LIT AF

The creature tells Frankenstein its tale. There are three levels of empathy in this chapter. First, Frankenstein listens and imagines what it's like to be in the creatures boots. Second, the creature feels the feelings of the angry villagers and the sad, crying girl at the cottage – dunno if he actually has mirror neurons, but her tears actually cause him such discomfort that he turns away. And third, Mary Shelley imagines so clearly what it might be like to be an outsider, a voyeur on the simplest moments of everyday life. Whoa. 

Viktor Frankenstein goes for a walk in nature. He's trying to clear his head, to get back in touch with the amazingness of everything that surrounds us and creates a context for life. IMHO we all need that. But then guess who shows up? I'd call it the monster, but "it" and "monster" don't capture the sensitivity – the humanity – with which he appeals to Viktor. All he wants is to be heard. Isn't that what we all want?

Viktor is tormented by the idea that his monster killed his little brother and a beloved, innocent woman was falsely accused, wrongly convicted, and executed because of the murder. In dark moments such as these, it's understandable that he wants to be alone and end his madness. But connecting with Elizabeth and the majesty of nature brings Viktor back to his senses... and wraps our last short episode before we dive deep into the belly of the Frankenstein beast. Join us for a journey to hurt and beyond.

Justine. JUSTine. What's in a name? Innocence in the eyes of Viktor Frankenstein and his sister Elizabeth. But will the court agree? And what of Viktor's guilty conscience and fears of madness? Join us for Chapter 8 of Mary Shelley's Frankenstein.

It's the inciting incident of inciting incidents: MURDER. Viktor's little brother William is dead. We don't know who didn't, but there's thunder, lightning, a monster on the loose, and a young woman who will stand trial in hours – has she been falsely accused? Don't miss this episode of Frankenstein on LIT AF.

Once upon a time, authors moved plots long without chases or explosions or orgasms. Now, I'm the last person to speak out against a good chase or explosion or orgasm, but those events are all the more compelling when the audience cares about the characters. And even in this day and age, there's nothing like a letter to let us into someone's thoughts and feelings. Read along with Victor as his sister sends news from home, and join me in my dread at the end of the episode – how could everything be this damn happy in a book about monsters and madness??

Welcome back to the LIT AF Riff. The Riffs are shorter episodes of LIT AF – no novels or interviews, just my unfiltered, unrehearsed thoughts on what's going on in the world and how we can tell a better story about it with Open-Source Learning. In this Riff: Honestly? Uh huh. If you were honest 100% of the time you'd never need to start a sentence that way.

Welcome back to the LIT AF Riff. The Riffs are shorter episodes of LIT AF – no novels or interviews, just my unfiltered, unrehearsed thoughts on what's going on in the world and how we can tell a better story about it with Open-Source Learning. In this Riff: Whether we're talking to ourselves, someone else, or a computer, getting clear in our heads helps send a clear message. Here are some strategies you can use.

Welcome back to the LIT AF Riff. The Riffs are shorter episodes of LIT AF – no novels or interviews, just my unfiltered, unrehearsed thoughts on what's going on in the world and how we can tell a better story about it with Open-Source Learning. In this Riff: I confront my own creative procrastination and interrupt a workout to make a meaningful peanut butter sandwich.

It's the first LIT AF Riff! The Riffs are shorter episodes of LIT AF – no novels or interviews here, just my unfiltered, unrehearsed thoughts on what's going on in the world and how we can tell a better story about it with Open-Source Learning. In this Riff: I argue with my car and floss my teeth. Along the way I give a brief history of bad breath and I explain why, no matter what advertisers tell you, you can't buy your way out of being afraid.