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  • Dear Writers, What Do You Do When Your Writings Are Laughing at You?

    by Alin To all the writers: those who write every day, those who have written a novel, those who are still working on their book, those who haven’t written anything in a week/a month/a year, those who write but are afraid to call themselves writers, and those who are young and learning. Let me tell you about my NaNoWriMo (National Novel Writing Month) journey, in which you write a full-on novel within one month. Usually, the planning happens during October, called ‘Preptober.’ Instead of working on a novel, I was writing a novella, partially because I’m too scared to commit to a long project. I dedicated one week of November to outlining the story; however, I didn’t do a scene-by-scene plan and now I suffer the curses of I-don’t-know-what-happens-next and what-is-the-plot-again. So far, on the 16th of November, I’ve written 3.3k words out of my 15k-word goal. Did I mention that this is the first draft? And that I’m submitting this to a competition with a deadline? While juggling university applications?  When life throws rocks at you and breaks your hands, what do we, as writers, do?  When They Laugh at You, Laugh With Them. You can hear the words mocking you when you read your WIP(s). Why can’t you be like Mary Shelly who published Frankenstein when she was only TWENTY? Why can’t your prose be like Fyodor Dostoevsky? Why can’t you just write properly?  You’d cower in fear and close Google Docs, promising yourself to never write again. Like a kid who got called cringe by a bully after being discovered to unironically enjoy fanfictions.  They say bullies bully because they enjoy putting others down. So if you take all the power away, making yourself seem unaffected, then you win. Laugh at yourself, accept the truth, and move on. No one’s first story is perfect, nor does it have to be. Or imagine this: You embarrassed yourself on a big stage while rehearsing the show you’ve been looking forward to your whole life. The stage manager tried to hide their cackle, but you heard it loud and clear. Would you just leave the stage and abandon your dreams behind? When this is your first day  practicing? That’s right. You laugh along with them and try again.  But sometimes it does hurt, so take a breather and give yourself a healing period: Step outside, listen to music, socialize – anything but write. But afterward, you must go home and retrieve that deleted file. Whether you need a 1-day or 2-month break, as long as you return with a fresh mind, you’ll have the last laugh. When They Want a Divorce, Buy Them a Bouquet of Books In the middle of your first draft, not only do you have self-doubts, but you may have the same curse as me - not knowing what to write next. Any writer here who still doesn’t know if they’re a planner or a pantser? Or a planner-pantser or panster-planner? Or a planner-pantser-planner-planner-pantser? No matter how much you’ve experimented with the outline, the story never finishes. You then give up before writing a scene you’ve daydreamed about too many times – the very reason you started this project in the first place. Guilty as charged!  Now, this may seem hopeless seeing that I, the person who’s supposed to give you the ultimate cure to every writing problem, am also going through this. Trust me there is one single trick: Reading.  Subscribe to newsletters. Read literary magazines. Download Substack. Go to a bookstore. Borrow from libraries.  Ah, no, but what if I’m on a deadline? Make time for it. You know how in the morning, all you do is laze around in bed? Yeah, pick up a book instead. Remember how you spend 20 minutes trying to pick a YouTube video to watch while eating lunch? Why not just read while eating? Or on long car rides where you look out the window and daydream to edgy songs? Read. Motion sickness? Audiobooks.  You never never have enough time.  When you read, you may find something you love and hence, inspire your WIP(s). Don’t just read books by your favorite authors, expand your taste! I like to approach people who read often and ask them to recommend a book. If you’re a student, your English teacher is the best bet. Plus, you’ll establish new friendships and maybe they’ll let you borrow their copy! When They Cry, Make Them Laugh, Just Not at You. When both you and your words are on the verge of giving up from getting rejected by a literary agent or magazine for the 237th time, think of published authors and look through their life before that one famous, signature book of theirs. Or better yet, look at terrible works that managed to be published. Now this is getting controversial. Some of you may be convinced that writing is subjective and that there are no objectively bad books, but you might change your mind after reading this REAL excerpt from an ACTUAL, PUBLISHED book. “I ask for giveness of the world of mankind for teling the trouth I meane No hurt to A flie only when he bits me then I kils the flye if I can I have bin my one tromter fore teene years my tromter is Dead my haveing so many wounds in fas and on my head I Doue it to make a good Lafe to keep my sperets from sinking pittey me all good peopel A men” Yes, this is real. This is from A Pickle for The Knowing Ones  by Timothy Dexter . This is an autobiography in which he grandiosely describes his life while avoiding punctuations and misspellings practically the whole book. That’s not the end of it. At the end of the second edition, Timothy wrote long blocks of different punctuation with a note that read: “ fouder mister printer the Nowing ones complane of my book the fust edition had no stops I put in A Nuf here and thay may peper and solt it as they plese ” People were complaining about the lack of commas and periods, so he put all of the punctuation at the end and went “Add it yourself.”  Still, this book was published and is talked about to this day. Of course, the industry has gotten harsher and it’s harder to be published nowadays. But listen, if he made money out of this, so can you. Learning the history behind each novel makes you feel less uneasy since you can see that they’re all learning writers, not a gifted child writing like Shakespeare out of the womb.  Moral of The Story When life breaks your hands, wait for them to heal, exercise to regain strength, and keep writing. These are all the hardships you as a writer have faced or will face. It’s natural to have these self-doubt feelings and inspiration blocks. It just depends on how you deal with them. And these are the methods that effectively work for me. It might be different for you, which is why I encourage you to confront your feelings rather than let them linger. Remember: if your writer-self ever causes distress again, think of your favorite book. In another timeline in which the author quit writing and that book was never published, what would your life be like now? Lost, empty, and longing for a home? That’s exactly how your future readers would be if you never finished your story.

  • How To Conduct An Interview With An Author : Tips, Tricks, and Errors to Avoid

    by Prisha Mehta If you aspire to be a journalist like I do, or are just interested in interviewing someone, there are a few important steps to take to ensure a good interview. An important part of interviewing is being able to connect with the interviewee, while drawing out informed answers from them. Here are a few tips to keep in mind: RESEARCH : The first and main point is to research well about the author and their works. Go through their previous interviews, if any, research where they lived, their childhood, people or works that influenced their writing. Try to look up their social media accounts, articles, interviews, anything that helps you get a better understanding of them. DECIDE HOW TO RECORD THE INTERVIEW: If you’re taking notes for a blog article, notes on the interview may be all you need. However, if it’s for a podcast or similar audio format, consider recording it and taking photos for visual context. For a video interview, ensure that all recording devices are working perfectly for a smooth experience. PRE-INTERVIEW PREP: You could arrange with the interviewee ahead of time to broadcast a live video, or share clips of the conversation later on social media. This can help engage a wider audience and make the interview more interactive. PREPARE QUESTIONS: Start off with soft and easy questions, like “How was your day?” or “How long have you been writing?”. Questions like these help ease nerves, for both you and the person you are interviewing. ABOUT THE BOOKS: Dive into the author’s work with questions that explore key themes, character development, and inspirations. This gives the readers a view into the author’s perspective and may help them understand more about the character or plot. STAY FLEXIBLE AND LISTEN: While it’s important to have a plan, allow room for natural conversation flow. Sometimes the best insights come from unplanned follow-ups, so be ready to adapt. WRAP UP WITH APPRECIATION: End the interview by thanking the interviewee for their time and insights. A warm closing leaves a positive impression and helps build a good rapport for future connections. Now that you know how to conduct the interview, here are a few mistakes that could be avoided by preparing a few things beforehand. ERRORS TO AVOID : PLAN MEETING TIMES: While deciding on a date for the interview, make sure you’ve decided the correct time to conduct the interview, especially if time zones differ. Make sure to communicate with the interviewee and double check this at least a day before the interview. DON’T ASK BORING QUESTIONS: Asking boring and monotonous questions will only be met with boring and monotonous answers, and will disengage your audience. Try different games, like 'First Thing That Comes to Mind' or 'Two Truths and a Lie' to create a light-hearted atmosphere whilst still staying on topic about their author and their works. This also gives you a chance to ask probing follow-up questions such as ”Has there ever been a story you wanted to write but couldn’t because it was too raw, too real, or too impossible to capture?” or “What does success as an author mean to you? Has this definition changed over time?” If the questions seem too difficult to answer on the spot, you should send them to the author in advance just to give them some time to prepare. FOLLOW UP : Follow up both prior to the interview and after. It is better to send a follow up email/message one or couple days prior to the date just to remind them of their upcoming interview. After the interview, send them a thank you for their time and that you enjoyed interviewing them. It’s also just a polite and nice thing to do. And that’s how to conduct your first interview to the best of your ability! Remember to stay calm, be attentive, and let the momentum flow naturally. With these tips, you'll be able to create an engaging and meaningful interview experience.

  • Rewriting History: Why Historical Accuracy in Writing is so Important

    by Carina Although creating a fun story is important, ensuring your writing is historically accurate is even more important. It can even improve your writing! Historical inaccuracy can affect people’s perceptions of history, be harmful, and unfair. Although it can be difficult, putting in the time and effort to do the proper research is worth it. Historical accuracy is something we should always be able to count on in literature.  The knowledge that we absorb everyday shapes how we view the world. This applies to the stories we read as well. If you were to read a book about the French Revolution, some of the book’s teachings would contribute to your general understanding of the French Revolution. If this book was not accurate, you would have a tainted perception of the French Revolution.  To some people, portraying historical events such as the French Revolution inaccurately might not seem like that big of a deal, but that’s just one of many examples. What about events such as World War 2 and slavery? If these events were inaccurately portrayed by authors, we wouldn’t be able to beneficially learn from the mistakes of our past. Learning all the true facts about these events ensures we don’t make the same mistakes again and repeat history, which is extremely important. In fact, many schools require students to read historical books for this reason. It’s especially important that children read historically accurate books because they’re still developing and have a more malleable view of the world. Kids are also less likely to be able to tell whether a book is accurate or not.  Although I would hope many schools have fact checked required books used for class discussion, some surely haven’t. And those that have can’t always ensure books provided for students to choose in classrooms or libraries are reliable. Additionally, even if a book isn’t completely inaccurate, it can still be misleading, especially for children.  It’s also important to consider how falsely portraying a historical event could make those affected by it feel. Rewriting what happened could change their involvement and experiences in others’ eyes. If you happen to misportray something or someone that is underrepresented, you could even cause people to view it or them in an inaccurate way. But historical inaccuracy isn’t just harmful to people’s perception of things. It can also lessen the quality of your writing. Historical inaccuracy can make your writing seem insincere and unfinished. Good historical accuracy allows you to add details that directly relate to the story. While you’re researching you might come across new ideas or details to add to your story. Details like these will allow the reader to understand and immerse themselves in the story more. Sometimes being historically accurate can even help you gain inspiration.  Finding accurate and useful information can be a tedious process. In order to find accurate information, look for reliable websites such as .edu, .gov, and trustworthy .org. Many of these sources will have reliable sources of their own listed somewhere that you can check out. Local libraries and museums are also a great resource. Many have their own resources with books, databases, archives, and other information you can see in person. Staff are usually willing to help as well. One of the best things you can find is a primary source, or a first-hand account or item from the time period you're looking into.  We should always be able to rely on authors to provide historical accuracy in their work in order to create a better experience for everyone. Putting in the work won’t just benefit the reader and writer, but the world as a whole. References: Wood, Heather . “The Importance of Historical Accuracy.” Fictionary , 23 Feb. 2023, fictionary.co/journal/the-importance-of-historical-accuracy/ . Accessed Nov. 2024.

  • May the Odds be Ever in The Hunger Games’ Favor

    by Lily Recently, with increased uncertainty over the future of many governments, especially in the United States this past week, it might seem like we are moving closer and closer to a dystopian society every day. Because of this, dystopian books are becoming more plausible every day. One such example is The Hunger Games  by Suzanne Collins, a still-growing franchise that might be the most relevant of all. But what really goes into making a powerful dystopian novel? One of the defining characteristics of the dystopian genre is that (through dramatized worst-case scenarios) they criticize current trends, societal norms, or political systems. The criticism of many aspects of society offered by The Hunger Games  is particularly complex and has only grown more relevant as time goes on. One major feature of the society in these books is that the wealthy citizens of the Capitol wait to watch poor citizens of the districts starve, turn on each other, and die brutal deaths in an arena similar to how we watch reality TV shows. They have been desensitized to suffering and brainwashed to think that people from the districts are so lowly that their deaths mean nothing. Currently, this mirrors how in modern times, we are so exposed to human suffering in the Middle East, Ukraine, and many areas in Africa. One especially poignant example is the way Westerners have been manipulated by heavy propaganda and media bias regarding the ongoing Palestinian genocide. Overwhelmed by calls to donate, protesters deemed anti-semitic, and graphic videos on social media, many American citizens, like citizens of the Capitol, can brush these things off and go about their daily lives. When reading The Hunger Games, an observant reader is forced to confront their negligence and (if they understood the message of the book) will walk away with a heightened awareness of media bias and we talk about the suffering of minorities.  Another important characteristic of effective books is having complex and compelling characters. In The Hunger Games, the protagonist Katniss Everdeen is faced with the burden of keeping her little sister Primrose alive from a very young age after the death of their father. At the time of the book, she takes this on in a much more obvious way by volunteering to enter the games in Prim’s place. She speaks out against the Capitol in the safety of the woods with her best friend Gale, and she unknowingly walks into becoming the face of a revolution. Throughout the story, she struggles to grapple with the emotional burdens of her situation and grows to see herself as an anti-hero. Her character arc and strong-willed personality are features normally seen in male protagonists, whereas Peeta (the male lead) presents a more stereotypically ‘feminine’ character bringing an emotional perspective that contrasts Katniss’ bluntness. She is aware of her two male love interests, Peeta and Gale, but her priority always lies in protecting her family. This subversion of expectations builds up their characterizations and leads the reader to look deeper at their motivations. Despite the strengths of the books, the films are significantly less successful in conveying the core messages, most likely because it would have been impossible to turn a book that critiques media consumption into a highly profitable blockbuster film without the entire story becoming deeply ironic. When analyzed, anyone could see how the movie mirrors their society, presenting watchers with the flaws in their government, however, the average consumer will not look much deeper than the surface level. In the films, the feminist portrayal of Katniss’ character in the book is also twisted, and sexualized to be more appealing to movie audiences. There is something to be said in this argument about how the book itself weaves irony into the turns Katniss’ life takes; At the beginning of the first book, she very adamantly did not want to become a spectacle at the hands of the Capitol. Despite this by the end of the trilogy she has become an almost mythologized figure of the revolution, the  Mockingjay is a melodramatic caricature of Katniss. The use of this irony/hypocrisy becomes a powerful tool in the storytelling.  A good dystopia uses many elements to create a powerful and relevant reflection of real-world problems. When a book (with the use of compelling characters and plotlines) can make this critique relevant to readers across many different backgrounds and ages, and even retain this relevancy for many years, that is the mark of a good dystopian novel. No one does these things better than Suzanne Collins in her trilogy The Hunger Games .  Works Cited Dominguez, Laura Pereira. "Virginity, Wilderness, and Bows: Diana's Return in Contemporary Cinema." Journal of Comparative Literature and Aesthetics , vol. 43, no. 4, winter 2020, pp. 28+. Gale Academic OneFile,  link.gale.com/apps/doc/A643395604/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid=492ec8ec , Accessed 15 Oct. 2024. “Dystopias: Definitions and Characteristics.” ReadWriteThink , International Literacy Association/ National Councils of Teachers of English, http://www.readwritethink.org/files/resources/lesson_images/lesson926/DefinitionCharacteristics.pdf Nyman, Rena. “ The Hunger Games  as Dystopian Fiction.” Northeastern University , 2015,  https://openjournals.neu.edu/nuwriting/home/article/view/127/114 . Accessed 15 Oct,  2024.  Tompkins, Joe. "The Makings of a Contradictory Franchise: Revolutionary Melodrama and  Cynicism in The Hunger Games." JCMS: Journal of Cinema and Media Studies , vol. 58,  no. 1, fall 2018, pp. 70+. Gale Academic OneFile,  link.gale.com/apps/doc/A598464375/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid=afdda1cf . Accessed 15 Oct. 2024.

  • The Power of Voice in Writing

    by Skylar Voice, you ask? Isn’t that a sound produced by our vocal cords? Actually, it’s not just a sound; it extends beyond spoken words. In writing, it is expressed through a writer’s unique usage of syntax and diction. Voice forms the character of the author or the narrator by infusing the work with personality and perspective. It is a powerful tool because it has the ability to evoke intense emotions through words. In writing, voice can be considered one of the most important devices because it creates a connection between the writer and the audience. Voice keeps readers engaged with the work because it carries the essence of the author or narrator’s personality. In writing, personality is characterized by tone. Tone is the attitude conveyed by word choice writing and demonstrates to the readers how the narrator feels. Through tone, voice functions as a guide for the reader. The reader will be affected by the attitude of the story; it will govern how they respond. This could extend to challenging the way they think. Primarily, an author’s perspective allows the reader to engage with the work.  Personality in writing creates a distinct voice that differentiates you from other writers, while also helping to beat AI allegations. A computer can’t channel tone and emphasis like you can. Having a unique voice makes you stand out, and capture readers’ attention. Whether there is an author or a narrator, it humanizes them. In fiction, characters carry the duty of translating voice. It is imperative that a character seems real; you want your readers to be invested in your story. Their dialogue is important in connecting with the audience. Narration is equally important; setting the scene means dictating it in an engaging and creative way. The narrator’s job is to decide how fast or slowly a story is told. Pacing is another aspect of the author’s voice. In nonfiction writing: you are building a personal connection to the readers. Voice allows readers to relate to you.  For example, in Jesus Shaves , a creative nonfiction essay by David Sedaris, where he recounts an experience he had in a French class where he discovers that every culture has a unique representation of the Easter Bunny. Sedaris’ culture shock is relayed in a conversational tone which is informal and follows regular speech patterns. The tone is used to convey a humorous mood. On the other hand, in Maxine Hong Kingston’s essay, No Name Woman,  she tells the story of an aunt who is shunned for becoming pregnant. Kingston’s tone is serious, and the mood is somber which lets the readers know how they should comprehend her story. She isn’t trying to scare others, or simply inform them; Kingston is sharing a story steeped in sorrow.   Developing a voice in writing will take time. This entails curating a style that captures who you are. Freewriting and experimenting with distinctive styles of writing will be a necessary first step. Try writing like an author whose books you get lost in and study it. Ask the question: Is the author successful in what they try to accomplish? The key is to understand their choice of words and how they arrange words to convey mood and tone. It is also useful to study authors who do not do a good job of this. Analyzing how they write will help you understand how tones can shift or add to the atmosphere.  Voice is a literary device that creates depth in work. It is at the core of writing. Voice goes beyond words on a page, carrying the weight of feeling, emotions, and connection. It makes written words memorable and makes the story an immersive experience.  Works Cited Sedaris, David. “Jesus Shaves,” Me Talk Pretty One Day.  First Back Bay paperback edition. Boston [Mass.], Back Bay Books, 2001. Kingston, Maxine Hong. “No Name Woman,” The Woman Warrior: Memoirs of a Girlhood Among Ghosts.  Vintage international edition. New York, Vintage International, 1989.

  • Could I Have Generated This Article? : A Dive on Computational Literature

    by Alin Today, for the past hour, I’ve been letting Taroko Gorge  (by Nick Montfort), a code that generates an endless poem, marinate as I watch stanzas pop up and disappear.  “Forests exercise the veins. Coves relax. Height roams the rippling    progress through the encompassing –” And on and on and on…  This type of writing is what we call computational literature. The globalization of advanced technology revolutionized how we now operate in our daily lives. Thus, this change created a new era of computers, phones, and electronic devices. It birthed a new form of poetry that heavily relied on the performance of a computer language, code. To create a poem that never ends, you’d need something to be working endlessly–something a normal human can’t achieve so we used the assistance of a computer. The same set of vocabulary, the same shape, the same form as the poem varies in content. Each line presents a new view, yet they’re all related to nature in some way. Instead of writing the poem, the poet writes the code. That code, in turn, writes the poem. Why did Montfort choose this format? Taroko Gorge  utilized the technique to capture the essence of endlessly walking in nature, specifically in Taroko Gorge National Park in Taiwan. The author went as far as to write the entire code in one day at a park. The poems consist of lines describing the scenery, ‘the path line’; the experience of stopping at sightseeing points, ‘the site line’; and walking through the tunnels dug by the national army, ‘the cave lines’ (Montfort 2012). The poet used Python code to create a boundless poem, which generates forever as long as one keeps the tab open. Words are still fed through the machine, as shown by the repetitive theme of nature in words like “forest,” “stones,” “coves,” etc.  Sometimes it’s not about creating something impossible, but for fun. For instance, NaNoGenMo, or National Novel Generating Month, is an alternative to NaNoWriMo in which computer enthusiasts write codes to generate a 50,000-word novel. It is exactly as it sounds. They write the code and then run it through to generate a book with slightly altered rules: one, share a source code and one novel, and two, respect copyright.  Fun fact: someone made a code  in which the program would replace each word in a novel with the word ‘meow’ while matching the length of words.  Now we may have the same question: Having these writings be completely randomized and created boundlessly by a series of codes and performed by an artificial entity, wouldn’t that classify computational literature as AI?  If it was fine to generate a poem like this, why couldn’t I have used AI to make this whole article? Is Computational Literature the Same as AI? There’s a reason people are protesting for AI to be gone or at least regulated. It’s trained off people’s works – without their knowledge or consent. Meanwhile computational literature, despite some of its AI elements, is made up of codes written by a real human. The words generated are regulated by the author, commanding what group of words it should use and the format of the poem, unlike ChatGPT or any art generative programs.  It demands a great command over computer-related skills to successfully execute the piece. Meanwhile, in the case of AI generating the piece, all you have to do is type: “ChatGPT, can you make me a poem about love? Please and thank you. By the way, when a war breaks out between robots and humans, promise you won’t attack me” or something along the lines. You can see that there is no emotional value, but rather, it’s just writing a poem for the sake of writing one. For me, one of the most enjoyable prospects of reading any piece of writing is that there is always someone behind it. Someone who sat down and typed letters into words, then into paragraphs of sentences, and then into a form of text to be read and comprehended by someone else... When I read a book, I imagine the behind-the-scenes of the author frantically editing the same paragraph over twenty times to get it right. With algorithmic poems, I imagine the poet typing in the code, spending hours fixing it, and running it through several times. With AI-generated poems, I imagine someone taking pieces out of indie poets and piecing them together with AI technology by just typing a single prompt. A smile on their face, feeling no remorse for the writings they’ve unknowingly (or even knowingly) stolen. The Boundless Evolution Poems seep into many forms and adapt to our growing technology. This is only one in an infinite amount of forms you could use. My favorite is probably in the form of games. Storytelling has become the basis of many selling points of games. Whether it’s a turn-based, open-world, or RPG game. Stories and poetry seep into every corner of the world (here’s my favorite: A Blue Flash of Light by Felix Lecocq ). It’s no longer confined by traditional forms like a sonnet or an epic. Rhyming is not a requirement and neither is the medium you choose to write in. However, to write a great poem is to understand the message you’re trying to convey. Everything in poems should have a purpose and that includes the form the poet used. For instance, the aforementioned poem is about walking through a park without a destination in mind. So, using algorithms to forever generate an endless poem fits with the theme. The titles, chosen forms, and specific word choices all play a part. The poem doesn't start with the first line, it starts when you read. And to answer the title: sure, if I could code. Citations NaNoGenMo. “GitHub - NaNoGenMo/2024: National Novel Generation Month, 2024 Edition.” GitHub , github.com/NaNoGenMo/2024 . Nick, Montfort. ““Taroko Gorge” Printout | the New Everyday.” the New Everyday,  6 June 2012, mediacommons.org/tne/pieces/taroko-gorge-printout .

  • “Resist, Rewrite, and Reclaim.”: How Activists Used Literature To Spark Change

    by Prisha Through literature, authors have changed our perception and understanding of history. From their reimagined historical events to confronting uncomfortable truths, we question our understanding of the events that have passed.They have used literature to address critical issues, challenge societal norms, and inspire movements. Among these literary activists are Arundhati Roy, Chinua Achebe, Margaret Atwood, and Maya Angelou. Each one of them, in their own unique way, have used literature as a medium for activism, leaving their imprint on society and contributing to the global discourse on human rights, identity, and justice. Arundhati Roy: A Voice Against Injustice In India   Arundhati Roy, renowned for her debut novel The God of Small Thing s (1997), has not only made significant contributions to literature but also is a formidable voice in social and political activism. Her literary works, characterised by their lyrical narratives, delve into the unspoken complexities of Indian society. Through her novels and essays, Roy addresses pressing issues such as caste discrimination, environmental destruction, and human rights abuses. In The God of Small Things , she explores the deep-seated caste system in India, through a tale that highlights the social inequalities. Her narrative challenges readers to confront the harsh realities faced by marginalised communities. Similarly, The Ministry of Utmost Happiness  (2017) paints a vivid picture of contemporary India, touching upon themes of political unrest and social injustice. Beyond her novels, her essays and public speeches criticise globalisation and neoliberal policies, advocating for the rights of indigenous people and environmental conservation. Her activism through literature has sparked conversations and influenced public opinion, making her a significant figure in contemporary socio-political discourse. Chinua Achebe: Reclaiming African Narratives Chinua Achebe, often hailed as the father of African literature, made a profound impact with his seminal work, Things Fall Apart  (1958).  His novel serves as a powerful critique of colonialism and its devastating effects on African societies. Through the story of Okonkwo, the protagonist of Things Fall Apart  who is a tragic hero, the complexities and richness of Igbo culture have been portrayed, challenging the one-dimensional portrayals of Africa prevalent in Western literature. Achebe's work is crucial in the postcolonial literary canon, as it reclaims the African narrative from the distortions of colonial discourse. His portrayal of pre-colonial African society emphasises the value of indigenous cultures and the catastrophic impact of European colonisation. His activism is evident in his efforts to promote African literature and culture, encouraging African writers to tell their own stories. His contributions have been instrumental in shaping the field of postcolonial studies and fostering a greater understanding of Africa's historical and cultural heritage. Margaret Atwood: A Feminist Icon Margaret Atwood's dystopian novels have become synonymous with feminist resistance and critique of authoritarianism. The Handmaid's Tale  (1985), her most famous work, envisions a future where women's rights are stripped away and they are reduced to mere reproductive vessels. Through this bone-chilling narrative, Atwood explores themes of gender, power, and oppression, contrasting with contemporary issues of women's rights and bodily autonomy. The Handmaid's Tale  has become a cultural phenomenon, particularly resonant in discussions about reproductive rights and gender equality. Its adaptation into a successful television series further amplified its impact, bringing Atwood's cautionary tale to a broader audience. The sequel, The Testaments  (2019), continues to explore these themes, reinforcing her position as a literary activist. Through her work,she has challenged readers to question and resist societal norms that highlight inequality and oppression, making her a pivotal figure in feminist literature. Maya Angelou: The Resilient One Maya Angelou's literary contributions, particularly her autobiographical works, have been pivotal in American literature and civil rights advocacy. I Know Why the Caged Bird Sings  (1969), Angelou's first autobiography, is a powerful exploration of race, identity, and personal resilience. Through her vivid storytelling, Angelou addresses the struggles and triumphs of African Americans, shedding light on the racism and discrimination they face. Her writing is embedded with a sense of hope and resilience, inspiring countless readers to overcome adversity. Her works extend beyond literature, encompassing her roles as a poet, performer, and civil rights activist. Angelou's close association with prominent figures such as Martin Luther King Jr. and Malcolm X underscores her commitment to the fight for equality and justice. The works of Arundhati Roy, Chinua Achebe, Margaret Atwood, and Maya Angelou exemplify the power of literature as a tool for activism. Through their spellbinding and heartfelt narratives, these authors have addressed topics that others were too scared to or refused to acknowledge. Their contributions extend beyond the written word, influencing public opinion and sparking conversations that drive change. In an era where the struggle for justice and equality continues, their literary activism serves as a beacon of hope and a call to action. Citations:  World Kashmir Awareness Forum. "Arundhati Roy's Azadi: A Voice Against Fascism and for..." Kashmir Awareness Forum , https://kashmirawareness.org/arundhati-roys-azadi-a-v .... Poetry Foundation. "Maya Angelou." Poetry Foundation , https://www.poetryfoundation.org/poets/maya-angelou . Hilbert College. "Social Justice Activists: Maya Angelou." Hilbert College , https://www.hilbert.edu/social-justice-activists/maya- .... Baker, Christina Looper. "Women Disunited: Margaret Atwood's The Handmaid's Tale  and Feminist Dystopia." SJSU ScholarWorks , https://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1004&context=etd_theses . Iyayi, Ahmed. "The Pen and the Plow: Chinua Achebe's Things Fall Apart ." DergiPark , https://dergipark.org.tr/download/article-file/95223 . "Chinua Achebe: In His Own Words." Central Oregon Community College , https://web.cocc.edu/classes/hum211/achebe2 .

  • Writing: A Medium For Expression, Not A Burden

    by Rose R. Sales I have always been an advocate of 'Writing should not be a burden,' a belief that kept me grounded through the ups and downs of my journey. I remember when I first started publishing my literary works on Facebook and other social media platforms — it was both exciting and uplifting. I felt free to convey my thoughts and sentiments, unconcerned if anyone read them. Then, I received a single like and comment on my poem, a gratifying moment I still recall. It wasn't about capturing someone's interest to validate my ideas; it was knowing that my words had moved someone enough to persuade them to share their thoughts too.  I had long buried my emotions, carving a wide grave for them in my youth, and it was a bleak, desolate place. But writing gave me a new purpose: it became an avenue for self-expression and a way for readers to connect, reassuring them they weren’t alone in living the stories they feared to tell. I know this all too well because before I became a writer, I was a reader. Reading opened my eyes and took me to places I’d never imagined, which led me to wonder—what if I could write words that might help others too? That thought brought me a sense of purpose and fulfillment. Fast forward, I earned a couple of thousand followers on my page. I won't deny that the drastic increase in attention for my literary pieces put me in a state as if I were being crushed by relentless waves. It terrified me. I couldn't help but harbor pessimistic thoughts. "What if I'm being too opinionated?" "What if I'm being too dramatic?" "What if they don't agree with me?" What if I'm boring and not creative?" "What if every piece I wrote was dripping with grammatical errors?" "What if I'm not good enough?" I was caught in a downward spiral; writing became a burden. What kept me writing was the truth that I never wanted to return to the tunnels of silence and suppressed emotions. Yes, writing can sometimes feel like a burden, but that's the price for having a medium to express the soul behind the eyes, whether shared publicly or kept private. I also thought about the genuine readers—those who root for me, who’ve glimpsed a part of my soul through my words. It would be unfair to shut that door simply because I struggled with the attention. After all, when handled well, it’s not a burden but a gift. When you write alone, it feels cathartic. Yet you may still feel unheard as your words remain in your notes, left unread by others. When you share your work with the world, too many eyes are watching, and the possibility of being a people-pleaser confronts you, transforming writing into an intimidating activity. These obstacles may not always be avoidable, but you can strive to conquer them. Remind yourself why you started writing. Define your reasons, and you will find clarity. Writing is a friend; it helps you express and listen, so be a friend as well and don't force it. Writing and reading are a couple, and things start to make sense when both of them work together. When your mind is blank, read; when it's jam-packed, write. Wait and be patient with yourself. Build a bond between your art and your heart; truly, I tell you, you'll find light in the dark.

  • Mental Health Representation in Literature: A Critical Domain

    by Shreya Mental health representation is a critical domain of writing. It makes the reader feel seen. They do not feel alone and scared to seek help. Self-help books might make someone feel like they are broken or something is wrong with them whereas when there is mental health representation in your favorite thriller or romance you connect more and understand the consequences. Exposure : Teenagers today are often bombarded with images and narratives on social media that can distort their perceptions of reality which can make them feel broken or lost.. Representations in literature can counteract these influences by providing authentic, relatable experiences that validate their feelings and challenges. One might not even be aware that what they are going through is an actual illness until they read it in a book. Normalization:  Teenagers must know that feeling lost and down is common. Having mental health issues is normal and nothing to hide. Taking breaks and taking care of your mental health is equally important as your physical. When you see your favorite characters speak up and work on themselves it makes you feel less alone and also want to do better. This instills courage in you. Many authors also make sure their readers are aware of hotline numbers and in details of who they can seek help by adding hotline numbers and website links. Unraveling: People say books don't provide you with enough wisdom for life, that you must experience the world outside to learn from it. Books often serve as manuals, making life’s challenges easier to navigate. When a beloved character faces similar struggles during their late teens, you can draw comfort and wisdom from their experiences, finding solace in their story and the lessons it imparts. Empowerment : Reading about others’ mental health struggles can deepen your empathy and understanding for their experiences. This perspective helps you become more compassionate and practical when someone seeks refuge in you. Awareness is enlightenment. Courage: Books with strong mental health representation can serve as safe spaces for teens to explore their feelings without judgment. They can reflect on their own experiences while relating to the characters' journeys. Stories of characters overcoming mental health obstacles can inspire resilience in young readers. They can see that recovery is a journey, with ups and downs, and that seeking help is a sign of strength. These can save lives and make teenagers feel better in their skin. Writers have a unique opportunity to craft narratives that resonate deeply with young readers, providing them not only with entertainment but also with vital insights into their own lives. By creating layered characters with authentic struggles, authors can portray the realities of mental health in a way that feels both relatable and validating. When characters face challenges with mental health, they reflect the genuine experiences of many teenagers navigating similar issues. This connection fosters a sense of understanding and acceptance, helping readers realize that they are not alone in their feelings. Furthermore, when stories incorporate themes of resilience, healing, and the importance of seeking help, they send a powerful message: that mental health is just as crucial as physical health and that addressing it is a sign of strength, not weakness. Therefore it is important to write layered characters with depth and flaws.  Keep your characters as real to reality as possible with flaws and issues one may face at their age that can make teens feel seen and heard. Depth and dimension make characters feel more alive and likable. Authors can confront the stigma surrounding mental health issues by weaving these themes into their stories, they contribute to a larger dialogue that emphasizes empathy, understanding, and acceptance. This creates a safe environment for young readers to explore their emotions and confront their demons. Mental health representation in YA literature is vital for fostering understanding, empathy, and resilience among teenagers, especially in an age where social media can amplify feelings of isolation and anxiety. By presenting diverse and authentic narratives, authors can help create a healthier dialogue around mental health, encouraging teens to seek help and support one another.

  • Harnessing Your Creativity to Reach Your Full Potential

    by Carina As a creative person, finding a way to organize and channel your creativity can be difficult. It’s important to take control of your creativity so that you can utilize and enjoy it efficiently. If you ever need help finding inspiration, turning your ideas into art, or managing everything, this is for you.  Balancing creativity and responsibilities: As a teenager or young adult, you have a lot of responsibilities. You might participate in sports, school, work, and other activities that take up a lot of your time. All of these activities are great, but continuing to embrace your creativity is also important. If you have a lot to manage, you might have to take inspiration from the world around you. You could write about things you learn from life, things you enjoy, or how your daily activities impact you. To keep my thoughts in order, I write down any ideas I have, even if they’re incomplete. If I see something interesting, I jot it down. If I learn about something new, I write about it. Getting these ideas stored somewhere can help you when you’re struggling to find inspiration later.  Brainstorming sessions: A lot of creative people set aside time to allow themselves to brainstorm. Brainstorming allows us to turn our ideas and inspiration into something more concrete we can use. Brainstorming can look different for everyone. One of my favorite methods is gaining inspiration from other artists. This can be achieved by taking time to observe and understand their artwork. There are also online resources for finding inspiration, such as Pinterest,   SAVEE,   Lemon8,   and Instagram.  You could also combine random ideas, possibly from the list earlier, until you come up with someone that interests you. Another great method is to set aside time to write about whatever comes to mind without stopping. Ensuring you have a good environment to brainstorm in is also beneficial, which leads me to my next point. Creating a good environment: Creativity can be difficult to tackle, which is why it’s important to provide yourself with a good environment to manage it. Brainstorming, finding inspiration, and creating something can be very difficult when you’re in a distracting or uncomfortable environment. I suggest finding a quiet and comfortable place so that you can relax and focus. For me, removing distractions such as my phone or other things that might compromise my focus is also beneficial. Once I’ve been distracted by something, it can be difficult to get back on track. Drafting: Even after brainstorming, it can still be difficult to decide exactly what you want your work to look like. This is why we make drafts and revisions to our work. Besides helping you perfect your piece, rough drafts also help you come up with new ideas and purposes for your piece. If you wish, you can get critiques, constructive criticism, and opinions from others and update your drafts accordingly. During this stage, you should also be figuring out what you want your piece to communicate, such as what messages and lessons you want others to take from it. Deciding your work’s purpose can aid your drafting by providing new inspiration, ideas, and details. Finding the best process to create your work: Creating your art should be a process you enjoy. Find ways you can take some of the stress off, such as planning well beforehand and having the correct environment. Oftentimes my work turns out best when I’m stress-free, allowing my creativity to flow. Additionally, don’t be afraid to make mistakes! It happens to everyone, and it’s an important part of the creative process. We learn from them, and sometimes they even allow us to make our art even better. Even with my tips, it’s up to you to decide all the details of what works best for you. You might like to listen to music while you work, or maybe you like it silent. Some people might like to make things chaotic and do what you’re called to, while others prefer a very neat and well-planned approach. It’s all up to you and your trial and error. Organizing your ideas and creative process in order to take control of your creativity is very beneficial. It helps us to make the best versions of our work. But in the end, it’s all up to you to decide. Your creative process is simply whatever works best for you. But with that being said, I hope my ideas at least give you a new understanding and ideas on how to tackle your creativity better.

  • Spook-tacular Reads and Writing Tips

    by Prisha Fall has already set in, and it's the perfect time to get started with tales and poetry that will have you looking over your shoulder every second. From classic horror to spine chilling myths, these recommendations will prepare you for the ghosts and ghouls lurking in the Halloween air and if you're looking for writing ominous books this fall, these writing tips will help you spook the reader to the core. The Classics :  These tales have passed the test of time, scaring generation after generation with their blood curdling and bone chilling writing. From 'The Master of Macabre’, Edgar Allan Poe, we have: The Tell Tale Heart – A story of paranoia and guilt, where the narrator is haunted by the sound of a beating heart, leading to madness. A madness caused due to a heart that the protagonist removed of an innocent man, all because of just one imperfection. The Raven (poem ) – This iconic poem tells of a man tormented by a mysterious bird (a raven) after the loss of his wife. He starts overthinking and pieces things together that he never should have leading to his grief, despair and how the supernatural mixes with all of it The Fall of the House of Usher – A tale of a crumbling mansion with family madness. When the dead unexpectedly return in flesh and bone, his world is thrown into chaos. A desperate cry for help soon spirals into the narrator's worst nightmare, unravelling his grip on reality as everything around him begins to crumble, including his own sanity. The Pit and the Pendulum – A terrifying account of a prisoner in the Spanish Inquisition facing psychological and physical torture by way of a swinging blade. The painful wait till the pendulum slowly comes closer is truly terrifying. The Cask of Amontillado – A chilling tale of revenge, in which the narrator lures his victim into a deadly trap within the catacombs. In his ploy to seek vengeance, he leaves another body entombed in the dark corridors. This story is filled with psychological tension and a rich gothic atmosphere. Timeless Tales of Terror that have seemed to spook century after century and maybe they might just terrify you this halloween :  Frankenstein by Mary Shelley – The tale of Victor Frankenstein, a scientist who creates a living creature from dead body parts, only to be horrified by what he has unleashed. In his greed and ambition to strive for the impossible, he comes to face the effects of his actions. The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson – A gripping novella about the duality of human nature, as the respectable Dr. Jekyll struggles with the darker, malevolent persona of Mr. Hyde.  The Turn of the Screw by Henry James – A psychological ghost story about a governess who believes her young charges are being haunted by sinister spirits. The ambiguity of the story leaves you questioning what’s real and what’s imagined. The Phantom of the Opera by Gaston Leroux – A classic gothic horror romance about a disfigured man who haunts the Paris Opera House, manipulating events from the shadows and terrorising its occupants to get what he desires. The Invisible Man by H.G. Wells – This science fiction horror novel tells the story of a scientist who discovers how to make himself invisible, only to descend into madness as his newfound power consumes him.  The Picture of Dorian Gray by Oscar Wilde – A gothic novel in which the young and  beautiful Dorian Gray remains physically youthful while his portrait ages, reflecting the corruption and moral decay of his soul.  This halloween scare others, instead of getting scared. Whether you're writing a spooky tale or crafting a chilling narrative, here are a few tips to incorporate fear and fright into your story that will leave your readers haunted long after they've put it down. You might just make them too terrified to look back, afraid of what might be lurking behind them. Creating an Eerie Atmosphere:   Using vivid descriptions to paint a picture that immerses readers in the scene, like incorporating in the settings dark forests, abandoned houses, or fog-covered graveyards. Although these are slightly cliche, these settings remain a staple in gothic fiction.  In a normal setting minute changes, such as a kitchen with a door ajar, or things where they aren’t supposed to be can invoke dread amongst the readers. It's important to engage all five senses. Describe not only what the characters see, but also the sounds (creaking doors, howling winds), smells (decaying leaves, damp earth), and textures (cold stone, rough bark) to build an unsettling atmosphere. This helps the reader visualise using all types of imagery. Build Suspense Gradually - Use pacing to your advantage. Start with a slow burn, gradually increasing tension through small, unsettling events. This keeps readers on edge, anticipating what might happen next. Drop hints and subtle clues about impending danger, allowing readers to sense something is off without revealing too much. This builds a sense of dread as they start to piece things together. For example, in The Woman on the Train , we have the protagonist with slight amnesia, which helps small instances in the story become or lead to major events in the plot, it essentially helps build the suspense of the story. End chapters or sections with cliffhangers to compel readers to keep turning the pages. This keeps the suspense alive and builds urgency in the storytelling. Playing with the Unknown - Leave some elements of your story unexplained or open to interpretation. The unknown can be far scarier than any explicit horror, as it allows readers' imaginations to fill in the gaps. Many psychological thrillers end on an ambiguous tone, letting the reader ponder over it for days to come, giving the book alternative endings and trying to interpret every word. Consider using an unreliable narrator whose perception of reality is questionable. This creates uncertainty and makes readers question what is real, enhancing the horror experience. Using internal fears and anxieties of characters, exploring themes of guilt, isolation, or madness may help understand the nuances of the character’s personality. Psychological horror often resonates more deeply with readers, leaving a lasting impression. As the leaves turn crimson and the air grows crisp, immerse yourself in these haunting tales and let the thrill of the unknown ignite your imagination. Whether you're seeking classic stories that have stood the test of time or are crafting your own spine-chilling narrative, remember that the power of fear lies not just in what is seen, but in what lurks just beyond the shadows.  Happy haunting, and may your stories leave readers shivering in delight!

  • From Page to Screen: Is it Possible to Create a Good Book to Movie Adaptation?

    by Lily Just like any other act of translation, the act of adapting a book for the screen is almost always an act of betrayal that may stray significantly from the source material. No matter how well-done book-to-movie adaptations are, very few have found the middle ground between carrying over the exact plot and keeping the overall message of the story. When either aspect is lost readers walk away feeling disappointed while first-time watchers feel unfulfilled without being able to place why. What leads up to the creation of a book-to-movie adaptation, and what can authors or producers do to ensure success?  The first step in taking a book to the big screen is to find a producer to help you get there. Many authors have a minuscule hand in who this will be and sometimes don’t even know that their book has been handed over to a film agent until word of an offer gets back to their literary agent. If a studio does end up picking up your book you will then go through many rounds of negotiations to decide rights and royalties. These negotiations can include anything from the amount of tickets you get to your book’s movie premiere, to whether you will even be allowed any creative input in the writing process.  Once writing begins the script can pass back and forth between many different screenwriters as the studio decides what approach to take. Unless you’re a bestselling author who had clout to throw around during the negotiation process, it is extremely unlikely you’ll get any involvement in this stage. Something that is often for the best, since when authors don’t have experience with film or screenwriting it can lead to frustration and failings on both sides.  Authors are often also exceedingly committed to preserving the integrity of their story, an example that comes to mind for me is the recent Percy Jackson and the Olympians  show on Disney Plus. In the case of Percy Jackson , it felt like every single plot point from the book was crammed into a few hour-long episodes. All the fight scenes were there, but the stakes always felt low, making what was comic relief in the book feel flat and forced in the show. On the flip side, the 2010 Percy Jackson movies where author Rick Riordan was not involved in whatsoever felt like a completely different story - ultimately, neither of these very differently produced adaptations were able to properly portray the book.  Once casting and filming begin, creating a good book-to-movie adaptation gets harder at every stage since even the smallest decisions from directors and producers can send the production in a different direction, for better or worse. Having a good director in this stage is crucial to preserving the essence of the book, the artistic and thematic vision of the film, and creating something that will resonate with all audiences (From Page to Screen: The Process of Adapting Novels into Films). Now that we’ve covered a few of the major places where authors, producers, and screenwriters can go wrong, I want to look at a show I've enjoyed to see what can make or break a page-to-screen adaptation. This past summer I binge-watched both seasons of  Interview with the Vampire  shortly after finishing the first book in Anne Rice’s  The Vampire Chronicles . The book follows 200-year-old vampire Louis de Pointe du Lac as he recounts his life story to a reporter; After the death of his brother Louis is approached by the much older vampire Lestat de Lioncourt who turns Louis into a vampire and becomes his companion. When conflict between the two increases, Lestat turns a young girl —Claudia— to be their "daughter”, as Claudia grows older she comes to resent Lestat for turning her. The first major change I noticed was that Louis’ character (originally a white plantation owner) was now a black man in a racially divided country. This change added relevance for a modern audience while opening up the opportunity for racial commentary and a deeper analysis of society at the time of the book. Since vampires have historically represented sexual, religious, societal deviance, and the ‘invasion’ of unfamiliar and foreign values I found this an extremely welcome change. It might have originally simply been a producer's decision to make the show more palatable, however, it successfully added depth and meaning to the original themes of the book.  Of course, there was another big change that I can't help but have mixed feelings about, Claudia’s age being changed from five to around 14; In the original text, there is an element of gothic horror to Claudia being a grown woman stuck in the body of a doll-like child, a major theme lost with this age change. Nevertheless watching the show I fell in love with the character of teenager Claudia, who is certainly a much more likable character. As the story progressed I saw how, with more agency, Claudia was able to lead Louis without turning into the terrifying manipulative woman (trapped in a 5-year-old’s body) we see in the book, a decision likely made to her more likable. While It certainly would have been possible to show how Claudia manipulated him so heavily and violently on screen—and if done properly could have been extremely powerful— instead the writers took the easy way out and decided to do a complete 180 degrees on Lestat’s character, making him appear as a physically abusive irredeemable monster. The show also failed to represent the tremendous guilt Louis feels for allowing Claudia to be turned at such a young age. The absence of this guilt—which is heavily manipulated by both Lestat and Claudia in the book—again takes away from Claudia’s character.  Looking at  Interview with the Vampire  can give us a broad perspective of how a story can bend and change as a show is made. Some of these changes make the story even more powerful and some of them lessen elements book readers may have been looking forward to. A duality that exists in every book-to-screen adaptation and the screenwriters must lean into it to create something truly loyal to the original media.

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