#and i need to save my editing brain for thesis editing so. embracing the 'make bad art' but. write bad essays. this isn't an essay

[shorthaltsjester]

endlessly thinking thoughts about cr characters, morality, and selfishness (likely place for me to be, given that my day job includes endlessly researching ethics and meaning of life) but in light of bell’s hells most recent illustration of their insularity and individualism, I’ve been really like. Trying to unpack why I find it particularly egregious in this party when obviously mighty nein were notoriously self-interested, especially at the beginning, and when vox machina had quite a few moments where their horses were far higher than they had any reason to be. And again, I really want to make it clear her that I don’t hold self-interest or selfishness to be some abhorrent and unforgivable thing, in fact I think its incredibly normal especially given the context of main characters in a story told through game mechanics that flourish on the interest of the individuals making the choices. I’ve written before about how one of the throughlines that I’ve seen in laura’s pcs (since I’m someone who particularly enjoys looking at the moral outlooks characters develop) is a common thread of morality that’s highly dependent on their own interests. And like, this is a positive throughline to me! Without getting into my own views on morality, it is particularly compelling to me for characters with isolated upbringing (which applies to vex, jester, and imogen, each in different ways) to develop a moral code informed by that isolation, and in vex we see her moral code is ‘anything goes if it protects those I hold dear’, in jester we see a moral code that doesn’t care about morality as much as it cares about the chance to care and be cared for, and in imogen we see a moral code developed in response to her very unique experience of hearing the darkest parts of people and judging them on those (which to be clear, i am not judging her for that fact, I think it makes extreme sense for someone who hears the thoughts the people have to be horrified by those things, but it does mean her moral system is almost completely backwards, where intention holds more weight than action, which perhaps makes sense of the popularity of defending all of her ideas and choices and the Right Ones by certain parts of the fandom that insist leftism is hidden in the dnd real play). And that’s all to say that, out of the cr parties we’ve seen, I don’t think any single member of bell’s hells is uniquely more or less selfish or more or less of an asshole than previous characters. And in fact, I tend to be quite fond of selfish characters, I have a well documented history of cherishing them well beyond the cr fandom. But the point is that my calling something or someone self-interested is not a value judgement in this context, it's a descriptive claim about the traits a character exhibited.

Imogen, who has insisted time and time again re: the values of the accord that she would not be swayed by the temptation of predathos because she recognizes the importance of this fight, only to turn around and pretty immediately open herself up to predathos to fulfil the most threatening part of ludinus’ plan is self-interested. I cannot conceive of any other way to describe her choices. And her being self-interested doesn’t mean she can’t also be altruistic at times, but I will be clear that I don’t think her risking killing herself as she attempts to bring down the god-eater that she released is particularly selfless. In my best faith interpretation I’d say she’s pretty middle of the road in that choice. But I bring all this up because a comparison I’ve been seeing is that bell’s hells aren’t as mean as the mighty nein or even vox machina in certain moments and that it doesn’t make sense for the fandom to view bell’s hells as likely to be villains when the same wasn’t true of the previous two campaigns, and I think I have to pretty emphatically disagree, and not because I don’t think there aren’t moments in both campaigns that feature extremely high levels of assholery and villainry from pcs – I mean, some of my favourite cr characters are percy and jester, both of whom i’d say are ‘good guys’ due to the pure luck of the found familys they fell in with and both of whom often suggested plans that were. Not okay. To say the least. But ignoring the difference between suggesting fucked up plans and walking your god-eater infused bestie back towards the troops sent to support you in keeping that entity contained, the other big difference I’ve noticed in my own introspection on how I react to bh vs mn and vm, as well as which things i cherish about previous campaigns that were really missing from c3 to what I think is the story and the character’s detriment (staying away from the shape of the narrative, just because others have made posts that put words together better about that than I can) is that while members of vm and mn remained self-interest to the end of their campaigns and have reasserted those habits in appearances since, the parties as entities working in exandria had both, to echo ashton’s apt suggestion to ludinus, grown up.

Like one moment I think of is beau and fjord’s convo in the nein hells episode, because beau is being her asshole self and fjord is being his ‘I care about My People and I’ll think about the rest later’ self (i say affectionately but certain parts of the fandom I recognize would view derogatorily) – clearly they’re not the kindest people as they discuss bell’s hells, but two notable things are (a) they still treat the hells with the respect and use their means to help them prepare for the battle coming, even when they hear the horrifying thought that the hells aren’t certain they’ll choose to save the gods, all the nein request is that they choose the kind option (b) they say none of their doubts to the hells themselves – likely because they have the empathy to realizes that its a high stress situation that won’t be made better by a reminding the hells how small and likely ineffectual in the universe they are – and their comments about cannon fodder are ones made in jest to each other. Even taking that in the worst faith interpretation, the jokes that beau and fjord make in a private conversation has absolutely zero influence on bh. This is quite different than bells hells, after like. as clearly betraying the accord they promised to assist (even if their intentions are ‘good’) as is possible, belittling the religious armies sent to support their endeavor to keep predathos sealed as they all feel the weight of an irrevocable change occurring in exandria, one bells hells has first account knowledge now that it IS incredibly willing to eat mortals, and laudna and ashton, the members of bells hells most often cited by certain fandom spaces as characters who have gone through so much and it only made them kind and strong, look into the faces of people facing literally existential threat and laugh and mock them. That is, mighty nein as individuals is comprised of some of the, perhaps, most asshole pcs, but The Mighty Nein as a party is committed to treating others the best they can, to leaving things better than they found them (a quote that I think is particularly exemplary of the dynamics of self-interest at play in the mighty nein, since it originated as a blatant illustration of molly’s notion of self-importance but developed to become a kind of commandment that the nein became committed to fulfilling). The opposite is true of bell’s hells, where orym and dorian at least both seem to have motivation beyond themselves, imogen’s changes but has shown she is capable of letting go of her ‘intention reigns’ requisitely individualistic perspective, and chetney plays up his selfishness but has shown himself to care quite a bit for people beyond their party but bell’s hells as an entity is uh, pretty self-interested.

To clarify some of my thoughts here in the spirit of the wicked renaissance happening rn, I’ve always felt that for good was an incredibly apt song for the mighty nein, because it really nails that feeling that perhaps they didn’t change each other as individuals to become better people on the grand scale, maybe they’ve just changed each other permanently, but they (and I would agree with this) view each other as having changed each other for the better (e.g., I don’t know if I could say whether jester is a morally better Individual at the end of the campaign, but I can say with certainty that she fulfils and makes moral choices in her work as a member of the mighty nein). And I don’t know if this can be said about bell’s hells – I think they have certainly influenced each other and changed how alone many of those characters felt, and that is not a slight on the story, it can be a great centre for a story to focus on how a relinquishment of the feeling that one is alone in the world can change them. But for the most part, that hasn’t been bh’s story, their story instead has been about validating their refusal to become anything beyond what they insist was out of their control. And not to get to annoying philosophy student about it but bell’s hells are maybe some of the most explicit examples of sartrian bad faith I’ve seen in fiction in a hot minute, because their insistence that they treat their wounds as incurable and entirely out of their hands has led to them limiting their own potential because many of them ignore their responsibility as people to make choices in their own lives. In contrast, at the end of the campaign, mighty nein are still assholes as we all like to refer to them as, but in the context of an apocalypse, I think I’d prefer the assholes like fjord – who is certainly being truthful when he says he doesn’t care about what harm comes to 200 people when jester is at risk but who also, as they traverse into aeor, is insistent that their group won’t be running away from whatever apocalyptic threat awaits them, even if that means dying in the fight – than I would an asshole like ashton – who promises to fight for the little guys but who then turns around and acts upon a philosophy that says the strongest will survive. When you look at the mighty nein, it is incredibly easy to see the fingerprints of change they’ve left upon one another, and even to see the boundaries they place on one another’s asocial behaviours through their presence in one another’s lives (more recently the group chastising jester’s fond words about ludinus is a good example, but others are yasha’s pressuring caleb and essek to move on from their wizard talks as they collect paper in aeor instead of venturing further toward the battle they have to fight, or fjord and jester’s frustrated conversation in the ukotoa reunion about how fjord made a stupid decision and he doesn’t regret but he feels dejected and jester checking him on the fact that they still need to figure out a solution). It takes some extrapolation to see how bells hells have changed each other in more than aesthetic ways, if they have at all. Because the catalyst for change is pressure to do so, and aside from moments where it was truly change or be left behind, bh doesn’t challenge each other unless forced to by morri’s trials or delilah’s interruption and on the very odd occasion an interesting game of rollies-spin-the-bottle. 

And it’s interesting because the asshole behaviour of the mighty nein, like bell’s hells, stems from being left on the outskirts of society and the mistreatment that comes with that, so seemingly the change from being alone to being with others is one that actually insists upon being challenged to grow and change. I mean, just looking at the starting points of the characters, there’s an intriguing amount of stark similarities between their pasts; jester and fearne were both people loved dearly by the family they grew up with but who were loved within the confines of a gilded cage, ashton and beau both have an glaring self awareness that their anger at the world has a very particular source (their parents) but use that as justification rather than a means of self reflection, yasha and orym are trying to navigate a world in the wake of an incomprehensible loss and a sense of duty, fjord and imogen are both seeking out knowledge of their own powers and unknowingly retreading the paths of their missing and presumed dead parental figures. The idea that bell’s hells are uniquely mistreated by society in the history of cr player characters is, politely, laughable. Absolutely they’re mistreated, and I think it could be fair to say these characters are more defined by their isolation than others but I think that has more to do with the lack of downtime rp than it has to do with the context of their suffering.

What I have loved about the mighty nein is that in their realization that the bonds they forge with each other are undermining the truths most of them had taken to be true – that they were alone and without a place in the world – they are also forced to realize that no longer being alone and isolated comes with the weight of social responsibility. And this was born out of a willingness the mighty nein had to call each other out and that the players had to allow their characters to be wrong and get called on it. Because that’s the friction of living with other people on the small party scale and the large world scale – in the mighty nein’s ability to survive as a people who cared for each other even when they didn’t agree or when they made decisions that they couldn’t understand, they were constantly developing their ability to care for the very same world that left them alone. Because in campaign two, the world as a whole had the role that the gods have in campaign 3 – why should a party of nobodies, treated like shit by the world and the people in it go through the effort of saving it?

And the mighty nein answered, in their own imperfection and assholery, that nothing is ever just one thing – one of the things I cherish most about campaign 2 is its commitment to ambiguity, allowing the complexity of the world to go unsolved because there is no solution to the fact that life is immense and sometimes incoherent. I don’t think its a coincidence that I’ve seen some of the people lamenting the idiocy of fandom members like me who think that it actually isnt a leftist win to destroy the world in the hopes of spontaneous justice arising in c3 are the same people who criticised c2’s conclusion with the cerberus assembly for not being leftist (a word which for them means . the aesthetic image of a rebellion sparked and not the unending commitment to doing what you practically can to make life more just for those around you – whether they’re particularly kind to you or not) enough. The conclusion of c2 emphasizes that the choice to make the world a better place isn’t something that can be achieved in one single sweeping action that will wipe the boards clean – there is no murder of all the members of the cerberus assembly that would’ve solved the problems that caused the assembly’s power. There is no forcing of the god’s out of exandria that will deal with the actual issue undergirding both bh and their blorbo-moralized fans' criticism of the gods, which is that mortals are cursed with the burden of free will, and being mistreated by other mortals means constantly having to try and make sense of the fact that someone chose to do something cruel to you (and, sometimes, that you made a choice that allowed that cruelty to occur) – a burden made much heavier when the person who hurt you is your cult-indoctrinated mother, or your cult leader father, or the person in the mirror. The mighty nein take up this fight, and the complexities of their individual identities begin to heal in the light of a commitment in their relationship as friends and as a team to improve the world, even on the small scale. Bell’s hells remain gridlocked and stagnant and unwilling to change in an unspoken turf war of self-interest because they’ve insisted (influenced in part by the context of the campaign 3 narrative but, as others have aptly pointed out, that narrative was much more influenced by bh’s lack of curiosity regarding anything except their own minds) upon finding a solution to a problem they’ve decided is earth-shatteringly (quite literally, to the people of ruidus) unjust based on, aside from encounters where fellow mortals were the primary oppressors, their own testimony of the god’s not listening to them and the obvious villain’s parallel testimony. Something I’ve really been chewing on lately is caduceus words to fjord about his role as a paladin of the wildmother – that maybe it just means that someday, someone will pray for a miracle, and there fjord’ll be and the weight that has given that fjord’s bond to ukotoa came from his desperation not to die and his willingness to accept whatever help would be offered, that fjord could now be the person that reaches out to someone in need, and that the hand he offers won’t come with a curse.  And I think that’s really the poignant difference between bh and mn for me, that for bh, their experiences of injustice, though did make them personally bitter, did not make them morally misanthropic.

Comparatively, Bell’s Hells chose to ensure that, because the gods never answered their prayers, they shouldn’t be permitted to answer anyone else’s. Is this an understandable position? Sure, for the walls of a preschool, not really for a group of characters that I will ever be in any way inclined to view as something close to heroes. While it’s true that there are parts of life that are beyond our control – somethings happen to us that we have no say in, and they cause injuries both physical and mental that we are left to heal without any rhyme or reason, it is still our responsibility to heal them. And if you choose not to, well, then you’ve chosen not to, and are responsible for the consequences and judgements that choice might amount to.

Anyway, sorry this is all over the place but TLDR: calling bell’s hells as a party self-interested is actually just descriptively correct – they can save members of the party made up of their close friends and still be self-interested – and while the individual members of bell’s hells actually aren’t all that uniquely self-interested in the history of cr pcs, the party is uniquely self-interested in how they’ve chosen to navigate the world an their responsibility to the people in it.

[writingguide003-blog]

44 Writing Hacks From Some of the Greatest Writers Who Ever Lived

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44 Writing Hacks From Some of the Greatest Writers Who Ever Lived

Writing looks fun, but doing it professionally is hard. Like really hard. Why on earth am I doing this?-hard.

Which is probably why so many people want to write, yet so few actually do. But there are ways to make it easier, as many writers can tell you. Tricks that have been discovered over the centuries to help with this difficult craft.

In another industry, these tricks would be considered trade secrets. But writers are generous and they love to share (often in books about writing). They explain their own strategies for how to deal with writers block to how to make sure your computer never eats your manuscript. They give away this hard-won knowledge so that other aspiring writers wont have to struggle in the same way. Over my career, Ive tried to collect these little bits of wisdom in my commonplace book (also a writers trick which I picked up from Montaigne) and am grateful for the guidance theyve provided.

Below, Ive shared a collection of writing hacks from some amazing writers like Kurt Vonnegut, George Orwell, Stephen King, Elizabeth Gilbert, Anne Lamott, and Raymond Chandler. I hope its not too presumptuous but I snuck in a few of my own too (not that I think Im anywhere near as good as them).

Anyway, heres to making this tough job a tiny bit easier!

[*] When you have an idea for an article or a bookwrite it down. Dont let it float around in your head. Thats a recipe for losing it. As Beethoven is reported to have said, If I don’t write it down immediately I forget it right away. If I put it into a sketchbook I never forget it, and I never have to look it up again.

[*] The important thing is to start. At the end of John Fantes book Dreams from Bunker Hill, the character, a writer, reminds himself that if he can write one great line, he can write two and if he can write two he can write three, and if he can write three, he can write forever. He pauses. Even that seemed insurmountable. So he types out four lines from one of his favorite poems. What the hell, he says, a man has to start someplace.

[*] In fact, a lot of writers use that last technique. In Tobias Wolffs autobiographical novel Old School, the character types the passages from his favorite books just to know what it feels like to have those words flow through his fingertips. Hunter S. Thompson often did the same thing. This is another reason why technologies like ebooks and Evernote are inferior to physical interaction. Just highlighting something and saving it to a computer? Theres no tactile memory there.

[*] The greatest part of a writers time is spent in reading; a man will turn over half a library to make one book. Samuel Johnson

[*] Tim Ferriss has said that the goal for a productive writing life is two crappy pages a day. Just enough to make progress, not too ambitious to be intimidating.

[*] They say breakfast (protein) in the morning helps brain function. But in my experience, thats a trade-off with waking up and getting started right away. Apparently Kurt Vonnegut only ate after he worked for 2 hours. Maybe he felt like after that hed earned food.

[*] Michael Malice has advised dont edit while you write. I think this is good advice.

[*] In addition to making a distinction between editing and writing, Robert Greene advises to make an equally important distinction between research and writing. Trying to find where youre going while youre doing it is begging to get horribly lost. Writing is easier when the research is done and the framework has been laid out.

[*] Nassim Taleb wrote in Antifragile that every sentence in the book was a derivation, an application or an interpretation of the short maxim he opened with. THAT is why you want to get your thesis down and perfect. It makes the whole book/essay easier.

[*] Break big projects down into small, discrete chunks. As I am writing a book, I create a separate document for each chapter, as I am writing them. Its only later when I have gotten to the end that these chapters are combined into a single file. Why? The same reason it feels easier to swim seven sets of ten laps, than to swim a mile. Breaking it up into pieces makes it seem more achievable. The other benefit in writing? It creates a sense that each piece must stand on its own.

[*] Embrace what the strategist and theorist John Boyd called the draw-down period. Take a break right before you start. To think, to reflect, to doubt.

[*] On being a writer: All the days of his life he should be reading as faithfully as his partaking of food; reading, watching, listening. John Fante

[*] Dont get caught up with pesky details. When I am writing a draft, I try not to be concerned with exact dates, facts or figures. If I remember that a study conducted by INSERT UNIVERSITY found that XX% of businesses fail in the first FIVE/SIX? months, thats what I write (exactly like that). If I am writing that on June XX, 19XX Ronald Reagan gave his famous Tear Down This Wall speech in Berlin in front of XX,XXX people, thats how its going to look. Momentum is the most important thing in writing, so Ill fill the details in later. I just need to get the sentences down first. “Get through a draft as quickly as possible.” is how Joshua Wolf Shenk put it.

[*] Raymond Chandler had a trick of using small pieces of paper so he would never be afraid to start over. Also with only 12-15 lines per page, it forced economy of thought and actionwhich is why his stuff is so readable.

[*] In The Artists Way, Julia Cameron reminds us that our morning pages and our journaling dont count as writing. Just as walking doesnt count as exercise, this is just priming the pumpits a meditative experience. Make sure you treat it as such.

[*] Steven Pressfield said that he used to save each one of his manuscripts on a disk that hed keep in the glovebox of his car. Robert Greene told me he sometimes puts a copy of his manuscript in the trunk of his car just in case. I bought a fireproof gun safe and keep my stuff in therejust in case.

[*] My editor Niki Papadopoulos at Penguin: Its not what a book is. Its what a book does.

[*] While you are writing, read things totally unrelated to what youre writing. Youll be amazed at the totally unexpected connections youll make or strange things youll discover. As Shelby Foote put it in an interview with The Paris Review: I cant begin to tell you the things I discovered while I was looking for something else.

[*] Writing requires what Cal Newport calls deep workperiods of long, uninterrupted focus and creativity. If you dont give yourself enough of this time, your work suffers. He recommends recording your deep work time each dayso you actually know if youre budgeting properly.

[*] Software does not make you a better writer. Fuck Evernote. Fuck Scrivner. You dont need to get fancy. If classics were created with quill and ink, youll probably be fine with a Word Document. Or a blank piece of paper. Dont let technology distract you. As Joyce Carol Oates put it in an interview, Every writer has written by hand until relatively recent times. Writing is a consequence of thinking, planning, dreaming this is the process that results in writing, rather than the way in which the writing is recorded.

[*] Talk about the ideas in the work everywhere. Talk about the work itself nowhere. Dont be the person who tweets Im working on my novel. Be too busy writing for that. Helen Simpson has Faire et se taire from Flaubert on a Post-it near her desk, which she translates as Shut up and get on with it.

[*] Why cant you talk about the work? Its not because someone might steal it. Its because the validation you get on social media has a perverse effect. Youll less likely to put in the hard work to complete something that youve already been patted (or patted yourself) on the back for.

[*] When you find yourself stuck with writers block, pick up the phone and call someone smart and talk to them about whatever the specific area youre stuck with is. Not that youre stuck, but about the topic. By the time you put your phone down, youll have plenty to write. (As Seth Godin put it, nobody gets talkers block.)

[*] Keep a commonplace book with anecdotes, stories and quotes you can always usefrom inspiration to directly using in your writing. And these can be anything. H.L. Mencken for example, would methodically fill a notebook with incidents, recording scraps of dialogue and slang, columns from the New York Sun.

[*] As you write down quotes and observations in your commonplace book, make sure to do it by hand. As Raymond Chandler wrote, when you have to use your energy to put words down, you are more apt to make them count.

[*] Elizabeth Gilbert has a good trick for cutting: As you go along, Ask yourself if this sentence, paragraph, or chapter truly furthers the narrative. If not, chuck it. And as Stephen King famously put it, kill your darlings, kill your darlings, even when it breaks your egocentric little scribblers heart, kill your darlings.

[*] Strenuous exercise everyday. For me, and for a lot of other writers, its running. Novelist Don DeLillo told The Paris Review how after writing for four hours, he goes running to shake off one world and enter another. Joyce Carol Oates, in her ode to running, said that the twin activities of running and writing keep the writer reasonably sane and with the hope, however illusory and temporary, of control.

[*] Ask yourself these four questions from George Orwell: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? Then finish with these final two questions: Could I put it more shortly? Have I said anything that is avoidably ugly?

[*] As a writer you need to make use of everything that happens around you and use it as material. Make use of Seinfelds question: Im never not working on material. Every second of my existence, I am thinking, Can I do something with that?

[*] Airplanes with no wifi are a great place to write and even better for editing. Because there is nowhere to go and nothing else to do.

[*] Print and put a couple of important quotes up on the wall to help guide you (either generally, or for a specific project). Heres a quote from a scholar describing why Ciceros speeches were so effective which I put on my wall while I was writing my first book. At his best [Cicero] offered a sustained interest, a constant variety, a consummate blend of humour and pathos, of narrative and argument, of description and declamation; while every part is subordinated to the purpose of the whole, and combines, despite its intricacy of detail, to form a dramatic and coherent unit. (emphasis mine)

[*] Focus on what youre saying, worry less about how. As William March wrote in The Bad Seed, A great novelist with something to say has no concern with style or oddity of presentation.

[*] A little trick I came up with. After every day of work, I save my manuscript as a new file (for example: EgoIsTheEnemy2-26.docx) which is saved on my computer and in Dropbox (before Dropbox, I just emailed it to myself). This way I keep a running record of the evolution of book. It comforts me that I can always go back if I mess something up or if I have to turn back around.

[*] Famous ad-man David Ogilvy put it bluntly: Use short words, short sentences and short paragraphs.

[*] Envision who you are writing this for. Like really picture them. Dont go off in a cave and do this solely for yourself. As Kurt Vonnegut put it in his interview with The Paris Review: …every successful creative person creates with an audience of one in mind. Thats the secret of artistic unity. Anybody can achieve it, if he or she will make something with only one person in mind.

[*] Do not chase exotic locations to do some writing. Budd Schulbergs novel The Disenchanted about his time with F. Scott Fitzgerald expresses the dangers well: It was a time everyone was pressing wonderful houses on us. I have a perfectly marvelous house for you to write in, theyd say. Of course no one needs marvelous houses to write in. I still knew that much. All you needed was one room. But somehow the next house always beckoned.”

[*] True enough, though John Fante said that when you get stuck writing, hit the road.

[*] Commitments (at the micro-level) are important too. An article a week? An article a month? A book a year? A script every six weeks? Pick something, but commit to itpublicly or contractually. Quantity produces quality, as Ray Bradbury put it.

[*] Dont ever write anything you dont like yourself and if you do like it, dont take anyones advice about changing it. They just dont know. Raymond Chandler

[*] Neil Strauss and Tucker Max gave me another helpful iteration of that idea (which I later learned is from Neil Gaiman): When someone tells you something is wrong with your writing, theyre usually right. When they tell you how to fix it, theyre almost always wrong.

[*] Ogilvy had another good rule: Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass.

[*] Print out the work and edit it by hand as often as possible. It gives you the readers point of view.

[*] Hemingway advised fellow writer Thomas Wolfe to break off work when you ‘are going good.’Then you can rest easily and on the next day easily resume. Brian Koppelman (Rounders, Billions) has referred to this as stopping on wet edge. It staves off the despair the next day.

[*] Keep the momentum: Never stop when you are stuck. You may not be able to solve the problem, but turn aside and write something else. Do not stop altogether. Jeanette Winterson

That taps me out for now. But every time I read I compile a few more notecards. Ill update you when Ive got another round to share.

In the meantime, stop reading stuff on the internet and get back to writing!

But if you have a second…share your own tips below.

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