Art and Design

Seattle riso printing

Bookmarked Paper Press Punch (

Community based risograph print and book studio

I ❤️ risograph printing!

Workshop + open studio

Also affordable rates for printing

See also:

Common Area Maintenance


Learning Writing

SFF writing critique method

Liked The Ghost of Workshops Past: How Communism, Conservatism, and the Cold War Still Mold Our Paths Into SFF Writing by an author (

In 2016, Neil Gaiman tweeted: “If you want to be a writer, you want to go to Clarion, NEED to go to Clarion.”

The tweet got significant pushback, with replies calling it “crushing”, “hurtful”, and “cruel”, including from other professionals. Eight hours later, Gaiman clarified: “Obviously you don’t actually need to go to Clarion/Clarion West to be a writer.”

Both [Matthew Salesses and Felicia Rose Chavez] illustrated ways this type of critique can wreck writers who come from a cultural background not shared by others in the workshop…And both argued that the traditional workshop in which the author is enforced to silence will…suppress minority voices…

When I worked at the writing center in college, it was a one on one coaching experience, but I feel like it sounds more empowering than the Milford method, if you get a decent coach — the student would read their own work aloud, then the tutor would identify patterns of challenges (basically always the thesis statement 😉) and ask questions to help them refine what they were trying to say. Back and forth discussion was an important component — we wouldn’t write a new thesis for them, but coach them through refining iterations to find what worked for their essay. I only tutored for fiction a couple times but I think it was still a useful way to help the author figure out what was or wasn’t working towards what they wanted to achieve. I’m more into guiding the author into finding their own path than saying there’s a right or wrong way to fix their story. It also sounds less judgmental of the author’s voice and taste, since it doesn’t usually comment on those (I might point it out if I noticed the tone felt too casual if they were writing something that typically uses a more formal style — but we were trained in using nonviolent communication, using language like “I noticed” and framing observations in a nonjudgmental way) — which might be more protective of an author’s unique style and approach. I think one of the most important things to consider when editing writing is protecting the author’s voice and style, while helping them communicate their point better.

One repeated caution is the phenomenon that some participants stop writing entirely afterward—sometimes for a year or two or five, sometimes forever.

The one time I had a couple formal critiques, through Norwescon, I was basically shell-shocked by getting feedback and having no opportunity to explain anything they’d misunderstood from reading fifteen pages of a five hundred page story. It shook my confidence a lot, especially getting basically zero positive feedback (whereas coaching always made a point to call out what the writer is already doing well and made use of compliment sandwiches because crushing someone with everything they’ve done wrong is not conducive psychologically). I didn’t quit writing altogether, but I did abandon the book I was writing, and lost the confidence to give other writers feedback because I was in doubt of my own capabilities and my ability to discern issues and provide useful feedback.

Though innovative, that development happened against a backdrop of harsh social conservatism and New Criticism, with one of its leading crusaders even opining that it was dead wrong to consider writing a creative field—writing, he felt, should instead be synonymous with the field of criticism…In such a political landscape, it is no surprise such a strictly-regimented peer critique method was so appealing: a “learn by doing” class in which the instructor does not need to figure out how to become a teacher of writing, only a critic.

Is literary criticism inherently judgmental, a levying of the reader’s taste against the author’s?

As we look back at this uneasy history, it helps crystallize why a method like Milford would fail more often for writers of color or other minority students in the workshop. The Iowa method purposely eschewed teaching; instead it used the power of cold interaction with a group of critics to mold writers into a “1930s America” majority opinion of good literature.

In Craft in the Real World, Matthew Salesses points out that writing workshops are often culturally homogenous along several axes. Thus, when a mostly-white, mostly-American workshop makes statements on what “the reader” will understand or enjoy, that hypothetical “reader” is far from a generic representation, but instead reflects the backgrounds of the participants.

This doesn’t sound like an ideal approach to promote diversity of style or story that come out of different backgrounds, whether cultural heritage or lived experience or neurodiversity. We know too that authors of color have been gatekept out of traditional publishing in SFF for many years, this feels like another way to drum authors out of genre. It is good to see people rethinking whether this is the best way to level up writers in the SFF community.

Learning Work

Workshop for mid-career women

Bookmarked The Creative Career Intensive (

The Creative Career Intensive is for midcareer women who want to be changemakers in their careers, and creative women who want to bring more creativity and intention into their work. In the Creative Career Intensive you’ll participate in a hybrid group and personal coaching format to achieve career growth on your own terms, without burnout and without feeling overwhelmed.


Attended How to Get People Wildly Obsessed with Your Work

RSVPed Attending How to Get People Wildly Obsessed with Your Work

Alas, not super helpful. More setting the foundation for signing up for her course — arguing that we’re thinking about things the wrong way, and we need to flip our perspective to focus on building connection — but nothing about how to build connection. Or, as the title advertised, get people really into your work.

Key takeaways:

  • puttering away on your own work in your quiet little space out of the way feels like the nice thing to do
  • when people aren’t coming, it’s not that the work isn’t good, it’s that you aren’t allowing people in
  • your work is powerful to your audience because you want to change the cultural conversation and build connection

I think I’m done with these free workshops / course sales pitches for a while. They feel too much like those timeshare deals where you get a free / discounted stay but have to go to the sales pitch. I understand that folks can’t give away everything but it’s frustrating when it feels like you got nothing tangible out of your time, that the answer to how to get people into your work (or fill in the blank) is to join their course. All the success stories were not about how people built an audience, but how they made more work.

Sometimes cynical me gets this feeling, from seeing many creatives offering workshops and classes, that succeeding financially in the creative field is a MLM scheme where you tell other creatives how to sell their work but where you’re making your money is in selling things to creatives. And I say this as someone who’s potentially interested in turning the free planning guide I created for creative types into a published planner. I want to help people, and think I have some useful things to say, but also see it as a market that people are willing to spend in. I read a lot in the “self help” sphere, so I do see value there. But it makes me question how financially successful creative work can realistically be alone, when it seems like a lot of times where the money comes from is eager self-funded creatives lower in the experience ladder.

Entrepreneurship Getting Shit Done

Attended Goal Setting and Business Planning

RSVPed Attending End of Year Goal Setting

With the upcoming new year, we’ve decided to two communal goal setting and business planning events, for all your productivity New Year’s Resolutions.

Hosted by the good folks at The Dream Foundry.

Helped me understand the difference between goals and business planning – and that I need to do some business planning.

Realize that things outside of your control are wishes not dreams

Accountability and planning tool with auto email check-ins.

Also handout had a brilliant concept: personal capacity check ins to base your to-do list off of your energy level on a given day.

Getting Shit Done Personal Growth

Attended The Yearly Bento

RSVPed Attending The Yearly Bento (2020/2021) – The Bento Society

A new annual tradition: the yearly Bento. A deep experience where we unpack the year that past and plan the year to come.

Reflecting on 2020, looking ahead to 2021:

  • What happened in 2020, month by month?
  • What themes or patterns stand out?
  • What did you learn in 2020?
  • Who were the key people in your life in 2020?
  • Picture that it’s a year in the future and everything has gone your way, even better than you could have imagined. What does that look like?
  • What needs to be true about you to make that future come true?
  • What needs to be true about the people in your life for that to happen?

After all this reflection, we had to explain the conclusions we drew to two strangers and talk about each of us for ten minutes. It was a really helpful part of the exercise. Then that got translated into the Bento format, which I’m still not 100% sure I understand.


Attended Side Hustles for Creative Types

RSVPed Attending Side Hustles for Creative Types

Looking for a sweet gig that could make you some extra dough? Ready to be your own boss? Time to step out with your creativity? Creating a fulfilling and potentially profitable side hustle is the way to go. Learn to: identify the intersection between your passion and profitability create a basic plan to point you in the direction of your dream take actionable steps to get your side hustle off the ground.

Visualizing what I thought of as the best possible outcome for three years from now helped me realize I am still scared of whether anyone will read my book. Hedging my bets with another graphic design project because I know I can make money off design.