writing
The marks
Great advice from the great Jillian Tamaki, and it applies to more than just illustration:
I know you’ve answered this question like a bagillion times but I thought I’d throw it out here anyway, since I can: any advice to a excited/somewhat terrified 21 year old artist who is working towards having an illustration career some time in the not-so-distant future?
Hm. I teach a lot of very freaked out 21-year-olds. I think a lot of people psych themselves out. “What do people want?” “Will I get a job/jobs when I graduate?” “What is illustration anyway?” Those questions are hard to avoid and I certainly struggled with them myself. However, my piece of advice is to try not to think so “large”. Think small. Think about the marks you want to make on the paper in front of you… the ones that bring you pleasure and satisfaction. You can’t control what other people think or if they’ll give you a job. You can only control your own actions and the work you produce. You have to be a little delusional to pursue a life in the arts, so throw caution to the wind and make pictures that excite you and hopefully the world will agree.
I actually don’t agree completely—I think creative life in the year 2012 requires that you think both large and small at the same time—but really, “think about the marks you want to make on the paper [or the screen] in front of you” is still the kernel. That’s worth painting on your wall. That’s where everything begins.
From Readership to Thinkership
Kenny Goldsmith (teacher, poet, conceptual writer, radio producer, UbuWeb digital archivist) deserves to have a book written about him (a book that, unlike his, people will read):
My books are better thought about than read. They’re insanely dull and unreadable; I mean, do you really want to sit down and read a year’s worth of weather reports or a transcription of the 1010 WINS traffic reports “on the ones” (every ten minutes) over the course of a twenty-four-hour period? I don’t. But they’re wonderful to talk about and think about, to dip in and out of, to hold, to have on your shelf. In fact, I say that I don’t have a readership, I have a thinkership. I guess this is why what I do is called “conceptual writing.” The idea is much more important than the product…
My favorite books on my shelf are the ones that I can’t read, like Finnegans Wake, The Making of Americans, Boswell’s Life of Johnson, or The Arcades Project. I love the idea that these books exist. I love their size and scope; I adore their ambition; I love to pick them up, open them at random, and always be surprised; I love the fact that I will never know them. They’ll never go out of style; they’re timeless; they’re always new to me. I wanted to write books just like these. I think you hit it just right when you spoke of reference books. I never wanted my books to be mistaken for poetry or fiction books; I wanted to write reference books. But instead of referring to something, they refer to nothing. I think of them as ’pataphysical reference books.
For more on pataphysics (which I don’t think really needs that apostrophe), aka “the science of imaginary solutions,” read this.
I also found this fascinating, especially coming from the man who wrote “If It Doesn’t Exist on the Internet, It Doesn’t Exist” (back in 2005):
I’ve made a move in the Luddite direction recently by trying to remove UbuWeb from Google. I want the site to be more underground, more word-of-mouth. The only way you’ll be able to find it is if someone links to it or tells you about it, just like music used to be before MTV. But you’ll still find UbuWeb on all the bad search engines that no one uses: AltaVista, Dogpile, and Yahoo! Again, everyone wants to rush toward the center: they even write books about how to get your Google ranking higher. We’re headed in the opposite direction. We want to get off Google.
But actually, even if you go back to that 2005 essay, it has this gorgeous coda, under the subhed “The New Radicalism”:
In concluding, I’m going to drop a real secret on you. Used to be that if you wanted to be subversive and radical, you’d publish on the web, bypassing all those arcane publishing structures at no cost. Everyone would know about your work at lightening speed; you’d be established and garner credibility in a flash, with an adoring worldwide readership.
Shhhh… the new radicalism is paper. Right. Publish it on a printed page and no one will ever know about it. It’s the perfect vehicle for terrorists, plagiarists, and for subversive thoughts in general. In closing, if you don’t want it to exist — and there are many reasons to want to keep things private — keep it off the web.
Something to think about, when you’re too busy not reading.
‘The correct use of a semicolon is a big red flag for me’
Here’s an interesting dialogue between two characters: Teach and Cheat. One’s a philosophy professor; the other writes students’ term papers for a fee.
Teach: Yes, but it is a red flag to me that there is plagiarism elsewhere in the paper. The second one is grammatical. In those cases I was alerted to plagiarism by the sudden appearance, in a paper that is otherwise a morass of grammatical errors, of a series of flawless sentences with complicated structures. The correct use of a semicolon is a big red flag for me. As is the use—and often misuse—of specialized jargon or technical language that I’ve not discussed with them in class. Then I type those sentences into Google, and they all wind up being smoking-gun cases of plagiarism. My favorite case this semester was plagiarism within plagiarism. When I informed this student that I suspected her paper was plagiarized, she said to me, “I got my paper from one of the students who was in your class last semester. How was I to know that she had plagiarized?” Which indicated to me, along with a number of the other email responses I got from students, that many of them don’t even know what plagiarism is.
Cheat: I don’t disagree. But not knowing what plagiarism is isn’t really the problem. It’s unfortunate that right now the university is cracking down so hard on plagiarism. And the reason the university is cracking down so hard on plagiarism is because their product is less and less valuable these days. When students plagiarize, there’s an implicit recognition that “I’m just doing this for the grade.” That’s why they do it. And that’s the way that the majority of students look at the university, and have been for some time now. At my college, the frats had rooms full of file cabinets full of plagiarized papers. Plagiarism is old news. It’s really not just that plagiarism is getting easier to do, with the Internet. The problem is now that the grade doesn’t even get you the job.
You understand where this is going: it’s not even about plagiarism and term papers… it’s about the framework and future of college itself.
But, P.S., thinking about plagiarizing a term paper—even now, so many years removed from college—makes me physically ill. Seriously: a sick little stir in my stomach. But it has more to do with self-conception than core values. The idea of putting my name above somebody else’s words is just… like… inconceivable. The whole point of having a brain (and maybe, having a life) is that my name goes above my words and my words aren’t like anyone else’s words. This was true even back in college, when I thought I was going to be a scientist or an economist, not a journalist or a writer. So for a person like me (and I suspect there are many of you among the Snarkmatrix) plagiarism is way more than just cheating. It’s self-abnegation.
Modern fiction
This is just so huge—such a step forward for writing and reading and telling stories over time. Dan Sinker, the mastermind behind @MayorEmanuel, talked to Esquire, and this part jumped out at me:
Esquire: And people became attached to yours, too. The ending was, well, large. Hysterical. A little heartbreaking. It all came to a swell, and then, it was finished.
Dan Sinker: That was very intentional. And it was sad. I was tearing up as I was writing it. Which is silly. I got to work everything in, every character, even the Honda Civic, the radio finally starts working because it hasn’t worked the whole time, then it starts playing this awful Journey song, but the lyrics in that Journey song are all about going somewhere else, and I even got to work an Empire Strikes Back reference in there. And the craziest thing: I had set up an ending, and I knew basically what was going to happen, though I never really knew exactly what details were gong to happen until I sat down to tweet these things. But I was having dinner with my wife and my son, and hail started falling, and I stood up from the table and I said, I have to go finish this right now. That’s why that final sequence starts with me being like, “and the sky opens up and ice starts falling,” because hail had just started coming down in Chicago.
Emphasis mine. “I have to go finish this right now.” Awesome. Awesome awesome awesome.
Hungry for encounter
Forget journalism—this chat between Gerry Marzorati and Mark Danner over at Nieman Lab has tons to say about writing and the public sphere in the most general, awesome sense. Couple bits that really resonated with me:
Gerry Marzorati: One of the things that’s really taken off in the last 10–15 years: The public has a hunger to actually encounter the writers who are writing these pieces. One of the ways nonfiction writers are able to make money—not all nonfiction writers, but a fair number of them—is on the lecture tour. A kind of 19th century idea, the book as a loss leader for actually going out and encountering people.
And I did not know this:
Mark Danner: It’s really an amazing “back to the future” thing. Tolstoy did War and Peace by subscription, and finally, with publication in full, the earlier volumes were substantially changed. You signed up for the beginning and you basically saw it in progress.
Makes me think of the amazing Max Barry. That’s a model I really, really want to try.
Step aside, Strunk
The problem with giving a book called Writing Tools as a gift is that its recipient assumes you think she’s a bad writer.
I do not think you’re a bad writer.
Over the years, I’ve purchased and given away probably ten copies of Writing Tools. It’s, by far, the best book on writing I’ve ever read—smarter, richer and more useful than even (GET READY FOR IT) The Elements of Style. Its author, Roy Peter Clark, teaches at the Poynter Institute, where both Matt and I used to work (and learn), and so I heard many of its lessons in person. But they come across so clearly and crisply in the book that it is almost—almost—a substitute for Roy himself.
A few things worth noting:
- This is a practical book. It’s not theory or fusty prescription. It’s a box of chewy ideas you can digest and put to use instantly.
- The ideas are so chewy, in fact, that many of them easily make the leap to other domains. The ladder of abstraction, for instance, isn’t only useful in writing; it’s a great way to build a presentation. (And as you’ll see if you click that link, the L.O.A., like many of the tools, isn’t Roy’s invention. He’s as much a curator as a coach in this book.)
- The tools apply across the board: from newspaper writing to fiction writing to blogging. Jeez probably even tweeting.
- Finally, the book is simply a great object. If you buy it, I implore you: buy the hardcover. The materials that Little, Brown chose for this thing are just perfect. It feels good in the hands; it feels like something you could use for years.
I bring it up now because Roy’s new book, The Glamour of Grammar, is out and newly reviewed in the NYT. There’s a Paper Cuts blog post as well, which I like even better because it brings Roy’s voice into the mix. I haven’t read the new book yet—but the old one is sitting here, right next to my keyboard, within arm’s reach.
P.S. I’m really only setting Writing Tools up against Strunk & White for effect, and to clearly communicate its insta-classic character. The truth, of course, is that the books are entirely complementary.
Facebook Arabic
The Middle East is anxious about what’s perceived as a decline in Arabic:
[C]alls to forestall the language’s demise are accompanied by cautionary tales about parents who encourage their children to learn other “more useful” languages like English and French, only to find that they can scarcely recite the Arabic alphabet when they get to university. Meanwhile, teachers across the region warn about the rise of “Facebook Arabic,” a transliterated form of the language based on the Latin script. Exemplifying their concerns are the oratorical fumbles of some of the region’s younger political leaders like Saad Hariri, the prime minister of Lebanon, whose shambling inaugural address to the Lebanese parliament provoked much local tittering. Not everyone is amused: Fi’l Amr, a language-advocacy group, has launched a campaign to raise awareness about Arabic’s critical condition by staging mock crime scenes around Beirut depicting “murdered” Arabic letters, surrounded by yellow police tape that reads: “Don’t kill your language.”
Really, though, it’s not actually Arabic that’s suffering, but a particular grapholect, fusha, the Modern Standard Arabic that closely resembles the classical Arabic of the Koran. And fusha has always been more of an imagined commonality binding together the Arab world than a reality.
In a very basic sense, there is no such thing as Arabic; or, at least, there is no single language that all Arabs speak, read, write, and understand. Instead, Arabic is, like English and many other languages, a constellation of various national dialects, regional vernaculars, and social registers bearing different degrees of resemblance to each another. What sets it apart from a language like English is its diglossic nature, whereby the language of literature and formal address (newscasts, political speeches, religious sermons, and so forth) is markedly different, on multiple structural levels, from the language of everyday speech.
You can overstate this, but it’s a little bit like 19th-century Western Europeans watching literacy numbers boom while wringing their hands over the fate of Latin.
As recently as 1970, three out of four Arabs over the age of 15 were illiterate, according to Unesco. Two decades earlier, illiteracy among women was close to 90 per cent. Even in a country like contemporary Egypt – which has long prided itself, as the old saying goes, on reading the books that Iraq writes and Lebanon publishes – less than two-thirds of the population can read. To speak, therefore, of helping restore Arabic to its former glory, or of helping it to “reemerge as a dynamic and vibrant language” as the government of the UAE has recently committed itself to do, is to ignore the reality that Arabic – both in its classical and modern standard incarnation – has never had as many users as it does today. Even taking into consideration the sway that English holds in the private and educational sectors of various countries in the region, or the important position that French occupies in France’s former colonies, it is impossible to pinpoint another moment in the history of the Arab world when so many people could communicate (with varying degrees of ability) in fusha.
This article I’m quoting was written by my friend Elias Muhanna, who blogs about Lebanese politics as Qifa Nabki, and published in The National, then picked up by The Economist. Whoo-hoo! Comp Lit PhDs FTW!
Straw men, shills, and killer robots
Indulge me, please, for digging into some rhetorical terminology. In particular, I want to try to sort out what we mean when we call something a “straw man.”
Here’s an example. Recently, psychologist/Harvard superstar Steven Pinker wrote an NYT op-ed, “Mind Over Mass Media,” contesting the idea that new media/the internet hurts our intelligence or our attention spans, and specifically contesting trying to marshal neuroscience studies in support of these claims. Pinker writes:
Critics of new media sometimes use science itself to press their case, citing research that shows how “experience can change the brain.” But cognitive neuroscientists roll their eyes at such talk. Yes, every time we learn a fact or skill the wiring of the brain changes; it’s not as if the information is stored in the pancreas. But the existence of neural plasticity does not mean the brain is a blob of clay pounded into shape by experience.
Please note that nowhere does Pinker name these “critics of new media” or attribute this quote, “experience can change the brain.” But also note that everyone and their cousin immediately seemed to know that Pinker was talking about Nicholas Carr, whose new book The Shallows was just reviewed by Jonah Lehrer, also in the NYT. Lehrer’s review (which came first) is probably best characterized as a sharper version of Pinker’s op-ed:
There is little doubt that the Internet is changing our brain. Everything changes our brain. What Carr neglects to mention, however, is that the preponderance of scientific evidence suggests that the Internet and related technologies are actually good for the mind. For instance, a comprehensive 2009 review of studies published on the cognitive effects of video games found that gaming led to significant improvements in performance on various cognitive tasks, from visual perception to sustained attention. This surprising result led the scientists to propose that even simple computer games like Tetris can lead to “marked increases in the speed of information processing.” One particularly influential study, published in Nature in 2003, demonstrated that after just 10 days of playing Medal of Honor, a violent first-person shooter game, subjects showed dramatic increases in visual attention and memory.
Carr’s argument also breaks down when it comes to idle Web surfing. A 2009 study by neuroscientists at the University of California, Los Angeles, found that performing Google searches led to increased activity in the dorsolateral prefrontal cortex, at least when compared with reading a “book-like text.” Interestingly, this brain area underlies the precise talents, like selective attention and deliberate analysis, that Carr says have vanished in the age of the Internet. Google, in other words, isn’t making us stupid — it’s exercising the very mental muscles that make us smarter.
I also really liked this wry observation that Lehrer added on at his blog, The Frontal Cortex:
Much of Carr’s argument revolves around neuroscience, as he argues that our neural plasticity means that we quickly become mirrors to our mediums; the brain is an information-processing machine that’s shaped by the kind of information it processes. And so we get long discussions of Eric Kandel, aplysia and the malleability of brain cells. (Having work in the Kandel lab for several years, I’m a big fan of this research program. I just never expected the kinase enzymes of sea slugs to be applied to the internet.)
Now, at least in my Twitter feed, the response to Pinker’s op-ed was positive, if a little backhanded. This is largely because Pinker largely seems to have picked this fight less to defend the value of the internet or even the concept of neuroplasticity than to throw some elbows at his favorite target, what he calls “blank slate” social theories that dispense with human nature. He wrote a contentious and much-contested book about it. He called it The Blank Slate. That’s why he works that dig in about how “the existence of neural plasticity does not mean the brain is a blob of clay pounded into shape by experience.” Pinker doesn’t think we’re clay at all; instead, we’re largely formed.
So on Twitter we see a lot of begrudging support: “Pinker’s latest op-ed is good. He doesn’t elevate 20th C norms to faux-natural laws.” And: “I liked Pinker’s op-ed too, but ‘habits of deep reflection… must be acquired in… universities’? Debunk, meet rebunk… After that coffin nail to the neuroplasticity meme, Pinker could have argued #Glee causes autism for all I care.” And: “Surprised to see @sapinker spend so much of his op-ed attacking straw men (“critics say…”). Overall, persuasive though.”
And this is where the idea of a “straw man” comes in. See, Pinker’s got a reputation for attacking straw men, which is why The Blank Slate, which is mostly a long attack on a version of BF Skinner-style psychological behaviorism, comes off as an attack on postmodern philosophy and literary criticism and mainstream liberal politics and a whole slew of targets that get lumped together under a single umbrella, differences and complexities be damned.
(And yes, this is a straw man characterization of Pinker’s book, probably unfairly so. Also, neither everyone nor the cousins of everyone knew Pinker was talking about Carr. But we all know what we know.)
However, on Twitter, this generated an exchange between longtime Snarkmarket friend Howard Weaver and I about the idea of a straw man. I wasn’t sure whether Howard, author of that last quoted tweet, was using “straw men” just to criticize Pinker’s choice not to call out Carr by name, or whether he thought Pinker had done what Pinker often seems to do in his more popular writing, arguing against a weaker or simpler version of what the other side actually thinks. That, at least, is a critically stronger sense of what’s meant by straw men. (See, even straw men can have straw men!)
So it seems like there are (at least) four different kinds of rhetorical/logical fallacies that could be called “arguing against a straw man”:
- Avoiding dealing with an actual opponent by making them anonymous/impersonal, even if you get their point-of-view largely right;
- Mischaracterizing an opponent’s argument (even or especially if you name them), usually by substituting a weaker or more easily refuted version;
- Assuming because you’ve shown this person to be at fault somewhere, that they’re wrong everywhere — “Since we now know philosopher Martin Heidegger was a Nazi, how could anyone have ever qualified him for a bank loan?”;
- Cherry-picking your opponent, finding the weakest link, then tarring all opponents with the same brush. (Warning! Cliché/mixed metaphor overload!)
Clearly, you can mix-and-match; the most detestable version of a straw man invents an anonymous opponent, gives him easily-refuted opinions nobody actually holds, and then assumes that this holds true for everybody who’d disagree with you. And the best practice would seem to be:
- Argue with the ideas of a real person (or people);
- Pick the strongest possible version of that argument;
- Characterize your opponent’s (or opponents’) beliefs honestly;
- Concede points where they are, seem to be, or just might be right.
If you can win a reader over when you’ve done all this, then you’ve really written something.
There’s even a perverse version of the straw man, which Paul Krugman calls an “anti-straw man,” but I want to call “a killer robot.” This is when you mischaracterize an opponent’s point-of-view by actually making it stronger and more sensible than what they actually believe. Krugman’s example comes from fiscal & monetary policy, in particular imagining justifications for someone’s position on the budget that turns out to contradict their stated position on interest rates. Not only isn’t this anyone’s position, it couldn’t be their position if their position was consistent at all. I agree with PK that this is a special and really interesting case.
Now, as Howard pointed out, there is another sense of “straw man,” used to mean any kind of counterargument that’s introduced by a writer with the intent of arguing against it later. You might not even straight-out refute it; it could be a trial balloon, or thought experiment, or just pitting opposites against each other as part of a range of positions. There’s nothing necessarily fallacious about it, it’s just a way of marking off an argument that you, as a writer, wouldn’t want to endorse. (Sometimes this turns into weasely writing/journalism, too, but hey, again, it doesn’t have to be.)
Teaching writing at Penn, we used a book that used the phrase “Straw Man” this way, and had a “Straw Man” exercise where you’d write a short essay that just had an introduction w/thesis, a counterargument (which we called a “straw man”), then a refutation of that counterargument. And then there was a “Straw Man Plus One” assignment, where you’d…
Never mind. The point is, we wound up talking about straw men a lot. And we’d always get confused, because sometimes “straw man” would mean the fallacy, sometimes it would mean the assignment, sometimes it would be the counterargument used in that (or any) assignment, sometimes it would be the paragraph containing the counterargument…
Oy. By 2009-10, confusion about this term had reached the point where two concessions were made. First, for the philosophers in the crowd who insisted on a strict, restrictive meaning of “straw man” as a fallacy, and who didn’t want their students using fallacious “straw men” in their “Straw Man” assignments, they changed the name of the assignment to “Iron Man.” Then, as part of a general move against using gendered language on the syllabus, it turned into “Iron Person.” Meanwhile, the textbook we used still called the assignment “Straw Man,” turning confusion abetted to confusion multiplied.
I probably confused things further by referring to the “iron person” assignment as either “the robot” — the idea being, again, that you build something that then is independent of you — or “the shill.” This was fun, because I got to talk about how con men (and women) work. The idea of the shill is that they pretend to be independent, but they’re really on the con man’s side the entire time. The best shill sells what they do, so that you can’t tell they’re in on it. They’re the ideal opponent, perfect as a picture. That got rid of any lingering confusion between the fallacy and the form.
Likewise, I believe that here and now we have sorted the range of potential meanings of “straw man,” once and for all. And if you can prove that I’m wrong, well, then I’m just not going to listen to you.
Explosions in the sky
I love constellations. Therefore, I love this post from Liz Danzico. It’s got me thinking: Isn’t the spangling of stars in the sky just basically random noise onto which we’ve projected patterns and then stories? And if that’s been successful—and it toootally has—doesn’t it imply that you could do the same with just about any kind of random noise? What sort of weird wacky stuff could you spread across your desk to tell stories with?

