Category Archives: Writing

The Writer’s Drug of Choice

19 Wednesday Aug 2015

Posted by in Interview, Literature, Writing

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Ernest Hemingway

Interviewer: John, you’ve been an editor for a very long time, and I imagine that you’ve worked with writers who have used various drugs to stimulate their writing.

John Bennet, New Yorker editor: Mostly caffeine and tobacco, and drugs of that nature. And simple hysteria.

I think it’s pretty hard to really write a complicated piece of writing if you’re hallucinating. That’s not to say that many of these writers haven’t done that in the past. But when they’re actually producing, they rely on caffeine, which is of course a drug.

Most writers I know write better than they’re able to write. That’s to say if it’s a good writer, he or she can write a great piece. But they do it by dent of great personal sacrifice. They tend to adrenalize themselves, whether it’s with caffeine or with just simple hysteria or panic, into this highly agitated state, whereby they are able to produce writing of the quality that they want to produce — that otherwise they feel they can’t produce.

And in general I must say it’s a rather destructive process to watch, when you work with writers who essentially have nervous breakdowns every time they have to write a piece. Which means it’s really a damnable profession, writing, because most people who are writers tend to be miserable — at least when they’re writing.

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Bennet, exchanging words with Sasha Weiss, story editor for the New York Times Magazine, in his joint interview with Oliver Sacks for The New Yorker Out Loud (Bennet’s remarks start at around 19:30 in the audio above).

You’ll find Sacks’s longer takes on this stuff in his highly acclaimed new memoir On the Move, which I plan to pick up in the coming weeks.

Read on:

Will Self: Why I Don’t Teach Creative Writing

17 Tuesday Feb 2015

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Will Self

“I don’t teach creative writing because I think it’s a fatuous thing to do, but if anybody young asks me for advice, what I say to them is: ‘Do you, when you look back at a page of your work, get inflicted with a dreadful sense of futility and a sense that it’s cardboard, and it’s meaningless and that it doesn’t express an iota of what you wanted to say, and that it’s hackneyed, and it’s clichéd?’, and they go: ‘Yeah.’

I respond: ‘Right. You’re always going to feel like that. Accept it. It doesn’t matter how many languages you’re translated into, or how many awards you win or accolades you receive, you will still feel that way about what you do’. That is not all art, that is the virtuality of being a writer.”

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Will Self, speaking in an interview with Christine Fears.

More from Will:

Flow

12 Monday Jan 2015

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BOOKS IAN MCEWAN

“When I’m working, there are those moments when something goes well in the morning for half an hour or an hour. I try to describe this experience, and I think everyone’s had it. We don’t have a good word for it, but it’s a form of happiness — one psychologist called it ‘flow’, which isn’t quite enough — that consists of total absorption in trying to do something. It could be playing a game of tennis or gardening or cooking a meal, or writing a novel. But it’s that wonderful suspension from time and from the narrative of your existence, when you are simply, absolutely lost in the thing you are doing. And you don’t even remember who you are. And you don’t even feel any pleasure at the time.

And those moments — which I think are rare for all of us — are only realized in retrospect. It’s when the doorbell rings and you pop out of it that you realize you have been supremely happy. But not the happiness of laughter or exhilaration. And it’s those episodes that I really treasure — those moments when there’s only the writing, only the page or the screen, only the thing itself. They’re very hard to sustain, but every now and then — maybe only once or twice a week — there are those moments of pure absorption.”

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From Ian McEwan, during a conversation with Ian Katz at the Guardian’s Open Weekend festival last year.

Why the World’s Greatest Advertising Man Added Four Words to a Beggar’s Sign

03 Thursday Apr 2014

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David Ogilvy

“There’s an old story about David Ogilvy, one of the original mad men that established the dominance of the advertising field in the 50s and 60s, that seems to deal with storytelling as an avenue to create empathy. One morning on his walk to work, Ogilvy saw a beggar with a sign around his neck.

I AM BLIND

The poor man slouched in a corner and would occasionally hold the cup up to his ear to give it a rattle, because he was unable to tell how much money was in it by looking. Most days, the beggar didn’t hear much. Ogilvy was in good spirits that day. It was late April in New York, when the air is beginning to warm, and there’s a peaceful pause before the city falls into the oppressive heat of summer. He decided to help the beggar, and dropped a contribution into the cup. Ogilvy explained what he did for a living when the beggar thanked him, and he asked for permission to modify the sign around the man’s neck. Upon receiving consent, he took the sign and added a few words.

That night, on his way home, Ogilvy said hello to the beggar, and was pleased to see his cup overflowing. The beggar, frazzled with his success, and uncertain of what Ogilvy did to the sign, asked what words were added.

IT IS SPRING AND
I AM BLIND

Ogilvy was able to create empathy in the passersby, who would have ignored the blind man, by adding a story.”

__________

From The Shape of Design by Frank Chimero (You can download the entirety of this book on Chimero’s website).

Ernest Hemingway was once at lunch with a smattering of friends and other writers. As they waited for the bill, he made a wager with the table, betting that he could tell an entire story in just six words. Once his skeptical dining companions had eagerly tossed their bills into the center of the table, Hemingway jotted on a napkin and passed it around for each to read. On it was the six-word story: “For sale: baby shoes, never worn.”

Not one person at the table raised an objection as Hemingway smirked and scooped up the pile of cash.

Read on:

  • Ogilvy’s ten rules for writing
  • Sebastian Junger confronts the question of how to understand your relationship to your audience
  • I took every book I read last year and reviewed each in a sentence

David Ogilvy

I Like Words

02 Wednesday Apr 2014

Posted by in Film, Humor, Writing

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Words

Here’s the story: In 1934, a twenty-five-year-old named Robert Pirosh quit his well-paying but tedious job as a copywriter in New York and moved to Hollywood, hoping to kickstart his dream career as a screenwriter. Arriving in California, Pirosh compiled the names and addresses of as many top studio execs as he could, then proceeded to send each of them what is without doubt one of the most colorful, creative, and irresistible cover letters ever produced. This document secured him three interviews, one of which would land him a job as a junior writer at MGM. And as they say, the rest is history: Pirosh would go on to win the Oscar for best original screenplay for his 1949 war drama Battleground, but his other masterpiece — the one which first set him on his path to Grauman’s Chinese Theatre — is reproduced in full below:

Dear Sir:

I like words. I like fat buttery words, such as ooze, turpitude, glutinous, toady. I like solemn, angular, creaky words, such as straitlaced, cantankerous, pecunious, valedictory. I like spurious, black-is-white words, such as mortician, liquidate, tonsorial, demi-monde. I like suave “v” words, such as Svengali, svelte, bravura, verve. I like crunchy, brittle, crackly words, such as splinter, grapple, jostle, crusty. I like sullen, crabbed, scowling words, such as skulk, glower, scabby, churl. I like Oh-Heavens, my-gracious, land’s-sake words, such as tricksy, tucker, genteel, horrid. I like elegant, flowery words, such as estivate, peregrinate, elysium, halcyon. I like wormy, squirmy, mealy words, such as crawl, blubber, squeal, drip. I like sniggly, chuckling words, such as cowlick, gurgle, bubble and burp.

I like the word screenwriter better than copywriter, so I decided to quit my job in a New York advertising agency and try my luck in Hollywood, but before taking the plunge I went to Europe for a year of study, contemplation and horsing around.

I have just returned and I still like words. May I have a few with you?

Robert Pirosh

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The 1934 cover letter sent by Robert Pirosh to Hollywood executives.

I took the above picture a few minutes ago.

Read on:

  • Mark Twain’s hilarious, furious letter to a snake oil salesman
  • J.R.R. Tolkien’s smart, sharp letter replying to a Nazi publisher
  • Ernest Hemingway’s first letter to F. Scott Fitzgerald

Robert Pirosh

10 Rules for Writing from David Ogilvy

07 Friday Feb 2014

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David Ogilvy

For over a half century, David Ogilvy was the dapper executive behind New York’s powerhouse marketing firm Ogilvy & Mather. He was also the original “Mad Man,” a martini-slugging, pipe-puffing male now personified by Don Draper and idealized by a generation of guys who, like myself, have gone on one too many outings to Pottery Barn.

But Ogilvy’s brilliance must not be lost in this romanticization. He is also considered by many to be “The Father of Advertising,” a creative wit who coined such memorable quips as, “the consumer isn’t a moron; she is your wife — don’t insult her intelligence.”

On September 7th, 1982, Ogilvy distilled four decades of this insight and experience into a memo he sent to all agency employees. It was called, simply, “How to Write,” and it is reproduced below as it originally appeared.

The better you write, the higher you go in Ogilvy & Mather. People who think well, write well.

Woolly minded people write woolly memos, woolly letters and woolly speeches.

Good writing is not a natural gift. You have to learn to write well. Here are 10 hints:

1. Read the Roman-Raphaelson book on writing. Read it three times.

2. Write the way you talk. Naturally.

3. Use short words, short sentences and short paragraphs.

4. Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass.

5. Never write more than two pages on any subject.

6. Check your quotations.

7. Never send a letter or a memo on the day you write it. Read it aloud the next morning—and then edit it.

8. If it is something important, get a colleague to improve it.

9. Before you send your letter or your memo, make sure it is crystal clear what you want the recipient to do.

10. If you want ACTION, don’t write. Go and tell the guy what you want.

David

__________

This memo, along with other gems, may be found in The Unpublished David Ogilvy. If you’d like to start with Rule #1, you can pick up a paperback copy of Kenneth Roman and Joel Raphaelson’s Writing That Works: How to Communicate Effectively In Business.

How to Communicate

28 Tuesday May 2013

Posted by in Journalism, Writing

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Sebastian Junger

“When you write a book, when you write for people, what you’re saying is, ‘Okay, please step out of life, and into this weird mental place where you’re just alone with me… for hours, days.’ That’s a big request, and if [your readers] honor you by accepting, you have to really work hard to make it worth their while.

There’s a relationship there. They’re not there to admire you — they may end up admiring you — but that’s not what they’re there for. You are writing to give them an experience, on some level, an entertaining and fulfilling experience. And it’s really not about you…

The sort of world of writing for me is divided into two things: there’s content and then there’s style. There’s what you’re writing about, and there’s the way you write about it. Style is what gets people to keep reading, but ultimately it doesn’t have any inherent value. God forbid we write a book where the writing is the point.

That’s just too self-referential, and it betrays a kind of lack of respect for the world. You’re not more interesting than the world is. Your writing is not more beautiful than the world is. You don’t want the facts of the world to serve as a platform for your skill as a writer. It’s the other way around. The relationship goes the other way. Your skill as a writer serves the world.

You’re not supposed to tell people what to think; you’re supposed to tell them what to think about. You want to address the readers directly. I mean, you want to kind of look them in the eye. It’s like a conversation. It’s a conversation where you have respect for their intellect. You’re not talking down to them. You’re kind of amazed by the world. I mean, the world’s an amazing place, but it’s easy to forget that. If you open yourself to how amazing the world is, your writing will communicate something really valuable to other people.”

__________

From Sebastian Junger on Writing with Power, Clarity, and Style.

I think these ideas generalize to nearly any form of communication. You can replace “writer/writing” above with “artist/painting,” “teacher/teaching,” or “speaker/speechmaking,” and it make exactly as much sense.

Junger upheld this outward-looking philosophy so doggedly that he lived for many years without a mirror in his New York apartment. “So I wouldn’t be thinking about myself,” was Junger’s justification. “When he has to shave or brush his teeth,” his ex-girlfriend once explained, “he uses the back of a CD.”

Sebastian Junger

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Check out some of Junger’s work below:

Restrepo: Junger and HetheringtonWar, Combat

Sebastian JungerThe Insane Amount of Firepower

Sebastian JungerSomething Noble about Human Beings

The Greatest Literary Description of a Hangover

16 Sunday Sep 2012

Posted by in Literature, Writing

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Kingsley Amis

The following is the best account of a hangover that has ever been put to page. It represents the first time anyone attempted to describe, in high literary style, those first few flustered moments of waking up the morning after a rowdy night, and it comes in the middle of Kingsley Amis’s hilarious book (and my favorite novel) Lucky Jim. To set the scene: Jim (Dixon) has been invited, along with his girlfriend, to stay at the country home of his boss (the head of his department at the University). The first night there, Jim winds up getting into the family’s supply of sherry and whiskey. Here is the next morning:

__________

“Dixon was alive again. Consciousness was upon him before he could get out of the way; not for him the slow, gracious wandering from the halls of sleep, but a summary, forcible ejection. He lay sprawled, too wicked to move, spewed up like a broken spider-crab on the tarry shingle of the morning. The light did him harm, but not as much as looking at things did; he resolved, having done it once, never to move his eyeballs again. A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he’d somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.”

London’s mayor Boris Johnson discusses the scene:

__________

From the novel Lucky Jim by Kingsley Amis.

Controversial Books and Controversial Authors

15 Saturday Sep 2012

Posted by in Freedom, History, Political Philosophy, Politics, Writing

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Jack Kennedy

“If this nation is to be wise as well as strong, if we are to achieve our destiny, then we need more new ideas for more wise men reading more good books in more public libraries. These libraries should be open to all except the censor. We must know all the facts and hear all the alternatives and listen to all the criticisms. Let us welcome controversial books and controversial authors. For the Bill of Rights is the guardian of our security as well as our liberty.”

John F. Kennedy

Dubliners

11 Tuesday Sep 2012

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James Joyce

“Generous tears filled Gabriel’s eyes. He had never felt like that himself towards any woman but he knew that such a feeling must be love. The tears gathered more thickly in his eyes and in the partial darkness he imagined he saw the form of a young man standing under a dripping tree. Other forms were near. His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself which these dead had one time reared and lived in was dissolving and dwindling.

A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.”

__________

From the story “The Dead” in Dubliners by James Joyce.