Tiktok Poet Novels & Stories

An employee blasted me on TikTok, accusing me of not approving her wedding leave. Ainsley Castillo ranted, "Our marriage rates are low; birth rates are low. It's all because of toxic capitalists like you! You won't even approve my wedding leave. In your eyes, am I just a workhorse? Not even a person? I believed your nonsense about building an all-women company and a women-friendly workplace. Now your true bloodsucking capitalist face is showing!" The video blew up instantly, and countless young people empathized with her hardcore. They piled on online, cursing me, even doxxing me and sending razor blades. As the boss, I went live and confronted her head-on. "Sorry, but I can't approve her wedding leave. She can quit and go through labor arbitration, or sue me, but her wedding leave is out of the question." The live stream exploded in views that day. Among the supporters for her, some claimed to be lawyers, offering to sue me pro bono. But Ainsley looked troubled. "I just want my wedding leave. I never thought about quitting, let alone suing her."

Valerie is served divorce papers from her husband, Hudson, after being accused of a crime she did not commit. A crime against the very woman Hudson wouldn’t stop thinking about, his foster sister. Filled with anger and heartbreak at her husband’s downright neglect in all their three years of mariage, Valerie signs the divorce papers and walks out on Hudson. Not knowing that, this singular act finally caught his eye. Despite his relationship with his foster sister, Hudson secretly searches for Valerie after her abrupt disappearance, all to no avail. Until finally, after 5 years, Valerie shows up as the remarkable and intriguing CEO of the top 10 leading furnishing and design companies in the city, completely sweeping Hudson off his feet with her newfound confidence and elegance.What happens when Hudson suddenly finds himself wanting to be with the very woman he rejected? What happens when he discovers Valerie was pregnant for him and his kids want him, but Valerie has moved on? Follow me on social media 🤗 authorjane_sam for IG &Tiktok Author Jane for Facebook. Thank you 😘.

Mindy Horton and I got married on Thanksgiving. Coincidentally, her assistant went abroad to further his studies that day. I did not pay much attention to it until the eve of another Thanksgiving three years later. I was browsing TikTok and came across Mindy, who was in a street interview about couples. The reporter stopped her and asked, "Excuse me. Could I have a second of your time? Who would you like to spend today with?" Mindy paused for a moment. She struggled to answer after a long while, "With my lover." "Call him now. He should know how you feel!" I smiled as I sat up, ready to pick up Mindy's call. However, when I looked up, I saw Mindy sobbing to another man on the screen. "I know you've returned, and I still can't forget you after all these years. Do you know how much I regret not marrying you and marrying another man? We missed our chance with each other three years ago. Let's spend Thanksgiving together this year!" I sat in bed all night and booked a flight out of the country the next morning. "When are you leaving?" my assistant asked. I replied, "On Thanksgiving."

In the coastal quiet of Baler, a studio is born—not of architecture, but of intention.* Founded by Yam, a poet whose words cradle pain gently, and Franc, an artist who paints tenderness into walls, the studio becomes a refuge for those learning to stay—with grief, love, longing, and themselves. As visitors arrive, they leave behind more than footprints: a sigh recorded in bamboo, a poem tucked into the “Found Letters” shelf, a mural painted in crooked lines. Through zines, tea, silence, and sketchbooks, the studio teaches softness as revolution. Ren creates the *Window of Soft Returns*, an installation of anonymous voice recordings—each whisper forming a community of echoes. Drew builds the *Staircase With No Wrong Turns*, inviting people to walk through emotions without shame. Franc offers brushstrokes as brave work, and Yam curates writing circles that map healing in half sentences. Together, they host festivals that feel like hugs, and they begin traveling their archive, letting softness cross oceans. Even those who once left—like Miguel—return, discovering that some doors never truly close. Others, like Tala, capture the studio’s sound and turn it into a podcast of breath and becoming. Over seventy chapters, the studio transforms into something larger than itself: a mural of memory, a sanctuary for second chances, a place where return is sacred and voice is proof of survival. In the final bloom, the studio stands not as a monument—but as a reminder: > *“Staying isn’t easy. > But chosen together, > it becomes home.”*

The novel is mainly about the forgotten British poet/writer named C. J Richards who lived in Burma/Myanmar in colonial times and he believed himself as a Burmophile. He served as I.C.S (Indian Civil Servant) and when he retired from I.C.S service, he was a D.C (District Commissioner) and he left for England a year before Burma gained its independence in 1948. He came to Burma in 1920 to work in civil service after passing the hardest I.C.S examination. He wrote several books on Burma and contributed many monthly articles to Guardian Magazine published in Burma from 1953 to 1974 or 1975. Though he wrote several books which had much literary merit to both communities, Britain and Burma (Myanmar), people failed to recognize him. The story has two parts: one part is set in the contemporary Yangon (then called Rangoon) in 2016 context and a young literary enthusiast named “Lin” found out unexpectedly the forgotten writer’s poetry book and there is surely a good deal of time gap that led him into a quest to know more about the author’s life. The setting is quite different comparing to colonial Burma and independence Myanmar (Burma), early twentieth century and 2016 which is a transitional period in Myanmar. The writer’s life is fictionalized in the novel and most of the facts are taken from his personal stories and other reference books. It is a kind of historical novel with a twist and it has comparatively constructed the two different periods in Myanmar history to convince readers, locally and abroad more about history, authorship, humanity, colonialism, and transitional development in Myanmar today.