Austin Kleon
Write the books you want to read
The art of finding what you didn’t know you were looking for
An Article by Austin KleonIn the terrific documentary about his work, The Secret Life of Lance Letscher, the collage artist points out that he doesn’t want his file boxes of source material organized too much, that he specifically avoids organizing them, so that he can find unexpected things when he starts searching. “He depends upon that chaos of stuff, of things lying around.”
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There are several paragraphs in Murch’s book about the importance of fighting against the touted “features” of digital tools, such as speed. “The real issue with speed,” he says, “Is not just how fast can you go, but where are you going so fast? It doesn’t help to arrive quickly if you wind up in the wrong place.”
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If I was simply able to execute a full-text search on my notebooks, and pull up exactly what I was looking for, that’s all I’d find: exactly what I was looking for. And the real art is in finding what I didn’t know I was looking for.
The tools matter and the tools don't matter - Austin Kleon
An Article by Austin KleonThough you might not think it from the comic, I’m actually sympathetic to questions about tools and process, as I myself am a kind of process junky. I love hearing about how other writers work.
I’m also not someone who dismisses questions about tools with the line “the tools don’t matter.” In fact, I think tools matter so much that if you don’t talk about them correctly you can do some damage.
...What I love about John Gardner and Lynda Barry is that they believe that the tools you use do matter, but the point, for them, is finding the proper tools that get you to a certain way of working in which you can get your conscious, mechanical mind out of the way so that your dreaming can go on, undeterred.
You have to find the right tools to help your voice sing.
Input as collage
An Article by Austin KleonYour output depends on your input, but a lot of your input is random: you’re interested in lots of different things, and those things, occasionally, will talk to each other in your work.
Lately I’ve been thinking about being more intentional with input. Thinking about input as collage. Taking the principle of juxtaposition (1+1=3) and using that to guide your input: what weird, seemingly disparate things can you feed your brain that will come out later in a new mix?
The input collage can be subject or genre based and even better if it’s multi-media.
...There’s a balance here between feeding your brain intentionally and then backing off and letting your brain do the subconscious work of mixing your inputs together.
If a book can be summarized, is it worth reading?
An Article by Austin KleonIt is my opinion that if a book’s contents can be adequately “summed up,” so that you really don’t miss anything by reading the summary, it is not actually a book worth reading. (Of course, there’s no way to tell whether a summary is adequate or not unless you have also read the book.) Also, I suspect that the harder you find it to summarize a book you have read, the more valuable it might be.
Ignorant, but curious
An Article by Austin KleonThe method is perhaps best summarized by Mike Monteiro: “The secret to being good at anything is to approach it like a curious idiot, rather than a know-it-all genius.”
The “curious idiot” approach can serve you well if you can quiet your ego long enough to perform it.
A curious idiot is unafraid to ask stupid questions. Every stupid question you ask takes a teeny, tiny act of courage. Sometimes you have to muster the will to push the words out of your lips.
The most important thing you do
An Article by Austin KleonFor the writer, your career will be the result of whatever piece you’re working on right now, and the piece you’re working on right now will be the result of whatever sentence you’re working on right now.
Finding nourishment vs. identifying poison
An Article by Austin Kleon & Olivia LaingA useful analogy for what [Sedgwick] calls ‘reparative reading’ is to be fundamentally more invested in finding nourishment than identifying poison. This doesn’t mean being naive or undeceived, unaware of crisis or undamaged by oppression. What it does mean is being driven to find or invent something new and sustaining out of inimical environments.
I would like to adopt that line as a mission statement: “To be fundamentally more invested in finding nourishment rather than identify poison.”
Because you can identify all the poison you want, but if you don’t find nourishment, you’ll starve to death.
Poison sniffers
An Article by Austin KleonChristopher Johnson says “prescriptivists” or “Cute Curmudgeons” — people who are interested in only policing usage and grammar rules — are “linguistic poison sniffers.” They turn language into “a source of potential embarrassment rather than pleasure.”
Johnson sees his job as getting people to love and appreciate language by being curious about and paying attention to “what makes language delicious.”
This reminded of Olivia Laing’s distinction between identifying poison and finding nourishment.
Everywhere you look these days, there are lots of poison sniffers, but very few cooking a delicious meal…
Almanacs and cyclical time
An Article by Austin KleonI am fascinated by the Farmer’s Almanac, and the “Planting by the Moon” guide in particular, which has advice such as: “Root crops that can be planted now will yield well.” “Good days for killing weeds.” “Good days for transplanting.” “Barren days. Do no planting.”
I think it’d be funny to make up an almanac for writers and artists, one that emphasized the never-ending, repetitive work of the craft.
Don't get me wrong
An Article by Austin KleonNo phrase makes me want to stop reading more. “Don’t get me wrong” is usually a tell — a kind of backpedaling that sets off an internal alarm and suggests I’m a) reading a hyperbolic argument (which, admittedly, describes the majority of online writing these days) or b) that the writer is just lazy. Either way, when I see “don’t get me wrong,” I start to suspect I’m reading a piece of writing that might not be worth my time.
If you find yourself using “don’t get me wrong,” I have a suggestion: Delete the phrase and rewrite what came before it so I don’t get you wrong.
Pointing at things
An Article by Austin KleonThe story goes that the painter Al Held said, “Conceptual art is just pointing at things,” so John Baldessari decided to take him literally, and commissioned a bunch of amateur painters to paint realistic paintings of hands pointing at things.
As I wrote in Steal Like An Artist,
“Step 1: Wonder at something.
Step 2: Invite others to wonder with you.”Point at things, say, “whoa,” and elaborate.
Against an Increasingly User-Hostile Web
We are quietly replacing an open web that connects and empowers with one that restricts and commoditizes people. We need to stop it.
A fly in the spider's web
We're very good at talking about immersive experiences, personalized content, growth hacking, responsive strategy, user centered design, social media activation, retargeting, CMS and user experience. But behind all this jargon lurks the uncomfortable idea that we might be accomplices in the destruction of a platform that was meant to empower and bring people together; the possibility that we are instead building a machine that surveils, subverts, manipulates, overwhelms and exploits people.
It all comes down a simple but very dangerous shift: the major websites of today's web are not built for the visitor, but as means of using her. Our visitor has become a data point, a customer profile, a potential lead — a proverbial fly in the spider's web. In the guise of user-centered design, we're building an increasingly user-hostile web.
If you run a website
If you run a website and you put official share buttons on your website, use intrusive analytics platforms, serve ads through a third-party ad network or use pervasive cookies to share and sell data on your users, you're contributing to a user-hostile web. You're using free and open-source tools created by thousands of collaborators around the world, over an open web and in the spirit of sharing, to subvert users.
I chose out
What I'm against is the centralization of services; Facebook and Google are virtually everywhere today. Through share buttons, free services, mobile applications, login gateways and analytics, they are able to be present on virtually every website you visit. This gives them immense power and control. They get to unilaterally make decisions that affect our collective behavior, our expectations and our well-being. You're either with them or out. Well, I chose out.
You see, the web wasn't meant to be a gated community.
What do we want the web to be?
Do we want the web to be open, accessible, empowering and collaborative? Free, in the spirit of CERN’s decision in 1993 or the open source tools it's built on? Or do we want it to be just another means of endless consumption, where people become eyeballs, targets and profiles? Where companies use your data to control your behaviour and which enables a surveillance society—what do we want?