It’s Not How Much, But What


When I started writing some years ago–writing seriously, that is–I was, admittedly and not surprisingly, naively curious about, well, everything related to writing. I gravitated to bigger writing blogs and came upon one in particular full of budding writers thirsty for advice on how to be a successful author. The blog’s owner, who was plenty experienced, sure, preached with utmost certainty that if we wanted to be successful writers that we absolutely needed to have a blog as a platform to reach out to the voracious readers ready to devour our books. Certainly not bad advice at all, so I logged a new blog post just about every day. Full of new experiences to share with the world, the words flowed in my books as well as on the blogosphere.

And yet, over time, the blog posts slowed, but the writing did not. It seemed that, perhaps, I had learned a sufficient amount to continue without regurgitating what I had already said before–something I noticed the blog mentioned above seemed to do, just in different words–I published a few more books, and the blog posts essentially came to a halt. Book sales continued to trickle, seemingly with no change whether I blogged or not.

Flash forward to a few days ago when a blog post from Chuck Wendig soared into my inbox all about how, really, writer’s don’t need to blog. Blogging should be something you want to do, not something you should feel badly about not doing. It detailed about how if you’re told agents will only take writers who blog and have massive blogging platforms, then you’ve been lied to, and that publishers should, and will, work with writers to combine their marketing efforts. I’ve also seen, and posted, my fair share of posts apologizing for not posting followed by empty promises to blog more, only to have my blog fall a bit stagnant again. That’s when I realized what needed to happen. I needed to rediscover that bit of enjoyment I received from blogging. At first, I was learning so much about writing all the time that I always had something new to talk about.

Mr. Wendig also touched upon this gem: Writers don’t need to blog about writing. As consumed as we are by the craft, blogging should be an outlet, an outpouring, even, of things we find interesting. Of things we love and enjoy. Certainly that includes writing, but us creative beasts have more interests that just writing, so I’m aiming to really explore deeper into the things that interest me and what I have to say about them. A few things I plan to talk about (and would love to discuss with you):

Philosophy – A few months ago I discovered a hidden love for philosophy. Searching ourselves to find out who we are beyond the basic ideals is something I find really interesting. Discovering, discussing, and debating the implications of our actions, the inevitable aspects of our life–death, love, to be human–is something that I’ve been implementing in my own writing, and it’s something I’d like to explore more.

Being a father – My son, Harvey, recently turned three months old, and I find it more difficult every day to remember what it was like before he arrived. So much happened that surged my life forward in the past 12 months, and he is certainly the biggest part of it.

Speaking of life surging forward, I finally landed a full-time job using my college degree. A couple of weeks ago I accepted a position as the communications specialist at a company called CDS Monarch, which is a not-for-profit organization that provides services for intellectually and developmentally disabled individuals, veterans suffering from PTSD, traumatic brain injury, and/or military sexual trauma, and seniors. It’s a lot of great work, and an organization that helps a lot of people. So, if you’ll excuse this shameless plug, check us out on Facebook and Twitter. I will certainly be talking about this some, too, as well as some of the great new marketing and public relations skills I learn.

So, I’ll leave you with that. I’m sure I’ll stumble upon other things to talk about, but I’m looking forward to the future of this blog.

Also, make sure you scroll down and read the great guest posts from Wednesday. There’s some awesome content from some awesome people.

Take care, and to those who celebrate: Happy Easter.

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GUEST POST: Britt Skrabanek: I’ll Be Happy When…


Happiness. We put so much pressure on that single word, don’t we?

It’s all too easy to get stuck in this mental cycle of thinking happiness will magically arrive once we get something we thought we wanted more than anything else—when we accomplish something we worked our asses off to get.

I’ll be happy when I get that promotion.

I’ll be happy when I buy that house.

I’ll be happy when I write that book.

Do we feel happy after obtaining or accomplishing any of these things? Not for very long. Like coming down from a high, we crash and we wonder where it all went wrong.

Hey, what happened to my happiness I deserve? I worked so hard for it, and now it’s gone.

The build-up we attach to thinking happiness comes after a certain thing causes this self-destructive roller coaster of emotions.

As a writer, I know this feeling well. And I see it all the time in other writers.

I hear many aspiring novelists say that they’ll be happy when they finally finish writing their first book, so they can share it with the world. They envy others who have published their novel, thinking they have won the key to happiness.

I know this, because I used to be an aspiring novelist. I used to feel these things.

I used to think that if I published books, I would be able to become a full-time writer. I pictured myself looking out the window, typing away with a cat in my lap, creating meaningful art to share.

Since then, I’ve written and self-published three books. And I still have my full-time job.

After each book release, I felt disappointed. Yes, I was proud of myself for my hard work. I was. But what kept holding me back was the pressure I put on my own happiness.

Because I said…

I’ll be happy when I publish my first book.

I’ll be happy when I publish my second book.

I’ll be happy when I publish my third book.

Here’s the really interesting thing about finding happiness. It’s not hard to find. It’s actually right there in front of us.

Recently I ran a free Amazon promotion on my first book, Beneath the Satin Gloves, for a re-release I did after reediting the whole damn thing.

The promotion was a smashing success, with hundreds of downloads. My goal was to get more reviews. Then, I got my first Goodreads review…and it was one star, no comment.

I blamed the review for stealing my happiness. I wanted to quit writing—not for the first time—and I began second-guessing my path and purpose in life. Just like that.

Sure, it sounds ridiculous as I reveal this vulnerability to you guys, but it’s true. And, we all do it.

Again, I put too much pressure on my happiness, because I said I would be happy when I got reviews for my book. Well, I got one didn’t I? Shouldn’t that have made me happy?

Finding Happiness

The picture of me you’re seeing is a selfie I took right after this happened. It was a beautiful sunny day here in Portland and I took a walking break at work.

There’s a lovely urban park not far away. It’s surrounded by tall buildings and a busy freeway, but the park is spacious and peaceful, a sanctuary inside of the chaos.

It was here that I snapped out of my unhappiness. It was here, on a Wednesday afternoon, that happiness washed over me.

Nothing happened. There was no five star review for the same book to make me “feel better,” or some other grand revelation. I was simply happy.

And when I look back at some of the happiest moments in my life, they happen when I least expect them.

I think this is something we should all keep in mind. I’ll be happy when I live.


Britt is the spirited indie novelist of Nola Fran Evie, Everything’s Not Bigger, and Beneath the Satin Gloves. Her blog, a physical perspective, is a whimsical snapshot of life, musings, and the glory of the written word. Britt is blissfully married, has two delightfully incorrigible cats and loves to experience the world—all of its quirky beauty inspires her endlessly. When she’s not writing, she’s a bike riding Yogi who loves to dance.

 
 
 

GUEST POST: KACEY VANDERKAAR – “Enjoy It”


I’ve called myself a writer for 6 years. It took me about 3 years to realize that “writer” is synonymous with “crazy.” Back before I donned the “writer” label, I wrote a mystery about a girl who marries a guy with split personalities. I don’t remember much about writing this manuscript, except that I did it in my parents’ basement on an ancient computer that was eventually fried by lightning. That book is still around on one of my flash drives. Sometimes I open it and read a few pages—and maybe it’s not brilliant or a work of art, but it is special. I also completely forgot that I wrote it…until I stumbled upon it one day.

A few years later, I completed a young adult manuscript. It took me 4 weeks to write it during a college break. I remember spending all my free time glued to my laptop. I wore the finish off chairs at Border’s, I woke up early and stayed up late because, just one more chapter. It wasn’t brilliant or a work of art, or truthfully, special, but it was so rewarding. Writing became my release, my place to hide and unwind, and feel safe.

I allowed a few close friends into my circle of trust, printing pages for them to read because I was terrified of having my work hijacked online. (I know, I know, crazy, right?) I remember sneaking into a lab at school with one of my classmates so I could print the pages for free. It was like Christmas when they returned the story with comments and thoughts and feedback written in pink or purple ink. I wasn’t the only one connecting with my characters. My friends were instant fans.

I lost myself in the wonder of creating a new world. One book became two, then three. I had an entire series, and then a spin‐off book. These characters became like real people. Even now, I can tell you their favorite foods, where they went on vacation as a child, their likes and dislikes. Everything felt so possible in those days. Sometimes I wish they’d never ended.

There is an inevitable point in every writer’s life where they cross from the “honeymoon stage” into the “reality stage.” This isn’t necessarily a bad thing, more of a wakeup call. Eventually, every writer needs to let someone more experienced look at their work. Every writer (who is serious about being a writer) needs to learn and grow. Oftentimes this means taking off the rose‐colored glasses and seeing our work for what it really is: In Progress. What follows is a lot of editing, frustration, tears, and heartbreak. But that’s not what this post is about.

Writing, like any art, should make us feel. So when I’m pressured to live up to everything I’ve learned, I go back to that safe place, those early days of pure joy. Writing isn’t about getting it perfect the first time, it’s about the feeling you get creating something wonderful. It’s so easy to get lost, especially when we raise our standards to nearly unreachable heights. We can literally edit our work to death.

So whether you’re a new writer, an intermediate writer, or someone who’s been around the block a time or two, take some time and return to that safe place. Write for the happiness it brings you, not because you want to be the next best seller or impress an agent or because you have to. Put the world on the back burner. Tune out those nagging voices and let a blank page fill you with possibility. Let the words fall from excited hands. The manuscript may change with time, but the way it made you feel will stick around forever.


Author photoKACEY VANDERKARR is a young adult author. She dabbles in fantasy, romance, and sci‐fi, complete with faeries, alternate realities, and the occasional plasma gun. She’s known to be annoyingly optimistic and listen to music at the highest decibel. Kacey is president of the Flint Area Writers and the Social Media Director for Sucker Literary. When she’s not writing, she coaches winterguard and works as a sonographer. Kacey lives in Michigan, with her husband, son, and crazy cats. In addition to her novels, Antithesis, Reflection Pond, and Poison Tree, Kacey’s short fiction is featured in Sucker Literary Vol III, Out of the Green: Tales from Fairyland, Ember: A Journal of Luminous Things, and will appear in the forthcoming Spark Vol VII.

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OFFICIAL WEBSITE LAUNCH: Christopherstocking.om


You may notice a couple new things around here.

1) A brand new, dark theme to fit my style of writing that has emerged over the past few months. Things are getting darker with each word, friends. But what lies beyond that darkness, deep within the story, are themes that I love to show. Power. Struggle. The consequences of intolerance and, perhaps most importantly of all, personal introspection to try and become something better than we are. There is light in every darkness, although it may often appear as a shadow. No one ever said light has to shine brightly.

2) A brand new name. Christopherstocking.com. Christopher Stocking is who I am. This is my space. My slice of the interwebs for me to share and explore, and I hope, if you’re a returning friend, you’ll continue to return; and, if you’re new, I hope you’ll stick around, sign up for email updates, and share your thoughts with me.

A new website for a new brand of writer, and I’m really excited to show you guys what’s new, what’s up, and what’s to come.

It’s going to be fun, friends.

SO! To honor this exciting new website launch, I will be featuring three awesome blog posts from three exceptional writers who I’ve had the honor of knowing and following. They’ll be talking about some great topics, so you’ll definitely want to watch this space to see what they have to say.

So, allow me to be the first to welcome you to the new Christopherstocking.com. More news and excitement will be rolling out over the next couple of weeks, so I hope you’ll hang out and bring some discussion.

Until next time, friends.

OFFICIAL: HIS ONLY STAR RELAUNCH


CoverI’m excited to announce that my YA book, His Only Star, is being relaunched! The book has been combed through and given a stylish new cover to really highlight this tragic story.

His Only Star is one of my personal favorite books of mine because it really has the most of me in it. When this book was initially published, I recall saying how I’m convinced I was a different person when I wrote that. Something about this story really flowed and resonated with me, and, while I’ve loved everything I’ve written, I really have a certain appreciation for this book. Creating it was a unique experience unlike anything else I’ve written, and that’s why I’m so excited to share this new edition with you.

His Only Star isn’t your traditional boy-meets-girl story. You won’t find pages of swooning internalization and longing for love. What you will find is a dark edginess to a tragic love story. You’ll find a love of books, music, and a character’s loyalty to someone he loves, who he fears may never love him in return.

Praise for His Only Star

Release_0“The story was simple, engaging, exciting and tragically human. Definitely worth a read.”

– J.S. Collyer, Author of Zero

 “The story is poignant and emotional, and it’s one of those texts that stay with you long after you read it.”

– Karen Rought, blogger

 “The physical and emotional struggles encountered by the characters are tragic, yet real-life.”

– Fille Guillaume, blogger

“Well-written & great story-telling.”

– Deb E., author of Healer’s Touch

His Only Star is set to be re-released March 1, 2015. Don’t miss out on a great story, and be sure to add it on Goodreads!

Creating Characters: Defining Moments


This month’s Creating Characters is not only wildly off schedule (still getting used to parent time), but it’s also not necessarily just about creating a character. It’s about the defining moments that make a story what it is. The little details that suck you into the world and set the stage, the time period, the person.

For example, I was struck with inspiration (Thanks, in part, to Britt Skrabanek’s post “Thursday Night,” which you should absolutely check out) for the introduction to a short story. The only information I had were the details of the first sentence as it flew through my brain:

Toes curled over the edge of the cliff, little else matters.

This doesn’t tell us much, aside from it’s a person standing at the edge of the cliff who is struggling with something. I had no idea whether this character was male or female, or when this story was taking place. But the curiosity of the defining moment didn’t hit me until a few sentences later. At this point it was just me enjoying the flow of the words as I scribbled them on my legal pad. But as more of it emerged, the questions began to beg in my mind about who, what, and when.

Toes curled over the edge of the cliff, little else matters. The white-capped waves below crest to their peak before slamming into the jagged rocks. How very like life. I close my eyes as the wind whips across my face, my body, whipping my

Right there. The first defining moment. Whipping my what? Dress, perhaps, for a woman. Pants, maybe jeans? It could be trousers? The language, the right word needs to be used to fully define the time period here. The language defines the era, maybe even the precise year, but it’s necessary to suck the reader in.

I close my eyes as the wind whips across my face, my body, whipping my crimson dress about. Soft and smooth, it reminds me of the blood smearing between my toes, on the bottoms of my feet, and dripping from my fingertips.

More is defined here. The blood could define multiple things. It’s been established that this character is a woman, but the blood could be from many things. Maybe she’s wounded, or perhaps she partook in some kind of bloody tragedy. Maybe she’s a doctor or surgeon of some sort now standing at the cliff’s edge. It may not define the character or the location or the time period, but it creates that defining mystery that keeps the reader enticed.

…dripping from my fingertips. Between the blood up to my elbows and the cloth around my body I feel like I’ve turned inside out.

What does the act of the character feeling turned inside out define for you?

Winter and Writing


I have a pretty significant dislike for the cold. The bracing chill accompanied with freezing wind makes for a less-than-pleasant outdoor experience. Not to mention the time it takes to bundle up in scarves and hats and gloves and coats and whatever other layers are required to ensure I don’t lose a finger to frostbite (I know, I know, I live in New York, I should be used to it by now).

But, all complaining aside, I still have an appreciation for the aesthetics of  the cold season. I appreciate the blanket of snow shimmering in the sunlight. The dark trees beneath a cold, gray sky, once resembling life, then vibrant color, now are bare to show the final cycle of life. A dim farewell to the season. However, when the snow does eventually fall and cover those empty tree limbs, it almost disguises them with a sort of beauty that makes the idea of death–of and ending–okay. Like a thin, glinting veil over our eyes to ease the despair that may come with such finality. It creates the idea that an absolute, crushing end might be a little less final if we can see past the bare emptiness of it. A preservation of life that will eventually return if we can find something to help us hold on.

As a writer, it’s my responsibility to not only tell a good story, but to show one was well. Example: the idea of winter symbolizing death, but showing that we are capable of moving on from it and finding ways to cope with it (Hopefully I did that well). It’s my job to try to make you see something in a way you hadn’t before, or to feel a certain way about a point of view, an experience, a lifestyle that maybe you hadn’t considered. It’s my job to evoke emotions and feelings about fictional characters and trick you into thinking these are real people with real problems who, if they don’t deal with them, will suffer from catastrophic repercussions.

A key aspect of accomplishing my job successfully is descriptive writing. Unfortunately, it’s also something I’ve been a bit lacking in. Not that I struggle to get my point across, but I’ve never been one to go into the deep, minute details of each scene, every minuscule point of a character’s face, or every minutia of a person’s feelings. I’ve been told my writing somewhat resembles Hemingway. To the point. No messing around. Nothing unneeded. It’s just the story and the reader. No fluff. And while that’s well and good, and, well, a bit of an honor, really, it’s not entirely what I want my writing to be. Certainly we don’t have much control over our voice. It develops into what it is, and I don’t think there’s too much we can do to change it. However, I think we’re capable of altering it to some degree.

Our voice is kind of like the roots of our writing. We see what other writers do, how they describe something, tell a story, and why it’s working, and then we try to blend it with our own. Like little word thieves, if you will. Of course you could argue that those influences are the roots of our voice, and with practice our voice then becomes fully grown. But, stick with me here. If our voice is indeed the root of our writing, then those influences, paired with the grueling practice of writing, can then develop our voice into something great.

But once we find our voice (again, a counterargument could be that we never actually find our voice, but instead we just hone it to the best polished product it can become), are we able to change it? I think so. I think we can never lose that essence–the roots–of our voice, but it’s certainly able to be altered. We’re always getting better at writing, no? Every time I look back at an old piece of work I can’t help but cringe a bit because I see all the ways I could’ve written that scene better or told that person’s story in a more dynamic way. In order to do that, in some cases, I need to write more descriptively, which is something I have been working on.

My next work, Wasteland Gods, is currently in the beta reading stage. It also took me close to nine months to write. Taking that long to write something, to me, is both good and bad. It’s good because, well, that was nine months of me gradually becoming a better writer, meaning I can put out a better finished product. It’s bad because taking nine months to write a book means the beginning is almost inevitably far worse than the end, strictly from a technical standpoint. Eventually, however, when I did finally reach the end I was able to go back and read through the draft, adding in all sort of cool details and writing tricks that I had developed over those months, making the work stronger. Of  course it involved some chapter rewriting and extensive edits–all part of the revision process, of course–but in the end I was quite pleased with how it all turned out.

All of this is to say that our voice is important to constantly develop as writers, and this happens without us knowing. But if we actively work to get better, noticing our actions and how our writing develops, then we are absolutely on the right path to really doing something immense and meaningful with our writing.

If you’re still here, you’re a trooper. And thank you for reading.

THANKSGIVING SALE! 3 EBOOKS ONLY $0.99!


It’s that time again, ladies and gentlemen, when shops all over the United States are offering up their goods at discounted prices, and there will be no exception here.

Three books. Each just $0.99 all weekend.

the_rotten_apple_cover.jpgThe Rotten Apple

“The action is quick and full of weight; you truly understand the gravity of the situation and that Naomi’s whole world is on the line. The bad guys are smart and terrifying, the romance is organic and realistic, and there are plenty of twists to keep you enthralled.”


custom-book-cover-chris-stocking-ebook2.jpgBlack Powder Brigade

“Black Powder Brigade is an exciting mix between the historical and the fantastical. Bizarre and full of action, this was my first step into Flintlock Fantasy, and I thoroughly enjoyed it!”


His_Only_Star_CoverHis Only Star

“Breathtaking, brutal and beautifully real, Stocking’s story is stunning. He unflinchingly explores the intricate, difficult choices a runaway teen must face. This is not the first book to tackle this tough topic, but there is something about this story that will keep you hooked. My only wish was that poor Oli would have gotten what he wanted in the end. A tragedy, that will keep you wanting for more long after it’s over”

Classics Kick


Since my declaration of decreased social media, I’ve decided that I need to read some more classics. The only real exposure I’ve had to them is what we were required to read in high school, and most of the time I didn’t do the required reading. I think there comes a certain level of reading maturity that we have to hit before we can appreciate certain books, and I just hadn’t hit it then. But now I’m more eager than ever to read them.

I have mixed feelings about the classics from a writing standpoint, one of which being that in order for us to keep up as much as possible with current writing trends, reading something as old as the classics won’t really keep our writing current. However, there is so much to be learned from reading the classics.

Classics teach us the tricks of the trade. They show us such exemplary fundamentals of writing, themes, and characters, and they often touch on such important topics that I think are often overlooked in today’s fiction of vampire romances. (On a side note, it’s interesting that, for me at least, comparing something to vampire romance books seems to be becoming a cliche.)

So, to start off my classics kick, I read Of Mice and Men, which was one of the books I think I read most of in high school, in its entirety Monday. One of the things I especially enjoy about classic books is that many of them have interesting introductions by professors and people of literature who briefly analyze and provide some insights into the book, which are fun to look for while reading.

Along the Erie Canal.

Along the Erie Canal.

That leaves me with yesterday’s read. It was unusually warm, and the wind had been especially strong, but I couldn’t just sit in my apartment. Across the street, over a narrow trail line by two rows of trees, is the Erie Canal. Since my wife and I moved here in February, I’ve taken many walks alongside the Canal, weather permitting. There are paths on either side of it with benches and picnic tables and grills, so it’s really a nice spot that doesn’t get a ridiculous amount of traffic. I enjoy sitting and watching the boats, and oftentimes there are ducks passing by, so it’s really a peaceful spot to sit and, most recently, read.

So, yesterday, I went out and began my next classic read, The Scarlet Letter, which I’m enjoying. I’m told, mostly from the back cover, that it reveals a lot about the influence of New England’s past on American attitudes, which is something I recently got into. It’s interesting to see how the past influences the present, and can sometimes show the origins of present behaviors. Also, from what I read in the preface, this book was fueled by the death of Hawthorne’s mother, which apparently gave him a new sort of look at writing, and it launched him into an inspirational sprint unlike any he’d had before, since he’d somewhat unsuccessfully relied on writing short fiction.

Now comes the part where you can help! I’ve got my stack of classics, and I’d like for you guys to either recommend which book I read next and/or tell me which ones I need to get–as I know I’m really lacking good, classic books.

20141015_093600

The book on the very bottom is a biography of Emma Goldman that I had to read for an old college history class but would like to re-read. I just happened to grab it with the rest of the classics collection.

The list includes:

  • Of Mice and Men
  • Pride and Prejudice
  • Dr. Jekyll and Mr. Hyde
  • Wuthering Heights
  • A Tale of Two Cities
  • The Wizard of Oz
  • A Connecticut Yankee in King Arthur’s Court
  • To Kill a Mockingbird

Which classics are your favorite? Do you think classic books are still relevant in today’s constantly changing book marketplace?

F@%#!*$ S*!#: Why I Don’t Censor my Writing (And You Shouldn’t Either)


Photo credit: Rebecca Barray via WANA Commons

Censorship has played a large role in every part of the media we consume for some time now. Between banning books and the creation of the FCC, what we’re exposed to and how is constantly regulated. I believe that there are certain audiences requiring censorship and others that are capable of comprehending and processing these things–i.e. violence, sex, vulgar language.

When I began writing in middle school, I really had no concept of censorship in books or on television. I just knew what I liked and that’s what I read and watched. Some of that transferred into my writing, but at such a young age I wasn’t really exposed to vulgar language or violence that much. However, it wasn’t until recently–the past year, or even couple of months–I’ve really stepped up my game when it comes to content. I’ve stopped holding back when it comes to violence and language and how characters act, and I believe I have good reasons for doing so:

The things most worth understanding sometimes aren’t pleasant

The world is full of a lot of bad things, as much as many of us don’t want to believe that. There is violence, terror, and hate in abundance anywhere you go. This isn’t to say there isn’t plenty of good out there, because there is. But we live in a culture that often focuses on the negative, and it’s good to understand and explore those negatives. One of the best ways to explore them is to view those actions through the eyes of the characters performing them or being subjected to them. How can we really understand hate until we see it from these points of views? How can we understand violence and intolerance if we don’t look at it head on and question it? There are reasons these things happen. There are motivations and emotions that are worth exploring to understand why people feel the way they do, and possibly a way to combat all the negatives.

That’s mainly why I don’t censor my writing anymore. My characters are just as likely to tell someone to “fuck off” as they are give them a bouquet of flowers. My characters give and take hate and live in hate-filled, intolerant worlds because that’s the kind of world we live in, and if I’m going to live in it I want to explore it. I want to understand it. I want to know why people steal and kill and are so intolerant.

That being said, I try to write with meaning. I try to ensure that the violence, the vulgar language, and the hate aren’t senseless. They have to have meaning, and there has to be a logical reason for the hate, otherwise what is there to gain from it? What is there to learn from? And why do we read and write if not to explore and learn?

Censoring writing deprives us from knowledge. It deprives us from watching chaos from a safe environment, and doesn’t allow us to gain other perspectives. And how can we become tolerant and accepting if we can’t see where other people come from, how they got to where they are, and what resulted from it? How can we expect to learn and grow by shoving away everything that has foul language and violence in it? That’s the place we live in right now, every single day. And if we’re going to combat it; if we’re going to try and fight the things that make the world as negative as it is, we need to let the people see the world as it is.