Writing is not an innocent practice," Norman Denzin (1999, p. 568) tells us. It is fraught with demands that we tell the truth about ourselves, and others, especially when those truths are painful and ugly. To write autoethnographically-about self in culture-is to reveal the hidden, denied, and the wished for. When we write, we become vulnerable to others' readings of our words and lived experiences. Yet, as writers of social science texts, we welcome this vulnerability, and in doing so, we discard our innocence. We create interpretations of events and a record for ourselves, and others, that are subject to outside scrutiny. Hence, in doing so, we are responsible for creating depictions of events and those who populate them that are truthful and ethical (Ellis, 2007), recognizing that our interpretations cannot depict the events as they exactly happened. For "exactly" like interpretation is contestable and subject to questioning. Innocence and innocent practices are pure and untouched, free from hurt, anger, blame, hard emotions, conflict, while writing, conjuring up what we think we know and what we want to learn, is to dirty ourselves in the muck, to traverse into the troubling terrains of deceptions, self and otherwise, dreams and memories, and ingrained ideologies of gender, family, and place. No, when we write, we lose our innocence and are better for it.And yet, when reliving our moments of struggle, either through writing or speaking with others, we can and often do present ourselves as innocent victims. Retelling a painful event in one's life understandably derives from the author's vantage point and embodied feelings. Bakhtin's "Eloquent Abstract A follow-up reflection on the writing of "Family Feuds are Forever" explores how writing autoethnographically is not an innocent practice. When we write, we become vulnerable to others' readings of our words and lived experiences. Yet, as writers of social science texts, we welcome this vulnerability, and in doing so, we discard our innocence. We create interpretations of events and a record for ourselves, and others, that are subject to outside and inside scrutiny. This reflection explores how writing autoethnographically as in "Family Feuds are Forever" challenges us to be ethical with ourselves and others.