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Letting Go

February 23, 2016 | 5 min read

This is a guest post by Dorothy R. Santos. Dorothy is a writer, editor, curator, and educator. She served as the managing editor for Hyphen magazine. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” will be published The Routledge Handbook of Biology for Art and Architecture in 2016. She teaches at the University of California, Santa Cruz in the Digital Art and New Media department.

Every morning, I flick at my smartphone screen and read the news. I watch for some of my favorite writers in art, technology, and cultural criticism. I used to marvel at how quickly some of my favorite writers and journalists could produce content in such a prolific manner. But having done that made me spiral into some major neuroses about my writing as well as assuming the impostor syndrome. Sure, I make a fine editor because it's always easy to critique anyone else's writing but your own. It's also easy to say to yourself that you're never going to meet the same ranks as the writers you admire. So, when I asked myself, "what is a successful writer?" I went way back into my grammar school days.

I remember being in English class when I was growing up and thinking how amazing it was to learn about subjects, predicates, nouns, and conjugating verbs. I think that was in large part due to the fact that I grew up in a household where multiple languages were spoken. To some degree, it helped and would stick with me for a long time. But it was also relatively confusing. How would I communicate in the long run? How would I use language? Over the years, I forgot how passionate I was about learning language until I had to serve as an editor in chief in college and in hindsight, it was probably because I was easy to work with and could be told what to do (and very impressionable).

Overall, after all this time, I think what makes a writer successful is doing one thing - letting go.

You might ask, what do you mean by letting go and this just sounds like so many other self help books and a little too easy? That's not real advice, you might be saying. But take it however you want. It's not about resignation, that's different. When you are resigned, you don't try, you don't fight, and you don't care. Letting go isn't about having an "IDGAF" attitude either. You must respect yourself as a writer to know what you are passionate about and commit. If you're the only one on earth that wants to write about the creation of the microprocessor or fascinated by the proliferation of #whatarethose meme, well, write about it. Write to yourself. Write for yourself. As writers, I understand the need for an audience, I mean, let's face it, readership is important as a writer. But your reader reads your work because they see that you care. Another question you might be asking yourself is, "Okay, let go of what exactly?"

It's been challenging because I was born and raised in an immigrant family that did not exactly foster my passions in the arts and humanities. When my mother immigrated to San Francisco in 1978, she didn't exactly know what she was stepping into, but rallied her resources as best as she could and sent me to private school for as long as financially possible. Right away, she saw my love for the arts and language as a little girl. Yet she wanted me to grow up skilled in something practical that would yield me the life that she didn't have in the Philippines. That being said, your past and upbringing have a lot to do with the way you define success. What you do and how you make your mark have a lot to do with personal histories and experiences and, sometimes, letting go of what you have been told time and time again will result in precarious living, doesn't hold true when you let go and start living the life you want. It's challenging, it's tough, as a writer, but for all of the writers I know and deeply admire, I notice the one thing they did along the way that has led to what I perceive and acknowledge as success is to let go.

Letting go of naysayers, unproductive criticism, feeling like an impostor, perfection, the need to be right, the fear of being wrong, rigid structures that prevent you from growth, toxic people/personalities, habits that prevent you from actually writing.

I've said "I wish I just had more time" as well. But don't we all? You gotta let go of that too. So, what would you do with that extra time? Where is that extra time going? At the end of the day, being a successful writer actually doesn't mean writing for the biggest news outlets or even writing the best essay, article, or book. Being a successful writer means that you've written something you believe in and it can help illuminate something for someone. It doesn't have to be perfect and it doesn't have to be award winning. But it has to be something you feel the world needs and couldn't live without because if you don't write it, it doesn't exist and if it doesn't exist, it probably never will. At least not from your perspective, your vision, and your experiences.

Don't worry about someone misunderstanding or not getting it, that's actually not a part of being successful. There will always be people that don't get something because they genuinely don't get it or because they intentionally don't want to understand. Remember that it's not your job to make people understand. It's your job to think, read, write, and initiate the thoughts of others into thinking deeply about the world around them. You may be the only person writing what you write. Or, you might say that that's been written before. Whatever the case, write gibberish, write crap, then look at what you write and start over. Writing is the place where you can command language and expand on it however you want. It's really up to you to do what you want with it. But taking responsibility for the things you write is another aspect of writing that you need to take into account. You can always change your mind. In the long run, it's also about a nice long conversation with culture itself and how it's changed and where you want to see it go and how you're making your mark as well. So, what are you waiting for?

Let go.

 

December 30, 2025 3 min read

It’s Freewrite’s favorite time of year. When dictionaries around the world examine language use of the previous year and select a “Word of the Year.”

Of course, there are many different dictionaries in use in the English language, and they all have different ideas about what word was the most influential or saw the most growth in the previous year. They individually review new slang and culturally relevant vocabulary, examine spikes or dips in usage, and pour over internet trend data.

Let’s see what some of the biggest dictionaries decided for 2025. And read to the end for a chance to submit your own Word of the Year — and win a Freewrite gift card.

[SUBMIT YOUR WORD OF THE YEAR]


Merriam-Webster: "slop"

Merriam-Webster chose "slop" as its Word of the Year for 2025 to describe "all that stuff dumped on our screens, captured in just four letters."

The dictionary lists "absurd videos, off-kilter advertising images, cheesy propaganda, fake news that looks pretty real, junky AI-written books, 'workslop' reports that waste coworkers’ time … and lots of talking cats" as examples of slop.

The original sense of the word "slop" from the 1700s was “soft mud” and eventually evolved to mean "food waste" and "rubbish." 2025 linked the term to AI, and the rest is history.

Honorable mentions: conclave, gerrymander, touch grass, performative, tariff, 67.

Dictionary.com: "67"

The team at Dictionary.com likes to pick a word that serves as “a linguistic time capsule, reflecting social trends and global events that defined the year.”

For 2025, they decided that “word” was actually a number. Or two numbers, to be exact.

If you’re an old, like me, and don’t know many school-age children, you may not have heard “67” in use. (Note that this is not “sixty-seven,” but “six, seven.”)

Dictionary.com claims the origin of “67” is a song called “Doot Doot (6 7)” by Skrilla, quickly made infamous by viral TikTok videos, most notably featuring a child who will for the rest of his life be known as the “6-7 Kid.” But according to my nine-year-old cousin, the origins of something so mystical can’t ever truly be known.

(My third grade expert also demonstrated the accompanying signature hand gesture, where you place both hands palms up and alternately move up and down.)

And if you happen to find yourself in a fourth-grade classroom, watch your mouth, because there’s a good chance this term has been banned for the teacher’s sanity.

Annoyed yet? Don’t be. As Dictionary.com points out, 6-7 is a rather delightful example at how fast language can develop as a new generation joins the conversation.

Dictionary.com honorable mentions: agentic, aura farming, broligarchy, clanker, Gen Z stare, kiss cam, overtourism, tariff, tradwife.

Oxford Dictionary: "rage bait"

With input from more than 30,000 users and expert analysis, Oxford Dictionary chose "rage bait" for their word of the year.

Specifically, the dictionary pointed to 2025’s news cycle, online manipulation tactics, and growing awareness of where we spend our time and attention online.

While closely paralleling its etymological cousin "clickbait," rage bait more specifically denotes content that evokes anger, discord, or polarization.

Oxford's experts report that use of the term has tripled in the last 12 months.

Oxford Dictionary's honorable mentions:aura farming, biohack.

Cambridge Dictionary: "parasocial"

The Cambridge Dictionary examined a sustained trend of increased searches to choose "parasocial" as its Word of the Year.

Believe it or not, this term was coined by sociologists in 1956, combining “social” with the Greek-derived prefix para-, which in this case means “similar to or parallel to, but separate from.”

But interest in and use of the term exploded this year, finally moving from a mainly academic context to the mainstream.

Cambridge Dictionary's honorable mentions: slop, delulu, skibidi, tradwife

Freewrite: TBD

This year, the Freewrite Fam is picking our own Word of the Year.

Click below to submit what you think the Word of 2025 should be, and we'll pick one submission to receive a Freewrite gift card.

[SUBMIT HERE] 

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Sources

December 18, 2025 7 min read

What can Jane Austen's personal letters teach writers of today?

December 10, 2025 6 min read

Singer-songwriter Abner James finds his creativity in the quiet freedom of analog tools. Learn how his creative process transcends different media.

Abner James went to school for film directing. But the success of the band he and his brother formed together, Eighty Ninety, knocked him onto a different trajectory.

The band has accrued more than 40 million streams since the release of their debut EP “Elizabeth," and their work was even co-signed by Taylor Swift when the singer added Eighty Ninety to her playlist "Songs Taylor Loves.”

Now, Abner is returning to long-form writing in addition to songwriting, and with a change in media comes an examination of the creative process. We sat down to chat about what's the same — and what's different. 

ANNIE COSBY: Tell us about your songwriting process.

ABNER JAMES: The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off.

And one of the things that occurred to me when I was traveling, actually, was that I would love to be able to do that but from a writing perspective. What would happen if I sat down and approached writing in the same way that I approached music? In a more intuitive and free-form kind of way? What would that dig up?

AC: That's basically the ethos of Freewrite.

AJ: Yes. We had just put out a record, and I was thinking about how to get into writing for the next one. It occurred to me that regardless of how I started, I always finished on a screen. And I wondered: what's the acoustic guitar version of writing?

Where there's not blue light hitting me in the face. Even if I'm using my Notes app, it's the same thing. It really gets me into a different mindset.

 "I wondered: what's the acoustic guitar version of writing?"

I grew up playing piano. That was my first instrument. And I found an old typewriter at a thrift store, and I love it. It actually reminded me a lot of playing piano, the kind of physical, the feeling of it. And it was really fun, but pretty impractical, especially because I travel a fair amount.

And so I wondered, is there such a thing as a digital typewriter? And I googled it, and I found Freewrite.

AC: What about Freewrite helps you write?

AJ:I think, pragmatically, just the E Ink screen is a huge deal, because it doesn't exhaust me in the same way. And the idea of having a tool specifically set aside for the process is appealing in an aesthetic way but also a mental-emotional way. When it comes out, it's kind of like ... It's like having an office you work out of. It's just for that.

"The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off."

And all of the pragmatic limitations — like you're not getting texts on it, and you're not doing all that stuff on the internet — that's really helpful, too. But just having the mindset....

When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing. I find that to be really cool and inspiring.

"When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing."

AC: So mentally it gets you ready for writing.

AJ: Yeah, and also, when you write a Microsoft Word, it looks so finished that it's hard to keep going. If every time I strummed a chord, I was hearing it back, mixed and mastered and produced...?

It's hard to stay in that space when I'm seeing it fully written out and formatted in, like, Times New Roman, looking all seriously back at me.

AC: I get that. I have terrible instincts to edit stuff over and over again and never finish a story.

AJ:  Also, the way you just open it and it's ready to go. So you don't have the stages of the computer turning on, that kind of puts this pressure, this tension on.

It's working at the edges in all these different ways that on their own could feel a little bit like it's not really necessary. All these amorphous things where you could look at it and be like, well, I don't really need any of those. But they add up to a critical mass that actually is significant.

And sometimes, if I want to bring it on a plane, I've found it's replaced reading for me. Rather than pick up a book or bring a book on the plane, I bring Traveler and just kind of hang out in that space and see if anything comes up.

I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise. I've found that writing from words towards music, I get different kinds of songs than I have in the past, which has been interesting.

In that way, like sitting at a piano, you just write differently than you do on a guitar, or even a bass, because of the things those instruments tend to encourage or that they can do.

It feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me.

"I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise... [Traveler] feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me."

AC: As someone who doesn't know the first thing about writing music, that's fascinating. It's all magic to me.

AJ: Yeah.

AC: What else are you interested in writing?

AJ: I went to school for film directing. That was kind of what I thought I was going to do. And then my brother and I started the band and that kind of happened first and knocked me onto a different track for a little while after college.

Growing up, though, writing was my way into everything. In directing, I wanted to be in control of the thing that I wrote. And in music, it was the same — the songwriting really feels like it came from that same place. And then the idea of writing longer form, like fiction, almost feels just like the next step from song to EP to album to novel.

For whatever reason, that started feeling like a challenge that would be deeply related to the kinds of work that we do in the studio.

AC: Do you have any advice for aspiring songwriters?

AJ: This sounds like a cliche, but it's totally true: whatever success that I've had as a songwriter — judge that for yourself — but whatever success I have had, has been directly proportional to just writing the song that I wanted to hear.

What I mean by that is, even if you're being coldly, cynically, late-stage capitalist about it, it's by far the most success I've had. The good news is that you don't have to choose. And in fact, when you start making those little compromises, or even begin to inch in that direction, it just doesn't work. So you can forget about it.

Just make music you want to hear. And that will be the music that resonates with most people.

I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake. They're not real. None of those people are actually real people. You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one.

And I just don't think that we're that different, in the end. So that would be my advice.

AC: That seems like generally great creative advice. Because fiction writers talk about that too, right? Do you write to market or do you write the book you want to read. Same thing. And that imaginary focus group has been debilitating for me. I have to silence that focus group before I can write.

AJ: Absolutely.

"I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake... You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one."

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Learn more about Abner James, his brother, and their band, Eighty Ninety, on Instagram.