#How To Write A Letter

[a-h-87769877]

“How to Write a Letter” — Garrison Keillor

We shy persons need to write a letter now and then, or else we'll dry up and blow away. It's true. And I speak as one who loves to reach for the phone, dial the number, and talk. I say, "Big Bopper here-- what's shakin', babes?" The telephone is to shyness what Hawaii is to February, it's a way out of the woods, and yet: a letter is better.

Such a sweet gift-a piece of handmade writing, in an envelope that is not a bill, sitting in our friend's path when she trudges home from a long day spent among wahoos and savages, a day our words will help repair. They don't need to be immortal, just sincere. She can read them twice and again tomorrow: You're someone I care about, Corinne, and think of often and every time I do you make me smile.

We need to write, otherwise nobody will know who we are. They will have only a vague impression of us as A Nice Person, because, frankly, we don't shine at conversation, we lack the confidence to thrust our faces forward and say, "Hi, I'm Heather Hooten; let me tell you about my week." Mostly we say "Uh-huh" and "Oh, really." People smile and look over our shoulder, looking for someone else to meet.

So a shy person sits down and writes a letter. To be known by another person-to meet and talk freely on the page-to be close despite distance, To escape from anonymity and be out own sweet selves and express the music of our souls.

Same thing that moves a giant rock star to sing his heart out in front of 123,000 people moves us to take ballpoint in hand and write a few lines to our dear Aunt Eleanor. We want to be known. We want her to know that we have fallen in love, that we quit our job, that we're moving to New York, and we want to say a few things that might not get said in casual conversation: Thank you for what you've meant to me, I am very happy right now.

The first step in writing letters is to get over the guilt of not writing, You don't "owe" anybody a letter. Letters are a gift. The burning shame you feel when you see unanswered mail makes it harder to pick up a pen and makes for a cheerless letter when you finally do. I feel bad about not writing, but I've been so busy, etc. Skip this. Few letters are obligatory, and they are Thanks for the wonderful gift and I am terribly sorry to hear about George's death and Yes, you're welcome to stay with us next month, and not many more than that. Write those promptly if you want to keep your friends. Don't worry about the others, except love letters, of course. When your true love writes, Dear Light of My Life, Joy of My Heart, 0 Lovely Pulsating Core of My Sensate Life, some response is called for.

Some of the best letters are tossed off in a burst of inspiration, so keep your writing stuff in one place where you can sit down for a few minutes and (Dear Roy, I am in the middle of a book entitled We Are Still Married but thought I'd drop you a line. Hi to your sweetie, too) dash off a note to a pal. Envelopes, stamps, address book, everything in a drawer so you can write fast when the pen is hot.

A blank white eight-by-eleven sheet can look as big as Montana if the pen's not so hot-try a smaller page and write boldly. Or use a note card with a piece of fine art on the front; if your letter ain't good, at least they get the Matisse. Get a pen that makes a sensuous line, get a comfortable typewriter, a friendly word processor-whichever feels easy to the hand.

Sit for a few minutes with the blank sheet in front of you, and meditate on the person you will write to, let your friend come to mind until you can almost see her or him in the room with you. Remember the last time you saw each other and how your friend looked and what you said and what perhaps was unsaid between you, and when your friend becomes real to you, start to write.

Write the salutation-Dear You-and take a deep breath and plunge in. A simple declarative sentence will do, followed by another and another and another. Tell us what you're doing and tell it like you were talking to us. Don't think about grammar, don't think about literary style, don't try to write dramatically, just give us your news. Where did you go, who did you see, 'what did they say, what do you think?

If you don't know where to begin, start with the present moment: I'm sitting at the kitchen table on a rainy Saturday morning. Everyone is gone and the house is quiet. Let your simple description of the present moment lead to something else, let the letter drift gently along.

The toughest letter to crank out is one that is meant to impress, as we all know from writing job applications; if it's hard work to slip off a letter to a friend, maybe you're trying too hard to be terrific. A letter is only a report to someone who already likes you for reasons other than your brilliance. Take it easy.

Don't worry about form. It's not a term paper. When you come to the end of one episode, just start a new paragraph. You can go from a few lines about the sad state of pro football to the fight with your mother to your fond memories of Mexico to your cat's urinary-tract infection to a few thoughts on personal indebtedness and on to the kitchen sink and what's in it. The more you write, the easier it gets, and when you have a True True Friend to write to, a compadre, a soul sibling, then it's like driving a car down a country road, you just get behind the keyboard and press on the gas.

Don't tear up the page and start over when you write a bad line-- try to write your way out of it. Make mistakes and plunge on. Let the letter cook along and let yourself be bold. Outrage, confusion, love-- whatever is in your mind, let it find a way to the page. Writing is a means of discovery, always, and when you come to the end and write Yours ever or Hugs and kisses, you'll know something you didn't when you wrote Dear Pal.

Probably your friend will put your letter away, and it'll be read again a few years from now-and it will improve with age. And forty years from now, your friend's grandkids will dig it out of the attic and read it, a sweet and precious relic of the ancient eighties that gives them a sudden clear glimpse of you and her and the world we old-timers knew. You will then have created an object of art. Your simple lines about where you went, who you saw, what they said, will speak to those children and they will feel in their hearts the humanity of our times.

You can't pick up a phone and call the future and tell them about our times. You have to pick up a piece of paper.

[familythings]

How to Write a Letter: A Fun Guide for Kids - Friday Learning Challenge

Hello dear friends. Here we are on this special Friday, when we are going to start with the skills for kids in the list of Friday Learning Challenge. Today we will talk about teaching children how to write a letter skill. It can be a hand-written letter or an electronic one. We encourage doing it the old way, thus writing the letter by hand, as it gives a more personal touch to the letter and the…

[akanemnon]

I wonder if she takes cash or credit.

FIRST - PREVIOUS - NEXT

MASTERPOST (for the full series / FAQ / reference sheets)

[evelovestar]

Valentine's love letter. Eve vs. AI. Will I win, or am I a loser? Why I'm jealous of AI...

Dear Lovestar, If you follow this blog, you know I am constantly trying new ideas, and I’m about to do something new again. The reason I hate on AI As an artist, I am super jealous of AI. How come AI is more creative than me? It’s not fair… I’m used to winning on creativity, so being a loser is not on my cards. I know what they say… that we’re all losing our jobs to AI, but I only recently…

[kedreeva]

Can I have your attention for a minute

It's nothing bad!

I wanted to share a little website with you, one i have used in the past. It's called Future Me.

All it is is a little web based word processor, that you fill in a letter to your future self, fill in your email address, pick a date, and hit send. The site will store the letter, and send it to your designated email on your designated date. It's completely free, though they accept donations if you like the service.

I've used this site for YEARS, it's not at all new, but it has at times been a little bastion of hope and good things for me. Every year on my birthday, I send a letter to myself, and I receive the one I sent the year before. I write about what I've been through that year, what I've accomplished, and what my hopes are for the year to come.

I have cried every single time I've gotten that letter. I know it's from me, but by the time it comes around, I've usually forgotten I sent it. But... every year on my birthday, I receive a letter from Past Me, who cared enough to sit down and have hopes about my future. And it makes me want to pay it forward to Future Me, and dare to hope that she, too, will remember that someone cared a lot about her future, and choose to keep going even further.

Anyway, I am giving you the link now, because there are definitely going to be rough times ahead of us, but I feel like maybe writing ahead to Future You, to the You that has made it past the rough times, might make them ever so slightly easier to endure. Knowing that Future You is waiting at the end of the line to welcome you, holding onto the letters you sent.

[chrliekclly]

yea is that stupid enough for ya?

[diyschool2022]

How to Write a Letter | How to Write a Formal Letter | Letter Writing Tips

[consultingfujoshi]

some thoughts wrt the two established "romances" in severance so far (burt/irving and helly/mark) inspired by @figmentof who pointed out how irving had to find out mark and helly kissed from the corporate video in s2 e1 and how he must have felt seeing his co-workers' love affair like portrayed like that, and how it ties into the queer narrative at play here which uses workplace dynamics and policies as very clear analogues for real-life prejudice against queer couples. I mean, just look at this:

it's not just documented, but celebrated. used as propaganda for how the conditions on the severance floor have improved. proof that the severed workers are happy. and how even though he is unaware of the sociopolitical meaning of all this, lumon is very not-subtly telling him that what he had with burt is inherently lower and less valuable than this.

irving doesn't even know homophobia exists and yet he is still affected by it, it still seeps into every corner of the way his and burt's romance progresses. burt is positioned as an unacceptable love interest from the jump. irv is actively discouraged at every turn from pursuing it. their friendship is viewed with disgust and apprehension from their coworkers. burt working in a different department that's hated by MDR. dylan himself not being homophobic in the sense he opposes their relationship because they're both men but his attempts to keep them apart still has a parallel sort of prejudice behind it and still ultimately has the same effect as if it WERE driven by homophobia. irving is made to feel perverse for wanting contact with burt. he's told this is for his own good.

and then, just as they manage to overcome that immediate resistance from their peers and escape to a place where they can explore this blossoming romance on their own terms, burt retires. for all it matters to irv, he's dead. and then irving is given the option to live the rest of his life with grief that will never heal, or kill himself too, because there is no reality where they get to be together. that's just the way things are. of course they wouldn't get to be together. he was unreasonable and childish for ever hoping that could happen. this is just the way it goes for innies. he's told to get ahold of himself and not make a scene.

but the thing is, the standards are not the same for all. a heterosexual romance gets upheld as the shining example of success and fulfilment for the severed employees, whilst a homosexual romance is ridiculed and invalidated, and written off as something that was simply never meant to be. and even more importantly to irving, a heterosexual romance is APPROVED OF by lumon, and by extension, by kier. irv held back from allowing himself to even call his and burt's relationship a romance, because his god had told him it was wrong, he followed the handbook, thinking this was what kier wanted, and then finding out after suffering the worst heartbreak imaginable because of it, that this WASN'T EVEN TRUE. it's simply just that someone like HIM doesn't get to have something like this. his love is not the kind of love god wants. he does not approve of irv's love. cynical and manipulative though that approval may be (even within the context of the corporate video, the helly/mark romance is only being celebrated to further the narrative that lumon care for their workers, but the point still remains that it was THEIR romance specifically used to suit this end), when your entire life has been in pursuit of that approval, it must be devastating to learn it was never on the cards for you.

he and burt even used the fact kier met and fell in love with his wife in the same circumstances as them to justify this to each other - and they were RIGHT, god does approve of falling in love with your coworkers - this simply just doesn't apply to them specifically. and if irving needed any more proof that he no longer has a place at lumon, that he's better off not existing at all than existing with this pain that cannot be remedied, pain that won't even be acknowledged for what it is, a symptom of a sickness which plagues the entire severance system, pain that he is simply expected to choke down and get over - this is that proof.

and that's the POINT. they're TELLING us that this is unjust, and there's a double standard. they're using the ways the innies experience romance and the difference in lumon's reaction (lumon being the collective of all the management we've seen, lumon as a singular entity) to burt/irving vs helly/mark to comment on how queer people are not afforded the same level of respect or validation IN REAL LIFE, for their attachments, their love, their pain, their suffering. it is NOT just incidental that irving's romance is with a man. it would not WORK if his love interest was a woman. the POINT is that they are both men and how that puts them at a disadvantage, even if they aren't aware of the prejudices of the outside world, even if they don't TECHNICALLY apply on the severance floor, there are very clear analogues which still end up oppressing them in equivalent ways that they would be suffering if this were a normal workplace in the outside world.

it genuinely sickens me to my stomach that even in a world so divorced from reality and the sensibilities of regular society, a queer couple is still made to suffer and feel inferior in a way that perfectly mirrors their real-life counterparts. how they will never, EVER be allowed to exist in a world where their love could thrive freely and uninhibited - they never get to taste the joy our world has to offer people like them, but they are still somehow subjected to all the pain it has to offer them regardless. it's such horrifically devastating writing. it makes my skin crawl. I can't stop thinking about it

[kastalani123]

Not my usual content, but I just. I wanna ramble, ig.

Do you understand how baffled I was about how the vampire book, written by a man in 1897, is essentially a PSA about how important proper communication is?? Even after I scrolled through Tumblr, saw the memes, read people geeking out about the relationships (platonic and romantic) in Dracula, I was still caught off guard, because. Like. Everything in this book is about communication.

Sure, it's kind of a given, considering it's an epistolary novel partially made up of letters between the characters, but. I dunno. From Dracula controlling Johnathan's lettres, van Hellsing refusing to tell anyone shit, the men keeping Mina out of the loop, to Mina using her telepathic link with Dracula, it's. It's literally all about how important actually talking to each other and sharing information is. Fuck, throw in the fact that "Harker", Mina and Jonathan's, arguably the main characters, last name means "to listen"/"eavesdropper", and that the book is Mina's in-universe creation to help compile, organize, and share what they know about Dracula, and the book's very essence becomes centered around information-sharing!

And I just. The narrative punishes just about every secret hidden, every time the characters don't communicate. There's the obvious, Dracula keeping Johnathan from sending out letters for help and Mina getting bitten because the men leave her home alone, but also. Van Hellsing not telling Lucy's mom that the garlic flowers and closed windows and so on are the treatment and she is not to touch them is what kills Lucy and her mom! They maybe could have survived if he just told them what's happening/what he's doing! And even the godsdamned telegram he sends to Seward! If he had just addressed it properly (communicated to the telegram boy properly!) then Seward wouldn't have been late and maybe could have prevented the massacre!

There's also Jonathan's diary right after he finally reunites with Mina, and obviously Mina's whole ✨ thing ✨ with the diary during their wedding is like. Peak romance, but Johnathan doesn't fully get better until Mina reads and shares it with van Hellsing and van Hellsing assures Johnathan that he's not insane. Sure, it's an oversimplification of PTSD and healing and such, but it makes sense, especially if you consider communication and information sharing as a major theme! Only sharing his experiences, reading through them himself after blocking off the memories, is what heals him! He cannot get better without knowing what happened, and without others knowing what happened, because knowing and sharing is important.

Renfield's also an interesting case. I don't have the book with me right now to check, but as far as I remember, he tries to talk about Dracula, tries to get Seward to release him from the asylum so Dracula can't use him against Mina, but is dismissed entirely; as a consequence, Dracula gets in the building, kills Renfield, and bites Mina.

Even the language barriers! The villagers Johnathan meets on his way to Dracula's castle try so hard to warn him of the danger but they can't. They can't, because they don't speak enough of the same language, but they try so hard. But whatever does get through to Johnathan, such as that woman begging him to take the crucifix she gives him — that might've saved him. It keeps him unsettled and wary and he does keep the crucifix, which wards Dracula off. They can't communicate the full extent of the danger, but what they managed is probably responsible for him surviving.

And the whole idea is even mentioned in-text! Sure, Lucy saying that a wife ought to share everything she knows with her husband is definitely sexism-flavoured, but Johnathan says it too! He says that his idea of an ideal marriage is one without secrets! And Johnathan is effeminate, yes, he spends a good chunk of the book as the "damsel in distress", but he is still the hero! He is still the one who kills Dracula (with Quincey), and can therefore be assumed to be an intended role model. The (male) main character and hero of an 1897 novel says that a good relationship relies on communication. Sure, he doesn't always stick to it, mostly by agreeing to keep Mina out of the loop when van Hellsing pushes for it, but that doesn't discount that that is what Stoker set as the ideal.

I just. I love this book so much. It subverted just about all expectations I might've had about it and I'm so glad for it. It's undeniably a product of its time, with plenty of racism and sexism and ableism, but it's also so. Not, at the same time? It's so good.

[carebeardean]

Charles has always left Edwin little notes slipped between the pages of his favorite books, in his science equipment, places he knows Edwin loves. Just silly things—post its that say “hi Edwin :)”. doodles of Edwin with his nose stuck in a book. reminders to stock up on wolfsbane. but.

Then, post canon, Edwin tentatively starts dating people. And it’s ridiculous, because Edwin’s right there, all the time, but Charles..misses him a bit. And his heads a mess, and he can’t sort out what the hell he’s feeling most of the time, and whenever he tries to say any of it out loud it comes out rubbish.

So. He writes down some of the shit he can’t say right, and because he’s a coward, hides them so he doesn’t have to see Edwin’s face when he reads them.

then Edwin starts writing back.

Neat lilac blue little envelopes appear in Charles coat pockets. In his bag. Once, in his shoe? Some nights, Edwin will clear his throat and mention something from a letter, offhand, like they’re just picking up conversation, and Charles can pretend they are. That they always have talked about the basement, the belt, the nameless fear that chokes him every time Edwin walks out the door with someone else on his arm.

Sometimes he can’t. The words get stuck in his throat. Edwin’s not mad, he’s maddeningly, stubbornly kind about it, which is worse.

Some nights they trade. A secret for a secret. Charles learns about the novels Edwin used to hide under his mattress, about all the lonely years before Charles got there. About Simon.

Meanwhile, Edwin is losing his mind, because Charles has accidentally stumbled onto what was a fucking courting ritual in his time. Love letters were something engaged couples treasured for years, kept and reread over and over. (Edwin does. keep them in a special box, will take one out and trace the words, tuck it in his breast pocket for courage).

Edwin would rather have to reattach a limb again than lose Charles trust, all the dark and beautiful things he shares with Edwin only. He knows—knows Charles doesn’t mean to make him fall more in love with him.

[sabertoothwalrus]

I’m so fucked up about Simon because he wants to be a dad so bad. he wants to be a dad but he always LEAVES

He raised Marceline. He left her.

He thought he had kids in the Farmworld universe. For just a moment, he thought he was able to settle down and raise kids of his own. He found out they were FW Finn’s. that’s okay, he loves Finn! but then FW Finn (???) may or may not have died???? Those five kids now orphaned. and you KNOW Simon would take care of them in a heartbeat.

But he left.

And Baby Finn. He was holding him the whole time. Would Baby Finn age? Or would he be a baby forever? Would it matter to Simon?

Either way, he left.

It’s not even his fault. There are circumstances, y’know. Simon doesn’t know who he wants to be but no matter what he’s a DAD, except he can’t seem to stay put. He can’t stop leaving

[maesonc-artistic-adventures]

Do you like Wild reminds War of soldiers he couldn’t save?

[doccywhomst]

the actual literal meaning of TARDIS (Time and Relative Dimension[s] in Space) is so funny cause it’s just…. a very succinct description of what the vehicle travels through? “hello i’m a human and this is my CAR (Concrete and Roads)” uh yeah i sure hope it do

[bleedingcoffee42]

[katoobee]

colorkiller,,,,, again

i tried real hard to write their dialogue in the proper arabic (standard arabic for killer, egyptian arabic for color) and i hope to god they say what i want them to say, i was clinging to translators like my life depended on it

context for this is like. killer comes home during stage 1 and assumes based off the DT on his face and how tired and shaky he is, he must be having a rough day. fragile killer being held by color

aside from that, my own headcanon AU territory!!! killer with Night Terror :D

"HOLD STILL."

i plan to make another proper post about NT, covering his powers and design and stuff like that. for now a brief explanation

NT got gross hands that bring the worst out of people. its like acid to everything and not just dream. amplifies the negativity of anyone who touches it like tenfold

utilizes that to apprehend killer and inflict the NastyTM upon him, which sends him frighteningly quickly from stage 1 to stage 3, and sets him loose upon anyone fighting NT

aka "sic em boy"

[hyakunana]

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