If I were going to use an AI, I'd want to plugin and give massive priority to my commonplace book and personal notes followed by the materials I've read, watched, and listened to secondarily.

Wordcraft's hallucinations can create interesting and creatively surreal suggestions.

How might one dial up or down the ability to hallucinate or create surrealism within an artificial intelligence used for thinking, writing, etc.?

Just as using a text for writing generative annotations (having a conversation with a text) is a useful exercise for writers and thinkers, creative writers can stand to have similar textual creativity prompts.

Compare Wordcraft affordances with tools like Nabokov's card index (zettelkasten) method, Twyla Tharp's boxes, MadLibs, cadavre exquis, et al.

The key is to have some sort of creativity catalyst so that one isn't working in a vacuum or facing the dreaded blank page.

The sense of writing partner here is similar to that mentioned by Niklas Luhmann in Communicating with Slip Boxes: An Empirical Account (1981), though in his case his writing partner was a carefully constructed database archive of his past notes.

see: Luhmann, Niklas. “Kommunikation mit Zettelkästen: Ein Erfahrungsbericht.” In Öffentliche Meinung und sozialer Wandel / Public Opinion and Social Change, edited by Horst Baier, Hans Mathias Kepplinger, and Kurt Reumann, 222–28. Wiesbaden: VS Verlag für Sozialwissenschaften, 1981. https://doi.org/10.1007/978-3-322-87749-9_19.<br /> translation at https://web.archive.org/web/20150825031821/http://scriptogr.am/kuehnm.

Ippolito, Daphne, Ann Yuan, Andy Coenen, and Sehmon Burnam. “Creative Writing with an AI-Powered Writing Assistant: Perspectives from Professional Writers.” arXiv, November 9, 2022. https://doi.org/10.48550/arXiv.2211.05030.

See also: https://wordcraft-writers-workshop.appspot.com/learn

A Google project entering the public as ChatGPT was released and becoming popular.

For additional experiences, see: https://www.robinsloan.com/newsletters/authors-note/

We should do better at teaching and training creative behavior in schools. We say that we encourage exploration but somehow do it in all the wrong ways such we discourage it wholly.

https://jsomers.net/blog/dictionary

Missing here is the creative divergence of creating plot points which could be later connected. This part of the process is incredibly difficult for many as seen in the poor second act development in most of narrative history. Beginnings and endings are usually incredibly easy, but the middle portions for connecting the two is incredibly hard.

Is this because creating connections between the ends when there no intervening ideas to connect is nearly impossible? How can one brainstorm middle plot points so that they might be more easily connected?

https://www.themarginalian.org/2011/06/20/inside-notebooks/

There are a number of books which feature the sketchbooks and notebooks of famous writers, researchers and artists. However, most of their work is presented as art in and of itself. Rarely are the messiest and ugliest pages pictured. Most of the layouts in these books are laid out as art. Frequently missing are the structural parts and interviews with the original authors talking about their process. How do they actually use these notebooks in practice? How do ideas move from their heads into the notebooks and from there into their practical work? The notebooks only capture raw ideas as a scaffolding for extending the user's brain and thinking, but it doesn't capture the intangible ideas and portions of process which are still trapped within their brains. To be able to evaluate these portions, the author needs to talk or write about those missing portions of the process otherwise the way they create genius is wholly missing. A viewer of such notebooks would be no closer to creating genius for themselves by attempting to follow the same patterns without these additional structures. It's like the indigenous peoples who talk with rocks as part of their cultural practice—so much of what is happening is missing from the description of "talking with rocks" that most people wouldn't even know where to begin, but for the initiated, the process would be imminently crystal clear.

Which of these books actually delves into the process and does interviews as well?

This article actually lays out the notebooks as their own form of art rather than centering the idea of creative process as a means of helping others to follow these same patterns. We need the book that does for the art and design area what Sönke Ahrens' book How to Take Smart Notes does for the note taking space. It's interesting to see Niklas Luhmann's collection of 90,000 index cards, but without knowing how he used them and what purpose they served, the enterprise is lost. Similarly the depiction of Roland Barthes' index cards in Roland Barthes has a similar function. Showing them is not equivalent to actually understanding them.

link to: https://hypothes.is/a/3SOmoMcMEey8n9dSUWhPJw

Rowan Wilken admits that Cornelia Vismann's use of files for transmission, storage, cancellation, manipulation, and destruction are remarkable, but that the key feature of the card index as a file type is its use for creative production.

Proofreading while rewriting, structuring, or doing the thinking or creative parts of writing is a form of bikeshedding. It is easy to focus on the small and picayune fixes when writing, but this distracts from the more important parts of the work which really need one's attention to be successful.

Get your ideas down on paper and only afterwards work on proofreading at the end. Switching contexts from thinking and creativity to spelling, small bits of grammar, and typography can be taxing from the perspective of trying to multi-task.

Link: Draft #4 and using Webster's 1913 dictionary for choosing better words/verbiage as a discrete step within the rewrite.

Linked to above: Are there other dictionaries, thesauruses, books of quotations, or individual commonplace books, waste books that can serve as resources for finding better words, phrases, or phrasing when writing? Imagine searching through Thoreau's commonplace book for finding interesting turns of phrase. Naturally searching through one's own commonplace book is a great place to start, if you're saving those sorts of things, especially from fiction.

Link this to Robin Sloan's AI talk and using artificial intelligence and corpuses of literature to generate writing.

Haste is seen as a lack of decorum combined with diabolical ambition.

What a fantastic definition of haste!

via P. Bourdieu, "The attitude of the Algerian peasant toward time", in Mediterranean Countrymen, ed. J. Pitt-Rivers (Paris, 1963), PP. 55

Time in the US, School, Working hard, getting good grades, Extracurricular activities, poetry, Struggling, Dropping out, Immigration status, lost opportunities, in the shadows

repetition of yes all leads up to the final yes to marriage. the lack of punctuation also makes the whole thing read as if it's being said very quickly, as if a lot of thoughts are happening all at once.

the repeated "I remember" signifies the introduction of a new idea/thought. Also sets up a good rhythm. Similar to an "I am from" poem

the duality of master and disaster

the repetition of the many forms of the verb "to lose" highlights the theme of loss throughout the poem without the poet having to explicitly tell the reader what it is about

The repetition of the word "we" (as well as the placement in the poem) create a rhythm that stands out. Especially since the lines are very short, the words that are repeated stands out even more.