Story machines

story-machine

I love this: “small vending machines dotted about French train stations that dispense short stories for free at the press of a button.” (Via SwissMiss)

Theories of procrastination

toure_1

toure_2

The Efficient Plots Hypothesis

The [Efficient Plots Hypothesis], as I imagine it, says that the ideal reader can’t know if the mood of a book is about to get sunnier or darker at any given point in the plot. This … [is] because the purpose of a narrative is to engross the reader. Engrossment proceeds through uncertainty. If you knew what was about to happen, you’d skim ahead or stop reading.

That is: at any moment in a story, the emotional trajectory is a random walk for the reader because anything else would be boring. And stories aren’t boring.

This could be tested empirically by asking readers if a book will get more positive or more negative over the next five pages, and by how much. In a pure EPH world, they’ll only be right about half the time.

If the EPH holds, then, it doesn’t suggest that fiction is truly arbitrary; rather, that it’s an elaborately constructed game between reader and writer, socially conditioned and in no way permanent. It would suggest that there are enough fundamental plots that at any point in a book you are unsure what plot you are in; and that plots tend to wear themselves out over time.

Read about it here.

Ian McEwan’s writing day

I’m pretty obsessive once I get going. I tend to throw everything at it, and I’m generally rather happy if I’m making progress of 450 to 500 words a day. I work from 9:30 in the morning. If things are going, I see no reason to stop, because I know there’s a point I’ll get to, a moment of hesitation, and a day or a week will pass before I see the way through.

Sometimes, I work late at night, sometimes into the early hours if things are going along. I spend a lot of time at the beginning of a day looking over things from the day before. I was a very early adopter of word processing back in the early ’80s. Being able to constantly correct is good for writers.

I think you do need to come away, somewhere along the line, and let it sit, so you can come back with a completely fresh eye and almost regard it as the work of a stranger.

Source. Earlier installment is here.

On Voluptas

Gisze by Holbein

“Nulla sine merore voluptas” — no joy without sorrow. Detail from “The Merchant Georg Gisze” by Holbein (1532).

Auden: “a genuine writer forgets”

Just as a good man forgets his deed the moment he has done it, a genuine writer forgets a work as soon as he has completed it and starts to think about the next one; if he thinks about his past work at all, he is more likely to remember its faults than its virtues. Fame often makes a writer vain, but seldom makes him proud.

W.H. Auden

How Styron wrote

The previous summer, Styron had begun [The Confessions of Nat Turner]. He nudged a No. 2 pencil across sheets of yellow legal paper, each sentence polished before he moved on to the next. The most methodical of novelists, he demanded utter silence, even with small children in the house. He had a stone wall built in front to try to muffle the noise of passing vehicles, according to his daughter Alexandra in her 2011 memoir, Reading My Father. His pattern was all but inviolate. Up at noon, leisurely lunch or brunch with Rose. Push away from the table at two o’clock for a long walk with his dogs, while he organized his thoughts for the afternoon siege. Then, into the barn until he emerged at 7:30 with “my painful 600 words,” which he refined some more over a drink at the bar and then gave to Rose for typing, about two and a half pages in all. Once he was done he tinkered very little. “This guy does not revise heavily and start all over again,” says his longtime editor, Robert Loomis, aged 89. “Bill’s first draft was essentially his final draft.”

Sam Tanenhaus, “The Literary Battle for Nat Turner’s Legacy” (great read)

“My painful 600 words.” I know the feeling. It took William Styron four and a half years to complete The Confessions of Nat Turner.

“The Year of Lear”

Shakespeare became a god long ago. He exists outside history, eternal, unconfined by any particular historical moment. He is literally timeless. In The Year of Lear, James Shapiro swats away all the writer-god stuff and plunks us down with Shakespeare in grubby, plague-ravaged, terrorized London in 1606. It is probably as close as we can come to glimpsing the man himself; too little is known about Shakespeare’s life to reconstruct a proper biography. And for a writer like me, it is stirring to see Shakespeare grapple in his plays with the obsessions and anxieties of Jacobean England — fear of a bloody succession battle, the hunt for Catholic recusants, the Gunpowder Plot (the 9/11 of its day), witchcraft, demonic possession, on and on. Just a working writer at his desk, in a dirty, day-old shirt, his thoughts tossed around like all of us. It’s a great read.

If it’s hard, why do it?

Hard Things

This graphic, from a story in the Times the other day, pretty well captures the appeal of novel-writing for me. You do it precisely because it’s difficult.

Writing as meditation

I see writing as a form of meditation, where I can let everything else fall away for a few moments and just stay with this one activity. It means I need to get my mind into the writing space, notice when the urge to go to distraction comes up, and not just automatically follow the urge. I can look within myself and let feelings flow out through the written word, or see the truths within me and try to channel those onto the page.

Leo Babauta, “Training To Be a Good Writer

Quote of the day

I’m most in awe of novelists, who move sets, lights, scenery, and act out all the parts in your mind for you. My kind of writing requires collaboration with others to truly ignite. But I think of Dickens, or Cervantes, or Márquez, or Morrison, and I can describe to you the worlds they paint and inhabit. To engender empathy and create a world using only words is the closest thing we have to magic.

Lin-Manuel Miranda

Horace: Artless art

“The art lies in concealing the art.”

Horace

On procrastination, good and bad

We tend to think of procrastination as a personal failing, even a moral flaw, a sin. For novelists in particular, marooned at our lonely desks and in our heads, facing enormous tasks and distant deadlines, procrastination is a besetting danger. The web makes the problem infinitely worse, with its little cruelty of turning the writer’s workspace, his computer screen, into an endless cabinet of wonders. Distraction is always just two clicks away.

There is now a small industry churning out advice on how to stay productive in the age of distraction, but it all boils down to this: put away your toys and get to work. In his wonderful The War of Art, Steven Pressfield advises, “Be a pro.” And that, honestly, is the bottom line. Just do it.

Personally, I try to live by that advice. By nature I am lazy and undisciplined, a lifelong procrastinator, so I rely on a set of formal strategies to stay focused. I work in a barren office, on an ancient ThinkPad T23 laptop that has no internet capability. I cripple my smart phone using various apps. (I fiddle constantly with how best to disable my phone during work hours, which, yes, I know.) When all else fails, I leave the damn phone at home.

Fellow weak-willed writers, I can’t say this strongly enough: do not burn energy resisting the temptation of the web. Just turn it off completely. Unplug. Research has shown that people who exhibit strong willpower are not better at resisting temptation; they simply do not expose themselves to temptation. They do not bravely refuse to eat the ice cream in the freezer; they never go down the frozen-food aisle in the supermarket in the first place.

Once I have unplugged from the web, I focus on starting. Not writing a whole novel or even a single scene, not writing for a certain period of time or hitting some daily word-quota. Just starting. As a writer, that is the most essential and difficult thing you will do: start. You must learn to start and start and start. Every morning, despite the awesome scale of the task, despite your own mounting anxiety, you must start. You will fail, of course. All writers fail. Most writers fail most of the time. Doesn’t matter. Get up, dust yourself off, and start again. If you start enough, in some small percentage of those attempts, you will achieve the blessed, transporting, trance-like state of flow that every writer treasures, and the residue of that deeply-focused work will be words on the page.

So that is my anti-procrastination strategy. In two words: unplug and start. I do not claim there is any special wisdom there, nor do these strategies work infallibly for me. I fail all the time, and I scourge myself for it. Probably you do, too.  if you are a writer. It seems to be a universal feeling in this job. But failure is part of writing. Tomorrow you will try again. What choice is there? As Beckett said, “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”

With all that said, I would like to suggest that some procrastination is actually good. Yes, good. Sometimes a writer resists writing not because he is lazy or careless, but because the passage just isn’t ready to be written. Hemingway famously said, “The most essential gift for a good writer is a built-in, shockproof, shit detector.” Sometimes the way your shit detector goes off is by refusing to allow you to write shit in the first place.

Continue reading →

A better map of the world

Gall–Peters_projection

The Gall-Peters projection map, showing the true relative size of the continents without the distortion of the traditional Mercator projection. (As usual, “The West Wing” got there first.)

A natural style

When we encounter a natural style, Pascal says, we are surprised and delighted, because we expected to find an author and instead found a man.

James Wood

George Saunders on writing

Arthur Conan Doyle on the origin of Sherlock Holmes

The Virtue of Ignorance

A 1960 interview with Orson Welles about “Citizen Kane.”

Q: What I’d like to know is where did you get the confidence from to make the film with such —

A: Ignorance. Ignorance. Sheer ignorance. You know, there’s no confidence to equal it. It’s only when you know something about a profession, I think, that you’re timid, or careful or —

Q: How does this ignorance show itself?

A: I thought you could do anything with a camera that the eye could do or the imagination could do. And if you come up from the bottom in the film business, you’re taught all the things that the cameraman doesn’t want to attempt for fear he will be criticized for having failed. And in this case I had a cameraman who didn’t care if he was criticized if he failed, and I didn’t know that there were things you couldn’t do, so anything I could think up in my dreams, I attempted to photograph.

Q: You got away with enormous technical advances, didn’t you?

A: Simply by not knowing that they were impossible. Or theoretically impossible. And of course, again, I had a great advantage, not only in the real genius of my cameraman, but in the fact that he, like all great men, I think, who are masters of a craft, told me right at the outset that there was nothing about camerawork that I couldn’t learn in half a day, that any intelligent person couldn’t learn in half a day. And he was right.

Q: It’s true of an awful lot of things, isn’t it?

A: Of all things.

Postcard from the Back Bay

Back Bay

Looking up Boylston Street from the corner of Berkeley in the 19th century. At right is the New England Museum of Natural History, a predecessor of the Boston Museum of Science. (The building is now occupied by Restoration Hardware — sigh.) To its left is the Boston Institute of Technology, now MIT. The tower at the far left is Old South Church in Copley Square. (via) I work nearby and pass this spot every day.

Turning time into language

Anthony Trollope

Adam Gopnik’s story on Trollope in the New Yorker touches on

his very Victorian work ethic: he wrote for money, and he wrote to schedule, putting pen to paper from half past five to half past eight every morning and paying a servant an extra fee to roust him up with a cup of coffee. He made a record of exactly how much each of his novels had earned, and efficiency and economy, taken together, got him a reputation as a philistine drudge.

Trollope was, in truth, merely being practical about the problems of writing: three hours a day is all that’s needed to write successfully. Writing is turning time into language, and all good writers have an elaborate, fetishistic relationship to their working hours. Writers talking about time are like painters talking about unprimed canvas and pigments.

Not sure I agree with Gopnik’s three-hour rule. Three hours a day may have been enough for Anthony Trollope to write successfully, but you, alas, are not Anthony Trollope.

It is interesting to think of writing as “turning time into language.” Of course, Gopnik is not saying that’s all writing is. He is making a simpler point about Trollope’s practicality and discipline. (Otherwise the phrase is meaningless: all art forms can be reduced to “turning time into” something — sculpture, music, painting, etc.). Still, it is a useful formulation for writers to keep in mind. Looking back at these monstrously productive Victorians, it is easy for a writer to get psyched out. Better to use Trollope as a daily reminder to turn your time into text, and be done with him.