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duckprintspress · 5 months

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DPP Contributor Interview: Nicola Kapron

Author Nicola Kapron has been working with Duck Prints Press for over two years, and in that time she has been one of our most prolific authors. Her work ranges from the sweet and fluffy to the dark and grotesque, with an emphasis on horror elements, trope twisting, love and the monstrous, and cross-genre queer works. We're thrilled to have Nicola as the debut author in our new Creator Interview series!

Author Biography: Nicola Kapron has previously been published by Neo-opsis Science Fiction Magazine, Rebel Mountain Press, Soteira Press, All Worlds Wayfarer, Mannison Press, and more. Nicola lives in British Columbia with a hoard of books—mostly fantasy and horror—and an extremely fluffy cat.

Links: Personal Website

Nicola works with Duck Prints Press as an author, and is also the crafter whose skilled hands are behind our adorable Dux plushies.

When and why did you being creating?

I’ve been writing for as long as I can remember. Most of my work was very small when I was younger because I have dysgraphia and handwriting is physically painful for me. As soon as I learned to use a keyboard, I started working on longer and longer projects. Now there’s no stopping me.

What are your goals as a creator?

I want to write stories that linger.

What do you consider to be your strengths as a creator?

Dialog[ue], genre-blending, worldbuilding, coming up with cool monsters, slow-burn romance (or at least obsession), crafting background lore that is impossible to tag.

What do you consider to be your weaknesses as a creator?

Description, pacing, writing healthy characters with healthy relationships, easy-to-tag stories.

What’s your favorite medium to work in? Why?

Fiction writing, particularly fantasy. I enjoy coming up with the most bizarre situations and then thinking about how people might react to them. After all, mountains may crumble, oceans may rise, but people will stay fundamentally people.

Are you a pantser, a planner, or a planster? What’s your process look like?

A planster. I spend a lot of time coming up with detailed story outlines and summarizing character arcs. Then I start writing and 80% of that goes out the window. I like to say that my first drafts are dedicated to figuring out what the story isn’t about. Unless I’m writing a short story, in which case draft 1 may well be the final draft. I don’t control the process.

I typically write in chronological order from beginning to end, but for a short project I may pause and write the middle bits ahead of time as they drift into my head. This isn’t viable for a longer project because the pacing always begins to confuse me.

What do the phrases “writer’s block” or “art block” mean to you?

Writer’s block comes in two kinds to me. The first kind is the most common: I’m not actually blocked so much as I am swamped. I have too many ideas and too much stuff to do. As a result, I can’t focus on anything and writing words is like pulling teeth. This kind just has to be muscled through until I hit another vein of inspiration. The second kind is the kind where I genuinely run out of writing energy completely, leaving me feeling drained and empty. I only hit this state once. It lasted for about a week. Worst week of my life. The second kind can’t be worked through, only waited out like a sprain. I recommend going outside and finding something else to focus on until your writing muscles recover.

Tell us about a creator who is an inspiration to you. When did you first encounter them? How have they influenced your work?

Charles de Lint. I had the opportunity to do a Co-Op with him in high school. He supervised me writing my first novella, an urban fantasy story about the people whose job it is to keep magic secret. Although our writing styles are rather different – he’s a pioneer of dreamlike mythic fantasy, I prefer to write about the ‘realistic’ consequences of fantastical things existing – I feel I learned a lot from his approach to worldbuilding and character-crafting. There’s nobody who writes flawed, troubled, and incandescently beautiful characters like Charles de Lint.

What book or media franchise or other creator’s work do you always come back to? How many times have you rewatched/reread/reviewed it?

Neil Gaiman’s work has a way of bringing me back in. I don’t think I could tell you how many times I’ve read and re-read his various creations. Just know that it’s a lot.

What’s your favorite part of the creation process?

Daydreaming about writing the story is always the best part. That and reading it after it’s done.

What are your favorite tropes?

Cute monsters, involuntary body modification as trauma metaphor, codependent relationships, coping mechanisms that aren’t good but are at least keeping you alive.

What are your favorite character archetypes?

My favourite character archetypes are anything that is clearly meant to evoke a classic heroic or villainous archetype, but with the alignment swapped. Luminous holy maidens plotting destruction. Ominous armoured overlords trying to bring salvation. Man-eating monsters struggling to live happy, productive lives in the shadow of cities they’ll never truly belong in. Chosen ones choosing to turn their backs on what they were meant to save. It’s the defiance of fate and expectations both.

What motivates you to create?

Unfortunately, I don’t have a clear answer for this one. Just breathing motivates me to create some days. In general, though, I think that the desire to share my thoughts with others is what makes me put my fingers on the keyboard. I can’t chat about my work with people if I don’t write the work.

Which of your own creations is your favorite? Why?

Whichever one I just re-read and got invested in as if someone else wrote it.

Which of your own creations is your least favorite? Why?

Whichever story I just finished always causes me physical pain to think about.

Do you like having background noise when you create? What do you listen to? Does it vary depending on the project, and if so, how?

Rain noises help me think. Music is a very hit or miss addition, because if there are words I’ll end up mentally singing along instead of thinking about writing.

When you look at your “career” as a creator, what achievement would you most like to reach – what, if it happened or has already happened, would/did make you go “now – now I’m a success!”?

I would love to publish a full novel.

What advice were you given as a new creator? Did it help you?

Show, don’t tell. It definitely helped me when I was younger and had a grudge against the entire concept of descriptive language. Now I keep having to remove entire paragraphs of description for word count, though, so it does have an expiration date.

If you could give one piece of advice to a new creator who came to you for help, what would that advice be?

Worldbuilding is your friend, but sooner or later, you have to actually start writing the story.

Short Stories and Novelettes Nicola has published with Duck Prints Press:

The Act of Salvation (science fantasy, m/m, second person pov)

Be Not Afraid (modern fantasy, m/m, omg they were roommates, the apocalypse happened and life didn’t actually change that much)

Campfire Stories (modern horror, no ship, trading campfire monster stories)

Dead Man’s Bells (fantasy, m/nb, dark romance, demonic possession)

In Good Company (modern horror, m/m, enemies to accomplices)

More Than We Deserve (dystopian sci-fi, m/m, friends to lovers)

The Ocean Went on Forever (sci-fi, m/m if you squint, very hard to summarize – see “challenge: easy-to-tag works)

Nicola is also a contributor to our upcoming anthology Aether Beyond the Binary. We’ll be launching crowdfunding for this campaign in late December, and we’ve invited Nicola to host an Ask Me Anything session during the campaign! The time and date for the AMA aren’t set yet, but if you want to make sure you don’t miss it, join our Book Lover’s Server.

#duck prints press #creator interview #nicola kapron

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deliriumsdelight7 · 2 years

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A plea for audience engagement

Hoo boy. I did NOT want to do this. At all. But I feel like the Rumbelle fandom has reached a fork in the road. One path leads to years of wonderful stories and content for the fandom to enjoy. The other leads to a slow death for this wonderful community.

This rant is probably going to come across whiny, bitchy, and completely entitled, so if you’re not up for reading that, feel free to scroll past.

There has been a sharp downturn in audience engagement in the fandom as a whole lately. I’ve been seeing fics get just as many views as they did last year, or close to it, but fewer and fewer likes, reblogs, and AO3 comments over the past few months. At first, I thought it was just me: either my imagination, or maybe my writing was starting to stagnate (or worse, starting to suck). But no - I’ve had multiple authors mention how their work over the past few months will get few interactions, or worse - none at all. Combing through their Tumblr and AO3 pages confirmed my suspicions (yes, I am being THAT flavor of creep).

This issue extends to weekly author Tumblr posts, such as TMI Tuesday. For the past few months, I (as an example) have been extremely lucky to get a single Ask in my inbox. Most weeks, I get nothing at all. Other writers have reported the same thing. It’s gotten to the point where other writers have stopped making these weekly posts altogether, because... why bother? Why take the time to write that post inviting interactions? It’s clearly adding nothing to the fandom, so all it does is open you up for disappointment when nobody responds.

Now, I know that nobody is entitled to comments/kudos/likes/reblogs/whatever. And anybody who creates art for no other reason than to get compliments is going to have a bad time. But here’s the thing: without input, there can be no output. As our favorite scaly wizard says, everything comes at a price. Writing fic is a creative, joyful, freeing thing - but it’s also work. It’s stressful, it’s time-consuming, it’s exhausting... For those of us who are constantly putting out content, it’s basically an unpaid second job. So when you pour your time, energy, and soul into a work and get little to no response... it’s discouraging. Really discouraging. I know for a fact that I’m not alone in feeling this way. Multiple other authors are starting to feel both disheartened and unappreciated, to the point where they’re considering becoming much less active in the fandom and moving on to others. I’m talking about die-hard fans who put out multiple entries a month - sometimes multiple a week!

Look, I get it. Life really sucks right now for a lot of us. Many members of the fandom don’t have the time/energy/spoons to go on Tumblr or AO3 to read. This post isn’t aimed at them. But for those of you who still check the Rumbelle tag daily, weekly, monthly, whatever, please - please interact with your content creators. They pour so much of themselves into their work. Hours upon hours go into each and every one. So please - if you read someone’s work, just take thirty seconds out of your day to send them a comment. It doesn’t have to be an essay. It can be a sentence. Or a word. Or an emoji. Anything! And if they solicit Asks, send them a quick one! Ask their characters questions. Ask the author questions about themselves as a writer, or about who they are as a person! I promise, it absolutely makes their day.

I love this fandom, guys. In the Rumbelle fandom, I feel like I’ve found a sense of belonging I never knew before. I’ve been pouring my energy into keeping the fandom alive through discussions, taking over popular events, trying to create new events, and yes - writing fic. I would gladly bleed myself dry for this fandom. But all of that comes to nothing if several of our most prolific authors become too discouraged to contribute. So I beg you - please, please, please let your content creators know how much you love their work!

#sorry for the bitch sesh #but I feel like it had to be said #if it were just me I could ignore it #but I've been hearing this same refrain from too many Rumbelle authors for my comfort #I feel gross for writing a public fucking call-out post #gonna go take a 10-hour shower now #rumbelle #rumbelle fanfiction #rumbelle fic

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gothprentiss · 4 months

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people like to say that you need to learn the rules of writing in order to break them which is imo semi-true: on one hand, many people who write quite prolifically would be unbelievably well-served by having to get down to brass tacks with certain features of grammar, style, etc.-- tho this is, i think, largely a product of the fact that good writers are in fact very rare, and really probably most writers would be well-served by regarding writing as an art, and behaving accordingly. on the other hand, though, this is rarely a claim people are making with the assumption of doing an mfa or taking creative writing classes; more often it licenses the kind of overkill you get in, for example, the us high school writing curriculum, often with the expectation that the often very arbitrary writing guides being leveraged at 16 year olds map 1:1 onto the writing that will be expected from them in college. this is of course not the case.

as is often the case, valuable time and effort is sacrificed to The Rules, which are an unevenly wielded set of guidelines set, often quite arbitrarily, by a variety of people who rarely seem to be in communication. you might have 4 different english teachers in high school. you might be taught to write differently in history classes. few students emerge from these conditions able to generalize a set of rules they can apply in academic settings; rather, they're conditioned to expect to be told, every semester, how to write. every semester, not even just when i'm teaching freshman comp, i have students who are still struggling against the expectations of high school: the 5-paragraph essay; how to structure an introduction; specifics on citation when options are offered; whether the first-person is permissible in academic writing; etc. this in addition to the basic problem of how to make a good argument.

anyway my point is that i rarely see a similar claim being made about how to read (*interpret). i don't mean like Basic Media Literacy which is a ludicrous category we're pretending really exists, but i mean like-- most art and media forms have a well-established conventional language. the argument against this is that many artists make their names breaking said conventional language and norms, so teaching this stuff is limiting and inorganic, but you fundamentally deprive people of the ability to see innovation or difference if you treat it as the norm, an organic phenomenon which inheres in the medium or form rather than something accomplished by the work and thought of any number of creators.

this-- much like the Rules of academic writing-- doesn't really matter in a non-academic setting. it's clear that in fandom spaces, for example, a major concern is the validity of any given reading, which is often constructed and sustained on grounds of response and relation. histories of analysis or theory are semi-relevant. there was a post i saw all the time last month that was like "canon, fanon, and headcanon are all equally made up and none of them are better or worse than the others" (claim of specifically moral validity, i think? as opposed to quality) with a very cursory overview of stuart hall's reception theory (which presents encoding and decoding as intended and received meaning, respectively) tacked on by someone other than op. i've been thinking about this post a lot because it really grated me-- the first part is just like, true insofar as it's saying very little and its central point feels oddly buried (fictions shouldn't have an inherent moral hierarchy, esp not one derived from perceived originality). but the second thing is like-- if you cut out all of what hall's work actually is, and the work it's actually doing (e.g. it's not a methodology of reading but an ethnography), then sure, it's how you interact with the intended meaning of a tv show. but like how do you know. this is especially the case with audiovisual media-- a movie or a tv show isn't, despite the enduring presence of the auteur, the product or expression of a single intention. like "i think X is meant to be about Y but due to my positionality i perceive it to be about Z, which is as morally and intellectually acceptable as Y" is certainly a fair statement to make, but surely requires you to have an equally strong sense of how X is about Y-- positioning this as the primary, at least prima facie, form of meaning. like there is a hierarchy proposed here, if only in terms of order-- to negotiate against or oppose the dominant order one must be in conversation with that order, whereas the dominant order has no such order of operations. all of these meanings are equally arbitrary, but the assumption is that there are either knowing departures from the conventional language or actual idiosyncratic misunderstandings, which don't have the same systematic validity.

anyway my point is that like... i think hall is assuming more engagement with conventional codes than said post assumes, as well as a more functionally conventional set of codes. i think a lot of internet talk about reception theory (the bad readings of barthes yk) focuses on the validity of relatively disengaged interpretation, or maybe more specifically on a minimum standard of interpretation under which individual decoding involves a more profound truth claim than encoding. i think a good example of this is the way that people #onhere frequently sort of whack each other over the head with the Media Literacy cudgel rather than providing any amount of formal analysis or commentary-- depriving a work of its typical hegemon doesn't radically democratize processes of reading or allow for new and manifold forms of meaning to emerge, it seems, but rather proliferates new hegemons who are reaching for that same absolute truth status.

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againstacecilia · 2 years

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hello, ceci!! 🕊🥰 i have been working my way into the inboxes of writers that i most admire asking for some advice based on time management. we all get so busy with real life and jobs and families and that sometimes we dont have the time--or its difficult to make the time--to write. what are some tips you would like to share about making this time? you are such a prolific author that i need to know your secrets. take care, mwah mwah!! 😘

Sorry, just had to take a moment for the andjfkslagfs to stop after seeing you pop into my inbox ilysm. 🥰

Making time to write is very hard, especially when you sprinkle in some neurodivergency and the time blindness that can accompany that! I find I work best when I frame my time in the right way. Let me explain a little bit.

We live in a society that demands constant production for the sake of production. Yet we write and create based on what feels good to us and that should never be forced. The short version of what I'm about to say is this: I try to write any time I can, whether it's a few sentences based on a prompt that inspires me or I find a groove and an entire story comes from the time I have, without any internal or external pressure or expectation on what I create.

I'm unlearning the need to only create perfectly and write from a place of honesty and truth that serves only me. If what I write helps or inspires or moves something in others, then that's a beautiful bonus. This mindset has helped me see that my time spent writing isn't something I have to clock on and off for. I don't have to write during a predetermined block of time if it doesn't suit me. I can plug in a minute or 30 here and there when it fits into my day. I can, if I choose, set aside time that is specifically for writing, but that's only when it brings me joy to do so.

Writers, give yourself permission to write what brings you joy and try to unlearn the internal timeline that comes along with that. Write whenever you feel the motivation. If you don't feel the motivation because it feels too overwhelming or you don't know where to start, just grab a random prompt and get something on paper or in a word doc. If you still can't write, don't actually write; just daydream about your favorite character and what they're doing in their day-to-day. Have an imaginary conversation with them in the shower. But overall, be kind and gentle with yourself. You'll be back at it again before you know it. 💖

Well, that was much more long-winded than I meant for it to be. 😅 I hope it all made sense and answered your question. I feel very strongly that writing and creating should be something that brings benefit to the writer/creator and having the time and mental space to do so is integral to that.

Thank you for doing this, and thank you for being such a wonderful person and part of this community. Thank you for taking me under your wing when I was just starting out, and believing in me as I get my sea legs. You are such an important part of this community and a true joy to know, Brit. 💖

#brit my beloved #ask response #writing #writing advice #time management

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golden-aire-girl · 2 years

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#I really thought a fandom like the old guard featuring a strong female lead who happens to be black #two queer interracial relationships #and addressed the issues of being a minority immigrant would be the balm my soul has a been craving my entire fandom life #The canon is pretty much perfect for someone #and so it feels so personal that the most prolific writers and creators in the fandom chose the be racist bigotted and tokenize everything #that made this fandom so fucking special #it's just gutting #Its not that I wish someone would sensor AO3 #I'm just hallowed out by how many creators are so comfortable in their racist tropes when it comes to Joe and Nicky #It literally makes my chest cold and stomach hurt because I don't want to do this in my free time #I don't want to fight this fight when I'm sitting on my bed looking for something fun #I'm so surprised that I'm taking this so personally but goddamn this is rough #I wish the biggest opinion I had to encounter was should Booker be forgiven or was his punishment fair?#but we're constantly at the baseline of hey Joe can be a complex interesting character too without being an angry rapist #Nicky can be shown to grow without dropping slurs every other word for the first half of your fic #Veronica Ngo is fucking gorgeous #Her eyes are not shaped like almonds #have you seen almonds?#can you be less lazy in your writing #ugh there are so many INCREDIBLE writers in this fandom I don't know why I'm wasting energy on the shabby charlatans #I wish I could block writers from my feed #I know some of them only know how to write garabge #and I want to take it out

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taylorswifthongkong · 3 years

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Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House?

Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally?

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor?

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#ew #entertainment weekly #article #interview #folklore promo #folklore interview #quote #aaron dessner #jack antonoff #joe alwyn

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bondsmagii · 3 years

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Hey read (some of) this blog post (long as hell), tries to pick it up where your old scp cult post left off: lackoflepers medium com/scp-is-not-a-cult-196e87ce6b11

(link)

this is insane. I've never written anything that's ever received a full response before, so that's exciting. what's even more exciting is that this piece does raise some really interesting questions, and is very well-written and thoughtful.

the strange thing is, I think we're both in agreement -- but I'm calling it a cult, and the author of this piece is calling it a "fledgling religion". I agree with this outlook, if I'm honest -- but at the same time I can't help but think that this has filled a hole in my cult theory, rather than poked a hole in it.

when I wrote the original cult post, the one thing I couldn't quite equate was the religion aspect. there was a lot of things to consider from that aspect, in terms of cults requiring a certain doctrine, rituals, etc, and while I was able to draw comparisons to the site culture and these things, it didn't quite fit. this article explains and illustrates exactly what all of these things are, and the sheer amount of similarities between the SCP wiki culture and religious fundamentalists. it's absolutely incredible, how it all still adds up.

however, some things are way off. I understand the author has a history with site and with staff, and they obviously understand that there's a complicated relationship between the two. the piece certainly tackles the question from an educated site-critical standpoint, but I can't help but notice some glaring omissions and in some places, assumptions which I feel are quite simply incorrect. under the cut we go, because this is long.

the author seems to be very ignorant of the site's cyclical patterns. one of their main arguments for the wiki's not being a cult is how people like Dr Gears and thedeadlymoose don't have more power over the masses, being such important figures. the problem with the wiki is that it is very cyclical, and big names of one era do not translate over to new eras. big names replace old ones, and the old ones either become fond grandparent figures (like Gears, who had the sense to take a step back before the tides changed against him) or they become irrelevant or reviled (like thedeadlymoose, or pixelatedharmony (Roget).) this means that if the former appeals to the group, they will get essentially a pat on the head and a gentle dismissal, or if the latter speak out they will be silenced, harassed, banned, etc. this is very cultlike behaviour -- if somebody goes against the grain, they become an immediate enemy of the people. the only way to survive fame on the wiki is to retire quietly, at your peak, and keep yourself to yourself.

going on from this, there are also different levels to how a staff member is seen. there have been eras of the site where the site admin might not be as impressive as one of the prolific writers, for example. who these days knows about The Administrator? it's all Dr Gears to them. different authors have different levels of unofficial authority, and the author of the piece doesn't seem to realise that it's a cult of personality as much as anything else. there are constant divisions among staff, even if they present a united front; frequently those not toeing the party line have been ostracised or purged, and this filters down to the average user. just because a person is on staff does not mean they immediately skyrocket to godhood, if we're using the religious metaphor. this is why it seems as though "staff" as a whole isn't uniformly worshipped -- they're not. there are complex currents of power at work here, and it's frustrating because at first glance it seems to invalidate the very real fact that a few site members have all the authority. the staff worship extends to staff members. those in lower tiers will act similarly to those in higher tiers as a new member would act towards all staff.

the author draws attention to thedeadlymoose's impressive efforts to bring the site forward from its 4chan beginnings and make it more inclusive to LGBT members -- something that has undoubtedly had an effect. however, the author does not mention that to date, the site's only successful splinter site (as in, a site that lasted more than a few weeks) is RPC, and while this website came about for multiple reasons, it's undeniable that one of these reasons was because of the fact that the wiki was openly supportive of LGBT people during Pride Month. it's also interesting to note that the author is also a member of the RPC site, so it's odd that this piece of the site's origins is not mentioned.

the acceptance of these pro-LGBT policies also seems to be less wide-spread than the author believes -- most people don't care, there does exist users who are homophobic or transphobic, and -- something I'm surprised wasn't mentioned at all in the piece -- when LGBT members of the site spoke up and said the new logo made them feel pandered to, and the resulting blowout made them feel targeted and unsafe, they were mass banned from the subreddit by a rogue moderator who, incensed by the fact his authority was so challenged, then ragequit and abused people on the threads for several hours. this is a typical staff response to discontent in the masses. so yes, thedeadlymoose did have some significant sway in the attitude changing somewhat, but it was not as widespread (nor as cared about) as the article's author seems to think.

now, I shall move on to specific quotations.

Furthermore, as a gaggle of creators, SCP should never feature the mass conformity of thought that defines a cult; theirs is an ecosystem that predicates itself upon creation, and obsessively on the new and original — that is to say, the different (but tempered).

while the author does elaborate on this idea of creativity and conformity, this is just wrong. again, I blame the author's ignorance in regards to the cyclical nature of the site -- which isn't the fault of the author, in my opinion. such cycles are slow, measuring out in years rather than months, which is insanely long for an internet community. in order to notice them, you would have to have been observing for some time -- which I have been. since I have been observing the site (which has been since its very creation -- I was on the 4chan thread in 2007 when 173 was created and I have seen the wiki from its infancy on EditThis over to wikidot) I have seen this happen countless times. a type of writing, be it style or genre, takes off. it could be LOLFoundation, grimdark, whatever -- it takes off, it runs the site for a year or so, and then it crashes and burns. when it takes off, there are rules for writing it that must be obeyed lest you be downvoted to oblivion. as the attitude turns against it, those who still write it are vilified and ostracised, and the new one takes over. there have been mass purges in the past, and there has always been, since the wiki's inception, conformity of thought. one of my oldest complaints about the wiki is that, for a site full of writers, they have no imagination and absolutely no desire to step out of the approved style.

To put it very broadly, things get accustomed to the status quo in a highly regulated environment, and get better at simply remaining and surviving in that.

this could be a decent rebuff to my previous point, but the fact is that while the SCP wiki harbours cultish behaviour, a vast majority of the users are casual readers who maybe write one or two articles. the stagnation is, at least partially, because of the fact that most users sign up, read some articles, think "cool, I have an idea for one!", write it -- and have it emulate the articles they've read, thus sounding similar in tone and content to the rest of the recent articles -- get a semi-decent response if lucky, and then move on after a few months or years.

the people who power the wiki, however -- who are prolific, who churn out insane amount of articles -- are suffering from what I outlined in my above point. a small percentage of the wiki dictates the direction it goes. it has always been like this -- and people who go against the grain that staff have employed, be it old user or new, will pay for it. this payment is often in downvotes, but occasionally comes in harassment, bans, or deletions, too.

Lastly a cult is really the most extreme version of a religion, it is a religion on steroids.

this is straight-up incorrect. cults began as religions gone hayware, yes, but the idea of a cult as a Jonestown-style compound in the middle of nowhere is outdated. cults are the most extreme version of an ideology -- be it religious, political, or otherwise. they are ideologies on steroids. thanks to the internet, they also no longer have to be in real life spaces. you can be in a social cult on Twitter or on Discord; you can be in a cult of ideology on an incel forum or in a social circle of TERF blogs. all of these things are cults. they have cult-like behaviour and thinking.

this is where the author proves my point beyond all doubt. the author says the following about the wiki's increasingly left-wing inclusive policies:

What was intended to be an executive extension in peace has, due to the force required to counteract the sheer hostility and persecution once leveled at this group at its peak, instead overshot its mark and has become a brutal bureaucratic sanctioning of political identity. (I can hear someone saying that the road to hell is paved with good intentions.)

the biggest shift in this cult-think, for me, was observed when the shift towards Terminally Online Woke Left attitudes began to be increasingly observed. I'm not talking about getting people to tone down the homophobia and whatnot. I'm talking about this culture of purity and suffering that the author outlines very well in the article; if you have read the article, I needn't go over it again. the wiki now holds a monopoly on suffering using the same kind of Oppression Olympics as other spaces devoted to purity culture -- and purity culture is a cult. this is straight-up fact at this point. it is my belief that staff identified the power available to them in a) targeting people from oppressed and vulnerable groups and giving them a so-called safe space and b) using their various oppressions to their advantage.

something that is prolific in purity culture circles is that somebody who is oppressed in any way cannot be held to blame for their actions. they cannot be a bad person. this is ideological armour, and staff wields it. they also use purity culture and apparently progressive ideology to shut down anyone who dissents, and to smear their name and have then ostracised as an enemy. why do they do this? liking the power and fame of their position is a big part of it, as the author outlined, but something major is missing.

throughout the entire article, the author does not once mention the detailed and extensive history of staff sexually abusing minors on the site.

this is well-documented by this point. staff has seen many predators in its ranks, including one of the most prolific site members of all time -- AdminBright, or The Duckman. staff has known about these staff members and has covered it up over years. I myself have heard testimony from countless victims, but whenever we raise enough of a stink, a staff member does an "internal investigation" and nothing comes of it. the fact that the cult-like behaviour of this website can be discussed without one of the cornerstones of cult activity -- using its members for financial or sexual gain -- is astounding to me.

to go on from this, there is also no mention of the SCP lawyer fund, which raised over $30,000 and then faced staff actively resisting transparency as to the case and the funds. financial manipulation is another major example of cult behaviour.

without acknowledging these two things, I do not think that a full argument against the idea of the SCP wiki as a cult can be possible.

the author raises a good point that illustrates both why staff acts the way it does, and why the users are so eager to imitate:

The answer is something that can turn someone into their nemesis; something that would make someone sell their soul for 1000 upvotes; that tragic commonality that binds all individuals who feel the need to write; the need to be received, but more, to be loved for it.

this is a big reason why staff clings to its power, and why people sell out their creativity, and why people emulate this behaviour, and why prolific authors burn out so fast. however, running through all of this at its core -- through the need to be received and loved -- is the power that comes with it. this is all about power.

to mention the specific example of LordStonefish, and his reaction when he found out that his interviewer was enemy of the people pixelatedharmony, now of "burning out, ragequitting the site, and going to talk shit on KiwiFarms" infamy:

[...] it was as if LSF was speaking to a leper, and that the ongoing participation in the salvation of public approval (not to mention site participation as well) was directly dependent upon LSF’s rebuke of pH as a demon who is only worthy of a terrible fate and, as we see in the screencaps, even death.

leaving my personal opinions on Harmony out of this, going from a perfectly civil interview to finding out that the interviewer was an enemy and not only dumping all of his private information to offset doxing, but also going into detail about some highly personal stuff for shock value... I don't think Harmony quite required that treatment. the fact is that, as the quote outlines above, the only way to ensure that he wouldn't be completely ostracised for fraternising with the enemy (KiwiFarms -- of which Harmony is apparently the ambassador) was to behave like a man shunning a sinner. Harmony has sinned -- she rejected the status quo, she defied the group and its authority, and LordStonefish, in order to remain safe from being tarred with the same brush -- has to react with suitable horror to her presence.

it should be noted here that while KiwiFarms has a reputation for being a hive of scum and villainy, its main reputation regarding the SCP Wiki has been for being the one place where complaints against the site are openly discussed, often by defected staff members such as pixelatedharmony and Cyantreuse, and perhaps most telling of all -- the place where a lot of accounts of sexual harassment and abuse have been filed. staff rails against it on the grounds of it being filled with people who use slurs and have questionable ideological beginnings (ironic, coming from a website which began on 4chan) -- but as a leftist myself with extensive knowledge of the wiki, I can confirm that no criticisms I've seen on there have been unfair or inaccurate, and in fact a lot of the evidence and testimony posted there is damning. it would be fair to not wish to associate with the site because of its content in other places, or even its past reputation, but the fact staff rail against it so hard when it's currently one of the only places (and certainly the only public place) where their deeds are on display? it's interesting.

of LordStonefish's reaction, the author says:

This is the behavior of a deeply religious figure.

it is. this is the reaction of a Mormon meeting an old friend who has left the church. this is the reaction of a Jehovah's Witness crossing the street to avoid a shunned neighbour. it is the behaviour, you could say, of a cult member.

in the conclusion, the author states:

And if anyone is to shoulder blame for the creation of this pathology and its complex, it are those true bigots of history and today, who don’t have the spiritual maturity to understand that someone’s sexual preference or identity shouldn’t be enough to categorically separate them from a definition of humanity; to beat, maim, and wish death upon them.

perhaps this might have been true, perhaps this might have drawn a thoughtful and damning line under the whole affair, if not for the fact that this behaviour has been occurring since long before the internet became known for its progressive and now increasingly often, ridiculous takes on inclusion and sensitivity. this kind of cultish groupthink has been ongoing since the wiki's very first inception. the cyclical worship of a group of staff members and other prolific writers (though the group are often one and the same) and their chosen theme or genre has occurred like clockwork since the late 00s. it has occurred when the website was still entrenched in its 4chan days and saying slurs was barely blinked at. it was still there back when staff was predominantly (or at least presumably) cis, white, and male. it was there when being gay was the butt of a joke and being trans was all but unthought of. it has always been there, and while the latest progressive policies and attitudes have had an effect on how the power is wielded, it has not changed the power itself. if the tides ever turn on the Terminally Online Woke ideology, staff will change with it and adapt their policies and ideologies to keep their power.

if anyone is to shoulder the blame for the creation of this pathology, it is the elitist attitude that has allowed a select few to be worshipped unquestionably. it is the power-hungry individuals who seek out fame and respect on a writing website and then use this fame and respect to treat others badly and their fear of a fall from grace to shelter others treating people worse. it is on the shoulders of the staff members who use their position to groom and sexually assault minors. it is on the shoulders of the staff members who keep it silent. as the severity of staff's secrets has increased, so has their attempts to silence dissent and reform at all costs.

the author agrees that this kind of religious think might lead to a cult in the future. the author says the cult will be a cult of vulnerability, but I disagree. I believe the cult is already there, and it is -- and always has been -- a cult of power.

#scp shenanigans #anon #asks

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bpdjennamaroney · 3 years

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i had someone yell at me for saying jkr really isn't terrible at all and when i checked their bio they were a stephen king fan lmao. imagine supporting a dude who writes child orgies but getting upset at a woman who says women are oppressed for biological reasons rather than pronouns. some people have never been a woman in the global south and you can really fucking tell.

yeah I mean. I do think that’s way too generous of a characterization of what JKR has said and continues to say. I don’t want to defend her or minimize the impact of what she’s said. She has hurt a lot of people, I’m a cis woman so I can’t begin to understand the betrayal her trans fans feel. And I do find it troubling that you characterize cis woman's oppression as "biological reasons" and trans women's oppression as "pronouns." I don't know you and I don't know your ideologies outside this ask, but you're minimizing JKR's statements in a reductive, transphobic way that I can't and don't condone. I can't instruct you to feel a certain way, but your characterization of what she said is dishonest.

That being said, I don’t want to step on any landmines but...yeah, there are a ton of creators way worse than JKR. The canon is made up of men whose violence against women is well-documented (I don’t think this specific charge applies to Stephen King), and they get away with it because it’s expected, it’s just what male artists do and the narrative is they need to do it to produce their ~great works of art~.

We all have our problematic faves and it’s hypocritical to yell at someone’s personal mental calculations to continue liking/supporting someone and/or their work. And Stephen King’s work contains shit that is way more hateful than JKR’s Jew goblins.

But with JKR there is both a sense of betrayal and an unprecedented grand scale that no other writer has to grapple with at her level, not even one as prolific as Stephen King. One, because she was a lot of people’s childhood--everyone wants to go to Hogwarts, no one wants to go to Maine--and her books are ostensibly about fighting for marginalized groups and here she is, in real life, speaking against a marginalized group. And then the scale: a reader might feel betrayed by their favorite author saying something shitty, I always use Orson Scott Card and Ender’s Game as an example, but this is several generations watching the most influential writer use her tremendous platform to spread hate against them, personally.

So I do understand many individual people having a personal response to JKR but they also live in a world where many other individual people also have their own personal response that will be different than theirs. So I think we can have opinions on people’s personal responses but I don’t think anyone can insist that every person they respond to can have the same reaction.

#harry potter #jk rowling

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duckprintspress · 10 months

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“Aim For The Heart” Creator Spotlight: Author Aeryn Jemariel Knox and Artist C

Another day, another two creators from Aim For The Heart: Queer Fanworks Inspired by Alexandre Dumas’s “The Three Musketeers” for y’all to meet!

untitled by C

About the Artist: A massive drinker of coffee and a lover of old TV shows and movies, C is a small-time concept artist and illustrator who likes to dabble in all things literature and history. When she’s not busy drawing and nodding along to Bruce Springsteen while researching the Kentucky Cave Wars, she’s trying to save up for grad school to become to a forensic artist so she can draw some more.

Link: Tumblr

Fast Times at Treville High by Aeryn Jemariel Knox

About the Artist: Aeryn Jemariel Knox first identified as a writer in second grade. With both parents involved in theater and a house full of bookshelves, they grew up surrounded by stories, and as soon as they could hold a crayon, they felt the urge to tell their own. In 2001, they discovered the wide and wonderful world of fanfiction; since then, they have gone by Jemariel in fandom spaces across the internet, engaging with their favorite media and communities in the best way they know. Previous fandoms include Harry Potter, Star Trek (The Original Series), Torchwood, and BBC’s Sherlock, but their most prolific writing and strongest community ties are in the Supernatural fandom. Now, nearly a decade after their last original fiction attempt, Aeryn is eager to explore the wider writing word.

A native of Portland, Oregon, Aeryn currently lives in the suburbs with their husband and 16-year-old cat. For a day job, they work as a tech writer and general paper-pusher for an energy drink factory. Their favorite stories, both to tell and to read, are stories about love, identity, and magic.

Links: Archive of Our Own | Tumblr

Story Teaser:

As the last bell rings, Dorian stands in an empty bathroom peering into the spotty mirror, fists against the cold ceramic edge of the sink. Three separate people want to decorate his face, all at the same time. He’s a scrappy asshole, but he’ll be lucky if he can get out of this as more than bloody pulp.

Whatever. He’s gotten this far on a devil-may-care attitude. Maybe if he can take the punk chick—Portia—the other two will fold. Athena hadn’t looked like the fighting type, and Leg-boy… that’s another story.

The others have already gathered by the time he finds the bleachers, the three of them in a loose clump under a banner proclaiming “Go Muskets!” strung across the back of the sagging wooden structure. The football team is practicing at the far end of the field, but the bleachers themselves are empty.

Portia catches sight of him first. “Look who didn’t chicken out,” she shouts, deliberately loud enough for his ears.

As one, the others turn to Dorian, who feels his legs turn to jelly and his stomach to ice. He should have expected this.

“You all… know each other?” he asks in a tremulous voice.

“Yeah. We freaks gotta stick together.”

Tags: alcohol use (casual), bullying, drunkenness, gay character, found family, friendship, high school setting, homophobia, homophobic slurs, homosexual character, lesbian character, m/m, misunderstandings, modern, pov third person limited, present tense, underage drinking

It’s a great Sunday to help support an anthology full of great stories and art! Come check out our Kickstarter now!

#duck prints press #kickstarter #aim for the heart #story teaser #art teaser #c #aeryn knox #queer kickstarter #queer fiction #queer art #polyamorous art

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grayseekerswritinglife · 2 years

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Prolificity: Toward a New Definition

Welcome to the third entry of my blog series on How to be a Prolific Fan Author! If you've read the previous two entries, you'll know this isn't going to be a straightforward 'how to' series, despite the name. It's more about me figuring out how to become prolific, and bringing you along for the ride!

In a previous entry, I wrote that Step One of my journey has been to escape the comparison trap. That is, to disentangle my idea of 'prolific' from my mental image of some other writer who seems able to perform feats of productivity that I can only dream about. We're talking about the Nora Robertses and Stephen Kings of the world, only in a fandom context.

I think it's worth noting, by the way, that those supposedly 'prolific' writers may not see themselves that way. The word counts and posting schedules that I find so baffling and miraculous might not seem like a big deal to them at all. And there's a reason for that:

The word 'prolific' has no set definition.

Technically, it means "an artist, author or composer who produces many works." But what does that mean, exactly? How many is 'many?' When it comes right down to it, the only way to define 'many' is through comparison.

At the time of this writing, I have 35 stories (418,548 total words) published on Ao3. Is that 'many?' Sure it is, at least in comparison to the number of published works I had in 2014 when I was first starting out under this pseud. But there are authors who have published hundreds of fics in that time-frame. There are also authors who have published far fewer; they might even consider me 'prolific!'

So where am I going with this?

Well, the bottom line is that there is no external measurement that can define what it means to be Prolific. There is no particular word count, no specific posting frequency, and no number of published works that will bring any of us past the magic threshold of Prolificity. It's like chasing after a rainbow; the goal-posts will always move as you do.

Honestly, the word 'prolific' is kind of toxic. It relies on comparison in order to have meaning, so it invites us to compare ourselves to others, thus sowing the seeds of insecurity and competitiveness. And yet here I am, blogging about how to become *more* of this Prolific thing.

Why is that, you might ask?

Well, I think there are two approaches one could take. If the word 'prolific' makes you feel bad about yourself (as it does me), you could nuke it from your vocabulary and replace it with something healthier. Or you can reclaim the word and make it mean something that actually works for you. That's what I'm trying to do.

I'm taking that second approach of redefining Prolificity in a more personal sense. I'm asking myself: what does MY Prolificity look like? What does it consist of? How can I measure it? Can I assign a threshold beyond which I can feel free to call myself Prolific, by my own definition?

As soon as I started looking at Prolificity that way, rather than in the "why can't I be more like THAT writer over there" kind of way, I quickly realized that it's not just about word-count. Writing many words and publishing frequently might be the cornerstone of Prolificity if you're writing for money, but fandom is more about community.

I realized I need a definition that reflects fannish values, which encompass so much more than just how many words you write or how often you post. And that's what my next entry will be about. Fannish values, at least as I perceive them, and how they're shaping my personal definition of Prolificity. In the meantime...

What about you?

Do you consider yourself to be a prolific fan author (or artist, or other creator)? Do you have a personal sense of what Prolific means to you? Have you achieved it, or are you still working on it? I would love to hear about it!

Note: This was cross-posted from my Dreamwidth account, which is where most of this blog series is gonna happen. I will put some of the main posts here on Tumblr, but most of the discussion will be taking place on DW. If you want to join the discussion, you can do so here.

#writing #fanfic #productivity

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rockislandadultreads · 3 years

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Criticism & Literary Interpretations

A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life by George Saunders

For the last twenty years, George Saunders has been teaching a class on the Russian short story to his MFA students at Syracuse University. In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times.

In his introduction, Saunders writes, “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?” He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity.

A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible.

A Little Devil in America: Notes in Praise of Black Performance by Hanif Abdurraqib

A stirring meditation on Black performance in America from the New York Times bestselling author of Go Ahead in the Rain At the March on Washington in 1963, Josephine Baker was fifty-seven years old, well beyond her most prolific days. But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance. Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rhythm of the musicians he loves. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.

The Dark Side of Alice in Wonderland by Angela Youngman

Although the children's story Alice in Wonderland has been in print for over 150 years, the mysteries and rumors surrounding the story and its creator Lewis Carroll have continued to grow. The Dark Side of Alice in Wonderland is the first time anyone has investigated the vast range of darker, more threatening aspects of this famous story and the way Alice has been transformed over the years. This is the Alice of horror films, Halloween, murder and mystery, spectral ghosts, political satire, mental illnesses, weird feasts, Lolita, Tarot, pornography and steampunk. The Beatles based famous songs such as Lucy in the Sky with Diamonds and I am the Walrus on Alice in Wonderland, while she has even attracted the attention of world-famous artists including Salvador Dali. Take a look at why the Japanese version of Lolita is so different to that of novelist Vladimir Nabokov - yet both are based on Alice. This is Alice in Wonderland as you have never seen her before: a dark, sometimes menacing, and threatening character. Was Carroll all that he seemed? The stories of his child friends, nude photographs and sketches affect the way modern audiences look at the writer. Was he just a lonely academic, closet pedophile, brilliant puzzle maker or even Jack the Ripper? For a book that began life as a simple children's story, it has resulted in a vast array of dark concepts, ideas and mysteries. So step inside the world of Alice in Wonderland and discover a dark side you never knew existed!

Huck Finn's America: Mark Twain and the Era That Shaped His Masterpiece by Andrew Levy

A provocative, exuberant, and deeply researched investigation into Mark Twain’s writing of Huckleberry Finn, which turns on its head everything we thought we knew about America’s favorite icon of childhood. In Huck Finn’s America, award-winning biographer Andrew Levy shows how modern readers have been misunderstanding Huckleberry Finn for decades. Twain’s masterpiece, which still sells tens of thousands of copies each year and is taught more than any other American classic, is often discussed either as a carefree adventure story for children or a serious novel about race relations, yet Levy argues convincingly it is neither. Instead, Huck Finn was written at a time when Americans were nervous about youth violence and “uncivilized” bad boys, and a debate was raging about education, popular culture, and responsible parenting — casting Huck’s now-celebrated “freedom” in a very different and very modern light. On issues of race, on the other hand, Twain’s lifelong fascination with minstrel shows and black culture inspired him to write a book not about civil rights, but about race’s role in entertainment and commerce, the same features upon which much of our own modern consumer culture is also grounded. In Levy’s vision, Huck Finn has more to say about contemporary children and race that we have ever imagined—if we are willing to hear it. An eye-opening, groundbreaking exploration of the character and psyche of Mark Twain as he was writing his most famous novel, Huck Finn’s America brings the past to vivid, surprising life, and offers a persuasive—and controversial—argument for why this American classic deserves to be understood anew.

#nonfiction #non-fiction #nonfiction books #literature #criticism #critical thinking #analysis #interpretation #classics #english literature #literary #reading recommendations #Book Recommendations #library #800s #history #literary criticism #russian literature

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path-of-my-childhood · 3 years

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Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

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Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

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