This week I realized something important: Unspoken finally knows how it wants to move.

It’s quieter than I expected. Conversational. Relationship-first.
Not in a sweeping-romance way — more in its own Gilmore Girls rhythm, where meaning comes from timing, from what’s said quickly, and what’s left hanging.

That clarity helped something else fall into place too.

At the same time as I’m writing Unspoken, I’m deep into structural satire — one piece mapping power, another making sure the right figures sit next to each other where they belong. Beyond that, I’m outlining a third (and a fourth) project that leans fully into punk satire when restraint stops being useful.

Different projects. Different volumes.
Each one doing a job the others shouldn’t.

For me, the key has been letting go of the idea that everything needs to sound the same — or even be legible in the same way. Once each piece found its lane, the work got easier. Calmer. More precise.

Back to writing.

— Anna
Unspoken