Writing, Briefly An Article by Paul Graham www.paulgraham.com As for how to write well, here's the short version: Write a bad version 1 as fast as you can; rewrite it over and over; if you can't get started, tell someone what you plan to write about, then write down what you said; expect 80% of the ideas in an essay to happen after you start writing it; start writing when you think of the first sentence; write about stuff you like; learn to recognize the approach of an ending, and when one appears, grab it. v0.crapThe situation talks back writing
Writing and Speaking An Essay by Paul Graham paulgraham.com Being a really good speaker is not merely orthogonal to having good ideas, but in many ways pushes you in the opposite direction...there's a tradeoff between smoothness and ideas. All the time you spend practicing a talk, you could instead spend making it better. writingspeechcommunicationpractice
Write Simply An Essay by Paul Graham www.paulgraham.com I try to write using ordinary words and simple sentences. That kind of writing is easier to read, and the easier something is to read, the more deeply readers will engage with it. The less energy they expend on your prose, the more they'll have left for your ideas. Several Short Sentences About Writing writing
The Age of the Essay An Essay by Paul Graham www.paulgraham.com EssayerExpressing ideas helps to form themFlow interesting (The Meander) Follow the brushThe Anxiety of Sequence writing
Early work An Essay by Paul Graham www.paulgraham.com Imagine if we could turn off the fear of making something lame. Imagine how much more we'd do. The right way to deal with new ideasFocus on the rate of change creativityskillideas
What doesn't seem like work? An Essay by Paul Graham paulgraham.com The stranger your tastes seem to other people, the stronger evidence they probably are of what you should do. So I bet it would help a lot of people to ask themselves about this explicitly. What seems like work to other people that doesn't seem like work to you? workinterestlife
The Top Idea in Your Mind An Essay by Paul Graham paulgraham.com I think most people have one top idea in their mind at any given time. That's the idea their thoughts will drift toward when they're allowed to drift freely. And this idea will thus tend to get all the benefit of that type of thinking, while others are starved of it. Which means it's a disaster to let the wrong idea become the top one in your mind. ideas
Cities and Ambition An Essay by Paul Graham paulgraham.com Boston says you should be smarterFlorence and MilanA city speaks to you mostly by accidentCity messages citiesambition
Taste for Makers An Essay by Paul Graham paulgraham.com If there is such a thing as beauty, we need to be able to recognize it. We need good taste to make good things. Instead of treating beauty as an airy abstraction, to be either blathered about or avoided depending on how one feels about airy abstractions, let's try considering it as a practical question: how do you make good stuff? You feel this when you start to design thingsGood design is simpleGood design is timelessGood design is often slightly funnyGood design is hard, but looks easy+3 More Beauty in flight beautytastedesign
Good and bad procrastination An Essay by Paul Graham paulgraham.com The absent-minded professorYou can't look a big problem too directly in the eye
The still life effect A Fragment by Paul Graham paulgraham.com If you're going to spend years working on something, you'd think it might be wise to spend at least a couple days considering different ideas, instead of going with the first that comes into your head. You'd think. But people don't. In fact, this is a constant problem when you're painting still lifes. You plonk down a bunch of stuff on a table, and maybe spend five or ten minutes rearranging it to look interesting. But you're so impatient to get started painting that ten minutes of rearranging feels very long. So you start painting. Three days later, having spent twenty hours staring at it, you're kicking yourself for having set up such an awkward and boring composition, but by then it's too late. ideasart
How to do what you love An Essay by Paul Graham paulgraham.com To do something well you have to like itWow, that's pretty coolPrestige is just fossilized inspirationAlways produce worklife
Hackers and Painters An Essay by Paul Graham www.paulgraham.com A great painting has to be better than it has to be
Gods of the Word A Book by Margaret Magnus www.amazon.com Imagine that we had no voice and no tongueMy nameReference and Is-nessIt flows out and fillsNo less than a Zeus+6 More PhonaestheticsThe arbitrariness of the signThe body image
Imagine that we had no voice and no tongue Socrates: Imagine that we have no voice and no tongue, but want to communicate with one another. Wouldn’t we like the deaf and the dumb make signs with the hands and the head and the rest of the body? Hermogenes: There would be no choice, Socrates. Socrates: We would imitate the nature of the thing: lifting the hands to heaven would mean lightness and upwardness. Heaviness and downwardness would be expressed by letting them drop toward the ground... Hermogenes: I don’t see that we could do anything else. Socrates: And when we want to express ourselves with the voice or tongue or mouth, the expression is simply their imitation of what we want to express? Hermogenes: I think, it must be so. communication
My name “I am the utterance of my name.” — Thunder, Perfect Mind, The Nag Hammadi Library To call each thing by its right name identitynames
Reference and Is-ness There are at least two aspects to what we have traditionally called the meaning of a word. One aspect is reference, and the other is something I will call ‘inherent meaning’ following Ullman (1963). Inherent meaning is ‘Is-ness’ meaning. Inherent meaning is a word’s identity, and reference merely its resumé, where it has gone and what it has done, an itemization of its contexts. ‘Is-ness’ is unifying. Each word has a single pronunciation, a single inherent meaning. But reference is divisive. It makes what was one thing – the word – appear to be many things – its senses. It is inherent meaning which gives all those multifarious senses the power of being a single word. meaningwords
It flows out and fills This deeper meaning of a word isn’t confined to what we think of as a dictionary definition. Rather it flows out and fills all the space available to it. Although a basic sense does affect the dynamics of a word, it has no power over its essence. Like the captain of a ship, it can control the crew’s actions, but not their minds. Each word has an aspect of meaning which lies deeper than any of its senses, and it is fundamentally on this meaning that all the senses depend. wordsidentity
No less than a Zeus I too am a true believer in the autonomy of the archetype. A /t/ or an /h/ is no less than a Zeus. The consonants are not essentially physical, but they live, evolve and influence human affairs. We overlook something essential if we deny that they can get up and walk around. This is not to say that their existence is independent of the human psyche. But then everything depends on everything.
Like a prism When you look at phonemes, you look through the perspective of morphemes, which are one linguistic level higher. The higher level is like a prism that splits the light in two. What was one thing, like ‘length’ at the phoneme level, looks like two opposite things ‘long’ and ‘short’ from the perspective of the morphemes. In practice, when you find both a word and its opposite, then the phoneme is not about either of these two things, but about what is common to them. information
Fracturing If we step back and view from afar this process of One-ness and Is-ness to fracturing and interpretation – of inherent meaning to reference, it follows that what lies at the foundation of language is simply what it is – sound – free of reference and interpretation. What makes what we know as language from its sound is fracturing and interpretation or using a word for a function other than what it simply is.
To evolve the language itself So in the process of talking, we might say we are putting words in slightly new contexts, and then testing them against our peers to see if our experiment in juxtaposition had ‘meaning. If we succeed, we have introduced new contexts for the words we use. These contexts will be taken up by our listeners, and will gradually become clearly enough defined to be thought of as referents. Once our words gain new referents, they start affecting the underlying phonosemantic structure of the language, the clustering patterns, the network of semantic relations. That is, the purpose of talking in the long run is to evolve the language itself. evolution
Scooting over There is at this point no evidence that acquired characteristics can be inherited. It is held that all changes to a genome are random, and cannot be subject to any higher principle. However, when a word is used in a new context, as it is whenever we say something new, a new sense is permitted. This does affect the phonosemantic structure, the linguistic DNA. Words in the vicinity of this word ‘scoot over’ to make room and allow themselves to be influenced by its philosophy. The language itself is now different. language
The element becomes a sign Each unit can be seen purely as form, as what it is. Or it can be viewed as having a function. Its function is only understandable within the next higher level of organization. And in every case, function must succumb to the constraints of form. Once this worldly function is assigned, the element becomes a ‘sign’. It falls into the realm of concept. There is a mapping from one thought system to another. Form follows function formfunction
The demand of a new word Why are these phonosemantic classes enough, and we need neither more nor less? Why are these consonants enough, and we need neither more nor less? What determines the need for a new word? How is this demand ‘felt’ by a language? How did the metabolic pathways of American English recognize that ‘jerk’ and ‘twerp’ and ‘punk’ and ‘nitwit’ and ‘dork’ and ‘ass’ and ‘goon’ and ‘twit’ and ‘dodo’ and ‘bum’ and ‘nerd’ and ‘dunce’ and ‘turd’ and ‘boob’ and ‘chump’ and ‘bitch’ and ‘bastard’ and ‘prude’ and so on and so forth simply were not equal to the task? We had to add ‘turkey’ and ‘squirrel’ as well? wordslanguagemeaning