Stephanie M.

Stephanie M.

I'm a content writer and novelist who loves books, writing, theater, and my cat. I have published two novels and traveled to London and Paris.

Columnist III

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    Latest Topics

    6

    Twelve Days of Christmas: An Analysis

    The Twelve Days of Christmas is one of the best known, and arguably more exhausting and annoying, Christmas songs in existence. It's so complex and has been around for so long, one might expect it to have vanished from the carol canon decades ago.

    However, the carol lives on, as do the stories and legends behind it, and the projects it has inspired. Origin stories float around social media every year. Perhaps the most popular claims that the carol was a way for Catholics in King James I's era to express their faith without fear of persecution (the partridge is Jesus Christ, the three French hens are faith, hope, and charity, and so on). Another origin story claims every gift in the carol is a different bird, not just the gifts directly associated with birds (e.g., "five golden rings" refers to ring-necked pheasants).

    Along with this, touching or funny riffs on the carol are found in almost every fandom and subculture (Harry Potter, Redneck 12 Days, 12 Days based around political satire, and more). Hallmark's expansive list of holiday movies includes no less than two based on the conceit of giving 12 meaningful gifts. Even some of today's more orthodox church denominations (Catholic, Eastern Orthodox, and others), still treat Christmas as a 12-day affair, ending on the Day of Epiphany.

    Examine how and why the 12 Days of Christmas, song and concept, are so ingrained in our culture even if not everyone celebrates the holiday as such. Pick a few origin stories or 12 Days-inspired projects to analyze. What does this carol and concept mean for us? What is it about the concept that has staying power, even if some people dislike the song? Are some inspired projects better at capturing the spirit of 12 Days than others? What might a literal or figurative "12 Days" look like for secularized culture, and would it make the holidays better or worse? Both? Discuss.

    • The reason why "12 Days of Christmas" is as long and convoluted as it is is that it's an elaborate metaphor. Each verse of the song is meant to represent a different aspect of Christian (especially Catholic) observance. It was written in England during a time when Catholics faced persecution, so in order to teach what made their own faith unique, they had to be sneaky about it--hence why the song never refers to Catholicism directly even as it uses a lot of Catholic imagery. Some of the songs sung on the Jewish holiday of Passover operate in a similar way. – Debs 10 months ago
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    3

    The Cultural Impact of Elf on the Shelf

    In 2005, Carol Abersold and her daughter Chanda Bell dreamed up a new Christmas tradition. Parents could purchase one of Santa's elves, a cute little creature sent to "scout" for Santa and report whether the kids in a certain home had been good. The elf would stay with their chosen family from December 1-25, getting up to creative antics while the kids were asleep every night.

    The combination elf doll and book were an instant smash hit with their target demographic. In almost 20 years since inception, the original white, blue-eyed male elf has received female counterparts, as well as Black and Latino/a counterparts, male and female. Parents of disabled children have bought or handmade accessories like wheelchairs or braces for their dolls. The Elf on the Shelf has its own theme song and has spawned a made-for-TV movie, as well as a 2023 elf-themed baking competition on Food Network.

    However, not everyone wants this elf on their shelf. Every year, parents flock to social media to panic–"It's almost December 1 and I can't find the elf/I need an elf!" They commiserate with fellow parents and guardians–"I hate this [darn] elf!" Parents, teachers, and child development experts have excoriated the elf as a "Christmas spy," a tool that encourages extreme behaviorist thinking and doesn't contribute to concepts of grace, making mistakes and learning from them, or doing well without doing perfectly. In a season where kids are already excited, anxious, and overstimulated, the elf feels like an enemy. Plus, many parents find it "just plain creepy."

    Discuss the pros, cons, and cultural impact of the Elf on the Shelf, as well as any alternatives you know (e.g., Kindness Elves, elves who use their time to make the journey to Bethlehem, elves who celebrate Hanukkah or Diwali). Why do you think culture embraced or rejected the Elf on the Shelf? In what capacity if any was it needed? Do alternatives "work," or do we need better alternatives, if any? Will the phenomenon ever leave us? Choose a couple of these or other questions upon which to expound.

      8
      Published

      Why Writers Love Whump

      Within the fiction writing community and especially on social media outlets like Tumblr, there is a particular type of writing that draws a subset of writers. This writing type is called "whump." Broadly defined, "whump" happens when one character gets hurt, physically, emotionally, or otherwise, and must receive care from another character, or conversely, endure the trauma alone.

      Whump can take many forms and be as innocent or graphic as the writer wants, although most writers will post trigger or content warnings if they intend to go into certain details. Graphic or not though, many writers confine their enjoyment to whump communities for fear of being misjudged as sadists, masochists, or otherwise unstable. Others write whump to the exclusion of other types or scenes, which may raise questions about their growth in the craft of writing.

      Examine the many reasons why fiction writers love whump. Are they all looking for catharsis for their own trauma? Are some of them caretakers who enjoy seeing characters rescued and nursed to health? Why do you think these writers get judged for liking and creating whump content, whereas a whump reader is less likely to be judged for reading a violent or horror novel? Are there some forms of whump that take the concept too far? And perhaps most importantly, what does this type of writing offer to the fiction community, that no other writing does?

      • This is an interesting topic because it’s partly just wondering why people like what they like. Of course, it goes deeper than that as I suppose it could with any genre, where naturally like-minded people may flock towards the same plot devices, tropes, structures, etc. I guess someone's opinions on whump diverge from their opinions on other genres (horror, for example) because of its very specific qualities. So, anyone could have an opinion on horror, but someone who has a strong opinion on whump must have a reason for it. The ‘taboo’ around its subject matter sets this trope apart from others like fluff or smut. Between the community where it primarily exists and its content matter, there could be any combination of factors that leaves it open to criticism: 1) It’s an impactful, condensed and sometimes painful (again, how much the writer wants to get into it) piece of writing that exists solely to convey those emotions. Rather than a drama in the form of a novel that might contain similar themes, all that would be spread out is jam-packed into sometimes only a couple hundred words. 2) It isn’t a commercially popular genre, at least not that I’ve seen. Which means that, ignoring the obvious highs and lows in terms of attention and effort, these aren’t always professionally-treated stories. Which means, that for better or worse, people might be writing about traumatic events they haven’t researched or experienced to then properly depict. and 3) It’s not the masses who are reading these stories—unless it’s the type of genre to come under pressure publicly only for everyone to secretly open up their favourite social media site to then read fervently—which means that a lot of people probably don’t know what it really is. And this can be seen with so many things right before something sends them over into the mainstream. So while a horror novel and a whump fic might be pretty equally-footed in terms of mature subject matter, it is infinitely easier to criticize a genre that revolves around obscenity or violence (even to cathartic means) rather than a genre that encompasses much more. It’s also interesting, the point you raise about people questioning people’s ability to write because they choose to write whump. Much like the speculations about why people like to read whump, I like to think that most writers write what they write because that’s what they enjoy writing. And if a horror writer writes horror because he has never felt the warmth of a woman’s touch and couldn’t possibly fathom a contemporary romance, I don’t think that should reflect (negatively or positively) on the genre or the writer. And finally, while I’m not sure I could agree with any statement that tries to prove there’s a genre out there that could be so completely unique in its ability to bring certain things to the table, I do think that whump is really good at dealing with a rawness in human (or human-like) emotion. Of course there are the sometimes exceedingly graphic depictions of pain and various forms of mutilation, but even then, as long as we’re discussing writing as it brings out the best in a genre, I think it inspires creative description and real emotion in terms of connection or isolation. – Zak 1 year ago
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      12

      How Will the Current Culture Affect Classic Novels?

      Most of us grew up with some form of the classic novel. Whether we read abridged, illustrated versions for kids, encountered them in school, or watched TV or movie versions (e.g., Wishbone, Disney adaptations), most of us know at least some of the traditional "classics" of the Western canon. These include but are not limited to works by Dickens, Steinbeck, Morrison, Lee, Shakespeare, Austen, and Wells.

      As our culture becomes more aware of concepts like marginalized experience and cultural appropriation though, our relationships with classic literature may change. We now critique certain examples of classics because of what they imply about non-Western, non-white cultures, or what they leave out. We critique them based on the roles women do or don't play, or how characters of color are treated, or whether characters coded LGBT are sympathetic. As a disabled woman, I find myself being harsher with books like Of Mice and Men or The Color Purple because of how they treat members of my groups.

      How does this heightened critique and awareness mean we should treat the classics? That is, can we still learn valuable things from these books even if they are cringe-worthy in their rhetoric or character portrayals? How can we engage with these books, without spending all our time on the problematic parts? Some of these classics have been retold because of heightened critique; was this a good or bad idea? And, are these critiques even valid, or should we simply say, "This was written in another time and we should simply accept that?" Discuss.

      • The critiques are valid, in my opinion. It is important to understand the contexts these stories were written in as they allow us to realize how much things have changed and, more importantly, what has not changed. To simply admit that these novels were written in a different time suggests that the problems that existed back then are solved now. We know that this is not the case, that people are still marginalized and cultures are still being appropriated. Learning about these issues when they were more apparent allow us to understand the injustices that are still ongoing today. – Kennedy 3 years ago
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      • While thoughtful critique of problematic elements in classic literature can further productive discussion and help us understand how certain harmful attitudes became normalized, we must be careful not to judge historical works too harshly by today's standards. Rather than canceling classics entirely, it may be better to teach and analyze them with appropriate context, acknowledging flaws while still appreciating positives. Some reimagined versions aim to be more inclusive, but lose the original voice. Classics remain relevant when transcending their time and place to speak to universal human truths. No work is perfect, and reasonable people can disagree on how to handle insensitive content. Open discourse allows growth, while knee-jerk condemnation often does not. If we discard all works containing outdated views, we lose touch with our past and ability to learn from it. A balanced approach, neither banning classics nor accepting dated views uncritically, may be best as we determine how to engage thoughtfully with these works in today's climate. – Nyxion 1 year ago
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      8

      The Cancelling of Sapphic and Women's-Centered Series

      Social media is buzzing about a disturbing, but not necessarily new trend–the cancelling of sapphic television series, especially on streaming services like Netflix. "Sapphic" refers to content "of or relating to sexual attraction or interplay between women," and disgruntled and confused viewers aren't seeing enough of it. They point out the short-lived nature of once-popular series such as The Baby-Sitters' Club (2020) and Paper Girls, to name only two.

      Even more disturbingly, some series that might not be called sapphic, but are certainly women-centered, have been cancelled, were panned by critics, or have disappeared into long hiatuses. (See Gilmore Girls: A Year in the Life, Chilling Adventures of Sabrina, and Anne With an E for examples).

      Discuss why these series, especially on Netflix, might have been disproportionately represented on the chopping block. Do the "powers that be" see women-centered content, particularly the sapphic, as a threat, and if yes, why? Do cancellations happen just because of the nature of Netflix–shorter seasons and encouragement of "bingeing"–but if yes, why is male-centered content not cancelled as well? Do female viewers want different types of content, and if yes, what do they want? What would it take to bring female-centered shows, sapphic and otherwise, front and center on streaming services again?

      • This is such an important topic! It’s also important to compare it to other queer works released, especially ones about white gay men and explore how bias and discrimination plays into it – Anna Samson 2 years ago
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      6

      The Impact of Blue and Bluey

      A popular meme showing Blue of Blue's Clues fame and Bluey of the eponymous Australian cartoon reads, "Every so often, a blue dog appears to guide a new generation." Tongue-in-cheek humor aside, one cannot deny the popularity and relevance of Blue and Bluey for millennials and Gen Z in particular.

      Examine and analyze these two blue canines, their compatriots, and their shows. Compare and contrast them. What makes them both so engaging, yet unique to the generations at which they were originally aimed? What makes both so special for both the children and parents who watch them now? Why have both shows succeeded in netting older "periphery demographics" (e.g., older elementary students) where other shows have not? Or conversely, if one show or the other drove, or is driving, other older viewers up the proverbial wall, why is that?

        4

        The Rise of the Split Time Novel

        Currently, split time novels are some of the most popular in the fiction market. These novels usually pair a historical protagonist with a contemporary one, connecting their stories across time through similar themes and motifs or sometimes a significant object or event. For instance, one protagonist might have lived through World War I or II, and the other might be that protagonist's grandchild or great-grandchild looking for answers regarding what happened to that grandparent during the war years, but the other family members never talk about.

        Despite the popularity of these stories, they're arguably becoming formulaic. Some time periods and plotlines are becoming overdone. For instance, it is no longer uncommon for World War II to be the featured historical period. A contemporary protagonist is often drawn to care about the past only if he or she "gets something out of it," such as a promotion at work or a "last chance" to connect with a grandparent dealing with dementia (the question becomes, why didn't the grandchild ever attempt to connect before)?

        Discuss some of the more popular split time novels and what sets them apart from their myriad counterparts. Discuss what historical time periods aren't being taken advantage of right now that could be, or what plotlines contemporary characters could experience. For instance, could time travel be a possibility? Body or identity switches? Historical and future timelines?

        • I suggest including good examples of split-time novels to give authors a basis to work from. – noahspud 2 years ago
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        • I agree with noahspud, some examples would be perfect. – Beatrix Kondo 2 years ago
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        • I think something that could break the formulaic nature of the trope would be to have an integration of two different cultures and timelines that are neither modern nor Eurocentric. As you have mentioned the contemporary counterpart is usually the default, acting as the representative of the modern audience, however as an example, if someone from 18th-century Japan met someone from Ancient Egypt or 14th-century Brazil, there can be more chances for complexity. The downside would be introducing the viewer to too many unknown systems. The benefit of the eurocentric and modern counterpart is that it acts as a blank slate. Could this potentially work? – LadyAcademia 2 years ago
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        4

        The Arts' Love of All Things Winter

        Disney's Frozen burst into our theaters and onto our small screens in 2013, and no one has "let it go" since. The film became a franchise, with rumors of a third installment coming in 2023 or later. But Frozen is not the only wintry tale media consumers love. "Winter tales" can be found across mediums, from TV series like Game of Thrones whose tagline is "Winter is Coming," to a plethora of books with titles like The Snow Child, WinterFrost, and Girls Made of Snow and Glass. Many of today's super-powered or "chosen one" protagonists also have winter-related powers; Queen Elsa might be the most obvious, but there is also Jack Frost from Rise of the Guardians, as well as Freya from Snow White and the Huntsman.

        Winter permeates the arts, no matter the season. Yet what is it about this season, out of four, that captures the imagination of writers, filmmakers, and other artists? Analyze a few prevalent winter tales across mediums, looking for commonalities among characters, character arcs, plot threads, powers, and more. Could the other three seasons garner this kind of attention, and if yes, what would it take to make that happen? Are artists, authors, and others who craft "winter tales" trying to make a statement about their art, themselves, or humanity through winter? If yes, what is it? Discuss.

        • Maybe write more about your thoughts? Answer some of the questions you ask? – Thorn 2 years ago
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        • The writings on winter here may include analysis of well-known as well as lesser known poems and songs on winter. Winter is an interesting topic for writing, even to those living in hotter places like mine. – Anvar Sadhath 2 years ago
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        Latest Comments

        Stephanie M.

        Thank you for exploring this topic. My manifestation of cerebral palsy affects my hands in such a way that I cannot draw. Most people refuse to believe this because I can feed myself, brush my teeth, and dress myself, and my clothes are not backward. There is not food or toothpaste smeared all over me. But the truth is, unless I tell you what something is supposed to be, you are *not* going to recognize it. My handwriting is the same; it’s an odd mishmash of uppercase and lowercase letters that don’t proceed in a straight line, ever (so I type).

        Most people are supportive when I talk about how I want to use AI to create art/illustrate the characters I’ve created and longed to “see” for years. But I do have those few who turn it into a discussion of, “Yeah, but AI is gonna take over the world/AI is evil.” I usually roll with it. After all, I remind them, this is what people initially said about the Internet, and most of us use that without evil intent. I would be lying though, if I said the moral and ethical implications didn’t bother me. Moreover, I still find AI’s limitations frustrating at times (like, I’ll input a character’s info and get something back. I’ll think, “No, they look like a model!” Or, “No, they look like AI!” Which, yeah, they *are* AI, but… Ah, well. I guess all any of us can do is keep working on it. Thanks again!

        Can Art-ficial Be Art?: The Human Heart Behind the Machine
        Stephanie M.

        Lovely work! I had never heard of Gwen Harwood before, but her sonnets are clever, beautiful, and piercing. They remind me of a course I once took called Women in Literature/Women in Religion (it was called a “linked” course, double the length of a standard one. Everyone at my college had to take one, so several departments would offer them in any given semester). Harwood would’ve fit right in.

        The Quietly Subversive Poems of Gwen Harwood
        Stephanie M.

        Yeah, I think I remember hearing about the conflict between Walden and Disney over the themes. And yes, I remember my church and several others encouraging families to go see it. My family and I went with some friends of ours the weekend after the premiere. We froze our buns off, but it was so much fun. I was in college, and I still cried over Aslan.

        The Rise and Fall of the Narnia Film Series
        Stephanie M.

        Exactly! I loved LWW. Now of course, I was a first-semester college sophomore then, BUT I was also taking a whole class on C.S. Lewis (religion major). We didn’t read all the Narnia books, but we read LWW together. So, I was really into it. But then Prince Caspian came out, I rented it, and I was like, “What in heck is this? I am so bored!” I tried it again later, thinking I just didn’t “get it” before, but, no. It was just battle scene after battle scene, no dialogue, flat characters. Dawn Treader was better, but not much.

        The Rise and Fall of the Narnia Film Series
        Stephanie M.

        Hmmm. Or until somebody invents a DeLorean that takes us to, what would it be by now, 20-50-something? Paging Doc Brown…

        The Rise and Fall of the Narnia Film Series
        Stephanie M.

        Yeah, he’s probably rolling in his grave over the whole thing. Then again, if you go by the definition of allegory…sorry Jack, but you kind of went that route whether you meant to or not.

        The Rise and Fall of the Narnia Film Series
        Stephanie M.

        I tend to agree. LWW is great. Prince Caspian, I hate to say, I found deadly boring. Dawn Treader…eh… And while I also hate to think of losing Magician’s Nephew or The Horse and His Boy, I see your point. They fit as far as the books, but if you’re going to adapt them into a film or TV series, it’s hard to tell where and how they would mesh with the rest of the stories.

        The Rise and Fall of the Narnia Film Series
        Stephanie M.

        It really is an underrated jewel! I didn’t get to it until seventh grade (part of a fantasy unit; my teacher split the class into three different groups and we rotated books). I liked it so much, I read ahead, which was apparently this huge crime in her class, but I did not even care. I still think about those green and yellow rings, Jadis causing chaos in London, and of course, the Wood.

        The Rise and Fall of the Narnia Film Series