How to ZK a fiction book! Zettelkasten for Fiction- Where Imagination Finds Order'- Book WIP ep. 78 by [[Victoria Crowder]]
meh... interested in the mention, but nothing directly actionable here. Perhaps in her other material?...
How to ZK a fiction book! Zettelkasten for Fiction- Where Imagination Finds Order'- Book WIP ep. 78 by [[Victoria Crowder]]
meh... interested in the mention, but nothing directly actionable here. Perhaps in her other material?...
Not that it couldn't be done, but I'll suggest that following the structure/order of a Luhmann-artig zettelkasten may be a bit more limiting or difficult for creating fiction.
There's a rich history of researching, outlining, and writing with card indexes as part of the creative process. Perhaps looking briefly at some examples particularly focusing on fiction may be helpful? Once you've done this, you can pick and choose the portions and affordances that work best for your preferred way of thinking and working.
Some quick examples:
Perhaps querying my digital zettelkasten may be helpful for you? Start with: https://hypothes.is/users/chrisaldrich?q=tag%3A%27card+index+for+writing%27
Ultimately, you can only spend so much time going down the rabbit hole of how you ought to do this work and taking suggestions or reading about how others have done it. The more difficult but more fruitful portion is to pick a method which seems like it will work for you and experiment with it by actually using or evolving it for yourself. How you start may not necessarily be how you end, but you won't know what's best for you if you don't start. Practice, practice, practice will get you much farther faster.
reply to u/Atreides_Lion at https://reddit.com/r/Zettelkasten/comments/1ft4r3z/a_very_important_matter_for_me/
For all audiences and in most content, use intelligent or intelligence to describe or talk about the benefits of AI.In UI, use intelligent technology to describe the underlying technology that powers AI features.
I think this is a good example of a misleading marketing ploy that shouldn't exist in technical documentation.
He handwrites first, then types it up, triple-spacing in the old newspaper fashion, then pencil-edits and retypes, pencil-edits and retypes.
Robert Caro's method of writing
What do you mean with Zettelkasten ratchet? I am too unfamiliar with the word ratchet to really understand the meaning.[9:46 AM] Or if someone else has an idea and can help me out
The additional "hidden context" is that the rachet/gear seen in many of these diagrams is usually attached to a radial spring (or some other device) which, as it is wound, stores energy which is later used by the bigger device in which the rachet and pawl are encased. Examples include the stem of watches, which when wound, store energy which the watch later uses to run as it counts the seconds. Another example is the mainspring of a typewriter which is attached to a ratchet/pawl set up; when you push the carriage to the right, the spring gets wound up and stores energy which is slowly expended by the escapement a space or a letter at a time as you type. In the zettelkasten analogy, the box and numbered cards placed in it act as the pawl (the wedge that prevents backward movement), as you add more and more information, you're storing/building up "potential energy" in small bits. This "stored energy" can be spent at a later time by allowing you to more easily write an article, paper, book, etc. In some sense, the zettelkasten (as most tools do) allows you a "mechanical advantage" in the writing process over trying to remember everything you've ever read and then relying on your ability to spit it all back out in a well-ordered manner.
reply to Muhammed Ali at https://discord.com/channels/992400632390615070/992400632776507447/1286577013439594497
continuation of https://hypothes.is/a/GTPIPnYiEe-GTUu4YcdeAQ
Typewriters? In 2024? Are You Nuts? by Jesse M. Slater for [[Raconteur Press]]
A short, but relatively solid typewriter 101 story for someone looking for a distraction-free writing machine. Certainly not completist, but enough to get your toes wet.
Slater uses his typewriter for a first draft, then edits the second draft as he re-types it into his computer to have a digital copy for further editing and distribution.
https://web.archive.org/web/20231121081108/https://www.humanwordsproject.com/
Found via Richard Polt's blog.
Site no longer exists in 2024
Makes reference like whatever we do, the result will depend of our decisions or choices
“The Da Vinci Code” Trial: Dan Brown’s Witness Statement Is a Great Read by [[Peter Lattman]]
The Dominican Republic has been a political and economic success story in contrast to its neighbor and, unlike Haiti, is secure enough for the secretary of state to spend the night.
sasssssy
Typewriter Video Series - Episode 147: Font Sizes and the Writing Process by [[Joe Van Cleave]]
typewriters for note making
double or 1 1/2 spacing with smaller typefaces may be more efficient for drafting documents, especially first drafts
editing on actual paper can be more useful for some
Drafting on a full sheet folded in half provides a book-like reading experience for reading/editing and provides an automatic backing sheet
typewritten (or printed) sheets may be easier to see and revise than digital formats which may hide text the way ancient scrolls did for those who read them.
Jack Kerouac used rolls of paper to provide continuous writing experience. Doesn't waste the margins of paper at the top/bottom. This may be very useful for first drafts.
JVC likes to thread rolls of paper into typewriters opposite to the original curl so as to flatten the paper out in the end.
https://en.wikipedia.org/wiki/Mixedink
MixedInk was a startup that provided web-based, collaborative writing software enabling large groups of people to create text that expresses a collective opinion, such as a mission statement, editorial, political platform, open letter or product review.
I want a bookwheel for my typewriter collection.
Isaac Azimov had multiple typewriters and used each of them for work on a different writing project.
For twenty ve years, my relationship to writing was equal parts loveand loathing.
nearer to feeling
would be a good title for a book
Cothran, Ann, and George E. Mason. “The Typewriter: Time-Tested Tool for Teaching Reading and Writing.” The Elementary School Journal 78, no. 3 (1978): 171–73. https://www.jstor.org/stable/1001415
No new results here, but a modest overview and literature review of research on typewriters in classrooms.
In this experimentagain the pupils who could type werefound to have made more gains in lan-guage usage and spelling than the nontyp-ers.
M. W. Tate's 1934 typewriter studies showed student gains in language usage and spelling. Now that computers have automatic spell-checkers and students less frequently use dictionaries or study spelling in particular, does spelling ability in modern classrooms keep pace with numbers from earlier in the century when more emphasis was put on that portion of writing pedagogy?
One must wonder if the early use of typewriters to teach reading and writing research matches that of modern day use of computers and tablets in the same classrooms?
Russian-born American author Vladimir Nabokov (1899 - 1977) dictates from notecards while his wife Vera (nee Slonim, 1902 - 1991 types on a manual typewriter, Ithaca, New York, 1958. Carl Mydans / Getty Images
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Interesting thought. This guy relates the upcome of AI (non-fiction) writing to the lack of willingness people have to find out what is true and what is false.
Similar to Nas & Damian Marley's line in the Patience song -- "The average man can't prove of most of the things that he chooses to speak of. And still won't research and find the root of the truth that you seek of."
If you want to form an opinion about something, do this educated, not based on a single source--fact-check, do thorough research.
Charlie Munger's principle. "I never allow myself to have [express] an opinion about anything that I don't know the opponent side's argument better than they do."
It all boils down to a critical self-thinking society.
Really useful video about the generation of story beats.
Approaching its 10th anniversary, the Longform podcast is a weekly hour-long interview with a nonfiction writer about their work, practice and personal philosophies. When it was founded in 2012, as a co-production of Longform.org and the Atavist magazine, co-hosts Max Linsky, Evan Ratliff and Aaron Lammer drilled down into aspects of the craft such as note-taking and revising drafts. These days the scope of their warm, considered conversations has broadened to be as much about life as about writing. Dig into the archives to hear from greats such as Gay Talese, Renata Adler, Ta-Nehisi Coates, Ariel Levy, Ira Glass, Michael Lewis, George Saunders, Susan Orlean and Robert McKee.
A great podcast about writing which will help you explore the work, practice and philosophy of writing fiction through a light-hearted conversation
Remember, a writer writes, always.
—Larry, Throw Momma from the Train, 1987
Best article on Deep POV I have ever read.
This also means that one cannot think without making allowances for differences.
9/8g The card index technique is based on the experience that one cannot think without writing – at least not in demanding, selectively accessing memory-based contexts.
This also means that one cannot think without making allowances for differences.
I like this slightly more differentiated instantiation for thinking better than Ahren's assertion that one can't think without writing. Luhmann qualifies it over and above Ahrens who elides meaning if this was the source he may have been tangentially referencing. (Was it an explicit reference? check...)
https://web.archive.org/web/20240711102003/https://longnow.org/ideas/moonbound/
via Frank Meeuwsen https://frankmeeuwsen.com/2024/07/10/dragons-on-the.html
On writing [[Moonbound by Robin Sloan]] , Sloan makes a few remarks about his notes that support his writing process.
When I sit down to begin things, I just marinate in my own stew for a while. It'll be a couple of weeks and my task at that time is to go through those notes of all those things that caught my eye at some point. As you spend time with them, you start to gather things together and you start to see themes emerge or clumps. There are characters in here that are three different notes that sort of found each other and I put them together
His writing process is for several weeks to go through notes, just looking through them, let it mingle in his head. Then put things together and look for emergent clusters / topics.
If you're going to write something that means something, you gotta put your own most urgent questions into it.
Meaningful writing needs a driving personally urgent question. Sounds about right. Meaningful to whom though, and urgent at what scale? I think my own more continuous urgent questions feed into my company and the 'carrying' themes throughout my blogging, and sound through in how I share my ideas and stories in client orgs. In my blogging 'urgent' can be a few minutes thing, or a thing over a week, urging me to blog something in the now. It is forceful but temporary and localised. Vgl formulering v [[% Interessevelden 20200523102304]] [[Holding questions 20091015123253]]
Someone once said that at least one in five people are writing a novel. I barely know anyone who isn’t. It is still a prestigious form. And so, despite social media – the junk food of communication – literature continues to adapt to the contemporary mood. Where there is digital overload, people are returning to this more relaxed, nutritious analogue mode - reading words on a page.
What makes a writer a real writer is that they begin to find an audience for their work; readers who are excited by what they find on the page.
https://site.xavier.edu/polt/typewriters/nabokov.jpeg via https://site.xavier.edu/polt/typewriters/typers.html

This photo, similar to others in the Carl Mydans series for LIFE Magazine is surely from his September 1958 photo series, though I couldn't find an original from the LIFE archive.
Nabokov, reading off of index cards in his zettelkasten, dictates to his wife Vera who is typing on what appears to be a 1949 or 1950 Henry Dreyfuss Royal Quiet De Luxe typewriter.
Notice metal strip on the back of the typewriter with small rectangular blocks. This is the Royal's tabulator set up which distinguishes the Quiet De Luxe model from the Arrow model.
The body styling of this typewriter changed in 1950 from Dreyfuss' original 1948 design. Because it's light gray it has to be from '49 or '50 as the '48 original was a black body with dark gray highlights and didn't have chrome across the front as this one does in an alternate angle.
The benefits of using a typewriter to write novels and poetry. by [[Classic Typewriter]]
"We can do more to heal Grandmother Earth and protect her sacred children. The birth of this calf is both a blessing and warning.”
Imminent crisis is prerequisite to a savior.
The £8mn Longitude Prize was awarded on Wednesday to Sysmex Astrego, a Swedish company whose method cuts the analysis time for urinary tract infection patient samples from two or three days to less than an hour.
good example of well-designed grant
he too wants to shine a light on the foolishness and wickedness of Western pols
hm. old spy novels emphasized politicians as locus of control and businessmen as villains. villains in the sense of antagonists. what about villainous businessmen who are in the locus of control?
Going to a Rogan show for “work” might function similarly, giving us cover in case we accidentally enjoyed it.
The most masculine thing is devising covers for activities you enjoy, but may be considered feminine or frivolous.
The more inventive and fecund a great mind is, the more it will shape thelanguage it uses to fit its thought. To express a new idea or insight, a new word isinvented or an old word given a novel meaning. Sometimes in the development ofhis own characteristic vocabulary, a great writer uses a new word for an old ideawhich he has appropriated and assimilated to his own thought. Sometimes theopposite occurs; the traditional word is appropriated or borrowed, but the ideawhich it long expressed is replaced either by a totally new, or at least by a variant,conception.
Language is essential for the expression of thought, be it novel or ancient.
The foregoing examples illustrate various forms topics take according to thedifferent kinds of subjects they propose for discussion. Some deal with the natureof a thing or its definition, some with its qualities or attributes, some with itscauses, and some with its kinds; some deal with distinctions or differences, andsome with comparisons or contrasts; some propose a general theory for considera-tion, some present a problem, and some state an Issue. Some— such as the lastthree above —are difficult to characterize by any formula.
The complexity of the topic is determined by the content of the discussion the topic is about.
It is easier to say what a topic is not, than what it is or should be. If it mustalways be a less determinate expression than a sentence, and if it must usually be amore complex expression than a single word or pair of words (which are theverbal expression of terms, such as the great ideas), it would seem to follow thatthe proper expression of a topic is a phrase— often, perhaps, a fairly elaboratephrase involving a number of terms and signifying a number of possible relationsbetween them. This general description of the grammatical form of a topic docsnot, however, convey an adequate notion of the extraordinary variety of possi-ble phrasings.
To me, it seems that Adler et al., are arguing that a topic should be stated as a phrase with varying degrees of complexity, determined by ?
For example, “The ideal of the educated man’"(Education la) is a simple topic; “The right to property: the ownership of themeans of production” (Labor 7b) is a complex topic; and “The use and criticismof the intellectual tradition: the sifting of truth from erroi; the reaction againstthe authority of the past” (Progress 6c) is a more complex topic.
Some examples of topics that are formulated and used in the original syntopicon.
A topic, in short, must have greater amplitude than any other logical form ofstatement. The familiar grammatical forms of the declarative or interrogativesentence, or even the complex sentence w'hich expresses a dilemma, arc there-fore inappropriate for the statement of topics. Since it must be able to includeall these and more, the statement of a topic must be less determinate in verbalstructure.
A topic should never be suggestive, for it would not be a topic in that way.
“etheric realm,” as well as in some fifteen thousand hours of recordings that have for many years been stored in a concrete bunker in Montana.
common technique that I haven't used; tell the full story up front, or at least allude to it, before dropping in deeper down below.
not an intro paragraph but like a different story to contain your story. this is literlaly just an intro. but whatever, like the introduction of a detail as a segue into a story anchored by another detail
overall blogs by 35 percent
This is great. I could definitely see Agrilinks blog posts being leveraged by teams and individuals to have that consistent space to write and share. I have a Wordpress blog but not everybody has their own site.
While his dad had favored bribing Balkan seamen to move his product to Europe aboard cargo ships, police said, the younger Nesic turned to smaller vessels to evade tightening screening procedures at Brazilian and European ports. Nesic allegedly bought cheap fishing boats that he retrofitted with extra fuel tanks, stuffed with cocaine, and staffed with Balkan or Brazilian crews to make the Atlantic crossing.
this would be a cool opening scene, the motorboats trailing the cargo ship
Information about ownership can, however, be found in the pages of Tatler or on the message boards of Ismaili Muslims unhappy about their tithes being used to pay for the extravagant lifestyle of a man who is both their religious imam and the descendant of an aristocrat ennobled by both the Iranian and British monarchies
But this implies that those who direct pay in order to be able to do this and are not paid to direct, which is clearly not true in the majority of cases
fun sentence
The Book of Hours was largely developed at the artist’s colony at Worpswede, but finished in Paris. It displays the turn towards mystical religiosity that was developing in the poet, in contrast to the naturalism popular at the time, after the religious inspiration he experienced in Russia. Soon thereafter, however, Rilke developed a highly practical approach to writing, encouraged by Rodin’s emphasis on objective observation. This rejuvenated inspiration resulted in a profound transformation of style, from the subjective and mystical incantations to his famous Ding-Gedichte, or thing-poems, that were published in the New Poems.
Naturalism was prevalent in the time of Rilke (circa 1900s). Rilke, however, had a mystical experience in Russia? (did he literally have an experience of unity and bliss?) He combined this mysticism with the objectivity that he learned from Auguste Rodin.
As a result, his writing had a mystical and objective bent to it. How exactly? Was this also present in his Apollo poems (1907)?
When you catch and idea, you see it in your mind's eye, and you feel it, and you can hear it. And then you write that idea down on a piece of paper, and you write it down in such a way that when you read it, the idea comes back in full.<br /> —David Lynch 3:05
Schools and districts must adhere to these requirements to help ensure the implementation of technically sound and educationally meaningful IEPs and to provide FAPE.
"When kids write letters, they're just messy," she says. As kids practice writing "A," each iteration is different, and that variability helps solidify their conceptual understanding of the letter.
Interleaving
A slew of recent brain imaging research suggests handwriting's power stems from the relative complexity of the process and how it forces different brain systems to work together to reproduce the shapes of letters in our heads onto the page.
Interesting. Needs more research on my part.
In adults, taking notes by hand during a lecture, instead of typing, can lead to better conceptual understanding of material.
This is because of the fact that one needs to think (process) before writing. One can't possibly write everything verbatim. Deep processing. Relational thinking.
Why writing by hand beats typing for thinking and learning
Uladimir Nabokov Ithaca, New YorkDate taken:1958Photographer:Carl Mydans
Alternate angle at http://images.google.com/hosted/life/81b7b3f24bbe1b3a.html
Author Vladimir Nabokov's researched materials on file cards for his book 'Lolita'.Location:Ithaca, NY, USDate taken:September 1958Photographer:Carl Mydans
Author Vladimir Nabokov at work, writing on index cards in his car.Location:Ithaca, NY, USDate taken:September 1958Photographer:Carl MydansSize:1280 x 889 pixels (17.8 x 12.3 inches)
Nabokov’s working notecards for “Lolita.”
Nabokov used index cards for his research and writing. In one index card for research on Lolita, he creates a "weight-heigh-age table for girls of school age" to be able to specify Lolita's measurements. He also researched the Colt catalog of 1940 to get gun specifications to make those small points realistic in his writing.


Walter Wellesley “Red” Smith used a version of this quote by 1949. In April of that year the influential and widely syndicated newspaper columnist Walter Winchell wrote. Boldface has been added to excerpts:[1]1949 April 06, Naugatuck Daily News, Walter Winchell In New York, Page 4, Column 5, Naugatuck, Connecticut. (NewspaperArchive) Red Smith was asked if turning out a daily column wasn’t quite a chore. …”Why, no,” dead-panned Red. “You simply sit down at the typewriter, open your veins, and bleed.”
via 1949 April 06, Naugatuck Daily News, Walter Winchell In New York, Page 4, Column 5, Naugatuck, Connecticut. (NewspaperArchive)
It is rare for academic ideas to reach the Amy Adams stage without drawing scholarly fire. Since 2023, three articles have appeared in scientific journals, with 45 authors in all, arguing that the claims made on behalf of the wood-wide web have far outstripped the evidence.
definitely a trend of popular theories aligned with woke narratives being beat back
Polt, Richard. The Typewriter Revolution: A Typist’s Companion for the 21st Century. 1st ed. Woodstock, VT: Countryman Press, 2015.
annotation URL: urn:x-pdf:65fe580cf845ed035c4e57ad02a987cf
Woody Allen Has Used the Same Typewriter for 50 Years! by [[Roger Friedman]] in Showbiz411
Referenced documentary is from PBS: American Masters Woody Allen: A Documentary (2011)
Williams, Alex. “Paul Auster, the Patron Saint of Literary Brooklyn, Dies at 77.” The New York Times, May 1, 2024, sec. Books. https://www.nytimes.com/2024/04/30/books/paul-auster-dead.html.
Writing six hours a day, often seven days a week, he pumped out a new book nearly annually for years. He ultimately published 34 books, accounting for shorter works that were later incorporated into larger books, including 18 novels and several acclaimed memoirs and assorted autobiographical works, along with plays, screenplays and collections of stories, essays and poems.
He eschewed computers, often writing by fountain pen in his beloved notebooks.“Keyboards have always intimidated me,” he told The Paris Review in 2003.“A pen is a much more primitive instrument,” he said. “You feel that the words are coming out of your body, and then you dig the words into the page. Writing has always had that tactile quality for me. It’s a physical experience.”He would then turn to his vintage Olympia typewriter to type his handwritten manuscripts. He immortalized the trusty machine in his 2002 book “The Story of My Typewriter,” with illustrations by the painter Sam Messer.
digging the words into the page sounds adjacent to Seamus Heaney's "Digging" which analogizes writing to digging: https://hypothes.is/a/J-z8OgfQEe-0adtJyXyb3g
There's something here which suggests pens, typewriters, keyboards, etc. as direct extended mind objects as tools for thought. A sense of rumination and expulsion simultaneously.
“I’ve always wanted to write what to me is beautiful, true, and good, but I’m also interested in inventing new ways to tell stories. I wanted to turn everything inside out.”
https://web.archive.org/web/20240430091654/https://pdworkman.com/writing-a-novel-in-markdown/
A full description of PD Workman's workflow writing a book in markdown and Obsidian. Mentions using Canvas and Excalidraw to visualise plot development, as well as Kanban style boards. Mentions compiling tools to create manuscript from loose files. Seems similar to Scrivener except that has this baked in and thus less flexible?
WhenI fi nish a page and pull it out, I holdsomething real. And this, too, fuels myprogress by giving me a tangible senseof accomplishment.
Typewriters provide a tangible sense of accomplishment when a writer finishes a page.
Laptops are ideal forwhen I research and write at the sametime, or when I work on several storiesat once, going back and forth amongwindows. But for everything else, Iseek a departure from my primaryworld. It’s a different type of writing,so I need a different tool.
Finally, writ-ing helps you remember the thoughtsyou had, or the thoughts the authorexpressed.
children can talk long before they can read and write. E
Find research that backs this up.
Great Books tend to arise in the presence of great audiences. by [[Naomi Kanakia]]
Kanakia looks at what may have made 19th C. Russian literature great. This has potential pieces to say about how other cultures had higher than usual rates of creativity in art, literature, etc.
What commonalities did these sorts of societies have? Were they all similar or were there broad ranges of multiple factors which genetically created these sorts of great outputs?
Could it have been just statistical anomaly?
We quote because we are afraid to-change words, lest there be a change in meaning.
Quotations are easier to collect than writing things out in one's own words, not only because it requires no work, but we may be afraid of changing the original meaning by changing the original words or by collapsing the context and divorcing the words from their original environment.
Perhaps some may be afraid that the words sound "right" and they have a sense of understanding of them, but they don't quite have a full grasp of the situation. Of course this may be remedied by the reader or listener not only by putting heard stories into their own words and providing additional concrete illustrative examples of the concepts. These exercises are meant to ensure that one has properly heard/read and understood a concept. Psychologists call this paraphrasing or repetition the "echo effect" (others might say parroting or mirroring) and have found that it can help to build understanding, connection, and likeability between people. Great leaders who do this will be sure to make sure that credit for the original ideas goes to the originator and not to themselves simply because they repeated it, especially in group settings where their words may have more primacy amidst their underlings.
(I can't find it at the moment, but there's a name/tag for this in my notes? looping?)
Beyond this, can one place the idea into a more clear language than the original? Add some poetry perhaps? Make the concept into a concrete meme to make it more memorable?
Journalists like to quote because it gives primacy of voice to the speaker and provides the reader with the sense that they're getting the original from which they might make up their own minds. It also provides a veneer of vérité to their reportage.
Link this back to Terrence's comedy: https://hypothes.is/a/xe15ZKPGEe6NJkeL77Ji4Q
Description and illustration are^ comple-mentary, they give together a more complete picture than citherwithout the other.
Kaiser says that "description and illustration are complementary, they give together a more complete picture than either without the other" and this sentiment is similar to Mortimer J. Adler and Charles Van Doren's pedagogy of restatement and providing concrete examples a means of testing understanding.
See: - https://hypothes.is/a/RgUa-mOcEe6PChv_seYXZA - https://hypothes.is/a/B3sDhlm5Ee6wF0fRYO0OQg
You cannot buy a ready-made intelligence departmenton which to run your business.
John Barth, Writer Who Pushed Storytelling’s Limits, Dies at 93 by [[Michael T. Kaufman]], [[Dwight Garner]]
In 1889 she founded the Young Woman’s Journal, the monthly magazine of the Young Ladies’ Mutual Improvement Association, which she edited until 1900. She contributed to magazines and newspapers for the rest of her life, and in 1914 she became the first editor of the Relief Society Magazine. For Susa, writing was a beloved pursuit through which she could make a meaningful contribution to the community. “My whole soul is for the building up of this kingdom,” she wrote to one close confidante about her literary ambitions. “I would labor so hard to help my sisters in this same work.”
Who am I speaking to?What do I want?What do they care about?How can I explain it to them in terms they care about?
Framework for message framing
Blogging isn’t just a way to organize your research — it’s a way to do research for a book or essay or story or speech you don’t even know you want to write yet. It’s a way to discover what your future books and essays and stories and speeches will be about.
Blogging as a way to "find your voice?"
Writing for an audience keeps me honest.
Working in public as a way to avoid fooling yourself (a la Feynman).
“The first principle is that you must not fool yourself– and you are the easiest person to fool. So you have to be very careful about that.” -Richard Feynman-
We can't use algorithms to filter for quality because they're not designed to. They're designed to steer you towards whatever's most profitable for their creators.That puts the onus on us, as users, to filter out the noise and that is increasingly difficult.
The text in this book is numbered by paragraphs and where asubject is treated in more than one place, the numbers in bracketsindicate the additional paragraphs bearing on the subject underdiscussion.
¶5
The book is ostensibly in the form of a card index with numbers laid out in running order to create a book. The index is also done keyed to these paragraph numbers rather than by page as has traditionally been done.
As a result, one could cut up the book (or two copies to get both sides) and turn it back into a card index with very little work.
to be effective, thinking should be written down.
when we can express an idea in our own words, it’s on the way to becoming ours.
In prehistory, before writing, talking was thinking. Today, writing has taken the place of talking.
writing is thinking
quote from Schopenhauer’s essay, ‘How to think for oneself’, §268:“the most beautiful thought, if not written down, is in danger of being irretrievably forgotten.”It’s from the passage where he observes that Lichtenberg thought for himself in both senses of the phrase, unlike Herder.The original essay, “Selbstdenken” was part of Schopenhauer’s book Parerga und Paralipomena II. Last authorised edition, Erstausgabe Berlin, A. W. Hayn 1851, online textLooks like Povarnin was a Schopenhauer fan!
David Witzel said:
I was trying to find David Roodman's "open book" on microfinance from 2010. Lots of link rot - not sure where it best lives now.
He had interesting stories about how difficult/useful the open writing process was. https://www.cgdev.org/article/microfinance-open-book-blog-qa-david-roodman
"If I have nothing else to do then I write all day; in the morning from 8:30am to noon. Then I go for a short walk with my dog. Then in the afternoon I work again from 2pm to 4pm. Then it's the dog's turn again. Sometimes I lie down for a quarter of an hour.... And, then I usually write until around 11pm. I'm usually in bed by 11pm where I read a few more things."8
Luhmann his output might be a result of his work ethic and routines. Attributing productivity merely to his zettelkasten is misleading. Also Chris Aldrich on The Cargo Cult of Zettelkasten https://chrisaldrich.wordpress.com/2023/02/03/a-note-on-the-cargo-cult-of-zettelkasten/
The authors made one serious mistake, however. Although theyhad taken great pains to be sure that within their massive workevery book and manuscript stored in their building was representedby a three-by- ve page, and often by several pages, describing it,they had forgotten to devote any page, anywhere, to the very book
that they had themselves been writing all those years.
Baker describes the library card catalog as a massive book made up of 3 x 5 inch pages describing all the other books. Sadly he laments, they never bothered to catalog this meta-book itself.
https://web.archive.org/web/20240208185222/https://www.nature.com/articles/d41586-024-00349-5
Paper by author Lizzie Wolkovich refused because of inaccurate suspicion of ChatGPT usage. Another cut to the peer review system? She had her GitHub writing receipts. Intriguing. Makes me think about blogging in Obs while having a private blogging repo that tracks changes. n:: use github while writing for [[Reverse Turing menszijn bewijs vaker nodig 20230505100459]] purposes.
Writing is thinking. To write well is to think clearly. That's why it's so hard.
McCullough, David. “David McCullough Interview with NEH Chairman Bruce Cole.” Humanities 23, no. 4 (August 2002). https://www.neh.gov/about/awards/jefferson-lecture/david-mccullough-biography.
Compare with: https://hypothes.is/a/yEFMHoCkEeyl34fItJe__w (Luhmann on thinking/writing in Sonke Ahrens)
Perhaps the quickest way to understand the elements of what a novelistis doing is not to read, but to write; to make your own experiment withthe dangers and difficulties of words.
This seems to be the duality of Millard Kaufman (and certainly other writers'?) advice that to be a good writer, one must first be well read.
Of course, perhaps the two really are meant to be a hand in a glove and the reader should actively write as they read thereby doing both practices at once.
Doto, Bob. “What Do We Mean When We Say ‘Bottom-Up?’” Writing by Bob Doto (blog), January 25, 2024. https://writing.bobdoto.computer/what-do-we-mean-when-we-say-bottom-up/.
https://web.archive.org/web/20240118140434/https://jsomers.net/blog/dictionary Intriguing post, albeit for me fait divers, on using a dictionary to improve one's writing. But it takes a dictionary that explains the differences in meaning between synonyms/alternatives for a word. At the end a process is shared to get an out of copyright English dictionary (an old Webster's) that works like that into a digitally usable form. https://hypothes.is/u/acct%3Apeterhagen%40hypothes.is Peter Hagen in 2021 mentions that process didn't work and used https://github.com/mortenjust/webster-mac as alternative that did. Found via Chris Aldrich on h.
Nearly 5 years ago, I read Watanabe Shoichi‘s “知的生活の方法 (Chiteki seikatsu no houhou = A way to intellectual life)”. His episode was very first time I realize what is card system, and it is used in academic world for long time.
Hawk Sugano was introduced to index cards circa 2001 by means of Watanabe Shoichi's book “知的生活の方法” (A Method of Intellectual Life".
https://web.archive.org/web/sitemap/https://machines.kfitz.info/ss22/
Archives of Kathleen Fitzpatrick's machines.kfitz.info sites for teaching/past courses.
read [[Stephen Robertson]] in A New Graduate Course for 2022: Digital Scholarship
We’ll spend this session talking a bit about the weirdness of academic writing, as well as the overflow of writing advice out there.
overflow of writing advice!
[[Kathleen Fitzpatrick]] in Peculiar Genres of Academic Writing
Read [[John Halbrooks]] in Respect for Working Writers
Syllabus: Peculiar Genres of Academic Writing<br /> https://hcommons.org/deposits/item/hc:44397/ by Kathleen Fitzpatrick
“I do all my own research,” she said, “though reviewers have speculatedthat I must have a band of hirelings. I like to be led by a footnote ontosomething I never thought of. I rarely photocopy research materials because, for me, note-taking is learning, distilling. That’s the whole essence ofthe business. In taking notes, you have to discard what you don’t need. If you[photocopy] it, you haven’t chewed it.”
Sounds similar to Umberto Eco's admonition about photocopying: https://hypothes.is/a/U3Sg_r0ZEe25T2tD3U-nmw
The first passkey screen users see is light and easy-to-digest. The header is focusing on the user benefit, saying “Simplify your sign in.”
Fry, Ron. Write Papers. 2nd ed. Ron Fry’s How to Study Program. Hawthorne, NJ: Career Pr Inc, 1994. https://archive.org/details/writepapers00fryr/page/46/mode/2up
📚 Second Edition Overview: This is the second, revised and expanded edition of the book. The first edition was titled "Como Fazer Anotações Inteligentes. Uma Técnica Simples para Impulsionar a Escrita, Aprendizado e Pensamento - para Estudantes, Acadêmicos e Escritores de Livros de Não Ficção".
🖋️ Key Focus: The book emphasizes the importance of organizing ideas and notes for effective writing. It's a guide for students, academics, and knowledge professionals to enhance their writing, learning, and long-term knowledge retention.
🧠 Smart Notes Methodology: It introduces the concept of Smart Notes, based on psychological insights and the proven Zettelkasten note-taking technique, offering a comprehensive guide in English for the first time.
🎯 Target Audience: The book is particularly useful for students and academics in social sciences and humanities, non-fiction writers, and anyone engaged in reading, thinking, and writing.
⏳ Time Efficiency: Focuses on saving time spent searching for notes, quotes, or references, allowing more time for thinking, understanding, and developing new ideas in writing.
👤 Author's Background: Written by Dr. Sönke Ahrens, a writer and researcher in education and social sciences, known for the award-winning book "Experimento e Exploração: Formas de Revelação do Mundo" (Springer).
🌍 Global Reach: Since its initial release, "Como Fazer Anotações Inteligentes" has sold over 10,000 copies and has been translated into seven languages.
Some of my better type casts start out as handwritten, though not often. In this mode, the typewriter isn’t a creation platform, more like the publishing medium, which I still prefer over word processed.
“try and cut and paste and rearrange everything around like a scrapbook”, and it wasn’t really working. I’m not sure if it’s something that was off about my approach, or if the premise itself was fundamentally flawed.
I kept trying this for a long time but it never got anywhere. The best I can guess is that what's missing is depth and moving around shallow notes doesn't solve the depth problem. You also don't know where the depth is going to come from (it's not obvious) so you have to dig into each one to figure it out, rather than just shuffling them around
You need structure. Index cards gave Nabokov a really powerful way to impose this structure because they created small, independent chunks of prose that he could bundle together into groups, like we saw in the box. This let him navigate his novel in progress quickly. He could just flip through those bundles, bundle by bundle, instead of card by card. He could also impose on and modify the structure of his novel just by shuffling those bundles around. So that's why Nabokov loved index cards for writing novels.
While this supposition may be true, I don't believe that there's direct evidence from Nabokov to support the statement that this is why he "loved index cards for writing novels". It's possible that he may have hated it, but just couldn't come up with anything better.
https://myboogieboard.com/<br /> A groups of portable writing boards with an associated app.
A sleeker version of Rocketbook notebooks, but with only one "page". A modern day version of the wax tablet.
https://bear.app/
Mac/iOS only
https://www.meetup.com/edtechsocal/events/296723328/
Generative AI: Super Learning Skills with Data Discovery and more!
Research and write your next paper with Jenni AI
Arendt often typed replies on the reverse side of the original letters that she received.
Robert Breen<br /> Writing Things Down in a Paperless World <br /> (accessed:: 2023-11-12 12:32:54)
Well written discussion section with one central idea per paragraph appearing in the first line of the para!
Ran across a reference to this in the Obsidian #academia Discord channel
Let’s look at some of the attributes of the memex. Your machine is a library not a publication device. You have copies of documents is there that you control directly, that you can annotate, change, add links to, summarize, and this is because the memex is a tool to think with, not a tool to publish with.
Alan Jacobs argues that the Memex is not a tool to publish with and is thus fundamentally different from the World Wide Web.
Did Vannevar Bush suggest the Memex for writing or potentially publishing? [Open question to check] Would it have been presumed to have been for publishing if he suggests that it was for annotating, changing, linking and summarizing? Aren't these actions tantamount to publishing, even if they're just for oneself?
Wouldn't academics have built the one functionality in as a precursor to the other?
9:58 / 10:00
Robert Greene's Proven System For Writing Like A Pro <br /> by Robert Greene 2023-03-08 (00:10:00) https://www.youtube.com/watch?v=E0S9DhDecWE
He touches on some of his method, though focuses on structure and having a personal, catchy idea.
Not what I was hoping for.
whether or not it was appropriate to write notes in library books (OK according to Bard, nope for ChatGPT and Claude).
An interesting divergent take on writing in library books...
— Ich muß Ihnen sagen, daß ich nie etwas erzwinge, ich tueimmer nur das, was mir leichtfällt. Ich schreibe nur dann, wenn ich
sofort weiß, wie es geht. Wenn ich einen Moment stocke, lege ich die Sache beiseite und mache etwas anderes.
Was machen Sie dann'?
Na, andere Bücher schreiben. Ich arbeite immer gleichzeitig an mehreren verschiedenen Texten. Mit dieser Methode, immer an mehreren Dingen zu arbeiten, habe ich nie Blockierungen.
Rough translation:
— I have to tell you: I never force anything, I only do what comes easy to me. I only write when I immediately know how to do it. If I falter for a moment, I put the matter aside and do something else.
(Interviewer): What do you do then?
Well, write other books. I always work on several different texts at the same time. With this method of always working on multiple things, I never have any blockages.
Wenn Sie nun einen Aufsatz zu schreiben beginnen, wie setzen Siedann Ihren Zettelkasten in Funktion?Da mache ich mir zunächst einen Plan für das, was ich schreibenwill, und hole dann aus dem Zettelkasten das heraus, was ich ge-brauchen kann.Im Gegensatz zu einem Baumeister, der ausschließlich vorgefer-tigte Teile zusammenmontiert, muß ein Wissenschaftler doch auchneue Ideen haben, die nicht bereits in den einzelnen Teilen enthal-ten sind. Solche Ideen kommen ja nicht aus einem Zettelkasten?Doch. Ich habe zum Beispiel eine große Menge von Zetteln zumBegriff "funktionale Differenzierung", ich habe ebenfalls eine Reihevon Notizen über "selbstreferentielle Systeme", und ich habe einengroßen Komplex von Notizen über "Binarität". Im Augenblick sitzeich an einem Vortrag über ökologische Probleme in modernenGesellschaften, und meine Arbeit besteht darin, Zettel aus den skiz-zierten drei begrifflichen Bereichen zu sichten und so zu kombinie-ren, daß ich etwas Substantielles zu diesem Thema sagen kann. Dieneuen Ideen ergeben sich dann aus den verschiedenen Kombina-tionsmöglichkeiten der Zettel zu den einzelnen Begriffen. Ohne dieZettel, also allein durch Nachdenken, würde ich auf solche Ideennicht kommen. Natürlich ist mein Kopf erforderlich, um die Einfällezu notieren, aber er kann nicht allein dafür verantwortlich gemachtwerden. Insofern arbeite ich wie ein Computer, der ja auch in demSinne kreativ sein kann, daß er durch die Kombination eingegebe-ner Daten neue Ergebnisse produziert, die so nicht voraussehbar
waren. Diese Technik, so glaube ich, erklärt auch, warum ich überhaupt nicht linear denke und beim Bücherschreiben Mühe habe, die richtige Kapitelfolge zu finden, weil eigentlich ja jedes Kapitel in jedem anderen Kapitel wieder vorkommen müßte
Machine translation:
Q: When you start writing an essay, how do you put your note box to work?
I first make a plan for what I want to write and then take out what I can use from the note box.
Q: In contrast to a builder who only assembles prefabricated parts, a scientist must also have new ideas that are not already contained in the individual parts. Ideas like these don't come from a note box?
But. For example, I have a large set of notes on the term "functional differentiation", I also have a set of notes on "self-referential systems", and I have a large set of notes on "binarity". At the moment I am giving a lecture on ecological problems in modern societies, and my work consists of sifting through pieces of paper from the three conceptual areas outlined and combining them so that I can say something substantive on this topic. The new ideas then arise from the different possible combinations of the pieces of paper for the individual terms. Without the notes, just by thinking about it, I wouldn't come up with ideas like that. Of course my mind is required to record the ideas, but it cannot be held solely responsible for them. In this respect, I work like a computer, which can also be creative in the sense that by combining input data it produces new results that could not have been predicted. I think this technique also explains why I don't think linearly at all and why I have trouble finding the right sequence of chapters when writing books, because every chapter should actually appear in every other chapter.
"Biographie, Attitüden, Zettelkasten" ist unter dem Titel "Der Zettelkasten kostet michmehr Zeit als das Bücherschreiben" in der Frankfurter Rundschau am Samxtag, den27. April 1985, S. ZB 3 gekürzt erschienen.
"Biography, Attitudes, Zettelkasten" was published under the title "The Zettelkasten costs me more time than writing books" in the Frankfurter Rundschau on Saturday, April 27, 1985, p. ZB 3, abridged.
Der Zeitaufwand besteht für mich im wesentlichen darin, ein Ma-nuskript zu tippen. Wenn ich es einmal geschrieben habe, dannnehme ich in der Regel keine Revision mehr vor, mit Ausnahmeübrigens an dem letzten Buch,
To some extent, Luhmann felt that his books wrote themselves. He spent an inordinate amount of time writing out notes and filing them into his zettelkasten. The writing portion consisted primarily of typing out the manuscript and after writing it, he usually didn't revise it.
07:50 sharing what excites (writing as stream of consciousness)
Capture as first step in value creation (see my framework wherein it starts with capture)
LLMs are merely engines for generating stylistically plausible output that fits the patterns of their inputs, rather than for producing accurate information. Publishers worry that a rise in their use might lead to greater numbers of poor-quality or error-strewn manuscripts — and possibly a flood of AI-assisted fakes.
for: progress trap, progress trap - AI, progress trap - AI - writing research papers
comment
The narrative technique owes a good deal to W. G. Sebald, who loved to ruminate on strange and troubling episodes from history, blurring the boundary between fact and fiction.
Benjamín Labatut also falls into this genre.
"This," says Aristotle, "is the essence of the plot; the rest isepisode."
Aristotle on the unity of a work.
source?
You have not graspeda complex unity if all you know about it is how it is one. Youmust also know how it is many, not a many that consists of alot of separate things, but an organized many. If the partswere not organically related, the whole that they composedwould not be one. Strictly speaking, there would be no wholeat all but merely a collection.
This is also an art of putting notes together to make an article or book.
Youmust apprehend the unity with definiteness. There is only oneway to know that you have succeeded. You must be able totell yourself or anybody else what the unity is, and in a fewwords. ( If it requires too many words, you have not seen theunity but a multiplicity. ) Do not be satisfied with "feeling theunity" that you cannot express. The reader who says, "I knowwhat it is, but I just can't say it," probably does not even foolhimself.
Adler/Van Doren use the statement of unity of a work as an example of testing one's understanding of a work and its contents.
(Again, did this exist in the 1940 edition?)
Who do McDaniel and Donnelly 1996 cite in their work as predecessors of their idea as certainly it existed?
Examples in the literature of this same idea/method after this: - https://hypothes.is/a/TclhyMfqEeyTkQdZl43ZyA (Feynman Technique in ZK; relationship to Ahrens) - explain it to me like I'm a 5th grader - https://hypothes.is/a/BKhfvuIyEeyZj_v7eMiYcg ("People talk" in Algebra Project) - https://hypothes.is/a/m0KQSDlZEeyYFLulG9z0vw (Intellectual Life version) - https://hypothes.is/a/OyAAflm5Ee6GStMjUMCKbw (earlier version of statement in this same work) - https://hypothes.is/a/iV5MwjivEe23zyebtBagfw (Ahrens' version of elaboration citing McDaniel and Donnelly 1996, this uses both restatement and application to a situation as a means of testing understanding) - https://hypothes.is/a/B3sDhlm5Ee6wF0fRYO0OQg (Adler's version for testing understanding from his video) - https://hypothes.is/a/rh1M5vdEEeut4pOOF7OYNA (Manfred Kuenh and Luhmann's reformulating writing)
RULE 2. STATE THE UNITY OF THE WHOLE BOOK
The first several rules of reading a book analytically follow the same process of writing a book as suggested in the snowflake method.
You become familiar with the process of catching an idea andtranslating that idea. You understand the tools and the lighting. Youunderstand the whole process—you’ve been through it before.
He's talking about movie making, but it applies to almost anything.
But it wasn’t always that way. When I made Dune, I didn’t havefinal cut. It was a huge, huge sadness, because I felt I had sold out,and on top of that, the film was a failure at the box office. If you dowhat you believe in and have a failure, that’s one thing: you can stilllive with yourself. But if you don’t, it’s like dying twice. It’s very, verypainful.
Being an author is having the final cut on a string of ideas placed in a particular order.
https://www.openculture.com/2018/08/how-david-lynch-got-creative-inspiration.html
Lynch has spoken about the use of 3x5" index cards for screenwriting (via Frank Daniel).
Here he mentions writing down ideas for movies on the napkins provided by Bob's Big Boy restaurant. (zettelkasten made of napkins?)
LYNCH: Well, for me, ideas—even a fragment—convey everything. In a spark you see images, youhear sounds, you feel a mood. And it becomescomplete, even if it is a fragment. The original ideacomes with a lot of power, and you have to keepchecking back all the way through the process tosee if you are being true to it.
YNCH: No. What happens is, when you getfragments, the whole is not revealed. It’s just thefragments. And then the fragments seem to want toarrange themselves. And a little bit further down theline you begin to see what is forming. And it’s asmuch a surprise to you as to anybody else.
LYNCH: I know we were doing that, but lookingback, it’s a magical process because you can’t tellwhere ideas come from, and it seems like it’s justboth of us focusing on something. And it was acouple of ideas that were fragments, and thosefragments focus you. And it seems that theyrelease a little lock on a door and the door opensand more fragments start coming in—drawn by thefirst fragments. It’s strange, because if any of youhave ever written anything, you know that one dayit’s not there and then a month later or two monthslater it’s there. And it’s two people tuning into thesame place, I think.
Fontane’s most basic modes of literary production have much incommon with this textual practice. Whether he was working on a travelreport, a historical essay, a book review, or a new novel, he followed aroutine of scouring, excerpting, and rearranging. He amassed largequantities of source material—culled mostly from circulatingnewspapers and journals, but also from letters, images, historicaldocuments, and monographs—in disconnected notebook entries andon loose folio sheets. He then surveyed these textual building blocks,outlined rearrangements with the help of lists, and combined them intoa new text. This pattern of production could be surprisingly mechanical.
Metropolitan State University of Denver. “Writing as a Thinking Tool,” June 17, 2021. https://www.msudenver.edu/writing-center/faculty-resources/writing-as-a-thinking-tool/.
Merchants and traders have a waste book (Sudelbuch, Klitterbuch in GermanI believe) in which they enter daily everything they purchase and sell,messily, without order. From this, it is transferred to their journal, whereeverything appears more systematic, and finally to a ledger, in double entryafter the Italian manner of bookkeeping, where one settles accounts witheach man, once as debtor and then as creditor. This deserves to be imitatedby scholars. First it should be entered in a book in which I record everythingas I see it or as it is given to me in my thoughts; then it may be enteredin another book in which the material is more separated and ordered, andthe ledger might then contain, in an ordered expression, the connectionsand explanations of the material that flow from it. [46]
—Georg Christoph Lichtenberg, Notebook E, #46, 1775–1776
In this single paragraph quote Lichtenberg, using the model of Italian bookkeepers of the 18th century, broadly outlines almost all of the note taking technique suggested by Sönke Ahrens in How to Take Smart Notes. He's got writing down and keeping fleeting notes as well as literature notes. (Keeping academic references would have been commonplace by this time.) He follows up with rewriting and expanding on the original note to create additional "explanations" and even "connections" (links) to create what Ahrens describes as permanent notes or which some would call evergreen notes.
Lichtenberg's version calls for the permanent notes to be "separated and ordered" and while he may have kept them in book format himself, it's easy to see from Konrad Gessner's suggestion at the use of slips centuries before, that one could easily put their permanent notes on index cards ("separated") and then number and index or categorize them ("ordered"). The only serious missing piece of Luhmann's version of a zettelkasten then are the ideas of placing related ideas nearby each other, though the idea of creating connections between notes is immediately adjacent to this, and his numbering system, which was broadly based on the popularity of Melvil Dewey's decimal system.
It may bear noticing that John Locke's indexing system for commonplace books was suggested, originally in French in 1685, and later in English in 1706. Given it's popularity, it's not unlikely that Lichtenberg would have been aware of it.
Given Lichtenberg's very popular waste books were known to have influenced Leo Tolstoy, Albert Einstein, Andre Breton, Friedrich Nietzsche, and Ludwig Wittgenstein. (Reference: Lichtenberg, Georg Christoph (2000). The Waste Books. New York: New York Review Books Classics. ISBN 978-0940322509.) It would not be hard to imagine that Niklas Luhmann would have also been aware of them.
Open questions: <br /> - did Lichtenberg number the entries in his own waste books? This would be early evidence toward the practice of numbering notes for future reference. Based on this text, it's obvious that the editor numbered the translated notes for this edition, were they Lichtenberg's numbering? - Is there evidence that Lichtenberg knew of Locke's indexing system? Did his waste books have an index?
I should perhaps also note that I try, whenever possible, not to collect raw quotes or information simply copied from the Internet or from books, but to write excerpts or summaries in my own words on the basis of my reading. Luhmann called this "reformulating writing" and argued that such an approach is most important for one's own intellectual life.
Quote for "reformulating writing"? Date? Does it predate the so-called Feynman technique?
"State in your own words!" That suggests the best test we know for telling whether you have understood the proposition or propositions in the sentence.
Does this idea exist in the 1940 edition of the book?
Very similar to the advice inherent in the Feynman technique or that suggested by the research summarized by Sonke Ahrens in How to Take Smart Notes.
cross reference: - https://hypothes.is/a/iV5MwjivEe23zyebtBagfw - https://hypothes.is/a/B3sDhlm5Ee6wF0fRYO0OQg (Adler testing using statement in own words and a concrete example.)
I used to give oral examinations at St John's in Chicago and one of the one of the reasons why an oral examination is so much better than the written examination is the professor can never in a written examination say to the student what did you mean by these words 00:47:05 but in oral examination a student often repeats words he's read in the book and you're saying now Mr Jones what you just said is exactly what Hobbs said or what Darwin or 00:47:18 lock said now tell me in your own words what Locke or Hobbes or Darwin meant and then the student has remembered the words perfectly can't tell you in his own words no and you know he has he has noticed of the sentence right he's just 00:47:30 memorized or sometimes he actually can do it and then you say that's very good Mr Jones but now give me a concrete example of it yeah and he failed to do that guy those are the two tests I've always used to be sure the student really grasps the meaning of the key 00:47:42 sentence
Mortimer Adler gave oral examinations at St. Johns in which he would often ask a student to restate the ideas of writers in their own words and then ask for a concrete example of that idea. Being able to do these two things is a solid way of indicating that one fully understands an idea.
Adler and Van Doren querying each other demonstrate this once or twice in the video.
related: - https://hypothes.is/a/rh1M5vdEEeut4pOOF7OYNA - https://hypothes.is/a/iV5MwjivEe23zyebtBagfw
Where does this method sit with respect to the Feynman Technique? Does this appear in the 1940 edition of Adler's book and thus predate it all?
It seems that the method is a direct equivalent of a.fdiv(b).ceil, and as such, annoyingly unnecessary, but fdiv, due to floating point imprecision, might produce surprising results in edge cases
As "module" is more generic concept than "class", the name misleadingly implies that either this method doesn't returns refined modules, or modules can't be refined. This is obviously not true and trivially disproved: module Refs refine Enumerable do def foo = puts 'foo' end end Refs.refinements[0].refined_class #=> Enumerable. Which is, well, not a class. # The refinement is usable, so it is not a mute concept: using Refs [1, 2, 3].foo # prints "foo" successfully I believe we refer to "modules" when some feature applies to modules and classes. Unless there is some deeper consideration for the current naming (I don't see justification in #12737, but I might miss something), the method should be renamed or aliased.
Amazon has become a marketplace for AI-produced tomes that are being passed off as having been written by humans, with travel books among the popular categories for fake work.
John McPhee — one the great American writers of nonfiction, almost peerless as a prose stylist — once wrote an essay for the New Yorker about his process called “Draft #4.” He explains that for him, draft #4 is the draft after the painstaking labor of creation is done, when all that’s left is to punch up the language, to replace shopworn words and phrases with stuff that sings.
I quite like the idea of this Draft #4 concept.
thinking process when writing had to be inspired (by something deeper)
Kalir, Remi H. “Playing with Claude.” Academic blog. Remi Kalir (blog), August 25, 2023. https://remikalir.com/blog/playing-with-claude/.
&list=PLdAbfZfaH_1I0vD3GsgbIdsLp6id6AOUb&index=9
Mills, Anna, Maha Bali, and Lance Eaton. “How Do We Respond to Generative AI in Education? Open Educational Practices Give Us a Framework for an Ongoing Process.” Journal of Applied Learning and Teaching 6, no. 1 (June 11, 2023): 16–30. https://doi.org/10.37074/jalt.2023.6.1.34.
Annotation url: urn:x-pdf:bb16e6f65a326e4089ed46b15987c1e7
Question: fiction and non-fiction .t3_164ob1y._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; }
For those that do both fiction and non-fiction work in their zettelkasten, do you consider the portion dedicated to fiction a "department" or a "compartment" within it? or perhaps something altogether different?
The Snowflake Method is more specific, but broadly similar to those who build out plot using index cards.
As examples, see Dustin Lance Black and Benjamin Rowland.
Link to - https://hypothes.is/a/043JIlv5Ee2_eMf1TTV7ig - https://hypothes.is/a/ibFMareUEe2bqSdWdE046g
Ingermanson, Randy. “The Snowflake Method For Designing A Novel.” Advanced Fiction Writing, circa 2013. https://www.advancedfictionwriting.com/articles/snowflake-method/.
Designing writing in ever more specific and increasing levels. Start with a logline, then a paragraph, then acts, etc.
Roughly the advice I've given many over the years based on screenplay development experience, but with a clever name based on the Koch snowflake.
you only have to solve a limited set of problems, and so you can write relatively fast.
If there’s no conflict, you’ll know it here and you should either add conflict or scrub the scene.
The first thing to do is to take that four-page synopsis and make a list of all the scenes that you’ll need to turn the story into a novel. And the easiest way to make that list is . . . with a spreadsheet.
Of course spreadsheets are databases of information and one can easily and profitably put all these details into index cards which are just as easy (maybe even easier) to move around
Take as much time as you need to do this, because you’re just saving time downstream.
this=character development
If you believe in the Three-Act structure, then the first disaster corresponds to the end of Act 1. The second disaster is the mid-point of Act 2. The third disaster is the end of Act 2, and forces Act 3 which wraps things up. It is OK to have the first disaster be caused by external circumstances, but I think that the second and third disasters should be caused by the protagonist’s attempts to “fix things”. Things just get worse and worse.
Interesting and specific advice about the source of disasters in act two...
Good fiction doesn’t just happen, it is designed. You can do the design work before or after you write your novel.
In the end, I numbered and scanned 52,569 individual note cards from the Phyllis Diller gag file.
Hanna BredenbeckCorp numbered and scanned 52,569 index cards from Phyllis Diller's gag file. Prior to this archival effort most estimates for the numbers of cards were in the 40-50,000 range.
Spanning the 1960s to the 1990s roughly. The index was donated in 2003, so there were certainly no
Exact dating on the cards may give a better range, particularly if the text can be searched or if there's a database that can be sorted by date.
Via https://hypothes.is/a/UbW8nERrEe6xjEseEEEy1w we can use the rough dates: 1955-2002 which are the bookends of her career.
This gives us a rough estimate of:<br /> 2002-1955 = 48 years (inclusive) or 17,520 days (at 365 days per year ignoring leap years)
52,569/17520 days gives 3.000513698630137 or almost exactly 3 cards (jokes) per day.
Going further if she was getting 12 laughs (jokes) per minute (her record, see: https://hypothes.is/a/MTLukkRpEe635oPT5lr7qg), then if continuously told, it would have taken her 52,569 jokes/12 jokes/minute = 4,380.75 minutes = 73.0125 hours or 3.0421875 days to tell every joke in her file.
Diller says that she always let the audience do the editing of her material for her. If people didn't laugh, or get it right away, the joke didn't survive. "You never blame the audience," she says. Thus, her advice to aspiring comics: "Go out and try it, and if you find out from the audience that you're not funny, quit."
“I admire her ability for organization too. My jokes are still mostly in my head. She got hers on paper in alphabetical order.
Quote from Roseanne Barr on Phyllis Diller's card index gag file.
I could continue a thread anywhere, rather than always picking it up at the end. I could sketch out where I expected things to go, with an outline, rather than keeping all the points I wanted to hit in my head as I wrote. If I got stuck on something, I could write about how I was stuck nested underneath whatever paragraph I was currently writing, but then collapse the meta-thoughts to be invisible later -- so the overall narrative doesn’t feel interrupted.
Notes about what you don't know (open questions), empty outline slots, red links as [[wikilinks]], and other "holes" in tools for thought provide a bookmark for where one may have quit exploring, but are an explicit breadcrumb for picking up that line of thought and continuing it at a future time.
Linear writing in one's notebooks, books they're reading, and other places doesn't always provide an explicit space which invites the reader or writer to fill them in. One has to train themselves to annotate in the margins to have a conversation with the text. Until one sees these empty spaces as inviting spaces they can be invisible to the eye.
https://www.oliverburkeman.com/onwriting
Oliver Burkerman, of Four Thousand Weeks fame, is testing out zettelkasten based on Ahrens' book.
Quoting the academics Francis-Noël Thomas and Mark Turner, Pinker suggests approaching writing as if you were pointing something in the environment out to another person – something that she would notice for herself, if only she knew where to look. Imagine directing someone's gaze across a valley, to a specific house on the other side. "You should pretend," writes Pinker, "that you, the writer, see something in the world that's interesting, and that you're directing the attention of your reader to that thing." He calls this the "joint attention" strategy.
Good writing is pointing out the interesting things you see to others. It's pre-literate, and even pre-oral.
In the ensuing decades, mathematicians began working with this new thing, the category, and this new idea, equivalence. In so doing they created a revolutionary new approach to mathematics, category theory, that many see as supplanting set theory. Imagine if writers had spent 150 years representing the world only through basic description: This is a red ball. That is a 60-foot tree. This is a dog. Then one day someone discovers metaphor. Suddenly, our ability to find new ways to represent the world explodes, as does our knowledge of writing as a discipline.
I love the idea here of analogizing the abstract nature of category theory in math with the abstract nature of metaphor in writing!
Good job Dale Keiger!
Historian and author David McCullough prefers a manual typewriter over computers with keyboards specifically because it forces him to slow down and take his time.
Ref: @Nichol2016 https://www.imdb.com/title/tt5966990/
Books aren’t something one approves or disapproves of; they are to be understood, interpreted, learned from, shocked by, argued with and enjoyed. Moreover, the evolution of literature and the other arts, their constant renewal over the centuries, has always been fueled by what is now censoriously labeled “cultural appropriation” but which is more properly described as “influence,” “inspiration” or “homage.” Poets, painters, novelists and other artists all borrow, distort and transform. That’s their job; that’s what they do.
In the West, the primary impact of the idea has been on literature rather than science: "stream of consciousness as a narrative mode" means writing in a way that attempts to portray the moment-to-moment thoughts and experiences of a character. This technique perhaps had its beginnings in the monologues of Shakespeare's plays and reached its fullest development in the novels of James Joyce and Virginia Woolf, although it has also been used by many other noted writers.[184]
Using stream of consciousness for writing, as a narrative form (for me, this portrays more authenticity, maybe even a way to communicate inspirations as it first strook the person, without filter).
Nowhere is the P&V distortion so plain and disturbing as in their versions of Tolstoy.Critics sometimes say it is impossible to ruin Tolstoy because his diction is so straightforward. But it is actually quite easy to misrepresent him if one does not understand the language of novels. Since Jane Austen, novels have tended to trace a character’s thoughts in the third person. The choice of words, and the way one thought begets another, belongs to the character, and so we come to know her inner voice. At the same time, the character’s view may not comport with the author’s, and it is the art of the writer to make clear that what the character is seeing is deluded or self-serving or foolish. This “double-voicing” lies at the heart of the 19th-century novelistic enterprise. For Dickens and Trollope, “double-voicing” becomes the vehicle of satire, while George Eliot and Tolstoy use it for masterful psychological exploration. If one misses what is going on, the whole point of a passage can be lost.
He takes banal people and puts them into banal situations, but he has hope for them.
Pevear talking about Chekhov.