Radić’s texts are almost always assemblages of several pieces or paragraphs that, although written by an architect, do not attempt to refer to a particular project or work (and if they do, it is always laterally, avoiding explanations of the how and the why, or demonstrations and apologies).
Like notes from a fragmentary diary or a review of a collection of memories, at times they share the melancholy tone of the writings by Aldo Rossi and at other times they recall the obscure density of John Hejduk’s poems.
She came in the next class with a puzzled look and handed him a five-thousand-word essay on the front of the Opera House on the main street of Bozeman, Montana. “I sat in the hamburger stand across the street,” she said, “and started writing about the first brick, and the second brick, and then by the third brick it all started to come and I couldn’t stop. They thought I was crazy, and they kept kidding me, but here it all is. I don’t understand it.”
Neither did he, but on long walks through the streets of town he thought about it and concluded she was evidently stopped with the same kind of blockage that had paralyzed him on his first day of teaching. She was blocked because she was trying to repeat, in her writing, things she had already heard, just as on the first day he had tried to repeat things he had already decided to say. She couldn’t think of anything to write about Bozeman because she couldn’t recall anything she had heard worth repeating.
She was strangely unaware that she could look and see freshly for herself, as she wrote, without primary regard for what had been said before. The narrowing down to one brick destroyed the blockage because it was so obvious she had to do some original and direct seeing.
The web is still a very young medium, and it has been influenced more than anything else by print media design. There is so much more that can be done with text on a screen than is being done today. Citations, drawing, chat, speech-to-text. There are opportunities everywhere, and the bar is low! If we are serious about unlocking the value of knowledge we should consider how to improve every part of the knowledge production stack, and that includes reading. As Laurel Schwulst says:
Imaginative functionality is important, even if it’s only a trace of what was, as it’s still a sketch for a more ideal world.
One can gain a glimpse of the quality of a people’s life by the kind of paper they use for writing letters, for literary works, and for various other tasks. Paper should not be deprecated. To do so is to deprecate beauty itself.
I couldn’t seem to convince my writers that I was genuinely ok working with a super rough first draft — i.e., that I’d harbor no hidden judgment about their intelligence, commitment, or excellence at their craft.
So I came up with a new word. “Just give me a v0.crap.” (Pronounced “version zero dot crap”.)
v.0.crap works because it’s attuned to the psychology of the situation. It’s punching through our innate desire not to “look bad”, plus years of corporate conditioning that tells us not to share less-than-polished work. It’s easier for people used to delivering exceptional work to feel they’ve exceeded the goal of “crap”; they can sit comfortably in “good enough for the current purpose.”
One of the oldest and most deeply ingrained of Japanese attitudes to literary style holds that obvious structure is contrivance, that too orderly an exposition falsifies the ruminations of the heart, that the truest representation of the searching mind is just to ‘follow the brush.’
What Mick Southern taught me was both the imperative to and the means of writing scientific prose—“if it’s not published it’s not done,” as a later adviser put it. Mock showed me that the rather dry technical requirements of scientific writing did not necessarily mean that elegance, humor, and even wit need be excluded from the scientists’ products.
Effective writing stems from intelligently connecting the dots between the concepts you understand and can articulate. It stands to reason, then, that in order to generate more creativity you must not only add to a knowledge base, but deepen and expand the number of connections within the totality of the network. By establishing and explicitly mapping your knowledge, you allow yourself the freedom to remix information. You will often find that solutions come from previously unsuspected fields or topics—proving to be analogous in some shape or form.
Applied to a blog, angkorwatification is a sort of textual equivalent of rewilding. You have a base layer of traditional blog posts that is essentially complete in the sense of having created, over time, an idea space with a clear identity, and a more or less deliberately conceived architecture to it. And you have a secondary organic growth layer that is patiently but relentlessly rewilding the first, inorganic one. That second layer also emerges from the mind of the blogger of course, but does so via surrender to brain entropy rather than via writerly intentions disciplining the flow of words.
The idea, as both sides’ counsel worked it out, is that you will regard features like shifting p.o.v.s, structural fragmentation, willed incongruities, & c. as simply the modern literary analogs of ‘Once upon a time…’ or ‘Far, far away, there once dwelt…’ or any of the other traditional devices that signaled the reader that what was under way was fiction and should be processed accordingly. For as everyone knows, whether consciously or not, there’s always a kind of unspoken contract between a book’s author and its reader; and the terms of this contract always depend on certain codes and gestures that the author deploys in order to signal the reader what kind of book it is, i.e., whether it’s made up vs. true. And these codes are important, because the subliminal contract for nonfiction is very different from the one for fiction.
I think this is perhaps the hardest part of writing—of “generously imagining her”—continuously, unendingly. And this is the only difference between good and bad writing in the end. That doesn’t mean it’s easy (being kind is often the hardest thing to do) and of course I mention this not to lecture anyone but only as a keepsake and as a reminder for myself.
In our use of digital and analogue filing tools, we classify information through folders. An article about railway construction gets filed under ‘infrastructure’ or ‘transport’. In Evernote we tag it with ‘rail’ or ‘construction’. This is thinking like a librarian and not like a writer. We are classifying the information as an input. The reason you take notes as a writer is to produce content. It makes sense, then, to take notes in line with this goal.
Traditional filing like this tends to fail when you attempt to write your content. You are stuck trying to figure out which categories will be relevant for your proposal, paper or blog post. Interesting writing often comes from connecting separate fields through a common idea. By revealing the common denominator. By unifying two seemingly-contradictory ideas. How can you possibly achieve this if you’re looking in the same category for your information? The categories simply do not fulfil the function required by the writer.
The notes you take and indeed, the way you process information, should be with a specific project or idea in mind. You must classify information in terms of its outputs. When you take notes on a book, think about how this could apply to a specific idea you had or how it argues against a paper you read last week. The premise is that you should be organising by context and always trying to connect the dots between the content you’re consuming.
For those who read and listen much more than they speak (guilty), an overly-strict Prune filter is applied to their writing; when these people go to write something of their own, their minds don’t produce thoughts nearly as “coherent, witty or wise as their hyper-developed Prune filter is used to processing”.
Hence, my dilemma and an opportunity to break out of this trap. I recognised that if I attempted to write at the quality I was used to reading at, first time every time, my brain would promptly grind to a halt—like trying to brainstorm with a group that laughs at your suggestions.
Here, in short, is what I want to tell you.
Know what each sentence says,
What it doesn’t say,
And what it implies.
Of these, the hardest is knowing what each sentence actually says.
If you write a half hour a day it makes a lot of writing year by year. To be sure all day and every day you are waiting around to write that half hour a day.
For 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.
Christopher 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…
I 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.
No 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.
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.
I think I’ve been darting around this question for a while now:
…I think we’ve all been taught to write in a style that forgets the reader entirely. My English degree taught me, incentivized me in fact, to write poorly with this sort of obfuscatory language, “nevertheless…”, “in this essay I will set out to…” etc.
All that stuff is me pointing at me, pointing at a thing. But we should just get out of the way of the thing we’re pointing at!
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.
A zettelkasten consists of many individual notes with ideas and other short pieces of information that are taken down as they occur or are acquired. The notes are numbered hierarchically, so that new notes may be inserted at the appropriate place, and contain metadata to allow the note-taker to associate notes with each other. For example, notes may contain tags that describe key aspects of the note, and they may reference other notes. The numbering, metadata, format and structure of the notes is subject to variation depending on the specific method employed.
Long novels written today are perhaps a contradiction: the dimension of time has been shattered, we cannot live or think except in fragments of time each of which goes off along its own trajectory and immediately disappears.
Koya-san — home to esoteric Buddhism — is the name of a sacred basin eight hundred meters high and surrounded by eight mountains. It is roughly one hundred kilometers of trails north from the Kumano Hongu Taisha shrine in Wakayama, Japan. Though the name of the basin is often incorrectly translated as Mt. Koya in English, Mt. Koya is only one of the eight peaks, and is remote from the central cluster of temples.
We walked towards Koya-san, but we did not touch Mt. Koya.
"Every website that’s made me oooo and aaahhh lately has been of a special kind; they’re written and designed like essays. There’s an argument, a playfulness in the way that they’re not so much selling me something as they are trying to convince me of the thing. They use words and type and color in a way that makes me sit up and listen.
And I think that framing our work in this way lets us web designers explore exciting new possibilities. Instead of throwing a big carousel on the page and being done with it, thinking about making a website like an essay encourages us to focus on the tough questions. We need an introduction, we need to provide evidence for our statements, we need a conclusion, etc. This way we don’t have to get so caught up in the same old patterns that we’ve tried again and again in our work.
And by treating web design like an essay, we can be weird with the design. We can establish a distinct voice and make it sound like an honest-to-goodness human being wrote it, too."
I do not sit down at my desk to put into in verse something that is already clear in my mind. If it were clear in my mind I would have no incentive or need to write about it. I am an explorer…We do not write in order to be understood, we write in order to understand.
When you go mountain climbing, the first thing you’re told is not to look at the peak but to keep your eyes on the ground as you climb. You just keep climbing patiently one step at a time. If you keep looking at the top, you’ll get frustrated. I think writing is similar. You need to get used to the task of writing. You must make an effort to learn to regard it not as something painful but as routine.