Self-revision

househeart

It is hard to edit one’s own work into its final version; you always need a second pair of eyes.

One can, though, review and recast one’s work using intelligent techniques. My former mentor NYU Journalism professor Jay Rosen mentions two such techniques in a piece called “We temporarily lost our minds.” Some thoughts on SB Nation’s Daniel Holtzclaw debacle. (Holtzclaw is the “now-notorious Oklahoma City police officer convicted on 18 counts of rape and sexual assault, crimes he committed while on duty and against the people he was supposed to protect.”)

 

The writer and non-fiction master Gay Talese used to describe for anyone who asked how he would pin the typed pages of his articles to a wall, in order to step back and re-read the draft with binoculars. That’s right: binoculars! Why did he do this? Because it was the only way he could think of to examine his creation at the sentence level and as a completed whole: simultaneously. To perfect what he made, he needed distance from, and intimacy with. He felt he couldn’t sacrifice one for the other. If he planted a bomb on page 2, he wanted to see exactly how it went off on page 22, and assess whether that was the right story arc. I mention this because it is one answer to the mystery of how the Vox editors temporarily lost their minds. They didn’t have any equivalent to Gay Talese’s binoculars. They didn’t know what their creation added up to. They couldn’t see it whole.

There are other ways to get distance on a text you are too intimate with. One of them is so simple, so artless, so obvious that I’m convinced it is under-employed because editorial people — who think of themselves as sophisticated manipulators of text — are embarrassed to use something we might recommend to a sixth grader. Read the work aloud, preferably to an “average” or non-specialist listener. Just vocalizing a problematic text brings the problems with it much closer to the surface. There is no way “Who is Daniel Holtzclaw?” could have survived being read aloud to a husband, wife, girlfriend or boyfriend. No one who loves you would have let you publish it on the internet.

Jay’s entire piece is well worth reading. It begins:

On February 17, SB Nation, the founding site in the Vox Media empire, did something so inexplicable it amounts to an editorial mystery.

For about five hours the editors had up on their site a 12,000 word article weirdly sympathetic to Daniel Holtzclaw, the now-notorious Oklahoma City police officer convicted on 18 counts of rape and sexual assault, crimes he committed while on duty and against the people he was supposed to protect. This was a piece of writing so wrongheaded, noxious and ill-conceived that the editorial director of SB Nation, Spencer Hall, said later that day in a note to readers: “There is no qualification: it was a complete failure.”

A true statement. I cannot put it any better than Deadspin’s Greg Howard did:  “The tone of the entire piece is fawning and forgiving; by the end, the terrifying, spectacular spree of rapes exists as little more than an unfortunate occurrence, and a 263-year sentence as an unjustly harsh burden Holtzclaw has to bear. Holtzclaw destroyed 13 women’s lives; ‘Who Is Daniel Holtzclaw?’ told the story of how they destroyed his.”

Photo by Robert Basil

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Puzzling Advertising: Who is the intended audience?

sleep

This advertisement by Vanda Pharmaceuticals (shown a dozen times a day, it seems, on MSNBC) is for a drug called Hetlioz. (It’s very expensive.) Vanda says Hetlioz helps blind people who have a rare condition called Non-24. These folk have trouble sleeping through the night and staying awake during the day.

It made me wonder: Who is the audience for these ads? Blind people, who can’t actually watch TV? Their doctors, who might prescribe this drug? 

My favourite new theory is that the pharmaceutical company’s strategy is three-fold: To create awareness of an essentially unheard-of disorder; to make the millions and millions of people who are not blind but who can’t sleep at night and who fall asleep during the day believe that Hetlioz could help them out, too; and to promote this medication to these people, to their friends and family, and to their doctors – without doing so explicitly. (In the United States “Pharmaceutical companies are not allowed to promote their medications for an off-label use, which has led to several large settlements for illegal marketing.”) We all know how utterly awful sleep problems are, so imagine how enticing the hope engendered by these ads is.

Great tidbit: “How obscure is Non-24? There are only 146 citations for the disorder in the entire US National Library of Medicine. By comparison, there are 8,463 citations for the plague.”

Addendum: My NoContest co-founder Tierney and I had a good back-and-forth after she read this post.

screencap

Here’s the link to the “Sandy’s View” post Tierney mentions.

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Practice

As a teacher and as an editor, my counsel to students and writers often seems too obvious even to say. For instance: “You can’t complete a large project in a short time. Proceed bit by bit” (or “bird by bird“).

I have found, though, that repeating such counsel, many times, loudly and then quietly, and in different contexts, can reduce its obviousness to reveal its plain urgency.

What is more obvious than “practice something to get better at it”? Here is my friend Jonathan Mayhew in a post called “Jazz Piano” from his superb blog “Stupid Motivational Tricks: Scholarly Writing and How to Get It Done“:

Every thing begins with an idea. I have always wanted to play jazz piano, and now I am doing it, albeit at a lowish level. I see no possibility of getting worse with practice. There will be a plateau or two, with steady progress between the plateaux, and then a point at which I won’t get better.

It strikes me that the key with these kinds of things is neither to underestimate nor to overestimate the difficulty of it. If you think it is going to be easy, then it is easy to get frustrated. If you think of it is impossible, then you won’t even imagine doing it. My approach is just to get lost in it when I am doing it. I could spend 15 minutes trying out variations of a few chords. The other day I closed my eyes and I could still play some of my songs fine.

Most things, you can probably do. Ride a bike, make ceramics, or grow plants. If you are interested enough in it, that is. I am quite sure that I could be a crossword puzzle constructor. Some day I’ll want to do this, though not now.

Mayhew’s blog slices into the topic of practice again and again – lucid, brilliant, entertaining, and always very useful variations upon a theme. It is profound stuff. What one says about getting better at playing piano, writing books, constructing crossword puzzles – one is saying about living life.

“I see no possibility of getting worse with practice.”

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Smart/Dumb

In my profession some colleagues believe that marking hard – giving more D’s than B’s, for instance – correlates with a high level of “rigour” in teaching. To my mind, though, there is often no connection between grade distribution and rigour. If you are handing out a dozen D’s, you need to look at both the quality of instruction and the level of preparation students have received prior to taking that course; something is wrong.

The most “rigourous” – that is, demanding and detailed – professor I ever had was Lionel Abel. He gave everybody A’s, yet almost nobody took a class from him more than once. He was too tough. He would read student essays aloud in front of the class and make brilliant if sometimes lacerating comments. One time he stopped after reading just the first paragraph and gazed, smiling, at the lady who wrote it, asking, “Did you take Freshman English?” She nodded yes, turning red. “Did you pass?” I had to look away. Abel finished his analysis of her work by writing a big A on the student’s front page.

I didn’t receive similar treatment until my second class with Abel. “Mr. Basil, do you mind if I read your T. S. Eliot essay in front of the class?” I said I would be pleased. Then the professor added: “May I be frank?” What could I say but yes? The professor showed the first page of the essay to the class, with several words circled. “I believe that you don’t know what these words mean,” he said, then went through them, one by one. It was very embarrassing. After class Professor Abel told me that I was trying to sound smarter and more educated than I was: a foolish endeavour, which made me sound dumb. “Don’t approach great poetry with big statements; come to it with questions. You’re never dumb when you ask questions.”

From that moment I resolved never to be embarrassed to be the “smart dumb person” in the room, asking questions when no one else raises their hand. At the very worst, this is entertainment for my colleagues. To my mind, it is also essential mental hygiene.

A lovely Lionel Able quote: “We realize we have made a friend when in a relationship we are able to suppress that special disappointment which follows getting to know him, her, anyone – even oneself – well.”

It is sweet to remember those first resigned sighs, from my loyal friends. The essence of friendship is neither correction nor therapy.

The New York Times titled its obituary of Lionel Abel “The Last Bohemian.”

reposted from basil.CA

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L’Esprit D’Escalier

staircase

Things have changed, if just a little bit, in ten years. From January 2005:

I’ve been hearing dialogue everywhere, dialogue that seems to be coming from the same play.

At the end of party I went to recently, a woman told me that I talk too much.  I didn’t know how to respond, and left the party shortly afterwards, a bit confounded and mute, and afflicted with what the French call l’esprit d’escalier – “the wit of the staircase” – i.e., my mind began filling with all sorts of things I should or could have said.

So: a mind rewind.

Here we go:  “Bob, you talk too much.”

  • “True, true, true, true.”
  • “Not ‘too much,’ just ‘much.’”
  • “If you subtract the number of times I repeat myself, then you know that at least I don’t say too much.”
  • “I can tell you why: You’re not going anywhere, are you?”
  • “I just keep going until I find a word that makes you friendly.”
  • “Does that mean you don’t think I’m interesting?”
  • “What would you suggest I not have said?”
  • Or, finally: “Oh throw me away and call it a day.”

[A friend wrote me later, charmingly: “You don’t talk too much.  People talk too little.”]

repost from basil.ca

photo by Robert Basil

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So, you think you can’t write …

Dana Fontein, a fine blog writer over at Hootsuite, posted a really helpful piece this morning, “So You Think You Can’t Write: 8 Writing Resources for Non-Writers.

Many believe that they simply cannot write, or that they aren’t a “writer,” when the truth is that they really just believe they are not a good writer.

For content marketers, writing is obviously an integral component to most, if not all, aspects of the job. Everything from drafting blog posts to crafting the perfect video script requires the ability to write. While of course the act of stringing words together to form sentences can satisfy the basic requirements, writing is a skill that with time, dedication, and a desire to improve, can be mastered to an exceptional level. Just like the perfect set of graphite pencils helps with drawing, there are numerous tools available to help you improve your chances of writing success.

Bless her heart, Fontein includes two nondigital resources (books!) that I can highly recommend as well: Stephen King’s On Writing and Anne Lamott’s Bird by Bird (remember the birds, my KPU students?).

Among those digital resources she lists, I follow Copyblogger (“the bible of content marketing”) closely. Others were new to me. Portent’s Content Idea Generator is whimsical and fun and occasionally absurd – and therefore a fine boost to brainstorming blog-post ideas. Others include Co-Schedule’s Headline Analyzer. (The headline “Why I love kittens” earned me a lowly 51/100 score, but with some precise guidance on how to improve it.)

Fonteyn annotates these and each of the other resources beautifully.

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Mental Hygiene

In a post called “Cognitive” my good friend Jonathan Mayhew explores one of NoContest’s recurrent themes:

There is the idea that you can prevent decay in cognitive function by doing inane, mindless games on the computer, such as those peddled by lumosity.

I do the NY Times Crossword most days, and usually try to use five minutes per degree of difficulty (Monday 5, Tuesday 10, Wed. 15, etc…). I do a puzzle called kenken as well. Then I compose music or work on previous compositions. I try to work on my research every day, not breaking the Seinfeld chain. I have to figure out how to teach what I know to groups of students…

I have another goal of being able to read novels in all the romance languages. That’s another cognitive stretch. If someone can find me a novel in Rumanian or Provenzal I would appreciate it.

Really, though, my whole life is devoted to the cultivation of intelligence. That’s all I’m about. There are two or three ways of doing this. Learning to do novel tasks stretches the mind in different ways. So I have tried to teach myself to draw, to compose music, to read Italian. Delving deeply into a subject matter that is not novel, that you know very, very well, is also good. So writing a third book on Lorca… A third way is to solve puzzles or memorize poetry.

I hate that this sounds arrogant, but if I am intelligent it is because I do these things, not the other way around. If I am stupid about other things, it is because I haven’t cultivated thoses sorts of intelligences. Put me in a home depot, and I am a blithering idiot.

Jonathan’s blog is one of the best places in cyberspace. You need to put it in your feed.

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Rhythm in Class

A Faculty Focus piece published today by Linda Shadiow and Maryellen Weimar called “The Rhythms of the Semester” highlights ways professors can help students negotiate “the arc” of the course.

The early weeks hold promise and high hopes, both often curtailed when the first assignments are graded. The final weeks find us somewhere between being reluctant or relieved to see a class move on. There is an inexplicable but evident interaction between our teaching persona and the persona a class develops throughout a semester.

It’s a good discussion. The authors advise

  • Calling attention to the structure of the semester
  • Developing a community in the opening weeks
  • Revitalizing the class during mis-semester doldrums (inviting a guest speaker, for instance, or “using an unusual resource”)
  • Achieving closure in the final weeks.

The creative ferment a classroom can bring into being – educator and students together – is a most wonderful thing, and can go on beyond semester’s end.

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Thank you *very* much

The acknowledgments page to B. M. Pietsch’s book Dispensational Modernism is very funny:

I blame all of you. Writing this book has been an exercise in sustained suffering. The casual reader may, perhaps, exempt herself from excessive guilt, but for those of you who have played the larger role in prolonging my agonies with your encouragement and support, well … you know who you are, and you owe me.

These three sentences do reflect the loneliness, exhaustion, and self-doubt often involved in completing a book – or, worse, a doctoral dissertation. Gratitude in these cases is a learned response for some authors.

editing

Back in the day, as senior editor at Prometheus Books Inc., I would have conversations with authors who had omitted spouses, editors, agents and mentors in their acknowledgments page. One author refused to acknowledge *anyone* – though, following a stern recommendation, he permitted me to write a happy paragraph.

h/t Clarissa

Photo by Robert Basil

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Whither the Keyboard?

My friend Clarissa writes:

Many people are lured into believing that apps can do everything a computer can and never acquire crucial computer skills. They go around brandishing their smartphones and tablets and have no idea why, in spite of all the productivity apps, they never seem to catch up. It’s especially sad to see young people get caught up in this self-defeating mentality.

typing

photo by Miles Basil

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