01
Write the Queue, Not the Crowd
A crowd outside a clinic is a mood. A queue of forty-one counted people, three of them named, is a mechanism that tells the reader exactly where the unfairness will land.
The Reading Room
What the room is reading this week. Long-form work by people who write for a living and people who write to stay sane - a free alternative to Medium, with no paywall and no algorithm deciding who sees you.
02
Translation Is the Second Draft You Did Not Write
My translator Elham once asked whether I still meant a word I had written nine years earlier. We chose to preserve the feeling I no longer had, on purpose.
03
The Difference Between Noticing and Naming
There is a gap, sometimes two seconds, sometimes two years, between seeing a thing clearly and being able to say correctly what it was. Most bad nature writing closes that gap by force.
04
A Story Told Twice Is Two Stories
A woman described her husband's death from a snakebite twice, six years apart. The two accounts cannot both describe one true afternoon, and neither telling was a lie.
05
A Good Metaphor Crosses Borders Without Papers
A metaphor about a tax deadline lit up a Marseille reading room and left an Algiers one blank. The harvest metaphor beside it worked in both, because hunger needs no passport.
06
Redundancy Is the Only Reliable Draft Strategy
No engineer designs a hospital with one generator. Losing forty pages to a corrupted file taught me to write load-bearing scenes the same way: twice, from different entry points.
07
What Survives Confiscation
Airport security in Tehran took my only copy of eleven poems in 2003. Twenty years later, the nine I could reconstruct from memory taught me what a poem actually needs to survive.
08
Keep a Log Before You Keep a Journal
The man who trained me kept two notebooks in one bag for forty years and never once let their contents mix. I did not understand why until I had ruined enough of my own writing to need his answer.
09
Against the Written Version as Authority
An archive asked for the definitive text of a testimony, as if the printed booklet were the original and the woman who gave it were a source consulted along the way.
10
Code-Switching Is a Narrative Device
Fifteen language switches in three pages was accurate to how the family actually talks, and it taught my reader that switching means nothing, the opposite of what I needed.
11
A Story Is a System Under Load
A beta reader saying a draft felt fine is not a load test, it is admiring the paint. Changing one fact and tracing the crack is how you find what a manuscript actually depends on.
12
On Writing Around a Word
I banned the word loss from a workshop for a whole semester. Every poem had used it twice and none had earned it, and the ban taught the room what the word had been hiding.
13
Landscape Does Not Care About Your Arc
A tidal flat does not rise to a climax and resolve. It floods and drains on the moon's schedule, and forcing narrative arc onto a place produces a specific, recognisable falseness.
14
Memory Is Collective Before It Is Personal
A woman described a landslide in vivid detail. She was four and asleep in another village. Nine of eleven vivid details traced back to thirty years of her aunt's retelling.
15
What French Punctuation Taught Me About Pace
Six semicolons carried a mother's mounting complaints in French and read as a legal document in English, because the same mark costs a different amount of attention in each language.
16
The Two Kinds of Worldbuilding Detail
A writer checked her minor character's uncle's name across nine chapters and never noticed her magic system's price had quietly stopped applying. She was auditing the wrong kind of weight.
17
The Reader Who Reads Between Lines Reads Harder
A reader in Tehran told me a pigeon in my poem was clearly the Central Bank governor. It was a pigeon. But her extra labour was not wasted, it was a resource I had not designed for yet.
18
On Writing About Places That Are Disappearing
Loss writing borrows the authority of a vanished place without ever naming the year the loss is measured against. Once a reader notices, it reads as mood, not claim.
19
The Ethics of the Pretty Sentence
An editor upgraded a man's plain account of his brother's funeral into something more literary. It read better and kept two of three facts. I asked her to put it back.
20
The Original Is Also a Version
A novelist's folder of discarded drafts showed an ending that used to be plainer, before an editor's taste added the gulls. The original I was defending turned out to be one version among several the author had already tried.