TIS THE SEASON: Get up to 15% off our core models + 12 months of Freewrite Plus free for new users 🔔

overlaylink

Are Trigger Warnings Ruining Modern Literature?

Michael Archambault
May 30, 2024 | 8 min read

Fascism, kidnapping, sexism, slavery, suicide, war, and violence.

These are the trigger warnings provided on the Book Trigger Warnings database for J.R.R. Tolkien’s world-renowned fantasy novel The Return of the King, published in 1955.

Modern literature, such as R.F. Kuang’s Yellowface, published in 2023, receives no less than a sixteen-item extensive list of potentially sensitive topics, including alcohol, anti-queer sentiments, blackmailing, racism, rape, slurs, and suicidal ideology.

You’ve probably seen the note “TW” at the start of a post on the internet. Similarly, trigger warnings have been implemented within the publishing world as a form of protection to help readers identify topics they would rather not encounter. But have trigger warnings offered any real-world benefits?

Dive in as we explore the debate for and against trigger warnings, chat with author Alex Kazemi, who ran into trigger warnings in his latest book, and discover what curated literature means in a world with access to an uncensored internet.

 

What’s Up with Trigger Warnings?

The concept of trigger warnings originated in the late 1990s. Feminist message boards were known to employ cautionary labels to prevent emotional distress around topics such as sexual assault. Eventually, the concept caught on across the internet, and then started popping up in printed material, too.

Today, content warnings are fairly ubiquitous — and also contentious. Some people proclaim these warnings offer mental health protection, allow for more personal decision-making in reading selection, and provide a greater sense of accessibility. Naysayers point out that trigger warnings could limit artistic freedom, create more homogenized literature, and help people avoid facing difficult yet necessary conversations.

The concept of these content warnings became especially debated on college campuses across the U.S. in the 2010s. Some universities, such as Oberlin College, called on their instructors to include trigger warnings for course material that students could find distressing. Others, like the University of Chicago, put out official statements condemning trigger warnings.

The National Coalition Against Censorship (NCAC) conducted a survey in 2015 that found students at 15 percent of participating institutions had requested trigger warnings for course material, while an overwhelming 62 percent of instructors thought trigger warnings “have had or will have a negative effect on academic freedom.” Yet other professors proclaim trigger warnings help educators, too.

That same year, The Atlantic called this movement on college campuses “the coddling of the American mind.”

 

  

Pros: Protecting Mental Health & Reader Choice

The most commonly argued benefit of content warnings is to provide mental health protection for individuals who may have experienced trauma. After all, shouldn't it be the choice of the reader to decide what they wish to ingest intellectually?

Providing readers with a choice and empowering them to make informed decisions allows them to decide whether they wish to engage with the content or avoid it to prevent distress, anxiety, and traumatic flashbacks. For many readers who use literature as a form of escape, this is incredibly beneficial.

For people who have mental health conditions such as PTSD or debilitating anxiety, trigger warnings create a sense of renewed accessibility. Books with trigger warnings can be enjoyed by those who may have avoided literature due to a fear of unknown themes.

Individuals who have mental health concerns may even be able to prepare themselves to cope with the material, a potentially critical step toward improved health.

Cons: Censorship & Avoiding Difficult Topics

While it’s clear trigger warnings were created with good intentions, critics say that imposing such cautions on books could lead to censorship and limited artistic freedom. Authors often explore challenging themes, and the threat of including a trigger warning may be enough to silence their expression for fear of not being published.

The idea of censorship seems like a stretch at first, but skeptics wonder if the widespread use of trigger warnings causes publishers to be more cautious about the material they publish, leading to more sanitized work—a homogenization of literature.

Trigger warnings could also lead to censorship on school or library shelves. In a time of rampant book bans, a bold book that addresses critical topics for youth (think fatphobia, dating abuse, or bullying) could be taken down based solely on its trigger warnings.

Of course, there is the argument proposed by many educators: that this type of literary climate can also prevent complex topics from being discussed. In essence, trigger warnings could push individuals away from challenging books that would actually help to better their mental health — or society itself.

 

But Do Trigger Warnings Help?

You’ll notice a lot of these conversations occurred nearly a decade ago. After all this time, do we have proof that trigger warnings help?

An analysis by researchers at the College of Education, Psychology, and Social Work at Flinders University says trigger warnings may do more harm than good. Some studies even note that such warnings can cause anticipatory anxiety. From the initial wave of studies conducted, it seems like trigger warnings may themselves be in danger. 

Conversely, some individuals, primarily teachers and students who deal with diverse materials as part of their curriculum, note that trigger warnings can be helpful in the classroom — for student and educator. The Harvard Crimsonpublished an article from a student’s perspective that examines the results of the above studies and their “overstated” results.

While some may be quick to point to a published study, one study is not the end-all-be-all for a debate. Trigger warnings are a nuanced topic, with proponents and critics positioned to argue for the foreseeable future.

 

Chatting with Author Alex Kazemi

To better understand how trigger warnings can affect authors, the Freewrite team sat down with novelist Alex Kazemi to discuss his experience. Alex’s 2023 book New Millennium Boyz was subject to trigger warning discussions.

In New Millennium Boyz, readers follow seventeen-year-old Brad Sela in 2000 (or Y2K, as the book references it). In his Canadian hometown, Brad feels numb and disconnected from his parents when he follows two transfer students into the woods one day, making two new friends — and dealing with dark and dangerous impulses.

The novel is a no-holds-barred exploration of male youth in 2000, full of dark realities and chilling cultural references. However, where darker themes lie, so does the possibility of trigger warnings.

 

Fiction with a Side of Trigger Warning

"I got a call from my publisher," Alex tells us. "So-and-so is not going to stock [the book] without a content warning because they're really worried about how teenagers are going to react to the work and if they're going to reenact the behavior."

In this era of abundant content, Alex had assumed he had the freedom to express himself without such restriction. Especially because the book is not marketed to teens. It’s shelved in the adult section.

“[The book] is a cultural critique. It's not anything to be glamorized,” he says. “I think anyone who reads it would understand that.”

During the editing process for New Millennium Boyz, an early reader complained to Alex’s publisher about a reference in the book, which included a Columbine shooting victim’s name, a piece of historical information that the characters would have been familiar with in this time period. Alex was shocked when his publishing team took action based on one reader’s complaint.

This shock comes from the perspective of someone who has been online for most of his life. "I just don't understand how we could have that level of censorship for literature," he says. "... the internet is so accessible to everyone and is so uncensored."

It’s clear Alex's unease with the idea of a trigger warning in his book stems from a fear of censorship — the question of whether potential readers will be warned away from his work.

"Where is the line?" he asks. And while he disagreed with the addition of a content warning to his book, he ultimately gave in, for the good of the project. As most writers would.

In fact, for any writer, the important question is this: Who has the authority to decide when the gates are open and when they’re closed?

The answer to that is, of course, your publisher.

 

Trigger Warnings vs. The Internet

A common thread in our conversation with Alex was the internet. In a world where nearly anyone can access the web and see what they want, do trigger warnings make sense?

"People go on Reddit and read grotesque things," he says. "Yet, when it's presented in literary fiction, it's something to cause alarm bells about."

Those who favor trigger warnings will point out that publishers alone can no longer obtain complete censorship — thanks, in part, to the internet. Independent authors garner plenty of attention without traditional publishers, using predominantly digital means.

Even Alex admits, "You can go on TikTok and see a self-published horror author who has 10,000 Goodreads reviews and millions of hits on their book. It's not like back in the day when you're like ... I need a publishing house. It's not like that anymore.”

For those concerned about trigger warnings causing mass censorship and homogenizing literature, thanks to the internet, that may never be the case.

Perhaps there is a credible threat of the publishing industry homogenizing itself, but there will likely always be other options for writers and readers.

 

Focusing on Equal Access to Literature

Alex made it clear that he is focused on liberating information and literature, echoing common industry concerns. New Millennium Boyz ended up on the radar of a book banning site supposedly run by parents, despite the book — again — not being marketed to young people.

"Book bans are really ridiculous," Alex says. "Moms call libraries, they post on Facebook groups, they really start to create this hyper-vigilance around books…I don't think we should be censoring [books]."

With the ease of access to online material, are those interested in banning books wasting that effort?

"It just seems weird to put your effort into getting these books banned from an institution rather than talking to your kid, talking through these things they are most definitely going to see and encounter in the real world."

Regarding Alex's book potentially being banned from libraries, he continues, "I don't think New Millennium Boyz could ever even be in a teen library because of how explicit it is…”

But, even on the adult shelf, it earned a trigger warning.

 

The Freedom to Create

A key question we had for Alex was whether his experience with his publisher and trigger warnings would affect how he wrote his next book.

Are his thoughts on censorship a self-fulfilling prophecy that will derail him the next time he sits down to write?

"No, no, that's not on my mind,” Alex tells us. “I actually try to pretend that I've never had a book out… I just want to connect to the essence of whatever wants to be channeled and the creativity that wants to be channeled."

Other writers may not find it so easy. But for Alex, divorcing your creative process from how the work will be received is crucial.

And that’s the important thing, isn’t it? Whether you believe trigger warnings are a proactive means of protecting readers or are concerned about potential censorship, we hope you sit down to write today.

Subscribe to our free newsletter to stay abreast of the literary world and learn how to continue to challenge your creativity daily.

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."

--

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

November 29, 2025 4 min read

The Great Freewrite Séance: A Ghost'ly Charity Auction Full Terms & Conditions

These Terms and Conditions (“Terms”) govern participation in The Great Freewrite Séance: A Ghost'ly Charity Auction (“Auction”), organized by Freewrite (“Organizer,” “we,” “us,” or “our”). By registering for, bidding in, or otherwise participating in the Auction, you (“Participant,” “Bidder,” or “Winner”) agree to be bound by these Terms.

1. Auction Overview

1.1. The Auction offers for sale a limited number of Freewrite Traveler Ghost Edition units (“Items” or “Ghost Traveler units”), each personally signed and drawn on by a featured author.

1.2. All proceeds, net of explicitly disclosed administrative costs, will be donated to the charity or charitable initiative (“Charity”) identified on each auction item’s page, as chosen by the respective author.

2. Eligibility

2.1. Participants must be at least 18 years old or the age of majority in their jurisdiction, whichever is higher.

2.2. Employees of Freewrite, the participating authors, or any affiliates directly involved in the Auction are not eligible to bid.

2.3. By participating, you represent that you are legally permitted to take part in online auctions and to pay for any bids you win.

3. Auction Registration

3.1. Participants must create an account on the auction platform or otherwise register using accurate, current, and complete information.

3.2. Freewrite reserves the right to verify identity and to disqualify any Participant who provides false or misleading information.

4. Bidding Rules

4.1. All bids are binding, final, and non-retractable.

4.2. Bidders are responsible for monitoring their bids; Freewrite is not liable for missed notifications or technical issues on the auction platform or the Participant’s device.

4.3. Freewrite reserves the right to:

  • set minimum bids or bid increments;
  • reject bids deemed in bad faith or intended to disrupt the Auction;
  • extend, pause, or cancel the Auction in case of technical difficulties, fraud, or events beyond reasonable control.

5. Winning Bids and Payment

5.1. The highest valid bid at the close of the Auction is the Winning Bid, and the corresponding Participant becomes the Winner.

5.2. Winners will receive payment instructions and must complete payment within 48 hours of the auction’s close unless otherwise stated.

5.3. Failure to complete payment on time may result in forfeiture, and Freewrite may offer the Item to the next highest bidder.

5.4. Accepted payment methods will be listed on the Auction platform. All payments must be made in the currency specified.

6. Item Description and Condition

6.1. Each Ghost Traveler unit is authentic, and the signatures, doodles, and messages are original works created by the participating author. These are authors, not artists. By bidding on the Item, you acknowledge that you are receiving a one-of-a-kind unit marked with unique art and messages and you agree to these terms and conditions.

6.2. Because Items are customized and signed by hand, variations, imperfections, or unique marks are to be expected. These are considered part of the Item’s character and not defects.

6.3. Items are provided “as-is” and “as-available.” Freewrite makes no warranties of merchantability or fitness for a particular purpose.

7. Shipping & Delivery

7.1. Shipping costs, import duties, and taxes may apply unless explicitly stated otherwise.

7.2. Freewrite will make reasonable efforts to ship Items within the estimated timeline but cannot guarantee delivery dates.

7.3. Title and risk of loss transfer to the Winner upon delivery to the carrier.

7.4. Freewrite is not responsible for delays, damage, or loss caused by the courier or customs agencies.

8. Charity Donation

8.1. Net proceeds from the Auction will be donated to the Charity designated on each Item page.

8.2. Donation amounts and recipients may be disclosed publicly unless prohibited by law.

8.3. Winners acknowledge that they are purchasing Items, not making a tax-deductible donation to Freewrite; therefore, Winners will not receive charitable tax receipts unless Freewrite explicitly states otherwise in compliance with applicable laws.

9. Intellectual Property

9.1. All trademarks, brand names, product names, and creative materials associated with Freewrite and the Ghost Traveler remain the exclusive property of Freewrite or their respective rights holders.

9.2. Participants may not reproduce, distribute, or publicly display the authors’ doodles without permission where such rights are applicable, except as allowed by law (e.g., resale of the physical Item).

10. Privacy

10.1. By participating, you consent to Freewrite’s collection, use, and storage of your personal data in accordance with our Privacy Policy.

10.2. Freewrite may publicly announce auction results, including Winner’s first name, last initial, city, state/country, and winning bid amount unless prohibited by law or unless you formally request anonymity when possible.

11. Prohibited Conduct

Participants may not:

  • engage in bid manipulation, fraud, or collusive bidding;
  • use automated systems (bots, scripts, scrapers) to place or monitor bids;
  • interfere with the Auction, platform, or other participants

Freewrite may ban or disqualify any Participant violating these rules.

12. Limitation of Liability

To the fullest extent permitted by law:

12.1. Freewrite is not liable for indirect, incidental, special, or consequential damages arising from the Auction or purchase of Items.

12.2. Freewrite’s total liability in connection with these Terms shall not exceed the amount of the Winning Bid actually paid by the Participant.

12.3. Freewrite is not responsible for technical malfunctions, internet outages, system failures, or other issues beyond its control.

13. Cancellation and Force Majeure

Freewrite may cancel, postpone, or modify the Auction due to unforeseen circumstances, including but not limited to natural disasters, system failures, strikes, or events affecting participating authors or the Charity.

14. Governing Law & Dispute Resolution

14.1. These Terms are governed by the laws of Michigan, without regard to conflict-of-law rules.

14.2. Any disputes arising under these Terms will be resolved through binding arbitration or the courts of the specified jurisdiction, as applicable.

14.3. Participants waive any right to participate in class-action lawsuits relating to the Auction.

15. Amendments

Freewrite may update these Terms at any time. Continued participation in the Auction after updates constitutes acceptance of the revised Terms.

16. Contact Information

For questions or concerns regarding the Auction or these Terms, contact: hello@getfreewrite.com.

November 25, 2025 1 min read

This is a great gratitude writing exercise to be done alone or in a group, with people of any age.

How to Play

    1. Designate someone to read out each prompt below. (Feel free to add your own prompts.)
    2. After each prompt is read, set a timer for one minute. (With younger kids, this can be shortened. For older folks who want to freewrite meaningfully, more time can be added.)
    3. Each person freewrites by finishing the sentence and elaborating until the timer goes off. (For little kids, this can be done verbally with an adult recording their answers. Hilarity will ensue.)
    4. Remeber that freewriting — allowing yourself to write with abandon — enables you to let go, tapping into your subconscious to explore your thoughts more deeply.
    5. When everyone is done with all the prompts, take turns going through some your answers. Some people may be eager to share. Others may not want to. Respect their decision.

The Prompts

  • I'm grateful for... [After you've finished this prompt, repeat it five times. Challenge yourself and others not to repeat a singe word with each new answer.]
  • The silliest thing I'm grateful for is...
  • The littlest thing I'm grateful for is...
  • The biggest thing I'm grateful for is...
  • The grossest thing I'm grateful for is...
  • One thing I love about myself is...
  • My favorite thing that happened this year was...
  • My hope for next year is...

This writing exercise has resulted in some sweet answers — and many hilarious ones, too. If you try it out, do let us know.

Write on.