writing

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.

writing-tools-2

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”:

  1. Avoiding dealing with an actual opponent by making them anonymous/impersonal, even if you get their point-of-view largely right;
  2. Mischaracterizing an opponent’s argument (even or especially if you name them), usually by substituting a weaker or more easily refuted version;
  3. 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?”;
  4. 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:

  1. Argue with the ideas of a real person (or people);
  2. Pick the strongest possible version of that argument;
  3. Characterize your opponent’s (or opponents’) beliefs honestly;
  4. 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?

 

The whoah-dude moments

Love this post on photosynthesis and science fiction by Molly Young. Super short, super fun. Might be a big idea packed in there.

 

The new utility belt

So let me start with a story, and a feeling:

In preparation for a collaborative writing project last weekend, I put out a call for photo-manipulators: people with Photoshop or Aviary skills who would volunteer to be on-call to produce some cool imagery.

So it’s Friday, and my young collaborators and I kick it off: we scan a bunch of source material from the school library, put it in a Dropbox folder, share it with the volunteers, and frame the first challenge. (Here’s the email.)

While we’re out scouring San Diego that afternoon, our allies leap into action. Finished images are appearing in real-time. Every few minutes I’ll check the Dropbox app on my iPhone, see something new, announce it to the group, and everyone will gather around the tiny screen and ooh and ahh.

Another data point: several times now I’ve put a call out on Twitter for real-time editing. As I get responses, I’ll DM volunteers with links to a rough draft and a Google form. Then I’ll go out for coffee. I’ll be walking up Clement Street, and on my phone, the feedback will be streaming in—row after row blinking to life in a Google spreadsheet.

It’s a remarkable feeling—somehow both anticipation and satisfaction at the same time. Accomplishment and gratitude… with a little edge of fear. There’s got to be oxytocin involved.

Here’s where it gets practical. Based on my experiences last weekend and with another recent story, I’ve stumbled onto a trifecta of tools that seem to change the game for real-time distributed creative collaboration. (Is that a thing? That’s totally a thing.)

This is the new utility belt:

utility-belt-logos

Twitter. This is how you get the word out; it’s the spark that starts the fire. And there’s an interesting nuance here. I’ve experimented with two approaches to distributed collaboration: 1) ask people to sign up ahead of time to review a story, or 2) just tweet it out and see who responds. Surprisingly—to me, anyway—the second works better. I think it’s because a tweet has a built-in filter: it’s generally only seen by people who are plugged-in (and therefore perhaps available to help) right now. Don’t get me wrong; both strategies are useful, and a lot depends on what kind of collaborator you’re looking for. But I think the real-time call-out is where the real magic happens.

Google Docs, especially Google forms. This is your info-collector. These forms make it so ridiculously easy to get structured feedback from a big group of people. My forms tend to be very simple: three or four fields; two or three specific questions and then one open-ended catch-all. That’s it. I generally don’t ask for people’s names. No friction. (Here’s the form I sent out for Last Beautiful. Here’s a sampling of the feedback.)

Dropbox. I’ve been a devoted Dropbox user for a while now, but last weekend was the first time I’d used it collaboratively and creatively. And I’m now completely addicted. I think two things about shared Dropbox folders are especially interesting and important:

  • They’re invitation-only. Filling out a form is one thing… getting access to a secret file-system speakeasy is quite another. It’s positive feedback. It’s a micro-incentive all on its own.
  • They’re real-time. I didn’t see this coming, but the little Growl notifications from Dropbox—“One new file has been added to the folder SHELLDRAKE”—are totally thrilling. It’s like hearing the shuffles and scrapes of colleagues down the hall, and the real-time-ness of it maps really well to that Twitter swarming vibe.

I could go on and on about Dropbox. The fact that it’s part of your file-system—no wonky HTTP uploads—makes it feel fast and sturdy. Using Dropbox, collaborators can share media not only with you but with each other. For instance, last weekend, one photo-manipulator made a particularly nice cut-out of a source image, so he copied that over to the folder for everyone to use. Extrapolate that behavior out and it starts to get really interesting. And again: it wouldn’t be so remarkable if it wasn’t so friction-free.

(For another example, check out this little blog post I did on Alexis Madrigal’s use of Dropbox for collaborative research.)

There are other tools that deserve honorable mentions: Tumblr’s new-ish submit feature has a ton of potential. (I used it recently to very quickly gather material for Ash Cloud Tales.) Posterous has multi-author accounts that are, like Google forms, close to friction-free: it’s all just email. But for whatever reason, it’s the three tools above that just seem to snap together like Legos.

So if these are the tools, what are the skills? Jane McGonigal has already figured this out. She calls them the ten collaboration superpowers. And in particular, I think the first three are key:

  • Mobbability: the ability to do real-time work in very large groups; a talent for coordinating with many people simultaneously.
  • Cooperation radar: the ability to sense, almost intuitively, who would make the best collaborators on a particular task.
  • Ping quotient: measures your responsiveness to other people’s requests for engagement.

(What blows my mind is that Jane came up with these superpowers three years ago. I actually can’t quite imagine mobbability or ping quotient without a Twitter network to rely on.)

Although I’m really happy with the way both Last Beautiful and Normal Heights turned out, the truth is that the processes for both were pretty sloppy and sub-optimal. There are a dozen things I could have done better to make them better experiences for collaborators—and to make better finished products, too. So this is something I’m dedicated to getting better at.

But the main thing right now is: Twitter plus Google forms plus Dropbox. Use ‘em together. They’re the new utility belt, and so many things are possible.

 

Media as underwear

In the comment thread for his last post, Tim provides my new preferred master metaphor for media:

Charlie Stross has a different metaphor. He compares the novel to the corset, and the novella to the bra. I love it! What could be more obvious, more taken-for-granted, than underwear? And yet, what strikes us as an odder set of conventions now than the underwear of the past? It’s made to fit and support our bodies, but it reshapes us too, as we wedge ourselves into it.

Seriously: I am thinking deeply on this. I think it might be really, really useful.

 

Ash Cloud Tales

I’m sitting in an airport. I just made this—a site for Eyjafjallajokull-themed flash fiction. It currently has one (1) story. I want it to have three (3) before I land! I’m getting on my plane now. Go for it!

 

Part-time crusader

I liked this galloping graf blogged by Frank Chimero. It’s written in that great exhortational style of Whitman, and of the American West. Which would, I think, work great on the web; somebody ought to just start blogging like this.

(Is “exhortational” even a word?)

 

Writers’ accoutrements

Gilbert Alter-Gilbert (?) at A Journey Round My Skull shares something—I don’t even want to call it a blog post—that is all about writers and their trademark accessories, be they personal, technical, or… architectural? All I know is, you don’t even have to read the words (though you should): just scroll and let the juxtaposition of images flicker through your brain. Opera cloaks, foxes with quills, bicycles and the Dictascrivener… and that’s just halfway down the page.