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helpful-writing-tips

if you write a strong character, let them fail.

if you write a selfless hero, let them get mad at people.

if you write a cold-hearted villain, make them cry.

if you write a brokenhearted victim, let them smile again.

if you write a bold leader, make them seek guidance.

if you write a confident genius, make them be wrong, or get stumped once in a while.

if you write a fighter or a warrior, let them lose a battle, but let them win the war.

if you write a character who loses everything, let them find something.

if you write a reluctant hero, give them a reason to fight.

credit:@aj-eddy

dearwriters

I love this advice! Subverting a character trait is a great way to really get into the emotional core of a character and see what makes them tick and what makes them change!

hayatheauthor

The Writer's Guide to Authentic Wounds and Fatalities

Writing fatal injuries in a story requires a delicate balance between realism and narrative impact. The portrayal of these life-altering events can evoke strong emotions in readers and shape the trajectory of your characters' journeys. In this blog, I will explore the intricacies of depicting fatal injuries in a manner that feels authentic, engaging, and respectful to the gravity of such circumstances. By understanding the nuances of fatal injuries, you will be equipped to craft compelling narratives that resonate with your readers.

Okay, I can’t help but want to write an essay for fun on this dangerous topic & statement: Women have less leisure time than men!

The comments on this post were, of course, very exciting to look through. It’s like preparing the metaphorical popcorn to an event you know is about to be juicy. But I do want to discuss this, because within the comments, there existed 2 major types of people: (1) Women commenting different versions of “Duh!!!” (2) Men that suggested this post was written by a woman. Other outliers included an individual wanting to start debates about gay marriages, men that suggested they work hard to make sure their wives don’t have to, and women that suggest that men aren’t ALL that bad.

I’ll start with the solid, peacemaking fact: Every relationship is different because every person is different. Basically, marriages are incomparable to one another in terms of habits, preferences, ways they were raised, values, and the like. There are ways to generalize women as a gender and men as a gender, but the circumstances really depend on the situation.

I will reference my own marriage, because when I read this, first primally instant thought in my head was, “THANK YOU!” 😆😆😆😆 And it took me further thinking to realize, this post is super generalizing and not 100% true for all marriages. In fact, Briefly opening my soap box is NOT my point, but honestly, and often, I find myself being the only person in my house to do any cleaning. The ratio of diaper changes between my husband and I is probably 1:20,–no exaggeration. I never see him do any laundry. Every morning, I lay out his uniform, his paired socks, stock his backpack with drinks for the workday, and even provide him with a warm towel fresh from the dryer. But why is it like this?

It is just the personality of some to not care about cleanliness, and this is honestly independent of gender. I have known and been with my husband for 10 years. The only time I’ve ever seen him clean of his own accord was when he invited me over to his apartment for the first time. So, I didn’t even see him clean, I only came into a clean apartment—and even then, it still looked like a messy boy’s room. To refute the gender misconception, my mom is awful at keeping things clean too. She likes her things sprawled everywhere, she likes her shelves to be covered in dusty Knick knacks and she likes her kitchen island to have all of her ingredients ready for grabbing. And my mother-in-law, God bless her heart, is the messiest individual I have ever known in my life, because she has the same trash bag in her room from when we moved into this apartment over a year ago, in her trash can, and it is completely full, and she has never bothered to take it out (which renders her trash can useless. So she puts her trash in all kinds of other places. When she orders Uber eats, she likes to leave the empty bags on the dinner table for someone else to take out). Whereas, my Dad—a MAN—was constantly cleaning, constantly putting things away or packing things up. He cleaned so perfectionistically that he would scrub the spaces between tiles and show me how they were incredibly white, spotless, absolutely perfect. And he would complain about my mom being the messiest woman that he ever knew.

The reasons for why messy people are messy or clean are beyond me. It could be how they’re raised, but my grandmother-in-law was an incredibly clean lady. My mom in law also said that both of her brothers, and her Dad, and her aunts were all clean, and that it’s her that is as messy as she is. My Dad explained to me that my Mom was raised in communist Vietnam, so she didn’t have much at all. Now that we live in the US, she values having so many things, so she likes to decorate her space with objects. My Dad also explained that he admired his own mom’s cleanliness so much that he copied her. Then he suggested that I, his daughter, do not copy my Mom—which is untraditional of daughters.

My point here is: It is not so cut and dry that men don’t clean and women clean. People are clean and messy for different reasons.

My next point: I was raised in a household where my mom was the breadwinner of the household and my Dad was the house dad. He was old when I was small, so he retired when my life was still early. My mom was working constantly, and she would come home absolutely exhausted, so my Dad did the cleaning (then again, my mom didn’t really value cleanliness all that much). After my Dad had strokes and couldn’t clean and cook anymore, my mom began to work, cook and clean.

With me, my husband is the breadwinner and works very hard for very long shifts, so he is the one that comes home absolutely exhausted. I work and go to school, but my job does not ask for long hours, so I have more energy. To unwind, my husband likes to sit and play video games so he doesn’t have to think about work. To unwind, I happen to enjoy cleaning. That works for us. Also, my husband loves to cook, and I’m better at cleaning than I am at cooking, so we fit together.

I guess my real point is: Individuals in relationships should prioritize the other’s happiness so that they are both happy together. My husband doesn’t make me pay any rent, and he takes care of me physically. I run the chores in the household, I make the ice in the ice molds, but I have control to do what I want—which is what I prefer. If a relationship works and both parties are happy, does the leisure time thing really matter?

rewritign-blog

At some point during college or university, you’ll probably be asked to write a critical review of a text related to what you’re studying. They aren’t commonly done during high school, and so it will probably be an unfamiliar task to start with. Here’s one approach to writing a critical review that I’ve used which has been very successful for me, and hopefully it can help you too!

What is a critical review?

Essentially, a critical review is a summary and evaluation of a journal article, chapter, or book. While critical usually gives a negative connotation, your review doesn’t necessarily need to attack the author’s view point, rather you question the information and opinions they present in an analytical manner, and assess how effective their argument is.

Get to know the text

Start by getting a broad understanding of the text. Skim read it by looking at chapter titles, headings, introduction, opening sentences of paragraphs, any tables, graphics, or diagrams, and the conclusion.

Briefly outline the author’s aim and their main points. You’ll come back to this when assessing how well they have argued their point!

Read the entire text. With the author’s aims and main points in mind, read the entire text and note what evidence they use to support their points, how convincing their reasoning is, how they deal with opposing arguments, how the text is structured and styled, etc. I like to use a physical copy of the text so I can highlight and annotate important parts!

Get to know the author! While not always necessary, getting to know the author, their area of specialisation, and if they associate with a specific approach to the subject can help you better review the text.

Read widely around the topic

So you’ve read the text you’re reviewing and have a good understanding of its content and how the author has argued their point, but how does it fit into the wider literature? Does the author hold a more mainstream view of the subject, or are they more radical in their thinking, presenting a view in opposition to other academics?

Look at their references. Did they cite another academic who holds a contrary opinion? Their work may be worth reading to assess what the author of the text you’re reviewing may have intentionally left out!

Read reviews of the author you’re reviewing. As students, we’re not always as fully aware of a topic as other academics who specialise in the area are. If you’re able to find reviews written by other academics on the author you’re reviewing, they may be able to highlight areas of further research for you to investigate!

Read completely different views of the topic! My most recent critical review was from the a social historian. To gain a broader perspective of the topic, I read interpretations from Marxists, to Revisionists, and other social historians. These different interpretations of the same event allowed me to assess each argument and form my own conclusions based upon how convincing the interpretation was argued.

Read the works of prominent academics in a field. They often inform other academics and help develop approaches to a topic. Note, however, that prominence doesn’t mean their argument is perfect!

Structure and content

Not every critical review will have the same structure, but I tend to follow a similar skeleton structure outlined below.

Introduction - identify the author, the title of the text, and when it was published. Briefly explain the main findings of your review and the key ideas.

Summary - to give the reader an understanding of the text, you need to provide a summary. Pull out the author’s main points and conclusions. Don’t give a lengthy narrative description of the text, focus on the author’s argument. This shouldn’t be more than one or two paragraphs!

Critique - this is the core of your review and will be the bulk of your essay. Here are a few things to think about when writing it

Identify the text’s strengths and weaknesses. You can do this by comparing it to other texts on a similar topic

Does the author present a particular approach to the topic?

How do they consider alternative approaches?

How do they use evidence to support their claims?

Does the text structure and style affect your understanding?

Has anything been left out intentionally?

Support your review with examples from within the text!

Conclusion - restate your overall opinion of the text. Discuss how it fits within the broader scope of literature on the topic and how useful it is. You could even suggest possible improvements and suggestions for further investigation!

I hope this is helpful, and good luck with any critical reviews you have to write! My inbox is open for any questions you might have!

Other essay writing masterposts:

how to write conclusions how to structure essays how to reduce your word count understanding the question how to write a killer unprepared text essay

tarysande

Writing Tips from an Editor (Who Also Writes)

People throw around the phrase “Show, don’t tell” all the time. But what does it mean? Really?

When I’m editing a client’s work, I always explain what I mean when I say “Show, don’t tell,” so I know we’re on the same page (pun intended).

FYI: This advice is really 2nd or 3rd draft advice. Don’t tie yourself in knots trying to get this perfect on the first go. First drafts are for telling yourself the story. Revisions are for craft.

Ruthlessly hunt down filter words (saw, heard, wondered, felt, seemed, etc.). Most filter words push the reader out of narrative immersion, especially if you’re writing in 1st person or a close 3rd person. “She [or I] heard the wind in the trees” is less compelling than “The wind rustled through the trees” or “The wind set the bare branches to clacking.” Obviously, the point of view character is the one doing the hearing; telling the reader who’s doing the hearing is redundant and creates an unnecessary distance between the character’s experience and the reader’s experience of that experience. Was/were is another thing to watch out for; sometimes, nothing but was will do, but in many instances—“There was a wind in the trees” “There were dogs barking”—“was” tells, whereas other phrasing might evoke—“The wind whispered/howled/screamed through the trees” “Dogs snarled/yipped/barked in the courtyard/outside my door/at my heels.”

Assume your readers are smart. What does this mean? Don’t tell the reader what your characters are thinking or feeling: “Bob was sad.” How do we know? What does Bob’s sadness look like, sound like? What actions, expressions, words indicate Bob’s sadness? Does Bob’s sadness look different than Jane’s would?

It also means that you need not repeat information unless you have something new to add to it—even if it’s been several chapters since you first mentioned it. I think a lot of readers fall into this trap because writing often takes a long time. But what takes a writer days or weeks or months to write might take a reader fifteen minutes to read. So, if the writer keeps telling the reader about so-and-so’s flaming red hair or such-and-such’s distrust or Bob’s blue eyes or Jane’s job as a neurosurgeon, the reader gets annoyed.

The last thing you want is your reader rolling their eyes and muttering, “OMG, I KNOW” at the story you’ve worked so hard to write. It certainly means you don’t need to have characters tell each other (and through them, the reader) what the story is about or what a plot point means.

Along these same lines, let the reader use their imagination. “Bob stood, turned around, walked across the room, reached up, and took the book from the shelf.” Holy stage directions, Batman! A far less wordy “Bob fetched the book from the shelf” implies all those irrelevant other details. However, if Bob has, say, been bedbound for ten years but stands up, turns around, and walks across the room to fetch the book, that’s a big deal. Those details are suddenly really important.

Write the action. Write the scene with the important information in it. Let the reader be present for the excitement, the drama, the passion, the grief. If you’re finding yourself writing a lot of after-the-fact recap or “he thought about the time he had seen Z” or “and then they had done X and so-and-so had said Y,” you’re not in the action. You’re not in the importance. Exceptions abound, of course; that’s true of all writing advice. But overuse of recapping is dull. Instead of the reader being present and experiencing the story, it’s like they’re stuck listening to someone’s imperfect retelling. Imagine getting only “Last week on…” and “Next week on…” but never getting to watch an episode. I’m editing a book right now with some egregious use of this. The author has a bad habit of setting up a scene in the narrative present—“The queen met the warrior in the garden.”—but then backtracking into a kind of flashback almost immediately. “Last night, when her lady-in-waiting had first suggested meeting the warrior, she had said, ‘Blah blah blah.’ The queen hadn’t considered meeting the warrior before, but as she dressed for bed, she decided they would meet in the garden the next day. Now, standing in the garden, she couldn’t remember why it had seemed like a good idea.”

That’s a really simplified and exaggerated example, but do you see what I’m getting at? If the queen’s conversation with the lady-in-waiting and the resulting indecision are important enough to be in the narrative, if they influence the narrative, let the reader be present for them instead of breaking the forward momentum of the story to “tell” what happened when the reader wasn’t there. Unless it’s narratively important for something to happen off-page (usually because of an unreliable narrator or to build suspense or to avoid giving away a mystery), show your readers the action. Let them experience it along with the characters. Invite them into the story instead of keeping them at a distance.

Finally, please, please don’t rely on suddenly or and then to do the heavy lifting of surprise or moving the story forward; English has so many excellent verbs. Generally speaking, writers could stand to use a larger variety of them.

(But said is not dead, okay? SAID IS VERY, VERY ALIVE.)

thewritinggrindstone

As another editor, I can confirm these are all constant problems I encounter when working on people’s manuscripts. Related to this line of thought is the following, which, again, is second- or third-draft advice. Don’t sweat this stuff during draft one.

Make your descriptions pull double and triple duty. Describing people, places, and objects is fine. Necessary, even. But one of the quickest ways to ramble on telling instead of showing is when you include descriptions that don’t reveal more information than just what people/places/objects look like. It’s particularly easy to fall into this trap with character and setting descriptions.

This week I edited a sample chapter of a manuscript set in the 1970s Middle East that had the potential to be both captivating and rich in setting. Unfortunately, the author didn’t think to tie any of the descriptions of the apartment in the first scene or the characters that inhabited it together in a way that revealed any truly engaging information. Two militia soldiers sent as messengers for a certain faction invade the family-of-five’s home, and the narrator gives a lot of detail about the living room in which the characters sit down, including the colors of the couches and chairs, the positioning of them in relation to the coffee and side tables—and a tray of cigarettes and cigars sitting on the latter. Several paragraphs later, one of the soldiers is suddenly rolling a cigarette between his fingers before he and his companion stand and leave.

Not only did the author not provide adequate details as to where this cigarette came from, they missed out on the opportunity to show who these characters are by having them interact with the environment. The unwilling host could have motioned toward the tray, a “help yourself” gesture—or maybe he intentionally didn’t but one or both of the soldiers take from it anyway. Or maybe the soldiers intentionally refuse the offering and instead one of them reaches for one of his own cigarettes. Maybe they each grab a handful, far more than manners would dictate polite. Maybe they tip the tray over and grind the cigarettes and cigars into the carpet before leaving, a petty form of revenge against being denied their request. Or maybe they don’t and instead leave the bigger threat hanging over the host’s head.

Not one of these descriptions says the same thing as the others, which is why it’s important to critically examine every detail given in a particular story. An intentional and skilled author can turn any told description into information that SHOWS something important that will deepen the reader’s understanding of what’s happening in a given scene. Descriptions should never be throwaway mentions. Not considering the deeper implications of what you’re writing is the fastest way to telling the reader things they aren’t going to find interesting, which brings me to…

Generic descriptions. By now, you probably know what types of throwaway character “tag” actions you default to. You know the types, the ones that often are inserted to break up or react to dialogue: smiling, grinning, nodding, sighing, shrugging, laughing, blinking, looking (at), folding arms, and rolling eyes, just to name a few. They’re easy descriptions to insert, and when used sparingly, they CAN mean something more than is outright stated, but overuse will without question kill their effectiveness. I’ve edited so many manuscripts where characters do things that just… are things? But these things either don’t seem to have any greater meaning or they’re blatant telling, e.g., “I don’t know why you’re still talking about this.” John rolled his eyes, annoyed.

Can you say telling?

A certain manuscript I edited had almost four hundred uses of smile/smiled/smiling and almost three hundred uses of nod/nodded/nodding. I was ready to start slapping characters somewhere around the one-quarter mark of the manuscript because these descriptions meant nothing. As placeholders, they’re fine, but authors need to go deeper if they want to avoid readers rolling their eyes in annoyance like poor John.

Once you’re ready to refine your early drafts into something more cohesive, meaningful, and shown, you’ll want to put each character’s “tag” actions under a microscope. Make note of what descriptions you use—and overuse—then go deeper. Find a way to show how this specific emotion manifests in this particular person. Character actions in particular should never be throwaway—they should always reveal more information than is stated outright by providing subtext, which enables you to show instead of tell.

starlyt

Fade Into You - Mazzy Star / Slow Like Honey - Fiona Apple

soracities

“I was happy three days ago. Today I’m depressed. What happened? Nothing. An inner crutch slipped. Some poorly suppressed memory rose to the surface.”

— Mihail Sebastian, For Two Thousand Years (trans. Philip Ó Ceallaigh)

Some crazy literary adventure I was having 🤷🏻‍♀️

godzilla-reads

“Myth is much more important and true than history. History is just journalism and you know how reliable that is.”

—Joseph Campbell

phana-banana

Look, I’m not saying if Herman Melville was alive today he would totally have an A03/fanfiction.net account… but that’s exactly what I’m saying.

Still went a little over my time limit for this one, but getting faster I think.

gwengrimm

@theeinkibus these…. Are good points.

theeinkibus

Herman, thanks for creating the ‘AND THERE WAS ONLY ONE BED’ trope for all of us writers, forever in your debt man.

brite-eyed

@bittylildragon

vlepestok-n

kendallroy-deactivated20210425

idk who needs to hear this but when your english teacher asks you to explain why an author chose to use a specific metaphor or literary device, it’s not because you won’t be able to function in real-world society without the essential knowledge of gatsby’s green light or whatever, it’s because that process develops your abilities to parse a text for meaning and fill in gaps in information by yourself, and if you’re wondering what happens when you DON’T develop an adult level of reading comprehension, look no further than the dizzying array of examples right here on tumblr dot com

windypoplarsroom

Emilio Freixas

“El sueño de una noche de verano”

dragonpuppies

Elizabethan Peasant 1: Look yonder! Someone has writ upon that ceiling that thou art most easily gulled!

Elizabethan Peasant 2: More fool they, for I cannot read.

Elizabethan Peasant 1: *sighing, lowers his visage unto his palm*

theamityelf

Elizabethan Peasant 1: Lo, hast thou learned to read?

Elizabethan Peasant 2: Verily, and to compose as well.

Elizabethan Peasant 1: With haste, then, how is the word “i cup” composed?

hi-def-doritos-deactivated20181

Elizabethan Peasant 1: what ho, I know a sporting jest! What art thou when thou art a peasant and art occupied in a privy?

Elizabethan Peasant 2: I wist not, but certain am I that thou shalt tell me speedily.

Elizabethan Peasant 1: Most verily, thou art a peon.

little-niggah-sugar

Elizabethan Child: Father, I have not yet broken fast and am filled with pangs of hunger.

Elizabethan Father: Hail, Filled With Pangs Of Hunger! Mine own name is Wybert.

marzipanandminutiae

Elizabethan Scholar 1: Alack, I have in my purse but sixty-nine pence.

Elizabethan Scholar 2: Lusty fellow, knowst thou well what such a sum portends!

Elizabethan Scholar 1: I…I have not sufficient to sup on fowl.

ur-friendly-local-memer

Elizabethan Scholar 1: Mine name is verily Micheal with a ‘b’, and I hast been afraid of insects mine entire life.

Elizabethan Scholar 2: Cease cease cease. Wither is the bee?

Elizabethan Scholar 1: Thither is a bee?

marzipanandminutiae

Elizabethan husband: Wife, ho! Bring forth my keys!

Elizabethan wife: [throws a writing slope before him]

Elizabethan husband: My keys, my keys! What, hast thou not ears?

Elizabethan wife: I thought thou said writing slope.

Elizabethan husband: Devil take thee; why would I say writing slope?

nonlinear-nonsubjective

Elizabethan daughter: Harken father! Tis the valorous kush!

Elizabethan father: Thou art in the petty market; how valorous mayest it be?

nudityandnerdery

Elizabethan Peasant: Good morrow, my fine fellows! Thou mayest call me Jared, I has’t seen 19 years upon the Good Lord’s green earth, but I am melancholic, for I must admit it was not my privilege to learn to decipher script.

avantegarda

Elizabethan Scholar: whosoever didst throw that crumpled parchment: thine mother is naught but a poxy trollop

antigonick

Pauline’s book recs : a MASTERPOST

Shit, it’s 2020 and I’ve updated this Behemoth again. There’s both old and new in here. If you’re having problems with links overlapping, it is most likely the app/dashboard glitching—try the permalink version, and everything should work out, even on mobile. And of course, HAVE FUN.

Ressources : where to find books online?

CLASSICAL LITERATURE (ANTIQUITY) Where should I start? The fundamental works Where should I start? The mythology-oriented works Where should I start? Mythology, but make it non-greek Where should I start? The translation edition A very touristic overview of Ancient Greek literature Different texts for Antigone Different texts for Elektra Different texts and translations for The Odyssey

CLASSIC [? who cares] BOOKS (ALL ERAS) First things first : a few favourites And works in translation : a few more favourites Where should I start? My first classics A very touristic overview of literature reading Modern classics Reading women : a few favourites ; wait, much more Reading men : a few favourites Children literature : a few favourites ; more Experimental literature Where should I start? English and US literature Where should I start? Modern Italian literature Where should I start? German and Austrian literature Where should I start? Russian literature Where should I start? Irish literature I’m terribly unknowledgeable about? Japanese literature Where should I start? Renaissance literature Where should I start? French literature for intermediate level Where should I start? French Medieval literature Where should I start? Victorian literature Where should I start? Contemporary literature Reading classics to children Children literature for adults (?) A bit of myth, a bit of fairy tale Short-length classics ; more here Short stories One last thing: books I don’t want to check out

POETRY First things first : a few favourites Second things second : a bunch of recs Where should I start? Poetry Learning French? Easy French poetry Lesbian French poetry Russian poetry : a few favourites Narrative poems ; much more Mystic poems Poems about separation Poems about love Poems about happiness Poems about exile Poems about poetry

DRAMA First things first : a few favourites

NON-FICTION First things first : a few favourites ; more recent On feminism (it’s old) On translation On literary analysis and adaptation On first-level literary analysis and French movements On biographies and diaries ; more here ; and more? On writing theory and another one On art history On reader-response theory Very lacking, but on female history On witches On Sufism Literary interviews Essays

YEARLY SUMMARY Best of 2018 : Prose Summary of 2018 Best of 2017 : Fiction Best of 2017 : Poetry Best of 2016 : Fiction Best of 2016 : Poetry 2016 Summer reading list 2015 - 2016 awaited releases Best of 2015 : Fiction Best of 2015 : Poetry

THEMATIC LISTS By character Works featuring Persephone Works featuring Kassandra Works featuring male protagonists written by women Works featuring the House as a character Works featuring mermaids Works featuring the femme fatale archetype Works featuring female villains Works with Nature as a character Works with supernatural entities as a human double Works with introspective characters Works with narcissistic characters Romances featuring softer male protagonists Trope : Star-crossed lovers Trope : Friends to lovers Trope : Villainous love Trope : Toxic mother figure Trope : adaptating Beauty and the Beast Trope : adaptating Bluebeard By theme LGBTQ+ (a terribly old and lacking list) Books taking place in a single building Books taking place in one House Books taking place in a high school Books about seeing into the Future Books by the sea (and the few pirates) Books set in Paris Books about girlhood Books about introspection and self-discovery Books about melancholy and sadness Books about happiness and hope Books with symbolism and atmosphere Books about moral corruption and spiritual decadence Books about sex politics and philosophy Books about the female rage Books about or taking place during World War I Books featuring suicides Poems for mothers Poems about poetry Great love stories Unusual love stories Idealised, bittersweet love ; more By genres Rewriting Greek and Roman myths Rewriting Fairy Tales ; and again Writing and rewriting Arthuriana Favourites free-to-play text-based games Gothic and neo-gothic Southern Gothic Magical realism Dystopias Young Adult Horror novels (but check the gothic instead) Crime novels Medieval historical fiction Just, like, sappy stuff

By context Beach reading Travel reading Halloween reading (spooky!) Winter reading Summer reading ; another Lockdown reading (you can still ask!) By book Books similar to The Secret History Books similar to Wuthering Heights ; again Books similar to A Grief Observed Books similar to The Brothers Karamazov Books similar to On Being Ill Books similar to Eros the Bittersweet Books similar to Dracula Excerpts similar to Dido and Aeneas parting in the Aeneid Recommended editions of Romeo and Juliet Recommended editions of Shakespeare’s Sonnets Recommended editions of Wuthering Heights Recommended translations of Tristan and Yseult Lit criticism on Dorian Gray Lit criticism on Sonnets to Orpheus Books adapted to the screen (1) Books adapted to the screen (2) By author Favourite French writers Favourite Contemporary writers What to read? By Women French writers What to read? By Anne Carson (And some prep reading for Anne Carson) What to read? By Richard Siken What to read? By Roland Barthes What to read? By Agatha Christie What to read? By E. A. Poe What to read? By Daphné du Maurier What to read? By Sylvia Plath What to read? By Priya Sarukkai Chabria What to read? By Hélène Cixous What to read? On and by Branwell Brontë If you love Anne Carson If you love Angela Carter If you love Louise Glück If you love Virginia Woolf If you love Sylvia Plath If you love Marguerite Duras If you love Emile Zola If you love Colette

weltenwellen

Judith L. Herman, Trauma and Recovery

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