So how did my story come to be? Well, I'm not telling you that much yet. Reason being, that my story has not been fully completed yet. I wish to write my entire life. I don't really want anything else. So many things just die or fade or even blow way like fallen leaves in the wind, but I believe that our memories (at least, my ones), experiences and dreams are forever. Therefore, I'm just going to keep the rest of this a mystery. I'll continue writing in what I would call a storybook. After all, I write, and so I shall weave my own fantasies and thoughts with my very words. Do talk to me anytime you get a chance, for I do like a good and friendly chat.
saw this on Twitter, so... here's a reminder to keep boycotting or start doing so if you were unaware of the boycotts!
also, remember to do your daily clicks here (it's 100% free to do; how it works is that it generates ad revenue that goes towards aiding Palestinians), spread word about what's going on, and donate to vetted fundraisers if you're able to!
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Language has nothing to do with rational thought. I think that's why I get so horribly furious and disturbed with rational thought.
Language is the opposite of the way a machine works.
Language is poetry, maybe? But not all language is poetry.
Nor is all poetry language.
July 3, 1964
Anne Sexton: A Self-Portrait in Letters
First published: 1977
I think language is beautiful. I even think insanity is beautiful (surely the root of language), except that it is painful.
July 3, 1964
Anne Sexton: A Self-Portrait in Letters
First published: 1977
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Sylvia Plath's "Two Poems" (The Sleepers & Full Fathom Five). First published in the June 1960 issue of The London Magazine.
The Sleepers
No map traces the street
Where those two sleepers are.
We have lost track of it.
They lie as if under water
In a blue, unchanging light,
The French window ajar
Curtained with yellow lace.
Through the narrow crack
Odours of wet earth rise.
The snail leaves a silver track;
Dark thickets hedge the house.
We take a backward look.
Among petals pale as death
And leaves steadfast in shape
They sleep on, mouth to mouth.
A white mist is going up.
The small green nostrils breathe,
And they turn in their sleep.
Ousted from that warm bed
We are a dream they dream.
Their eyelids keep the shade.
No harm can come to them.
We cast our skins and slide
Into another time.
Full Fathom Five
Old man, you surface seldom.
Then you come in with the tide’s coming
When seas wash cold, foam-
Capped: white hair, white beard, far-flung,
A dragnet, rising, falling, as waves
Crest and trough. Miles long
Extend the radial sheaves
Of your spread hair, in which wrinkling skeins
Knotted, caught, survives
The old myth of origins
Unimaginable. You float near
As keeled ice-mountains
Of the north, to be steered clear
Of, not fathomed. All obscurity
Starts with a danger:
Your dangers are many. I
Cannot look much but your form suffers
Some strange injury
And seems to die: so vapours
Ravel to clearness on the dawn sea.
The muddy rumours.
Of your burial move me
To half-believe: your reappearance
Proves rumours shallow,
For the archaic trenched lines
Of your grained face shed time in runnels:
Ages beat like rains
On the unbeaten channels
Of the ocean. Such sage humour and
Durance are whirlpools
To make away with the ground
Work of the earth and the sky’s ridgepole.
Waist down, you may wind
One labyrinthine tangle
To root deep among knuckles, shinbones,
Skulls. Inscrutable,
Below shoulders not once
Seen by any man who kept his head,
You defy questions
You defy other godhood.
I walk dry on your kingdom’s border
Exiled to no good.
Your shelled bed I remember.
Father, this thick air is murderous.
I would breathe water.
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There are going to be days (or weeks, or months) where you sit down to write and feel... disconnected. From your voice, from your characters, from your ideas. Like the person who used to write your stories just packed up and left.
They didn't. They're just tired. Here's how to keep writing anyway:
Lower the bar (Until it's on the floor)
You are not here to write something brilliant. You are here to write something. A paragraph. A sentence. A single line of dialogue. Movement matters way more than quality.
Write around the story
Don't force it. If you can't write the scene, try:
⋆ A character ramble / journal entry
⋆ A conversation that won't be included in the final draft
⋆ A list of things the character would never admit out loud
⋆ A messy summary of what should happen
Engage with the story from a different angle.
Borrow a voice until yours comes back
No, not with AI. Read something that feels close to what you want to write, or watch a scene that captures the tone, then write immediately after. Not to copy, to reignite your instincts.
Write the emotion, not the plot.
What is your character feeling in this moment? What are they afraid of? What do they want but won't say? What's being kept from them? The emotion leads, the plot catches up later.
Stop trying to "feel like a writer" first.
You don't write when you feel like a writer. You feel like a writer because you write.
You are still a writer, even on the days it feels distant. Especially then.