visit. Every call. Every loss. Every win. That’s just what friends do. #StandIndivisible
“You said, he loves you as much as you love him. Then, why the both of you are not still together?” he asked.
“We both love each other. Yes, yes. And I’m not really sure why we’re not still together.” she answered very carefully as if the words she said hurt her heart like knives cutting through her veins. “Some may say it’s because of our priorities in life. But some may say that it’s not yet the perfect time. But who the hell really knows? Is it me? Is it him? I don’t know. I don’t even understand. They say that opposites do attract each other, while same signs do otherwise. We’re like walking on parallel lines with an infinite spaces in between, that even if we run faster, we will never bump on each other at the finish line. No matter how hard we try.”
ma.c.a // And sometimes, the world seems to be against us
To Anyone who Thinks They're Falling Behind in Life (and aren’t good/creative/ect. enough)
“You don’t need more motivation. You don’t need to be inspired to action. You don’t need to read any more lists and posts about how you’re not doing enough.
But, honestly, here’s the thing that nobody really talks about when it comes to success and motivation and willpower and goals and productivity and all those little buzzwords that have come into popularity: you are as you are until you’re not. You change when you want to change. You put your ideas into action in the timing that is best. That’s just how it happens.
And what I think we all need more than anything is this: permission to be wherever the fuck we are when we’re there.
You’re not a robot. You can’t just conjure up motivation when you don’t have it. Sometimes you’re going through something. Sometimes life has happened. Life! Remember life? Yeah, it teaches you things and sometimes makes you go the long way around for your biggest lessons.
You don’t get to control everything. You can wake up at 5 a.m. every day until you’re tired and broken, but if the words or the painting or the ideas don’t want to come to fruition, they won’t. You can show up every day to your best intentions, but if it’s not the time, it’s just not the fucking time. You need to give yourself permission to be a human being.
Sometimes the novel is not ready to be written because you haven’t met the inspiration for your main character yet. Sometimes you need two more years of life experience before you can make your masterpiece into something that will feel real and true and raw to other people. Sometimes you’re not falling in love because whatever you need to know about yourself is only knowable through solitude. Sometimes you haven’t met your next collaborator. Sometimes your sadness encircles you because, one day, it will be the opus upon which you build your life. We all know this: Our experience cannot always be manipulated. Yet, we don’t act as though we know this truth. We try so hard to manipulate and control our lives, to make creativity into a game to win, to shortcut success because others say they have, to process emotions and uncertainty as if these are linear journeys.
You don’t get to game the system of your life. You just don’t. You don’t get to control every outcome and aspect as a way to never give in to the uncertainty and unpredictability of something that’s beyond what you understand. It’s the basis of presence: to show up as you are in this moment and let that be enough. Yet, we don’t act in a way that supports this lifestyle. We fill every minute with productivity tools and read 30-point lists on how to better drive out natural, human impulse. We often forget that we are as we are until we’re not. We are the same until we’re changed. We can move that a bit further by putting into place healthy habits and to show up to our lives in a way that fosters growth, but we can’t game timing. Timing is the one thing that we often forget to surrender to.
Things are dark until they’re not. Most of our unhappiness stems from the belief that our lives should be different than they are. We believe we have control — and our self-loathing and self-hatred comes from this idea that we should be able to change our circumstances, that we should be richer or hotter or better or happier. While self-responsibility is empowering, it can often lead to this resentment and bitterness that none of us need to be holding within us. We have to put in our best efforts and then give ourselves permission to let whatever happens to happen—and to not feel so directly and vulnerably tied to outcomes. Opportunities often don’t show up in the way we think they will.
You don’t need more motivation or inspiration to create the life you want. You need less shame around the idea that you’re not doing your best. You need to stop listening to people who are in vastly different life circumstances and life stages than you tell you that you’re just not doing or being enough. You need to let timing do what it needs to do. You need to see lessons where you see barriers. You need to understand that what’s right now becomes inspiration later. You need to see that wherever you are now is what becomes your identity later.
Sometimes we’re not yet the people we need to be in order to contain the desires we have. Sometimes we have to let ourselves evolve into the place where we can allow what we want to transpire. Let’s just say that whatever you want, you want it enough. So much so that you’re making yourself miserable in order to achieve it. What about chilling out? Maybe your motivation isn’t the problem, but that you keep pushing a boulder up a mountain that only grows in size the more you push. There’s a magic beyond us that works in ways we can’t understand. We can’t game it. We can’t 10-point list it. We can’t control it. We have to just let it be, to take a fucking step back for a moment, stop beating ourselves up into oblivion, and to let the cogs turn as they will. One day, this moment will make sense. Trust that. Give yourself permission to trust that.”
if ts doesn’t promote this comeback properly (which they probably won’t, seeing as b.a.p only have two weeks to perform on korean music shows before the tour, if they even do perform that is) then what are we for? we’ve fought for b.a.p so much that at this point, protecting and promoting them is part of being a fan. make a hype about this comeback! make gifsets, edits, graphics, write fics, reblog b.a.p posts and make your own, even if it’s just you screaming about how they deserve the world - your followers, some from other fandoms, will see. make our presence noticeable on social media: tumblr, twitter, youtube etc. ask popular channels for reactions to the mv, and upvote b.a.p-related comments so more people see them. spread the love for b.a.p!
It's been weeks since I watched that victuuri is canon video and I still randomly think about victor going "AHAHA HA HAA" #flawless. Like I'm trying to get my homework done and take notes but all I hear is "AHAHA HA HAA" what have you done?!?
Things will work out when they work out. If they don’t work out the way you intend, don’t fret. It is probably a reminder that something needs change or attention. It’s another experience under your belt. It’s another lesson learned. Even the best fall down sometimes…don’t be so hard on yourself. Please don’t be so hard on yourself.
I came up with a “humans as aliens” scenario on the bus and now I’m writing a story snippet.
Karikki was sitting in the ship’s mess when the most recent addition to the crew stumbled into the room and collapsed into a chair with a relieved groan, dropping her head onto the table.
“Rough shift?” ie said, making a sympathetic noise as ie broke off another piece of ir food pack.
Melanie Dupré, recently hired on as a ship’s mechanic and as of one month ago the only human crewmember of the Xanaki Star, mumbled something into the table before lifting her head so that her translator could actually be of use.
“I could swear the ventilation ducts actually hate me personally,” she said. “I’ve been running around all day.” A look of horror crossed her features then, and she groaned again, dragging her hand across her eyes. “And I left my food packs in my room. Goddamn it.”
Karikki churred soothingly. “Don’t worry about it, you can have one of ours,” ie said, getting to ir feet and digging one of the vacuum-sealed silver packs out of the pantry.
Melanie made a noise that Karikki had learned to interpret as grateful and peeled the pack open, looking down at it dubiously. “You’re sure this is okay?”
“We’re nutritionally compatible!” Karikki said. “The captain checked, before we hired you on. Just in case you ran out of your own supplies. It should be fine.”
“Okay. Thanks,” she said, breaking off a square of the compressed nutrition block and popping it into her mouth.
A look crossed her face then that it took Karikki a moment to identify: disgust, ie realized. That was disgust–which was made all the clearer when Melanie gagged and grabbed a napkin, spitting the square out into her hand. “Oh my god,” she said.
Karikki could feel ir antennae fluttering anxiously. “What’s wrong? Are you okay? Is that a bad texture for humans?”
Melanie wiped her mouth, scrubbing at her tongue with the side of her hand. She shook her head. “No, the texture’s fine, it’s just like one of our protein blocks. It’s the [——], I’m sorry, I don’t mean to offend you, but it’s awful! How can you eat that?”
Karikki flicked ir ear. “Sorry, say that again? I think your translator cut out in the middle. It’s the what?”
What proof do we have that Eris is abusive, other than that characters have said he is? Most held a similar opinion of Rhys, what's the difference? That we have a first person narrator who is privy to the backstory of one but not the other? I'm not trying to be aggressive but I want to know your thoughts. I thought showing was more important than telling in storytelling.
Okay then, like, what ‘proof’ have we got for literally 90% of the things in this series???? Feyre is a 19 year old human girl in a world full of immortal fae. You want an eye witness account for everything in this thing, do you?
How do I know the war happened the way they said it did? Feyre never saw it, she’s only had characters tell her about it. How do I know Rhys actually hated what he did with Amarantha and didn’t just swap sides right at the end? How do I know Rhys’ dad sucked but his mother was a good person, I’ve only heard him tell me about her, I’ve seen it. How do I know Tamlin’s brothers were awful? Never seen them either. How do I know Beron is really that awful either, I mean maybe he’s wearing a mask too and all the characters are just wrong. How do I know Mor is queer? I’ve never seen her with a girl before, I just have her word for it, maybe she lied. How do I know literally anything in this entire series because WE GET TOLD MOST THINGS NOT SHOWN THEM.
This is what happens when you have a limited first person pov. The character HAS to get told things in order to tell us things like ???? A little bit of common sense please, do you want me to like, historically fact check Prythian for everything that Feyre tells us about it???
And tbh SJM has a pretty crappy habit of doing the whole ‘telling over showing’ thing anyway. See: the entirety of the Throne of Glass series, Mor’s powers in ACOTAR (she’s awesome, really, we promise, we just haven’t actually SEEN her do anything), the assertions that Rhys and co are ~the most powerful ever~ have I actually SEEN that? Can I actually see that? No. Do I really question these things? No. Because I understand that this is the only way I can actually get some information out of this story and if I only went with what I ‘saw’ and disbelieved everything else I’d have literally nothing??
And when it comes to the whole Eris thing, like, dude, it’s not just a couple of characters who’ve said he’s abysmal it’s like, wait let me make a list:
Tamlin: “His father had her put down. Executed, in front of Lucien, as
his two eldest brothers held him and made him watch.” That would be Eris. So at best you’ve got conflicting statements here.
Lucien: “Lucien crossed his arms, leaning against the back of the
couch. “I have to agree with Cassian. Eris is a snake.” M, yes, Eris, HIS OWN BROTHER. If anyone was going to know Eris was ~not a bad person~ it’d be Lucien. Lucien who lived in that court. Who knew him. Who Eris apparently cared enough to protect/save, according to him. Eris who apparently cares so much about his mother (as we have seen Lucien does SEEN that is SEEN with our own two eyes) Why the hell would Lucien not know Eris was ‘wearing a mask’. Or maybe…Eris really does suck.
Rhys: “Eris refused to marry her. Said she’d been sullied by a
bastard-born lesser faerie, and he’d now sooner fuck a sow. […]Rhys said with
soft wrath, “Eris left her for dead in the middle of their woods.” Idgaf how he tries to spin it later, this is what happened.
Cassian: “You’re working with that prick,” Cassian cut in, whatever
catching-up now over, apparently. He moved to Mor’s side, a hand on her back.
He shook his head at Azriel and Rhys, disgust curling his lip. “You should have
spiked Eris’s fucking head to the front gates.”
Amren: “Your whole family is despicable,” Amren said to Lucien.
Mor, whose face went white with dread. […]Or at Eris, heir
to the Autumn Court, as he strolled into the room.
And I had the terrible sense that Mor had gone somewhere far,
far away as Eris set down his goblet and said, “You look well, Mor.”
The sight of him triggers actual real panic attacks and flashbacks that we can literally see from Feyre’s POV. Five hundred years after the fact and Mor is still traumatised enough by what he did to her to react like this even after all that time.
Then we have Feyre’s POV herself. Through her we’ve seen Eris laughing alongside his other brothers as Lucien was tortured and nearly killed.
“I don’t suppose your handsome brothers know, Lucien,” she
“If we did, Lady, we would be the first to tell you,” said the
tallest. He was lean, well dressed, every inch of him a court-trained bastard.
Probably the eldest, given the way even the ones who looked like born warriors
stared at him with deference and calculation—and fear.
Ah, yes, that would be Eris actively promising help to Amarantha in order to damn Feyre and continue her reign. Then there’s the way Eris hunts down Lucien and Feyre in the Winter Court, actively harms them both. So that’s like…Basically every single main character in this book who’s told you Eris sucks.
What’s the basis for believing that he doesn’t, out of interest? I mean what ‘evidence’ do you have that he is actually wearing a mask, what do you have that’s so strong it goes against the testimony of multiple characters? Oh I know! You have Eris’ word for it and that’s it. Wow. So unbiased. So convincing. Eris tells us he’s not really a bad guy and that outweighs the half a dozen people who tells us he is! That’s just. Damn. What logic. Can’t argue with that.
Also, like, I’m sorry, but Rhys’ arc was done properly, Rhys’ redemption wasn’t a retcon it was a followed-through on plan. There were hints UtM that Rhys was not as black as he was painted (He killed the Summer Court faerie outright rather than leaving him to suffer, he repeatedly came to visit Feyre in her cell when no-one else would, he was honest with Feyre about the treatment he received at Amarantha’s hands (a vulnerability on his part), he told her why he was making her dance every night as well as the steps he put in place to protect her, he sent music to her and saved her life, he saved her life and Tamlin’s with the kiss (which Feyre is aware of), he tried to save Feyre’s life while Amarantha was torturing her)
Rhys was a complex, morally grey character UtM and it’s possible to show a different side to him and a ‘mask’ because there were always hints of him wearing one. What if Ianthe told Feyre she was actually a secret agent working for Prythian but she was forced to act the way she did to keep her cover? What if Amarantha said she’d only dominated Prythian that way to save it from something worse and she too was wearing a mask and working for the greater good? What if Hybern said there was a bigger threat facing them and he had an ulterior motive to this war (and also, I mean, how do you really know Hybern is that awful, we’ve only ever had people tell us about him, maybe he’s misunderstood too!!!!) @valamerys wrote this out far better than I could in this post, read it too.
My thoughts are pretty simple, tbh: SJM decided to “”””””redeem”””””” Eris, likely to have him set-up to take over Autumn, now Lucien isn’t an option for that before what with the whole dramatic lost son of Day thing and she did a crap job of it. Like this isn’t some grand morality based character debate that’s going on here, SJM just handled this poorly. In order to make him seem not so bad she had to undo all of the canon that she’d set in place before hand and offer ‘alternative’ explanations for what happened that we’ve never heard about.
If she planned this all beforehand, if Eris was always wearing a mask why weren’t there hints of it before? Why didn’t she have Tamlin tell Feyre he got an anonymous tip-off the day he saved Lucien’s life from his brothers (which is what Eris claimed). Why wouldn’t Lucien defend him a little, say at least he cared about their mother/was sometimes kinder to him than the others? Why wouldn’t Rhys say that in the arranged marriage that petrified Mor, Eris was as unwilling as she was, that he argued against it? (Eris would have gone through with this marriage regardless of what it did to Mor if she hadn’t slept with Cassian) Why wouldn’t Eris stay quiet UtM or not show up to watch Lucien’s torture (which he does repeatedly)? Why, why, why, why, why would SJM not do something to show us that there might be more to Eris? Unless this was just a sloppy, last minute retcon to redeem a gross, abusive character who still to do this day petrifies his victim?
Like, if you consider showing to be of more importance than telling in stories….You’ve picked a mighty weird hill to die on here with Eris. Because this is literally the worst example of telling not showing in this entire series. There is no basis for anything that happens with Eris’ character in ACOWAR and the only thing we have stacked against the evidence of two and a half books is what Eris says and how he personally spins the story like ????
Idk dude, we can have a convoluted, let’s bend over backwards to redeem this guy and show he was misunderstood and has been wearing a mask so convincing it’s never ever ever cracked even once this entire time, to anyone! Even people who’ve known him for centuries….Or we go with the simpler: SJM really didn’t plan or execute this story very well at all. Which seems more reasonable?
One of the things I get tired of from time to time is the perspective
that if something shows evil behavior then that means the story, song,
game, whatever, is inherently bad. But there is a difference between
illustrating evil behavior and promoting it.
Not all appearances of bad behavior invite bad behavior.
While one purpose of storytelling is to entertain, another purpose is to
teach or educate–a purpose that in today’s world, most people seem to
A long time ago, there used to be all sorts of horrific stories told.
Open Grimms’ fairy tales, and you’ll see that Cinderella really isn’t
that Disney-friendly. But often some of those older stories were meant
to teach a lesson or scare children into behaving (that latter point is
one I personally don’t condone). Horrific things happen in the Bible
(and the Book of Mormon). We can often learn from these accounts, but
some of them are simply a record of what happened (if you believe in
that), whether you like the content or not. It is what it is. Conspiring
incest, rape, slaughter, and even cannibalism can be found in scripture
stories. In today’s world, most people have been conditioned to believe
that stories are only meant to entertain. Or entertain and uplift.
Those two things are valid. But what I get tired of, though, is the
perspective that all stories should be full of puppies and rainbows
(yeah, that’s an exaggeration, but you know what I mean), and that’s
what we should be writing, and if a story is dark, it’s “bad” or lesser
or … something.
The World Needs Stories about Dark Things
It’s important we write about what I call “the big and heavies”–rape,
addiction, suicide, massacre, societal brainwashing, etc. And when I say
“we,” I don’t mean specifically that you or I HAVE to; I
mean “we” as in us, writers and creatives everywhere. The world needs
creatives who delve into the big and heavies, and here’s why:
1. Stories provide a safe means to explore and discuss dark things
The big and heavies are vital to discuss for a healthy society. We shouldn’t be turning a blind eye to dark deeds. We should be turning the right eye to them. Literature offers a safe way to explore and discuss these
issues. It offers some distance (because it’s usually a work of fiction)
while simultaneously having the ability to offer closeness–empathy.
Also, fiction provides a type of lens to view these behaviors through.
Speculative fiction might have a more exaggerated or symbolic lens, such
as the fashion industry of Panem in The Hunger Games, or the discussion of pure bloods in Harry Potter.
A lens lets us view the issues in a way that may emphasize certain
points or give us a new perspective on them, and again, the distance can
provide a bit of a “safe” buffer for readers. We aren’t talking about
racism; we’re talking about magical blood–and we can have a whole
discussion on it that correlates with issues seen in racism, and no one
needs to feel uncomfortable because this is about wizarding blood. Even
realistic fiction provides a perspective, though less exaggerated, to
see these issues through.
2. Powerful, emotional ramification drives home a point or idea or lesson.
Unlike reading text books or the news, fiction writing often works off making the audience feel something.
It appeals to emotional experience, even more than intellectual
experience. It is one of the only mediums where we can put on the skin
and thoughts of another person.
In parts of society, we try hard to divorce intellect and emotion, but
powerful emotional experiences are often what cement ideas and lessons
into our minds. Back in the day, fathers used to take their children out
to their property line and beat them so that the child would never
forget where the property line was. We’ve seen similar conditioning with
training wild animals. Both are crude examples, of course, but the
emotional experience drove home the lesson. While negative emotions are
powerful, this same thing can happen with strong positive emotions. We
remember powerful feelings of happiness and of love, and if there are
any lessons or insights associated with those, we recall those too.
In fiction, emotional experiences can drive home powerful lessons. And they stick with the audience.
Strong emotional experiences in fiction amplify the conceptual
ramifications of dark deeds, and cements into the reader the weight of
such behavior, in a way that pure intellect cannot. Once we “experience”
an issue, we care more about it. Fiction is a vehicle that allows us to
develop and fine-tune our empathetic skills, so we can better
understand and relate to those who’ve dealt with such issues.
3. Explore, cognitively, the causes, consequences, and facets of the big and heavies
In the real world, we live our own lives in our own perspectives, and
that’s it. In literature, you can include several perspectives of those
involved with an issue. You can often see the issue’s causes,
consequences, and facets to a degree you may not in your own life. You
can see far-reaching effects in a matter of hundreds of pages, rather
than decades or hundreds of years. This opens up new ideas, new
perspectives on the topic, which leads to more discussion.
4. To provide hope and uplift, in spite of darkness. To overcome.
I sometimes see this weird idea that an uplifting story needs to not
cross some invisible line too far into the dark. In some ways, that
couldn’t be further from the truth. As a Harry Potter fan, I’ve
had friends come up to me and talk about how they’re disappointed that
the stories got darker and darker. Maybe I’m weird (okay, there’s no
“maybe” about it), but I like that. I like stories getting dark. I like
when they get darker and darker. I like my evil, evil. I want the
Voldemort who tries to possess Harry to get Dumbledore to kill him. I
want the Voldemort who tortured animals as a small child and who
murdered others to split his soul into seven pieces. The world is often
an evil place. And how much more powerful is it to overcome the bowels
of the most wicked, than it is to overcome a guy who shoplifted? I like
my evil, evil. Not because I want to be part of the dark, but because I
like seeing people overcome it.
A story that includes dark materials can be just as uplifting, if not
more uplifting (because of the contrast) than a story that doesn’t. The
idea that a story can’t be dark and inspiring is just unfounded.
Every Christmas season, I become a fan of The Trans-Siberian Orchestra
all over again. If you’ve never heard of them, you may still recognize
some of their most iconic Christmas songs, some of which have gone viral
on synchronized Christmas light videos.
What many people might not realize is that each of their Christmas
albums actual tells, and comes with, a written story. If you see the
Trans-Siberian Orchestra live, they will read the story to you bits at a
time, interspersed with music. But not all their stories are about
happy sleigh rides, warm fires, Christmas hams, and decorated trees.
There are parents who abandoned their disabled children, babies born
addicted to crack, love that has been lost. But the stories and albums
are uplifting, not because the creators avoided dark subject matter, but
because they illustrated the power of overcoming–overcoming difficult
times and personal mistakes. It’s hard to make it through one of their
performances with a dry eye through the whole thing.
5. To render reality–others’ reality or your own
But some stories aren’t necessarily meant to be about overcoming the
dark or inspiring an audience. Some stories are just about reality.
Human nature. The natural man. Experiences that people actually go
through. Some stories are simply meant to render, often for reasons 1-3.
It’s a statement. It’s meant to create social awareness, empathy. Maybe
it’s meant to start a discussion. Those stories need to exist too.
Keep in mind that many audiences only see stories strictly as mediums
for entertainment and, on a subconscious level, a reinforcement of a
positive, maybe even sugary, feelings and ideas. Those audiences may (on
a subconscious level) refuse anything that is otherwise, and
consider any mention of the dark and heavies as something that shouldn’t
be there. That is their right.
And in some cases, they are correct. Some stories do not need and
should not have dark content. It doesn’t serve the purpose of the
story, it messes up the tone of the story, and it can ruin what was
already working. You wouldn’t, for example, put in a serious plot line
in The Office about Pam being legitimately raped. It doesn’t fit.
And with all that said, you shouldn’t feel forced to write content you
feel very uncomfortable writing. Your work should reflect the writerly
Next week, I’ll talk about how to write about dark things without promoting them.