reply to u/No-Entertainer-7217 at https://old.reddit.com/r/typewriters/comments/1k45o89/typewriters_needing_new_ribbons/

"Working but needs new ribbon" is almost always seller's code for I have no idea if it really works, but I'm going to try to sell you this machine for the price of a fully functioning machine that was just serviced by a professional shop despite the fact that I just took it out of grandpa's barn and I'm not sure if the mouse inside is dead or not. Also, I can't afford $10 to replace an old ribbon to truly participate in the charade of the price I'm going to try to fleece you with.

Educate yourself a bit: <br /> - https://boffosocko.com/2025/03/29/first-time-typewriter-purchases-with-specific-recommendations-for-writers/ - buying typewriter ribbon: https://site.xavier.edu/polt/typewriters/tw-faq.html#q1 and https://boffosocko.com/research/typewriter-collection/#Typewriter%20Ribbon - typewriter 101: https://www.youtube.com/playlist?list=PLJtHauPh529XYHI5QNj5w9PUdi89pOXsS

If you want to tell people Tom Hanks taught you to change a typewriter ribbon: https://www.youtube.com/watch?v=GBbsNKaVAB0. There are lots of other YouTube videos out there for specific machines as well as reviews of them.

You can definitely test out a machine without ribbon, but if they're trying to charge you over $100 for a machine, it really should have fresh ribbon.

https://sustainingcommunity.wordpress.com/2019/02/01/4-types-of-power/#comment-122967

Given your area, if you haven't found it yet, you might appreciate going a generation further back in your references with: Mary P. Follett. Dynamic Administration: The Collected Papers of Mary Parker Follett, ed. by E. M. Fox and L. Urwick (London: Pitman Publishing, 1940). She had some interesting work in organization theory you might appreciate. Wikipedia can give you a quick overview. https://en.wikipedia.org/wiki/Mary_Parker_Follett#Organizational_theory

The majority of American machines (Royal, Remington, Smith-Corona) are 6 lines per inch and either 10 characters per inch (pica) or 12 CPI (elite). My guess would be that you'll see about 90% of people's machines covered across these specs with a roughly 60/40 split for pica vs. elite when it comes to planning print runs.

Most European machines are like the Olympias and are labeled as 2.3 m/m which when multiplied out (25.4mm/inch x 1 character/2.3mm) gives 11.043 CPI. Generally they're also 6 lines per inch. In the US, most of the common (and still popular) imported typewriters are going to be the Olympia SM2, SM3, SM4, SM7, and SM9s and the three incarnations of the Hermes 3000.

I've got a small collection of 50 mostly American machines across six decades with a few less common typefaces including Vogue, Gothic, and Congress Elite if you need some machines for nearby testing (I'm in Altadena, though temporarily still displaced). Most of my available machines are listed at https://typewriterdatabase.com/typewriters.php?hunter_search=7248

There are definitely some smaller 16, 18, 20, and even 24 CPI machines, but they tend to have come on the larger Olympia standards which weigh in at 30-40 pounds and are unlikely to be lugged to ballparks the way that smaller portables and ultraportables might be. There are some larger format 6 CPI machines, but they tend to be much rarer and are more often found on 1970s Smith-Coronas. If you want to go crazy, I'd guess you're aware of Ted Munk's collection of typefaces and catalogs that can be found at: https://typecast.munk.org/category/typewriter-typestylesfonts/

Incidentally, for fun, Bill Madden's book Yankees, Typewriters, Scandals, and Cooperstown: A Baseball Memoir is set for release tomorrow.

Since you sound like a local Dodgers fan, I'd love to invite you to the upcoming SoCal Type-in I'm planning for Saturday, May 10th at Vroman's Bookstore in Pasadena: https://boffosocko.com/2025/03/25/youre-invited-to-a-southern-california-type-in/ I hope you'll have some final versions available by then. 😍

reply posted 2025-04-01 at https://old.reddit.com/r/BaseballScorecards/comments/1jn2475/yes_tom_hanks_does_schlep_a_typewriter_to_ball/

He certainly doesn't treat commenters in very high regard...

The long, thin spring-loaded metal flap labeled the "paper conductor" on the SM3 and SM4 and labeled the "erasing table" on the SM2 are all the same part. They serve a few functions.

They can be used for erasing mistakes certainly and help to keep dust and debris from going into the carriage and rollers.

The "paper conductor" description sounds like a fun translation of something from German into English, but this part also prevents the paper which goes under the paper bail and forces it up and back to the paper table and the paper support. Presumably without it, a slightly curved piece of paper might be misrouted to go right back into the platen a second time as the paper advances.

This sort of paper conductor/dust shield can also be found on some later 1960s+ Smith-Corona (SCM) machines. For example, see the Galaxie II which calls that part the erasure table.

If you're a more serious writer, you're sure to find a smoother and better experience with a standard typewriter, but they're slightly larger and heavier (~30 pounds vs. ~15-22 pounds) than the portables. These are usually the ones I recommend if you're writing for several hours and have a dedicated space for your writing. Standards aren't as popular with most collectors, so they also tend to be less expensive.

I really love my Royal KMG, HH, and FP and my Remington Standard and Remington 17 which are all serious machines. Here are some of the other more common standards for serious writers: https://www.youtube.com/watch?v=3r3533cSZ38

Reply to u/RetailThrowAway69 at https://old.reddit.com/r/typewriters/comments/1je4owq/new_typewriter_for_a_keyboard_warrior_of_20_years/

Almost every portable and ultra portable typewriter made from the 1930s onward came with a case that the typewriter locked into. On almost all of these the top of the typewriter case was easily removeable from the base with a spring loaded locking mechanism of some sort. This allowed the user to sit in almost any chair and use the typewriter on their lap. The thin case bottoms prevent dirt and oil from soiling one's clothes.

Beginning in the late 60s/early 70s some manufacturers began making plastic tops that clipped onto the typewriter bodies, but often these are more brittle and prone to breaking/shattering due to the type and age of the plastic. (I'm looking at you Remington Streamliners...)

Our cat used to love "hiding" in the wooden case tops of my 1940s and 1950s Smith-Coronas (Clippers, Sterlings, Silents, Silent Supers).

It's really only the larger and much heavier standard machines that didn't come with cases at all.

Reply to Hajo Bakker on LinkedIn

Hajo Bakker Exam vs. Test -- Een examinering moet veel vanafwegen en niet regulier gebeuren.

Een test (toets) mag vaker gebeuren, en moet weinig vanaf hangen... Geen ouders die straffen voor een laag cijfer (of cijfers afschaffen), geen adviezen die daarvanafhangen, etc.

Het doel van een toets is om je aan te geven wat je krachten en minder sterke punten zijn, dus waar je je op moet focussen met toekomst leren. Dit kan alleen op het moment dat je een toets nabespreekt en op individueel niveau. Klassikaal bespreken heeft vaak weinig nut.

Daarbij komt ook dat een student moet snappen WAAROM het helpt om na te bespreken, de wetenschap erachter. Op het moment dat je de waarom achter het hoe niet goed snapt heeft het hoe minder effect. (dit is waarom in het 4C/ID model ze in een scaffold beginnen met de laatste stap, waarin de informatie van voorgaande stappen is gegeven. Dit zodat als je de vorige stap gaat leren, je een beter idee hebt waar het uiteindelijk voor gebruikt gaat worden en je er dus een betere invulling aan kan geven.)

Semantische verschillen zijn vaak uiterst nuttig om complexe stof te begrijpen. Op het moment dat ze exact hetzelfde waren heeft het weinig nut om meerdere termen te hebben en zouden ze synoniem zijn.

"Exam" is geen synoniem van "test".

Genuanceerde verschillen zijn vaak nuttiger dan "umbrella terms" om goed te communiceren, als uiterst subliem wordt beargumenteerd in "Science of Memory: Concepts" van Roediger III et al.

Daarnaast komt uiteraard bij kijken dat neurocognitieve wetenschap een blauwdruk geeft voor hoe onze brein architectuur in elkaar zit (zie bijvoorbeeld John Sweller, Cognitive Load Theory 2011, en The Forgetting Machine, Rodrigo Quian Quiroga, 2017, Science of Memory: Concepts, Roediger et al., 2007, Ten Steps to Complex Learning, van Merriënboer, 2017).

Dit is universeel toepasbaar, afgezien van mensen met een cognitieve aandoening bijvoorbeeld, dit gaat dus over neurotypische breinen.

Leerstijlen zijn een mythe, wel hebben wij leervoorkeuren, maar door alleen in onze leervoorkeur te leren missen wij bepaalde informatie die cruciaal kan zijn voor beter begrip en meesterschap (mastery).

Beter is het om studietechnieken te gebruiken die overeenkomen met brein-architectuur en die onder te knie te krijgen.

Meer cognitieve belasting te gebruiken (zonder cognitieve overbelasting te veroorzaken). Als leren "makkelijk" voelt is het over het algemeen niet uitdagend genoeg en/of de techniek niet nuttig. Herlezen / samenvatten is simpel maar vrij inefficiënt. Het maken van een GRINDEmap voelt moeilijk maar is vele malen effectiever (zie ook the misinterpreted effort hypothesis).

Zoals Dr. Ahrens al zei: "The one who does the effort, does the learning."

Verder heb ik een heleboel ideëen voor een optimaal onderwijs dat zich aanpast aan het individu in plaats van aan het systeem, maar dit is een te complex en groot onderwerp om zo even hier neer te zetten.

Reply to Gertina Blanket on LinkedIn:

Jij legt in één klap uit datgene wat ik nooit goed heb begrepen uit de literatuur... Het verschil tussen interleaving en varied practice (die vaak als hetzelfde worden gebruikt in de "volksmond").

Het een gaat over verschillende hoeken kijken naar hetzelfde idee (varied practice) terwijl het ander gaat over verschillende maar soortgelijke ideëen (interleaving), bijvoorbeeld meerdere soorten wiskunde (algebra, trigonometrie, etc.).

Hierbij wil ik uiteraard wel zeggen dat blocked practice niet per se direct toegepast moet worden als het over automatisering gaat -- de cognitieve schemata moeten eerst goed gevormd zijn. Zie ook 4C/ID (Ten Steps to Complex Learning). Ofwel, eerst goede encoding + retrieval (Spaced Interleaved Retrieval, mindmapping, etc.) en dan focus op "drilling" / knowledge fluency.

Het sneller maken / automatiseren heeft geen enkel nut als het begrip er nog niet goed in zit. Dit moet geverifiëerd worden.

Kennis is natuurlijk ook erg interdisciplinair. Ik wordt er extreem blij van als ik een link leg tussen een boek over filosofie en efficiënt leren/onderwijs bijvoorbeeld.

Zo las ik ooit een boek over romeinse oratoren met een misleidende titel "How to Win an Argument" van Marcus Tullius Cicero, vertaald door James M. May, en hierin kwam ik tegen dat de oude Romeinen al door hadden dat LOGICA is wat het brein doet onthouden, en dit hoeft dus geen objective logica te zijn maar meer een correcte reflectie van hoe je eigen geest werkt en verbanden legt.

Dit is direct in lijn met wat ik weet van cognitieve leerpsychologie en mijn klein beetje kennis van neurowetenschap (waar ik dit jaar dieper in wil duiken).

Informatie in isolatie is nooit stevig, het moet zich vastklampen aan ankers en andere kennis (voorkennis eventueel), en de lerende (niet de onderwijzende) moet actief bezig zijn om deze verbanden te leggen.

Zoals ik wel vaker quote van Dr. Sönke Ahrens: "The one who does the effort does the learning."

Als ik een boek lees denk ik automatisch aan hoe ik dit kan relateren aan wat al in mijn second mind (Zettelkasten) zit. Ik denk niet meer linear, alleen maar non-linear. Standaard in verbanden.

Hier wat bronnen (impliciet) genoemd: - Cicero, M. T. (2016). How to win an argument: An ancient guide to the art of persuasion (J. M. May, Trans.). Princeton University Press. - Ahrens, S. (2017). How to take smart notes: One simple technique to boost writing, learning and thinking: for students, academics and nonfiction book writers. CreateSpace. - fast, sascha. (100 C.E., 45:02). English Translation of All Notes on Zettelkasten by Luhmann. Zettelkasten Method. https://zettelkasten.de/posts/luhmanns-zettel-translated/ - Luhmann, N. (1981a). Communicating with Slip Boxes (M. Kuehn, Trans.). 11. - Luhmann, N. (1981b). Kommunikation mit Zettelkästen. In H. Baier, H. M. Kepplinger, & K. Reumann (Eds.), Öffentliche Meinung und sozialer Wandel / Public Opinion and Social Change (pp. 222–228). VS Verlag für Sozialwissenschaften. https://doi.org/10.1007/978-3-322-87749-9_19 - Moeller, H.-G. (2012). The radical Luhmann. Columbia University Press. - Scheper, S. (2022). Antinet Zettelkasten: A Knowledge System That Will Turn You Into a Prolific Reader, Researcher and Writer. Greenlamp, LLC.

• Schmidt, J. F. K. (2016). Niklas Luhmann’s Card Index: Thinking Tool, Communication Partner, Publication Machine. In Forgetting Machines: Knowledge Management Evolution in Early Modern Europe (pp. 287–311). Brill. https://doi.org/10.1163/9789004325258_014
• Schmidt, J. F. K. (2018). Niklas Luhmann’s Card Index: The Fabrication of Serendipity. Sociologica, 12(1), Article 1. https://doi.org/10.6092/issn.1971-8853/8350

related to Eddington quote?

First quote from p 102 is Sascha Fast's 2nd edition of zettelkasten book

Reply to Edmund at https://forum.zettelkasten.de/discussion/comment/22841/#Comment_22841

@Edmund I'm intrigued by your note about beauty with respect to information, about which I've got a small tranche of notes forming. You might appreciate this quote from Arthur Eddington in 1927: https://boffosocko.com/2013/09/26/entropy-beauty-melody/

reply to u/bethcano at https://reddit.com/r/typewriters/comments/1j3z646/whats_a_fair_price_these_days_for_a_hermes_3000/

In the US I've been seeing them go for around $250 based only on photos without any additional information about whether they work or other condition.

Platforms like eBay and ShopGoodwill.com will allow you to search for actual sales (see the advanced settings) and this will give you a much better picture of what the prices are versus people listing them for several hundred more (usually to match the prices of professional shops that are listing theirs in cleaned, oiled, and adjusted condition). (Remember when shopping: Condition is king!)

See:

• https://shopgoodwill.com/categories/listing?st=hermes%20typewriter&sg=&c=&s=&lp=0&hp=999999&sbn=&spo=false&snpo=false&socs=false&sd=false&sca=true&caed=3%2F5%2F2025&cadb=90&scs=false&sis=false&col=1&p=1&ps=40&desc=false&ss=0&UseBuyerPrefs=true&sus=true&cln=1&catIds=&pn=&wc=false&mci=false&hmt=false&layout=grid&ihp=
• https://www.ebay.com/sch/i.html?_nkw=hermes+3000+typewriter&LH_Complete=1&LH_Sold=1

Keep in mind that prices may be dramatically different in your country based on how ubiquitous they were when they were originally manufactured.

Expect to add $150-200+ for script or rarer typefaces, and another \~$150 if the platen has been recovered.

$550 would not be uncommon if purchasing a pica or elite Hermes 3000 with a standard typeface in generally good cosmetic shape that's been professionally cleaned, oiled, and adjusted by a shop.

Back in the day people used custom erasers for erasing. They were much harder than the softer erasers in use now, which is why modern pencil and art erasers don't work as well. For some historical methods, see these videos or here.

Secretaries also used small eraser shields to target individual letters, words, or lines. They also used larger curved shields for erasing within carbon copy packs.

Eaton used to make Ko-rec-type tabs which could be inserted for short corrections and it can still be found online as old stock.

There was also bichrome ribbon with white correction tape, but that tends to fleck off and make a mess in your machine over time. Similarly White Out is still made, but it can spill and make a mess while you wait for it to dry.

For modern typists, hand-held correction tape is probably the quickest and easiest.

This could be expanded for the widest range of history on erasing using typewriters with caveats, etc.

reply to u/Fearless_Camera_1788 at https://old.reddit.com/r/typewriters/comments/1ixmz88/how_to_erase/

reply to u/Pope_Shady at https://old.reddit.com/r/typewriters/comments/1iwrlij/highest_price_youd_spend/

Generally my cap for typewriter purchases is in the $20-35 range. Most of my favorite machines (the standards) were acquired for $5-10 and they're so much better than the portables. At these prices I'm not too worried about the level of work required. I regularly spend 3-4 times more money on a full reel of bulk typewriter ribbon than I do on a typical typewriter.

A few of my more expensive acquisitions: * I went as high as $100 on a machine (including shipping) to get a Royal Quiet De Luxe with a Vogue typeface that turned out to be in about as stunning a condition as one could hope for. * I went to $130 on an Olympia SM3 in part for it's Congress elite typeface as well as an uncommon set of mathematical characters. I'm sure I could have gotten it for significantly less, but wanted to help out the seller and it was in solid condition except for worn bushings. * I also went to around $150 for an (uncommon in the US) early 30's Orga Privat 5 that was in solid shape. I've yet to run into another Orga in the wild in the US since.

It also bears saying that I don't mind buying "barn machines" as a large portion of the fun in collecting for me is cleaning, adjusting, and restoring them to full functionality. I've been dissapointed once to have bought a Remington Quiet-Riter once for $10 only to discover it was in near mint condition and didn't need any work at all.

I am at the point where I'm going to need to start selling machines, work at a local shop, or start my own shop if I'm going to keep up with the "hobby" and maintain a sane spouse simultaneously. If I didn't enjoy wrenching on machines so much, I would definitely be buying them from local shops for significantly more money, and I'd probably have far fewer.

It's not talked about in great length in some typewriter collector spaces, but I think some of the general pricing "game", beyond just getting a "deal", is the answer to the questions: "What am I into this space for anyway? What makes it fun and interesting?" If you don't have the time, talent, tools, or inclination to do your own cleaning and restoration work, then paying $300-$600 for a nice machine in exceptional clean/restored condition from a shop is a totally valid choice and shouldn't be dismissed. Some are in it for the discussions of typewriters. Some are in it for the bargain hunt. Some just want to write. Some want rare gems. Some want common machines from famous writers. Others just want one "good" machine while others want all the machines. It's a multi-faceted space.

reply to u/Sept-27 at https://old.reddit.com/r/Zettelkasten/comments/1itbduv/how_to_begin_storytelling_with_smart_notes/

Ahrens' book will likely leave you with more questions than answers and really has nothing directly to say on the practice of fictional storytelling. Doto's book does a better job of filling in these pieces but approaches writing in general rather than specifically fiction.

For fiction writers, I often recommend they don't practice putting Luhmann-artig numbers on their cards, but organize them in a more impromptu manner and allow them to shift more as you write. This allows things to shift more easily during the process and provides for a bit more creativity.

Some resources and examples for fiction with a ZK:<br /> - Vladimir Nabokov - David Lynch - take particular note of his method taught by Frank Daniel at AFI - Dustin Lance Black - Card index for fiction writing - The Zettelkasten Method for Fiction Writing

Take the inspiration these suggest, but don't go down the rabbit hole too deeply. You're going to want to evolve something that works best for you and your modes of writing, so trying to imitate someone else's system too closely will be the kiss of death.

reply to u/HenRoRo61

Earlier today, in a now-deleted post, someone had posted a question about identifying one of Helen Keller's typewriters based on this video in her archive.

Having done some initial digging, I thought I'd share some of the details I've found for those who may find it interesting.

According to researcher Richard Polt, Helen Keller was known to use both a Hammond and an L.C. Smith no. 5.

As for the Remington Noiseless, it definitely appears to be a mid-century Noiseless Standard with a tabulator. To know the year, you'd need either the specific serial number (to cross check https://typewriterdatabase.com/remington.42.typewriter-serial-number-database) or you'd need many more examples than the Typewriter Database currently has listed under the generic Remington Noiseless.

If you're careful at looking at the design choices and changes in some of the Remington Portables from that time period which would have likely tracked the design changes of their desktop standards, you might be able to extrapolate a closer dating based on the styling, but this will still only give you a dating within a year or so.

The tabulator was at the top of the keyboard by 1937, so you can probably presume it was a model from that point or thereafter until 1954. Most American typewriter manufacturers didn't make machines from '41-45 due to WWII, so you can discard those dates. Remington had moved into thicker/taller plastic keys by the early 1950s, so I would guess her machine was more likely from the late 1940s.

Looking more closely at the Remington Noiseless 10, I'd suggest that this is the most likely set of candidates, particularly in the timeframe of 1946-1947. Hers obviously had the openings in the rear and had the metal covers on the sides (as opposed to glass found on some models). Comparing hers in the film to some of these individual galleries may help to narrow things down with respect to dating.

Perhaps others with more Remington Standard experience, may be able to narrow things down here.

The appraisal of her Remington Noiseless in 1957 was $135.00.

One might find some close noiseless models in the $20-40 range + shipping (these are about 30 pounds and will cost about $35 for shipping) via ShopGoodwill.com. Here are some recent sales for comparison. Based on the video you'll want the bigger, heavier ones (25+ pounds) rather than the smaller portables with cases (usually under 20 pounds). Generally machines purchased this way are reasonably functional, but usually need some cleaning and work to be restored to full functionality.

Unless you're sure they're being sold by repair shops and have been cleaned and are fully functional, don't overspend on potential exemplars on sites like Etsy or eBay which are likely to be only marginally better (aka dusted off) than ShopGoodwill machines, but at 5-10x the price.

Hellen Keller's brailler: https://www.afb.org/HelenKellerArchive?a=d&d=A-HK08-B049-183&e=-------en-20--1--txt--typewriter------3-7-6-5-3--------------0-1

She apparently owned a \~1938 or 1939 Corona Silent as well: https://www.afb.org/HelenKellerArchive?a=d&d=A-HK08-B045-184.1.1&srpos=19&e=-------en-20--1--txt--typewriter------3-7-6-5-3--------------0-1

One might have some luck trying to find a Corona Silent typewriter from that era, but the unique color is going to put a machine like it into the $100-200 range (at a minimum and potentially going up from there depending on the condition) unless you get lucky at a garage sale somewhere.

for - reply to post - LinkedIn - Nora Bateson - New Years 2025 post

for - rapid whole system change - the neighborhood is the unit of change - David Brooks - 2018 - from - post - LinkedIn - Commentary on David Brooks book "The Second Mountain" - Jonathan Boymal post - reply from Danica Virginia Meredith - 2024, Dec 26 - https://hyp.is/nmhiKMNfEe-PCtfVd4Z75g/www.linkedin.com/feed/

for - Linked In Post - reply to - rapid whole system change - neighborhood as the unit of change - Danica Virginia Meredith - to - NYTimes - Opinion - The Neighborhood is the Unit of Change - David Brooks - 2018

for - from - Substack article - The Cosmo-Local Plan for our Next Civilization - Michel Bauwens - 2024, Dec 20 - annotation - reply to - Me2We2All -Local economic permaculture? - Research question - third search - https://hyp.is/UrdJmMHKEe-nGLd7p-JTcA/4thgenerationcivilization.substack.com/p/the-cosmo-local-plan-for-our-next

for - search result returned - hypothes.is annotation of - Substack article: The Cosmo-Local Plan for our Next Civilization - Stop Reset Go reply to annotation - Me2We2All - Local Economic Permacultures? - Search - Google - how many silo'd social groups exist on the web on a specific topic? - https://hyp.is/UrdJmMHKEe-nGLd7p-JTcA/4thgenerationcivilization.substack.com/p/the-cosmo-local-plan-for-our-next

All these "rules" are really just guidance/suggestions... I highly recommend you try out the thing you would imagine to work and see how it goes. If it works for you, then great. If not, try something else. What works for someone else isn't necessarily going to work for you. How do you think these things came about? They really weren't invented, but slight variations on a pre-existing theme that someone customized for their needs.

It's called a "zettelkasten practice" for a reason. After you've been at it for a few months, write up your experience and let us know how it all worked out. What worked well? What didn't? Speculate on the reasons why...

reply to u/King_PenguinOs at https://old.reddit.com/r/Zettelkasten/comments/1hklaii/getting_started_with_zettelkasten/

reply to u/Jbhusker at https://old.reddit.com/r/typewriters/comments/1hk15pf/the_frenzy_continues_where_does_it_end/ on an old and rough looking Underwood No. 3 from 1927

The shipping price is suspicious as even Shopgoodwill wouldn't ship it for that low. I do notice some online sellers playing games between machine pricing and shipping. They'll often price a machine lower than "market" and then make up for it with an astronomical shipping price. This example seems to have gone the other way, which may help some novice typewriter purchasers who wouldn't understand that this is a 30# machine.

What's going on in this example does present some interesting analysis of the current market.

Possibilities driving the price here: - Week before Christmas and someone is burning spare cash on a decorative/nostalgic present at the last minute. (I've noticed prices on everything going up in the last two months at a greater than usual clip. I suspect things will come crashing down a bit after the New Year.) - It was photographed well. - Included a video of it actually typing as proof that it "works". - It has the look of having been cleaned up despite the look of old patina which was left to make the machine show its age. Look at the exterior screws which appear cleaned/refinished while portions of the exterior don't. In fact, the underlying servicer (Adam of Brooksaw Antiques) seems to specialize in servicing machines to working order but leaving lots of age and patina on them almost as if they're being aged up on purpose. They've got lots of examples on a variety of socials as well as presences on Etsy and Ebay, which speaks to some level of experience. Given the appearance of experience here, I'd bet the machine shows up in the condition it was shipped. - "New ink" decreases the stress of the buyer on finding it themself (potentially a $30-50 value to the customer) and it only cost the seller $2, because I'm dead certain they bought it in bulk. - The eBay reviews of this shop are stunning over 931 items. The lowest is a 4.9 out of 5, which I'm guessing is someone dinging them on shipping price from an earlier sale where they had more realistic shipping numbers on large standards. - "Military Sand" may possibly have been misinterpreted as this being a mill. It is a great marketing name for the color in any case. - I would guess that the purchaser is buying this as a single showpiece for nostalgia's sake. They're getting the bonus that it works. (Like Kirk, I'm not a big fan of the refurb paint on these.) - Its the week before Christmas...

I haven't researched where the color-coding thing started, though I suspect content creators/influencers online in the last decades as a means of making their content "pretty" rather than necessarily functional.

Historically commonplaces were based on huge varieties of topics/subject headings, so colors and symbols were not frequently used. Most who needed greater organization or search capabilities indexed their commonplaces. One of the most popular means was detailed by philosopher John Locke in 1685. Here's some pointers to his work in this area in my own digital commonplace using Hypothesis: https://hypothes.is/users/chrisaldrich?q=tag%3A%22commonplace+books%22+tag%3A%22John+Locke%22

reply to u/_cold_one at https://old.reddit.com/r/commonplacebook/comments/1hhavye/20_topics_colour_coding/

The markets and level of ubiquity of these items in their heyday are so dramatically different that this is certainly an apples and oranges comparison.

However, if you want to compare the artist/users of the instrument to their machines, which is a way of potentially intuiting a potential answer to your question (one which is highly subjective), you might go by who was using particular typewriters of the time. Here's some data to consider: https://site.xavier.edu/polt/typewriters/typers.html

For that rough era in American-made machines, you'll see peak engineering/manufacturing in the 1950s out of the Smith-Corona Super Silent, the Remington Quiet-Riter, and the Royal Quiet De Luxe. Design, touch, and tuning can all be such subjective measures here so as to heavily Muddy (the) Waters ('52 Gibson Les Paul Gold Top/'58 Fender Telecaster) on style, quality, and popularity amongst the cognoscenti. Peak quality in the 60s had broadly moved to post-war Germany and Italy with machines from Olympia (SM3, 4, 5, 7, etc.) and Olivetti respectively.

For my personal money, in American machines of the time, I love the design and performance of my well-tuned, and mostly restored 1950 Royal KMG. However, the current market certainly wouldn't indicate a broader beloved status for these the way you'll see for Stratocasters. (You'll also find some horribly maintained and un-tuned machines out there on the market, which is why so much of the antique and vintage typewriter market pricing is so wildly out of whack.)

A separate flavor of question certainly, but if you're looking for a solid performing typewriter to pair aesthetically and temporally with a '64 Strat, I'd go with a Royal FP ('57-62) (which came in Royaltone or Pearl Dark Gray smooth, Royaltone or Pearl Light Gray smooth, Willow Green smooth, Sea Blue smooth, Cameo Pink smooth (Petal Pink) , Brushed Aluminum, Sandstone smooth, and Coral Rose) or the smaller Royal Futura 800 ('58-'63).

https://old.reddit.com/r/typewriters/comments/1h4b3aw/is_there_a_source_that_exists_that_sells_or/

If you need them for basic functionality, often you can find the manuals of the original manufacturers' models for rebrands (example: the Sears Tower machines which were really just rebrandings of the Smith-Corona 5 series).

Additionally, after the 1930s there really wasn't a lot of new functionality, so almost any manual will help you to get you where you need to go, though there are some small differences in locations of things like carriage locks which can be helpful to know about and whose placement moved around on various machines.

You might also notice that as typewriters were more ubiquitous in the 60s and 70s their manuals got thinner and thinner with less detail. If you do find a specific manual, you're unlikely to find very much in it.

The Davis Brothers have some history on the Commodore line which was related to some of the Sears Chevron line. Polt does have two Commodore manuals which may be close to your machine: https://site.xavier.edu/polt/typewriters/tw-manuals.html

On the value of typewriters

As a hobbyist, you'll easily obtain several hundred dollars worth of potential diversion and satisfaction out of your alluring typewriter by cleaning, properly oiling, and adjusting it. Then you're guaranteed to both give and receive thousands of dollars worth of happiness out of it by typing letters to family and friends. With practice, you may reap millions by writing stories, plays, poems, screenplays, and books.

Even if your scintillating typewriter sits on a shelf as home decor only to be viewed as a museum piece, you'll have gotten $50 of value for even that lowly function.

You'll only have wasted your money if your wondorous typewriter sits lonely and forgotten in a dusty attic or dank basement to rust and rot away.

Might you have gotten it for less? Perhaps, but you've saved yourself a huge amount of time and effort in such a hunt for a machine as desirous as this. You have it in front of you for writing right now.

So get to typing at once my friend! For time is money, and every moment your fingers aren't caressing its keys, you are losing value.

Congratulations on your stunning find.

reply to u/readysalted344 at https://old.reddit.com/r/typewriters/comments/1h3jyyt/did_i_waste_my_money/

reply to u/SupItsBuck88 at https://old.reddit.com/r/Zettelkasten/comments/1h0vuek/zettelkasten_vs_commonplace_book/ on Zettelkasten vs Commonplace Book

Don't tell anyone as it's a well-kept secret, but the way most digital practitioners (especially in Obsidian) arrange their "zettelkasten" is generally closer to commonplace book practice than it is to that of Niklas Luhmann's particular practice of zettelkasten. Honestly outside of Luhmann's practice (and those who follow his example more closely) really all zettelkasten into the late 1900s were commonplace books written on index cards rather than into books or notebooks. It's certainly the case that as the practices got older, commonplaces morphed from storehouses of only sententiae to more focused databases and tools for thought, particularly after the works on historical method done by Ernst Bernheim and later by Charles Seignobos & Charles Victor Langlois in the late 1800s and early 1900s.

More modern variations and versions in English can be seen in:

• Barzun, Jacques, and Henry F. Graff. The Modern Researcher. New York: Harcourt, Brace, 1957. http://archive.org/details/modernreseracher0000unse.
• Eco, Umberto. How to Write a Thesis. Translated by Caterina Mongiat Farina and Geoff Farina. 1977. Reprint, Cambridge, MA: MIT Press, 2015. https://mitpress.mit.edu/books/how-write-thesis.

See also:

• Differentiating online variations of the Commonplace Book: Digital Gardens, Wikis, Zettlekasten, Waste Books, Florilegia, and Second Brains
• Reframing and simplifying the idea of how to keep a Zettelkasten
• &c: https://boffosocko.com/research/zettelkasten-commonplace-books-and-note-taking-collection/

Generally, the more focused your needs for particular types of information and the higher need of specific outputs may drive one to adopt one form over another. At the end of the day, I would contend that the specific affordances for how each of these forms work for the vast majority of people are exactly the same. This is especially true if one is using digital methods. In practice, I find that a lot of the difference between the practices comes down to where the user wishes to put in their work: either upfront (Luhmann-artig zettelkasten) or down the road in a more laissez faire manner (commonplace book or "traditional" zettelkasten). As a result, I always recommend people experiment a bit and settle on the method(s) which is (are) more motivating and useful for their modes and styles of work. Everyone's needs, inputs, and outputs will differ, and, as a result, so will their methods.

Start of an outline for a longer article on typewriter tools<br /> Suggested by reply to u/Confident_Avocado768 at https://old.reddit.com/r/typewriters/comments/1gy25og/christmas_gift_help/

If they've been doing restoration for a while, try to find out what they already have to avoid duplication. Anyone who's done a few machines is likely to have a lifetime supply of lubricant (it really goes a long way) and is likely to have gone well beyond cotton swabs. The sort of kit you mention would be more appropriate to someone who's recently gotten their first typewriter, not someone who has restored more than a machine or two.

Chances are that you can up the level of their restoration tool bag with a small handful of inexpensive and easy to source options:

• oiler bottles for solvents/cleaning
• spring hook (push)
• spring hook (pull)
• spring hook (captive)
• wiping cloths (cotton)
• nylon, brass, and steel brushes (example; 2 or 3 sets of these are always useful)
• high quality wool mats make a great (soft) surface for working on machines (as well as for typing on). Here's some details and a link to a well-recommended one.

I've documented some of my own versions of these with links at https://boffosocko.com/2024/08/11/adding-to-my-typewriter-toolset/

Slightly more expensive tools that they may not have:

• hollow ground/precision screwdriver set ($35-150)
• Lucas Dul and others often suggest the Chapman typewriter set: https://chapmanmfg.com/products/0623-r-typewriterset
• Others recommend the slightly more ergonomic Weaver multi-bit gunsmith tool kit: https://www.bushnell.com/gunsmithing-tools/driver-and-hammer-sets/multi-bit-tool-kit/WV-849718.html
• Small air compressor ($75-$150) for cleaning out machines

If you really want to shoot the moon and they're into the older vintage machines, you could get them a new pair of keyring pliers: http://mytypewriter.com/hello-qwerty-typewriter-keyring-pliers-kit.aspx

You can also browse Lucas Dul's kit for other ideas via this presentation: https://virtualhermans.com/lucas-dul

Good luck and Merry Christmas! 🪛🛠️🎅🏼🎄

And this is where you see how the condition of a machine comes into play when pricing is being considered. A $700 machine has had several hours of cleaning and potential reconditioning, parts, repairs, oiling, and adjusting done. At $700 and given it's age, I'd also want to ask if they've replaced the platen. Compare this with a dirty, old machine that's going to need those same hours of work, attention, parts, and new rubber, to bring it up to par and it's definitely not going to fetch the same price.

And this is exactly what is wrong with 95% of the market: most buyers and sellers have no idea what they've got, much less the condition it's in or the work that it takes to bring these back to life for another 50-75 years. Thus they price their dirty, and rough machines at the same prices as the repair shops thinking they're going to make a mint. Apparently they're all hoping some sucker who doesn't know better will buy it.

Remember: Dante has a special circle of hell for those who buy typewriters for pennies on the dollar and flip them on eBay without doing any work on them.

reply to u/actualwoey at https://old.reddit.com/r/typewriters/comments/1gqhied/recommendations_for_reliable_new_small_spool_1_58/

You could see if a local repair shop is parting out a machine or has spools that would work for you. iirc the Corona Zephyr, Skyriter, and the later versions of the Corsair all used that smaller spool size, usually described as 1 5/8" or 1 2/3". https://site.xavier.edu/polt/typewriters/tw-repair.html Once you've got the correct sized spools, you can wind your Amazon ribbon onto them, but you'll likely have to trim it down to fit. (2" spools usually have 16 yards of ribbon while the 1 5/8" accommodate about 12 yards.)

If you can't come up with original metal spools to respool your 1/2" ribbon onto, you can try https://www.ribbonsunlimited.com/category-s/12779.htm which will sell you both in one go.

Some other ribbon options: https://site.xavier.edu/polt/typewriters/tw-faq.html#q1. I've had good luck buying bulk ribbon from both Baco Ribbon and Fine Line.

I've heard some have successfully re-juvenated old ribbon by spraying it (unspooled into a box) with WD-40 or glycerine to re-wet it and then respooling it.

actual posted reply to https://old.reddit.com/r/Zettelkasten/comments/1gpx62s/is_a_zettelkasten_a_largely_unknown_form_of/

Taking too narrow a definition of zettelkasten is antithetical to the combinatorial creativity inherent in one of the zettelkasten's most important affordances.

OP was right on track, perhaps without knowing why... I appreciate that you scratch some of the historical surface, but an apple/tomato analogy is flimsy and the family tree is a lot closer. Too often we're ignoring the history of ars excerpendi, commonplacing, waste books, summas, early encyclopedias, etc. from the broad swath of intellectual history. What we now call a zettelkasten evolved very closely out of all these traditions. It's definitely not something that Luhmann suddenly invented one morning while lounging in the bath.

Stroll back a bit into the history to see what folks like Pliny the Elder, Konrad Gessner, Theodor Zwinger, Laurentius Beyerlink, or even the Brothers Grimm were doing centuries back and you'll realize it's all closer to a wide variety of heirloom apples and a modern Gala or Fuji. They were all broadly using zettelkasten methods in their work. Encyclopedias and dictionaries are more like sons and daughters, or viewed in other ways, maybe even parents to the zettelkasten. Almost everyone using them has different means and methods because their needs and goals are all different.

If you dig a bit you'll find fascinating tidbits like Samuel Hartlib describing early versions of "cut and paste" in 1641: “Zwinger made his excerpta by being using [sic] of old books and tearing whole leaves out of them, otherwise it had beene impossible to have written so much if every thing should have beene written or copied out.” (Talk about the collector's fallacy turned on its head!) As nice as Obsidian's new Web Clipper is this month, it's just another tool in a long line of tools that all do the same thing for much the same reasons.

Ignoring these contributions and their closeness means that you won't be able to take advantage of the various affordances all these methods in your own slip box, whichever form it takes. How will you ever evolve it into the paper machine that students a century hence are copying and mimicking and pontificating about in their generation's version of Reddit? Why couldn't a person's slip box have some flavor of an evolving encyclopedia? Maybe it's closer to Adler's Syntopicon? Maybe something different altogether for their particular use?

Those interested in expanding their practice might try some of the following for more details:

• Blair, Ann M. Too Much to Know: Managing Scholarly Information before the Modern Age. Yale University Press, 2010. https://yalebooks.yale.edu/book/9780300165395/too-much-know.
• Krajewski, Markus. Paper Machines: About Cards & Catalogs, 1548-1929. Translated by Peter Krapp. History and Foundations of Information Science. MIT Press, 2011. https://mitpress.mit.edu/books/paper-machines.
• Wright, Alex. Cataloging the World: Paul Otlet and the Birth of the Information Age. 1st ed. Oxford, New York: Oxford University Press, 2014.

For deeper dives on methods, try: https://www.zotero.org/groups/4676190/tools_for_thought/tags/note%20taking%20manuals/items/F8WSEABT/item-list

cc: u/JasperMcGee u/dasduvish u/Quack_quack_22

reply to u/Hugglebuns at https://old.reddit.com/r/Zettelkasten/comments/1gpx62s/is_a_zettelkasten_a_largely_unknown_form_of/lwtoopw/:

I appreciate that you scratch some of the historical surface, but your apple/tomato analogy is flimsy and the family tree is a lot closer. Too often we're ignoring the history of ars excerpendi, commonplacing, waste books, summas, and early encyclopedias from the broad swath of intellectual history. What we now call a zettelkasten evolved very closely out of all these traditions. It's definitely not something that Luhmann suddenly invented one morning while lounging in the bath.

Stroll back a bit into the history to see what folks like Pliny the Elder, Konrad Gessner, Theodor Zwinger, Laurentius Beyerlink, or even the Brothers Grimm were doing centuries back and you'll realize it's all closer to a wide variety of heirloom apples and a modern Gala or Fuji. They were all broadly using zettelkasten methods in their work. Encyclopedias and dictionaries are more like sons and daughters, or viewed in other ways, maybe even parents to the zettelkasten. Almost everyone using them has different means and methods because their needs and goals are all different.

If you dig a bit you'll find fascinating tidbits like Samuel Hartlib describing early versions of "cut and paste" in 1641: “Zwinger made his excerpta by being using [sic] of old books and tearing whole leaves out of them, otherwise it had beene impossible to have written so much if every thing should have beene written or copied out.” As nice as Obsidian's new Web Clipper is this month, it's just another tool in a long line of tools that all do the same thing for much the same reasons.

Ignoring these contributions and their closeness means that you won't be able to take advantage of the various affordances all these methods presented in your own slip box, whichever form it takes. How will you ever evolve it into the paper machine that students a century hence are copying and mimicking and pontificating about in their version of Reddit? Why couldn't a person's slip box have some flavor of an encyclopedia? Maybe it's closer to Adler's Syntopicon? Maybe something different all together for their particular use?

Try some of the following for more details: <br /> - Blair, Ann M. Too Much to Know: Managing Scholarly Information before the Modern Age. Yale University Press, 2010. https://yalebooks.yale.edu/book/9780300165395/too-much-know.<br /> - Krajewski, Markus. Paper Machines: About Cards & Catalogs, 1548-1929. Translated by Peter Krapp. History and Foundations of Information Science. MIT Press, 2011. https://mitpress.mit.edu/books/paper-machines.<br /> - Wright, Alex. Cataloging the World: Paul Otlet and the Birth of the Information Age. 1st ed. Oxford, New York: Oxford University Press, 2014.

For deeper dives on methods, try: https://www.zotero.org/groups/4676190/tools_for_thought/tags/note%20taking%20manuals/items/F8WSEABT/item-list

cc: u/JasperMcGee u/dasduvish u/Quack_quack_22

iirc, the second oldest synagogue in America is there. It's a gorgeous bit of gothic architecture that's worth a visit even if you're not a member of the tribe. The historic district is where most of the old school charm and entertainment are. Great for just walking around and seeing what you see. If you've not seen it, watch Midnight in the Garden of Good and Evil to give you a flavor of some of the city, which is a central character in the movie. I'd recommend restaurants, but all the ones I liked were southern comfort food and incredibly unlikely to be kosher. I wish I had been using FourSquare/Swarm when I went in 2006 or I could give you the entire itinerary and hotels. I stayed in a different bed and breakfast every night in the historic district which wasn't bad since they were all within walking distance of each other. Definitely an experience.

Reply to David Shanske at https://david.shanske.com/2024/10/09/7986/

Reply to @Edmund https://forum.zettelkasten.de/discussion/comment/21907/#Comment_21907

Doto's book is the best and tightest yet for explaining both how to implement a Luhmann-artig zettelkasten as well as why along with the affordances certain elements provide. He does a particularly good job of providing clear and straightforward definitions which have a muddy nature in some of the online spaces, which tends to cause issues for people new to the practice. Sadly, for me, there isn't much new insight due to the amount of experience and research I bring to the enterprise.

I do like that Doto puts at least some emphasis on why one might want to use alphanumerics even in digital spaces, an idea which has broadly been sidelined in most contexts for lack of experience or concrete affordances for why one might do it.

The other area he addresses, which most elide and the balance gloss over at best, is that of the discussion of using the zettelkasten for output. Though he touches on some particular methods and scaffolding, most of it is limited to suggestions based on his own experience rather than a broader set of structures and practices. This is probably the biggest area for potential expansion and examples I'd like to see, especially as I'm reading through Eustace Miles' How to Prepare Essays, Lectures, Articles, Books, Speeches and Letters, with Hints on Writing for the Press (London: Rivingtons, 1905).

I could have had some more material in chapter 3 which has some fascinating, but still evolving work. Ideas like interstitial journaling and some of the related productivity methods are interesting, but Doto only barely scratches the surface on some of these techniques and methods which go beyond the traditional "zettelkasten space", but which certainly fall in his broader framing of "system for writing" promise.

Doto's "triangle of creativity", a discussion of proximal feedback, has close parallels of Adler and Hutchins' idea of "The Great Conversation" (1952), which many are likely to miss.

For those who missed out, Dan Allosso has posted video from the sessions at https://lifelonglearn.substack.com/ Sadly missing, unless you're in the book club, are some generally lively side chat discussions as the primary video discussion was proceeding. The sessions had a breadth of experiences from the new to the old hands as well as from students to teachers and everywhere in between.

reply to @ayjay @annie at https://micro.blog/ayjay/48571448

@ayjay I've long presumed you were digitally commonplacing by means of your websites, so thanks for laying out some of your specific current thoughts on the process.

​@Annie I've been collecting examples of bloggers who are using their personal websites as commonplaces, zettelkasten, and "thought spaces" at https://indieweb.org/commonplace_book. If you're interested, you'll also find examples and details to explore in my own digital commonplace. "Thought spaces" is an interesting entry point.

Doctorow goes through more of his process in which he's saving both his "box of delights" and the refashioning of them into longer pieces in "20 years a blogger". In his case it's (now) all done on Pluralistic and syndicated out from there, in much the same way @dave has done for years.

reply to michaljjwilk at https://hypothes.is/a/rwiI4rJYEe62aaN50r2zzQ to ensure it's properly indexed:

Most following my argument will have likely read The Two Definitions of Zettelkasten which may cover some of your initial question, or at least from my perspective. (Others certainly have different views.)

Some of your questions relate to what Robert Hutchins calls "The Great Conversation" (1952) and efforts over time to create Summa or compilations of all knowledge.

Variations of your remark about Plato can be seen in later Greeks' aphorism that "Everywhere I go in my head, I meet Plato coming back." or more recently in A.N. Whitehead's statement that everything is "a footnote to Plato".

They're looking at what others online are listed for (and not what they've actually sold for) to set their price. They probably have no idea what the typewriter market is like and what the value of their machine really is based on a variety of factors including make/model, condition, servicing, extras, typeface. Unless their machine has an exceptionally rare typeface (usually adds $80-150) or has a brand new rubber (usually adds 30-40 for new feet) or a new platen ($100-180), then in its current condition it's probably not worth more than $50.

Once you get it, you're going to want to have it cleaned, oiled, and adjusted which will run you several hours of labor and materials at a repair shop at $50-75 per hour. It may also need one or two replacement parts.

If talking to them about the price doesn't bring it down significantly then you should pass on it. If you're not up to cleaning, adjusting, oiling a machine yourself, your best bet is to purchase something from a repair shop that already is. You'll have a far better experience. https://site.xavier.edu/polt/typewriters/tw-repair.html

For comparison here's some similar machines professionally cleaned, serviced, with new ribbons and a 3 month warranty from $240-350 with some of the price depending on particular model and desirability of color. https://reeselectronics.com/search.php?search_query=smith+corona+silent&x=0&y=0

If you've got money to burn then maybe it's worth $180 to you, but if that's the case then get something in much nicer condition from a repair shop.

reply to u/EmergencyFirst7634 at https://old.reddit.com/r/typewriters/comments/1gcyayc/this_a_good_buy/

Crash course on typewriter maintenance and repair

A list of resources and references for the budding typewriter repair person. There is a lot here that I've compiled and consumed over the last six months, so don't be overwhelmed. Half the battle is figuring out where to find all these things, so if nothing else, this should shave off a month of reading and researching.

Basic Introductory Material

Get a notebook and be ready to take some notes so you'll remember where you found the random information you're bound to pick up over time and are able to occasionally review it.

Work your way through Sarah Everett's excellent Typewriter 101 videos (at least the first five): https://www.youtube.com/playlist?list=PLJtHauPh529XYHI5QNj5w9PUdi89pOXsS

Read Richard Polt's book which is a great overview to the general space:<br /> Polt, Richard. The Typewriter Revolution: A Typist’s Companion for the 21st Century. 1st ed. Woodstock, VT: Countryman Press, 2015.

Next watch the documentary California Typewriter. Documentary. Gravitas Pictures, 2016. https://www.imdb.com/title/tt5966990/. It has some interesting subtle material hiding within it, but it will give you a good idea of where you're headed off to.

Get a machine (or four) you can practice on. Get a flat head screwdriver and maybe a small adjustable wrench. Buy some mineral spirits and a small headed toothbrush and clean out your first machine. Buy some light sewing machine oil and try oiling it. Search YouTube for videos about how to repair anything that may be wrong with it.

Basic restoration advice: https://site.xavier.edu/polt/typewriters/tw-restoration.html

On colloquial advice for degreasing, cleaning, and oiling manual typewriters https://boffosocko.com/2024/08/09/on-colloquial-advice-for-degreasing-cleaning-and-oiling-manual-typewriters/

Repair Manuals

Create an account on typewriterdatabase.com which will give you some additional access to catalogs, manuals, and dealer catalogs.

They also have some openly accessible material like:<br /> * https://typewriterdatabase.com/manuals.php

Printed manuals: https://www.lulu.com/search?adult_audience_rating=00&contributor=Ted+Munk&page=1&pageSize=50 PDF manuals: https://sellfy.com/twdb

Ted Munk's website also has a plethora of ephemera that is often useful * https://munk.org/typecast/

Richard Polt's list of service manuals, which also includes some correspondence course typewriter repair classes: https://site.xavier.edu/polt/typewriters/tw-manuals.html#servicemanuals

Tools

In rough order of increasing complexity:

• Typewriter Tool Kit from the DOLLAR TREE by Just My Typewriter https://www.youtube.com/watch?v=R-7E4fM6gBw
• Some simple basics and where to get them: https://boffosocko.com/2024/08/11/adding-to-my-typewriter-toolset/
• Typewriter tools of the trade: https://www.youtube.com/watch?v=x5bKk93rtxs
• Lucas Dul's Toolset presentation: https://virtualhermans.com/lucas-dul
• Tour of an advanced hobbyist/semi-pro shop: https://www.youtube.com/watch?v=lZjf6InMlgU

Tools can be expensive, so start out small with just a few things and expand as you need them. You'll be amazed at what you can accomplish with a single thin bladed flathead screwdriver, an adjustable wrench, a rag, a bottle of Simple Green cleaning solution, and a bottle of isopropyl alcohol.

Videos

Subscribe to and become acquainted with YouTube channels like the following:

• Duane Jensen's Phoenix Typewriter https://www.youtube.com/@phoenixtypewriter2136
• Gerren Balch's HotRod Typewriter Company https://www.youtube.com/@HotRodTypewriter
• Joe Van Cleave https://www.youtube.com/@Joe_VanCleave
• Sarah Everett's Just My Typewriter https://www.youtube.com/@JustMyTypewriter

While watching a variety of videos is great, as you're doing specific repairs search YouTube and you're likely to find full demos of the repairs you're doing yourself.

I've compiled a playlist of videos for repair of an Olympia SM3 which, while specific to the SM3, is a an excellent outline/overview of how to disassemble a portable typewriter, where many of the adjustment points are as well as an outline of the order to do them in.

If you're not a good typist or don't have experience in the area, try out some of the following short films which will also provide some useful historical perspective:

• Basic Typing: Methods. Vol. MN-1512a. United States Navy Training Film, 1943. https://www.youtube.com/watch?v=ztyzGit1dTI.
• Basic Typing: Machine Operation. Vol. MN-1512b. United States Navy Training Film, 1943. https://www.youtube.com/watch?v=b-REJEArnjE.
• Advanced Typing: Shortcuts. Vol. MN-1512c. United States Navy Training Film, 1943. https://www.youtube.com/watch?v=JUJfCfqgsX0.
• Advanced Typing: Duplicating and Manuscript. Vol. MN-1512d. United States Navy Training Film, 1943. https://www.youtube.com/watch?v=7ve5JnTUzvo.
• Maintenance Of Office Machines. Vol. MN-1513. United States Navy Training Film, 1943. https://www.youtube.com/watch?v=ocdxgkxKAKo.

Internships & Apprenticeships

If you have the time and flexibility try arranging an internship or apprenticeship with a local typewriter repair shop. Meet your local repair people even if you can't spend the time on an internship. You'll learn a lot and create relationships with businesses who will more easily swap/supply you with machines they're parting out or access to tools which may otherwise be difficult to source.

• https://site.xavier.edu/polt/typewriters/tw-repair.html

Podcasts

• Austin Typewriter Ink https://www.austintypewriterink.com/ati-the-podcast.html
• Charm Type Repair https://charmtypepodcast.podbean.com/

Some useful Bibliography

• Athey, Ralph S. Typewriter Repair Training Course. Tarentum, PA: Typewriter Repair Training, 1957. https://site.xavier.edu/polt/typewriters/AtheyTypewriterRepair.pdf.
• Atkinson, Annelise. Typewriter SOS: The DIY Guide to Fixing Common Problems with Typewriters, 2014. https://www.amazon.com/Typewriter-SOS-Fixing-Problems-Typewriters/dp/1520902700/.
• Hausrath, Alfred H., and Eugene L. Dahl. Typewriter Care. Edited by Walter K.M. Slavik. Federal Work Improvement Program United States Civil Service Commission and Government Division, U.S. Treasury Department, 1945. http://archive.org/details/twcare-1945.
• Jones, Clarence LeRoy. The Manual Typewriter Repair Bible. Edited by Theodore Munk. The Typewriter Repair Bible Series, 2017. https://www.lulu.com/shop/ted-munk/the-manual-typewriter-repair-bible/paperback/product-1vgk72jp.html.
• Kasten, R. M. “First Aid for Typewriters.” Popular Science Monthly, May 1941.
• Kravitz, Bryan. Hints for a Happy Typewriter. Bryan Kravitz, 1983. https://site.xavier.edu/polt/typewriters/Hints-Happy-TW.pdf.
• Hutchison, Howard. The Typewriter Repair Manual. 1st ed. Blue Ridge Summit, Pa: Tab Books, 1981. https://www.amazon.com/typewriter-repair-manual-Howard-Hutchison/dp/0830600345.
• Munk, Theodore. “The Typewriter Database,” 2012. https://typewriterdatabase.com/.
• Pearce, H. G. Complete Instructions: How to Repair, Rebuild, and Adjust Underwood Typewriters With Handy Reference for Locating Trouble Quickly. Bridgeport, CT: Typewriter Mechanics Publishing Co., 1920. https://johnesimmons.com/Typewriter/Articles/Manualpdf/Underwood_Repair_Manual.pdf.
• Polt, Richard. “The Classic Typewriter Page : All About Typewriters,” 2009. https://site.xavier.edu/polt/typewriters/index.html.
• Scadden, David T. Approved Home Study Course in Typewriter Repair and Service. Little Falls, NJ: Typewriter Repair School, 1959. https://site.xavier.edu/polt/typewriters/homestudycourse.pdf.

Good luck on your journey!

reply to u/fontinalispluma at https://old.reddit.com/r/typewriters/comments/1gaza5x/learning_typewriter_maintenance_and_repair/

Usually the keys on most typewriters are friction fit on and come off pretty easily. The tougher part is that the slugs are soldered onto the typebars, so you'll need to remove them and swap them with a soldering arm. Even if you have the soldering tools, the more trying part is aligning them properly when putting them back on. Many old school shops have/had custom jigs made for properly aligning slugs when soldering them on.

If you don't have the tools, patience or facility, this is usually something best left to your favorite shop: https://site.xavier.edu/polt/typewriters/tw-repair.html

reply to u/fontinalispluma at https://old.reddit.com/r/typewriters/comments/1gb3dwc/change_the_keys_and_type_slugs/

for - reply to - @Michael - annotation for annotation sake

reply to- @Michael - annotation for annotation sake - I think of annotation in the broadest possible sense - as social learning - Annotating is "making a note" and that is effectively noticing how I respond to the idea of another person. - If I am digesting ideas and suddenly a particular idea resonates with an idea in my salience landscape, my attention will be drawn to it. - That is, there is a salient reaction of my own consciousness with the ideas of another consciousness - If I react strongly to an idea, with my own ideas and feelings, then that moment of social learning is worth noting and recording, and hence annotating. - There's absolutely no point in annotating unless it is relevant to you - For me, it is the most powerful way to keep track of the evolution of my own intertwingled individual / collective learning journey - If that becomes a modus operandi for your annotation, then by definition they are all relevant, and not done simply for some external, dogmatic reason of conventionality

Pretty much all manual typewriters use 1/2" (12.7mm) wide ribbon which is most of what you're probably going to find in the marketplace.

The thing that changes from machine to machine is is the potentially proprietary spools and those are usually specific to how the ribbion auto switch is effectuated. Most ribbon comes with small grommets about 10-12 inches from the ends as many machines need this to trigger the switch over. If the plastic spools you purchase don't work with your particular machine you simply spend a minute or two to hand wind it onto your existing original (metal) spools and go from there.

There are lots of videos on YouTube showing how to hand wind ribbon onto a machine. Sarah has a pretty reasonable one: https://www.youtube.com/watch?v=up412FjTEkw

Even Tom Hanks has a ribbon changing video... https://www.youtube.com/watch?v=GBbsNKaVAB0

Incidentally, if your seller specifies them, the Underwoods take Group 9 (GR9) spools. Likely not helpful or illustrative for you, but certainly interesting from a historical perspective, Ted Munk has a catalog of Typewriter Ribbon varieties Offered by Underwood in 1956: https://munk.org/typecast/2020/08/23/typewriter-ribbon-varieties-offered-by-underwood-in-1956/

reply to u/prettiestGOAT at https://old.reddit.com/r/typewriters/comments/1g8z0fm/can_anyone_help_id_this_underwood_typewriter_and/

reply to u/cosmic-magistra at https://old.reddit.com/r/Zettelkasten/comments/1g8diq4/any_books_about_how_someone_used_zettelkasten_to/lt4en6f/

Dude, you're taking too narrow a view at what's going on as each person uses the stored work in their particular set of "cards". Everyone is going to be different based on their particular needs. I've sketched an outline of a fairly broad spectrum of users from Eminem (low organization) to Luhmann (high organization). If putting in the level of work Luhmann did upfront isn't working for you, why follow his exact recipe?

Nabokov is an outlier in the larger group. Does he really need a heavily linked system to write what is linear fiction? Did he even need to index his cards at all? Separate boxes per book worked well enough for him, much the way they do for both Robert Greene and Ryan Halliday who follow some of this pattern as well. Nabokov generally did both research on characters and laid out the outline of his plot. Following this he'd dictate drafts to his wife Vera from the cards and edit from there. In '58 Carl Mydans got photos of some of this process. (See: https://www.thoughtco.com/thmb/tlFRyEZcBnGmBDStKWdpR1cXt0Q=/750x0/filters:no_upscale():max_bytes(150000):strip_icc():format(webp)/the-nabakovs-at-work-96793854-468f6ab40e914e45abdd1542fa370872.jpg ) In The Original of Laura, you're seeing the rawest, earliest outline of Nabokov's process. He hasn't gotten to the dictation/typescript level yet. As a result, it's surely not going to make much sense, and assuredly the reason he didn't want it published. Again, you have to either discover or imagine the broader process each person used. If I gave you a similar tranch of Luhmann's cards without any additional context, would they mean much to you? Could you turn them into something concrete without a lot of additional work? Why would you expect the same from these excerpts from Nabokov? This doesn't mean that they don't provide the interested party a window into his work and methods.

Others broadly indexed their ideas as they filed them, a fact which creates the exact links you seem to indicate didn't exist. John Locke's method of indexing was incredibly widespread to the point that at the end of the 18th century, John Bell (1745–1831), an English publisher, mass produced books with the title Bell’s Common-Place Book, Formed generally upon the Principles Recommended and Practised by Mr Locke. The notebooks commonly included 550 pages, of which eight pages included instructions on John Locke's indexing method. There are many extant copies of these including one used by Erasmus Darwin, which was bequeathed to Charles Darwin.

OP certainly posed a fair question (and incidentally very similar to one I posed a few years back), but the answer was broadly sketched, so anyone interested in a full answer is going to need to delve a lot further into these examples to be able to get the full picture. I was providing a list of some additional evidence to show there's a lot more depth out there than is generally being talked about. There are hundreds of one page blog posts about Luhmann's method in the last five plus years, but do any of them really encompass what he was doing? Ahrens wrote a whole book about it, but obviously people are still full of questions about the process. I gave less than a few sentences about a couple dozen well-known people as examples, so your expectations may be a little on the high side. It's pretty easy to find my own digital notes for those who want to skip some of the work, but if you want more, you're going to need to do some of your own reading and research. My response was generally to say that, yes, there's some there, there, but as almost everyone here for the last several years can tell you, it's going to require some work and lots of practice on your part to get somewhere with it. There isn't a royal road, but the peasant's path will assuredly get you where you want to go.

Pierre Anton Grillet, in the preface to Abstract Algebra, 2nd Edition (Springer, 2007) said, "Algebra is like French Pastry: wonderful, but cannot be learned without putting one’s hands to the dough." Zettelkasten methods are much the same. 🗃️🥐

reply to u/ArousedByApostasy at https://old.reddit.com/r/Zettelkasten/comments/1g8diq4/any_books_about_how_someone_used_zettelkasten_to/

If you're suffering from the delusion (and many do) that Zettelkasten is only about Luhmann and his own writing and 4-5 recent books on the topic, you're only lacking creativity and some research skills. Seemingly Luhmann has lots of good PR, particularly since 2013, but this doesn't mitigate the fact that huge swaths of the late 1800s to the late 1900s are chock-a-block full of books produced by these methods. Loads of examples exist under other names prior to that including florilegia, commonplace books, the card system, card indexes, etc.

Your proximal issue is that the scaffolding used to write all these books is generally invisible because authors rarely, if ever, talk about their methods and as a result, they're hard to "see". This doesn't mean that they don't exist.

I've got a list of about 50+ books about the topic of zettelkasten or incredibly closely related methods dating back to 1548 if you want to peruse some: https://www.zotero.org/groups/4676190/tools_for_thought/collections/V9RPUCXJ/tags/note%20taking%20manuals/items/F8WSEABT/item-list

There are a variety of examples of people's note collections that you can see in various media and compare to their published output. I've collected several dozens of examples, many of which you can find here: https://boffosocko.com/research/zettelkasten-commonplace-books-and-note-taking-collection/

Interesting examples to get you started:

• Vladimir Nabokov's estate published copies of his index cards for the novel The Original of Laura which you can purchase and read in its index card format. You can find a copy of his index card diary as Insomniac Dreams from Princeton University Press: https://press.princeton.edu/books/paperback/9780691196909/insomniac-dreams
• S.D. Goitein - researchers on the Cairo Geniza still use his note collection to produce new scholarship; though he had 1/3 the number of note cards compared to Luhmann, his academic writing output was 3 times larger. If you dig around you can find a .pdf copy of his collection of almost 30,000 notes and compare it to his written work.
• There's a digitized collection of W. Ross Ashby's notes (in notebook and index card format) which you can use to cross reference his written books and articles. https://ashby.info/
• Wittgenstein had a well-known note collection which underpinned his works (as well as posthumous works). See: Wittgenstein, Ludwig. Zettel. Edited by Gertrude Elizabeth Margaret Anscombe and Georg Henrik von Wright. Translated by Gertrude Elizabeth Margaret Anscombe. Second California Paperback Printing. 1967. Reprint, Berkeley and Los Angeles, California: University of California Press, 2007.
• Roland Barthes had a significant collection from which he both taught and wrote; His notes following his mother's death can be read in the book Morning Diary which were published as index card-based notes.
• The Marbach exhibition in 2013 explored six well-known zettelkasten (including Luhmann's): Gfrereis, Heike, and Ellen Strittmatter. Zettelkästen: Maschinen der Phantasie. 1st edition. Marbach am Neckar: Deutsche Schillerges, 2013. https://www.amazon.de/-/en/Heike-Gfrereis/dp/3937384855/.
• Philosopher John Locke wrote a famous treatise on indexing commonplace books which underlay his own commonplacing and writing work: Locke, John, 1632-1704. A New Method of Making Common-Place-Books. 1685. Reprint, London, 1706. https://archive.org/details/gu_newmethodmaki00lock/mode/2up.
• Historian Jacques Barzun, a professor, dean and later provost at Columbia, not only wrote dozens of scholarly books, articles, and essays out of his own note collection, but also wrote a book about some of the process in a book which has over half a dozen editions: Barzun, Jacques, and Henry F. Graff. The Modern Researcher. New York, Harcourt, Brace, 1957. http://archive.org/details/modernreseracher0000unse. In his private life, he also kept a separate shared zettelkasten documenting the detective fiction which he read and was a fan. From this he produced A Catalogue of Crime: Being a Reader's Guide to the Literature of Mystery, Detection, and Related Genres (with Wendell Hertig Taylor). 1971. Revised edition, Harper & Row, 1989: ISBN 0-06-015796-8.
• Erasmus, Agricola, and Melanchthon all wrote treatises which included a variation of the note taking methods which were widely taught in the late 1500s at universities and other schools.
• The Jonathan Edwards Center at Yale has a digitized version of his note collection called the Miscellanies that you can use to cross reference his written works.
• A recent example I've come across but haven't mentioned to others until now is that of Barrett Wendell, a professor at Harvard in the late 1800s, taught composition using a zettelkasten or card system method.
• Director David Lynch used a card index method for writing and directing his movies based on the method taught to him by Frank Daniel, a dean at the American Film Institute.
• Mortimer J. Adler et al. created a massive group zettelkasten of western literature from which they wrote volumes 2 and 3 (aka The Syntopicon) of the Great Books of the Western World. See: https://forum.zettelkasten.de/discussion/2623/mortimer-j-adlers-syntopicon-a-topically-arranged-collaborative-slipbox
• Before he died, historian Victor Margolin made a YouTube video of how he wrote the massive two volume World History of Design which included a zettelkasten workflow: https://www.youtube.com/watch?v=Kxyy0THLfuI
• Martin Luther King, Jr. kept a zettelkasten which is still extant and might allow you to reference his notes to his written words.
• The Brothers Grimm used a zettelkasten method (though theirs was slips nailed to a wall) to create The Deutsches Wörterbuch (The German Dictionary that preceeded the Oxford Dictionary). The DWB was begun in 1838 by Jacob Grimm and Wilhelm Grimm who worked on it through the letter F prior to their deaths. The dictionary project was ended in 1961 after 123 years of work which resulted in 16 volumes. A further 17th source volume was released in 1971.
• Here's an interesting video of Ryan Holliday's method condensed over time: https://www.youtube.com/watch?v=dU7efgGEOgk
• Because Halloween is around the corner, I'll even give you a published example of death by zettelkasten described by Nobel Prize winner Anatole France in one of his books: https://boffosocko.com/2022/10/24/death-by-zettelkasten/

If you dig in a bit you can find and see the processes of others like Anne Lamott, Gottfried Wilhelm Leibniz, Bob Hope, Michael Ende, Twyla Tharp, Kate Grenville, Marcel Mauss, Claude Lévi-Strauss, Phyllis Diller, Carl Linnaeus, Beatrice Webb, Isaac Newton, Harold Innis, Joan Rivers, Umberto Eco, Georg Christoph Lichtenberg, Raymond, Llull, George Carlin, and Eminem who all did variations of this for themselves for a variety of output types.

These barely scratch the surface of even Western intellectual history much less other cultures which have broadly similar methods (including oral cultures). If you do a bit of research into any major intellectual, you're likely to uncover a similar underlying method of work.

While there are some who lionize Luhmann, he didn't invent or even perfect these methods, but is just a drop of water in a vast sea of intellectual history.

And how did I write this short essay response? How do I have all these examples to hand? I had your same question years ago and read and researched my way into an answer. I have both paper and digital zettelkasten from which to query and write. I don't count my individual paper slips of which there are over 15,000 now, but my digital repository is easily over 20,000 (though only 19K+ are public).

I hope you manage to figure out some version of the system for yourself and manage to create something interesting and unique out of it. It's not a fluke and it's not "just a method for writing material about zettelkasten itself".

reply to u/General-Writing1764 at https://old.reddit.com/r/typewriters/comments/1g7a8y5/does_anyone_know_how_do_they_make_new_platens/

I'm guessing that JJ Short is taking the original, removing the rubber. Placing the core into a mold and pouring in new material which hardens. Once done they put it on a lathe and turn it down to the appropriate (original) diameter. Potentially they're sanding the final couple of thousands of an inch for finish.

I'd imagine that if you asked them, they could/would confirm this general process.

The only other shop I've heard doing platen work is Bob at Typewriter Muse, but I haven't gone through his YouTube videos to see what his process looks like. (I'm pretty sure he documents some of it there.)

I've picked up about 20 of the typewriters in my collection from ShopGoodwill.

Only two were impeccably/properly packaged and shipped and one of these was a special machine that I emailed them after purchase with written details and links to videos about how to pack and ship it just to be on the safe side.

Three were dreadful disasters: one was a 40 pound standard that was dropped and the frame bent drastically (it had almost no padding materials inside the box), two were shoved into cases (one upside down and the other right side up, but neither locked into their cases properly nor with their carriage locks engaged so they both bounced around for the entire trip) and put into boxes with almost no packing material. All three refunded portions of the price and/or all the shipping costs.

Most of the remainder (all portables with cases) were packaged with a modicum of care (some packing material in the case and some outside the case with reasonable boxes) and showed up in reasonable condition.

Two of the machines were local enough that I did a local pick up to ensure better care.

Generally, it's a crapshoot, but this is also the reason why I don't spend more than $20 on any machine I get from them (except one reasonably rare German typewriter in the US and a Royal with a Vogue typeface that still came out at less than $100 because only one other person noticed its rarity in the photos).

Only one of the machines was clean as a whistle and ready to type on day one. All the remainder required serious cleanings at a minimum. Two were missing internal pieces, two had repairable drawband issues, one had dramatically bad escapement issues, and one had a destroyed mainspring that I need to replace.

Only one of the group had a platen with any life left in it. One had a completely unusable platen, but it was also relatively obvious in the photos. Most of the rest were hard, but usable.

I live in the US and typically only bid on machines that are in the top 20% of their class cosmetically.

I'll echo the thought of others that I wouldn't have a machine from them shipped directly to someone as a present unless I knew they were a tinkerer and had the mechanical ability, the facilities/tools, and desire to clean and service their own machine. Otherwise, I'd do that myself and ship it to them directly.

reply to u/Tico_Typer at https://old.reddit.com/r/typewriters/comments/1g28v6z/i_am_curious_about_the_shopping_goodwill_websites/

Often after you resurface a platen, it slightly changes the configuration of the platen with respect to the typeface. As a result one usually may need to do three adjustments in a specific order to get things to align properly again. These can definitely be done at home with some patience.

Usually the order for tweaking is: * Ring and Cylinder adjustment (distance of platen from typeface; the type shouldn't touch the platen or you'll find you're imprinting on your paper, making holes in the paper and/or ribbon, which isn't good). Sometimes using a simple backing sheet can remedy a bit of this distance problem, especially on platens which have hardened or shrunk slightly over time. * On Feet adjustment (vertical adjustment so that letters are bright and clear and neither top or bottom of characters are too light/faint) Repair shops will often type /// or a variety of characters with longer ascenders/descenders to make sure that the type is clear from top to bottom. * Motion adjustment (the lower and upper case letters are at the same level with respect to each other) The best way to test this is to type a center character like HHHhhhHHH to see if they line up on the bottom (the last three Hs are usually done with the Shift Lock on to make sure that's properly set).

You can search YouTube videos for your model (or related models) and these words which may uncover someone doing a similar repair, so you have a better idea of what you're doing and where to make the adjustments.

Here's Joe Van Cleave describing some of it in one of his early videos: https://www.youtube.com/watch?v=C0AozF2Jfo0

The general principles for most typewriters are roughly the same with slight variations depending on whether your machine is a segment shift or a carriage shift. You should roughly be able to puzzle out which screws to adjust on your particular model to get the general outcome you want.

Related blogposts: * https://munk.org/typecast/2022/01/23/adjusting-ring-cylinder-on-a-brother-jp-1/<br /> * https://munk.org/typecast/2013/07/30/typewriter-repair-101-adjusting-vertical-typeface-alignment-segmentbasket-shift-typewriters/

You might find a related repair manual for your machine with more detail and diagrams for these adjustments via the Typewriter Database or on Richard Polt's typewriter site.

For those not mechanically inclined you may be better off taking it onto a repair shop for a quick adjustment. https://site.xavier.edu/polt/typewriters/tw-repair.html 

Reply to u/Acethease at https://www.reddit.com/r/typewriters/comments/1d76ygx/got_a_as_a_gift_corona_3_recentlyish_and_i_need/

reply to Signynt at https://discord.com/channels/686053708261228577/979886299785863178/1293207926013427733

Does Carl Linnaeus' incarnation work? Isabelle Charmantier and Staffan Müller-Wille have a number of journal articles on his "invention" and use of index cards in his research and writing work. If you dig around you'll find references to Gottfried Wilhelm von Leibniz' use of index cards and the Arca Studiorum (Krajewski, MIT, 2011); Computer scientist Gerald Weinberg wrote Gerald M. Weinberg on Writing: The Fieldstone Method. New York, N.Y: Dorset House, 2005, which might appeal; you'll also find examples in physicist Mario Bunge, and, although he had a mixed practice of notebooks and index cards, W. Ross Ashby's collection of notes on complexity can be found at https://ashby.info/. Hundreds of other scientists and mathematicians had practices, though theirs typically fall under the heading of commonplace books (Erasmus Darwin, Charles Darwin, et al.) or as in the case of Isaac Newton and others the heading of "waste books". While looking at others' examples or reading about it may feel like it's going to get you somewhere (better?), having some blind faith and proceeding with your own practice is really the better way to go. Others have certainly done it. Generally it's far rarer for mathematicians, engineers, or scientists to write about their note making/methods so you're unlikely to find direct treatises the way you would for historians, sociologists, anthropologists, humanists, etc.

syndication link: https://discord.com/channels/686053708261228577/979886299785863178/1293663556197417082

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:

• Vladimir Nabokov https://www.openculture.com/2014/02/the-notecards-on-which-vladimir-nabokov-wrote-lolita.html
• David Lynch process via Frank Daniel: https://hypothes.is/users/chrisaldrich?q=tag%3A%27David+Lynch%27
• Variations of this method include:
  • Dustin Lance Black https://www.youtube.com/watch?v=vrvawtrRxsw
  • Ben Rowland https://www.youtube.com/watch?v=mwKjuBvNi40
• Randy Ingermanson. “The Snowflake Method For Designing A Novel.” Advanced Fiction Writing, circa 2013. https://www.advancedfictionwriting.com/articles/snowflake-method/

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/

Yes, and books also tell us everything you want to know.

Yes, and sometimes I think we could make up some stories to let climax more impressive.

Yes, but there’s a little bit of different with writing and a baby. For example, you can rewrite the essay but you can’t rebirth a baby.

Yes, and I think the most difficult part is to start doing a thing.

Since you're asking in r/typewriters, here's a list of what some well known playwrights, screenwriters, and directors used and would likely have recommended for writing tools without harsh screens. Personally I'm in Tom Hank's camp and would recommend a Smith-Corona Clipper.

• Edward Albee: Remington 17 or KMC
• Ray Bradbury: Underwood (no. 5?), 1947 Royal KMM #3756210, IBM Selectric, IBM Wheelwriter, Silver-Seiko ultraportable (likely branded as Royal)
• Bertolt Brecht: Erika
• Mikhail Bulgakov: Olympia 8 (photo from Bulgakov museum)
• Paddy Chayefsky (playwright, May 1954): Underwood Standard Model 6, ca. 1946; Royal HH; Olympia SG3
• William Goldman: Olympia SM9
• Matt Groening: Hermes Rocket
• Alfred Hitchcock: '30s black Underwood Champion portable
• Sidney Howard (screenwriter, Gone With the Wind): Remington Noiseless Portable #N49669
• John Hughes (director): Olympia SM3
• Buster Keaton: Blickensderfer no. 5
• Stanley Kubrick: Adler Tippa S
• Ring Lardner: L. C. Smith
• Ernest Lehman: Royal Electress
• David Mamet: Smith-Corona portable, Olympia SM4, Olympia SM9, IBM Selectric
• Arthur Miller bought a used Smith-Corona portable in the late '30s (for one anonymous contest, he submitted a play that he said was "by Corona."). Later he used a '50s Smith-Corona Silent Super and a Royal KMG (1955 photo, another photo). He wrote his later plays on an IBM desktop computer. (Arthur Miller: His Life and Work, by Martin Gottfried, p. 26, 112, and 381.)
• F. W. Murnau: Remington portable no. 2 (1931 photo)
• Clifford Odets (1962): Royal Quiet DeLuxe, ca. 1957
• Rod Serling: Royal KMG (photo 1, photo 2)
• Neil Simon: Olympia SM9
• Steven Spielberg: Smith-Corona Coronamatic 2200 (photo 1, photo 2)
• James Thurber: Underwood no. 5
• John Waters: ca. 1950 Underwood (1961 photo), IBM A or B
• Orson Welles: 1926 woodgrain Underwood portable #4B73700 (Welles typing on it), ’30s Underwood Noiseless Portable, Smith-Corona (?)
• Tennessee Williams: Remington portable no. 2, 1936 Corona Junior #1F9874J (formerly in Steve Soboroff's collection), mid-1940s Corona Sterling, Royal KMM, Hermes Baby (gift from Margo Jones, 1947, according to John Lahr, Tennessee Williams: Mad Pilgrimage of the Flesh, Bloomsbury, 2014), Olivetti Studio 44 (picture 1, picture 2, picture 3, picture 4 1955), Remington portable #5 flat top, Remington Standard M, Olympia SM8. (This man loved to have himself photographed with his writing machines!)

If you need some other recommendations from novelists and others, you could try: https://site.xavier.edu/polt/typewriters/typers.html

If you like Scrivener, but want to get away from screens, you can look back to Frank Daniels' method with index cards which he taught to thousands of screenwriters including David Lynch. Variations can be seen at https://www.youtube.com/watch?v=vrvawtrRxsw and https://www.youtube.com/watch?v=mwKjuBvNi40. Vladimir Nabokov used a very similar method for his novels which is fairly well documented: https://www.openculture.com/2014/02/the-notecards-on-which-vladimir-nabokov-wrote-lolita.html

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

Zettelkasten is a method for creating "slow productivity" against a sea of information overload

Some of the framing goes back to using the card index as a means of overcoming the eternal problem of "information overload" [see A. Blair, Yale University Press, 2010]. I ran into an example the other day in David Blight's DeVane Lectures at Yale in which he simultaneously shrugged at the problem while talking about (perhaps unknown to him) the actual remedy: https://boffosocko.com/2024/09/16/paul-conkins-zettelkasten-advice/

It's also seen in Luhmann claiming he only worked on things he found easy/fun. The secret is that while you're doing this, your zettelkasten is functioning as a pawl against the ratchet of ideas so that as you proceed, you don't lose your place in your train of thought (folgezettel) even if it's months since you thought of something last. This allows you to always be building something of interest to you even (especially) if the pace is slow and you don't know where you're going as you proceed. It's definitely a form of advanced productivity, but not in the sort of "give-me-results-right-now" way that most have come to expect in a post-Industrial Revolution world. This distinction is what is usually lost on those coming from a productivity first perspective and causes friction because it's not the sort of productivity they've come to expect.

In reply to writingslowly and Bob Doto at https://discord.com/channels/992400632390615070/992400632776507447/1285175583877103749<br /> Conversation/context not for direct attribution

reply to u/atomicnotes at https://old.reddit.com/r/Zettelkasten/comments/1fa0240/early_1900s_3_x_5_inch_card_index_filing_cabinet/

This is an excellent question. I strongly suspect you won't find a booklet or book from Macey after 1906 that does this, though there may have been something before that.

You'll notice that on page 9, the 1906 Macy Catalog takes what I consider to be a pot shot at their Shaw-Walker competition in the section "Not a kindergarten". Shaw-Walker was selling not just furniture, but a more specific system, as well as a magazine. Since there's something to be learned for current knowledge managers and zettel-casters in the historical experience of these companies and the systems and methods they were selling, I'll quote that section here (substitute references to enterprise and business for yourself):

Not a Kindergarten

Every successful enterprise knows its own requirements best, and develops the best system for its own purpose. We manufacture business machinery. Our appliances and supplies are boiled down to a few parts, and simple forms, and will accommodate any system in any business. The office boy can understand and use them. If we undertook to teach the whole world how to run its business, we would have to saddle the cost on those who buy for what we tried to teach those who do not.

System in business is desirable, but no system can make a business successful, where the management is deficient. So called ‘Systems’ often result in useless expense and disappointment. We retain what experience proves useful and practical; so far as possible, eliminating all complicated and useless features. This explains how we can employ the best workmanship and material, combined with pleasing designs, and sell our goods with profit at lower prices than the inferior articles offered by others.

There may have been some booklets at some point, but I've not run across them for any of the major manufacturers of the time. (I've only loosely searched this area.) Some of the general principles were covered in various articles in System Magazine which was published by Shaw-Walker, a filing cabinet manufacturer, in the early century. System Magazine was sold to McGraw-Hill which renamed it Business Week, but it is now better known as Bloomberg Business Week. In the December 1906 issue of System, W. K. Kellogg, the President of the Toasted Corn Flake Company, is quoted touting the invaluable nature of the Shaw-Walker filing system at a time when his company was using 640 drawers of their system.

To some extent the smaller discrete "system" was really a part of a broader range of information and knowledge of business and competition. This can be seen in the fact that System Magazine still exists, just under an alternate name, along with a much broader area of business schools and business systems. We've just "forgotten" (or take for granted) the art of the smaller systems and processes which seemed new in the late 1800s and early 1900s.

Other companies had "systems" they sold or taught, much like Tiago Forte teaches his "Second Brain" method or Nick Milo teaches "Linking Your Thinking". However, most of them were really in the business of selling goods: furniture, filing cabinets, desks, index cards, card dividers, etc. and this was where the real money was to be found at the time.

A similar example in the space is the Memindex System booklet that came with their box and index cards. The broad principles of the system can be described in a few paragraphs so that the average person can read it and modify it to their particular needs or use case. The company never felt the need to write an entire book along the lines of David Allen's Getting Things Done or Ryder Carroll's Bullet Journal Method. Allen and Carroll are selling systems by way of books or classes. Admittedly, Carroll does have custom printed notebooks for using his methods, but I suspect these are a tiny fraction of the overall notebook sales for those who use his method.

Here's evidence of a correspondence course from the Library Bureau some time after 1927, which was when they'd been purchased by Remington Rand: https://www.ebay.com/itm/335534180049 . Library Bureau had an easier time as their system was standardized for libraries, though they did have efforts to cater to business concerns the way Shaw-Walker, The Macey Company, Globe-Wernicke and others certainly did.

I think the best examples in broader book form from that time period are Kaiser's two books which still stand up pretty well today for those creating knowledge management systems, zettelkasten, commonplace books, getting things done/productivity systems, second brains, etc.

Kaiser, J. Card System at the Office. The Card System Series 1. London: Vacher and Sons, 1908. http://archive.org/details/cardsystematoffi00kaisrich.

———. Systematic Indexing. The Card System Series 2. London: Sir Isaac Pitman & Sons, Ltd., 1911. http://archive.org/details/systematicindexi00kaisuoft.

https://new.reddit.com/r/typewriters/comments/1ezpurn/typing_endurance/

Definitely posture. Arms level with the floor.

It also helps to have some additional leverage over your keyboard. Raise your chair if necessary. Most modern desktops are 29-30 inches off the floor while older typing desks and writing drawers were designed to be closer to 27 inches off the floor. This helps a lot for endurance.

Did it work prior to replacing the ribbon? If yes, then perhaps remove the ribbon and replace again. See page 19 of the manual here: https://site.xavier.edu/polt/typewriters/RoyalKMM.pdf

YouTube also has tutorials for how to thread these. (Also search for the No. 10, KH, KHM, HH, Empress, FP, etc. which also used the same general ribbon spools and set up if you can't find a KHM.) I can*t tell 100% from the photo, but the ribbon looks like it's spooling on clockwise on the right (and vice-versa for the left) and you want it the other way.

Is it not advancing regardless of which direction you have the ribbon going? Usually just one side is not working. You can use this fact to compare the typewriter bilaterally. Watch what's going on with the side that does work and compare it with the side the doesn't. What's wrong on the non-working side?

Often times the spindle on one or both sides is frozen up with dried up grease, oil, dirt, or dust. A small quirt of mineral spirits or lacquer thinner (or other degreaser) will free it up. (Here we use the mantra, a typewriter isn't really "broken" unless it's clean and broken.) See: https://boffosocko.com/2024/08/09/on-colloquial-advice-for-degreasing-cleaning-and-oiling-manual-typewriters/

reply to u/UltimateAiden98 at https://old.reddit.com/r/typewriters/comments/1f0nzt8/my_royal_kmm_ribbon_is_t_advancing_what_should_i/

The daily cards and journal entries are obviously indexed by chronological date and then within tabbed sections by month and year.

The rest of the other cards with notes are given individual (decimal) numbers and and then are put into numerical order. These numbered cards are then indexed by putting related subject/topic/category words from them onto a separate index card which cross references either a dated card or the numbered card to which it corresponds. These index cards with topical words/phrases are then filed alphabetically into a tabbed alphabetical section (A-Z).

As an example with the card in this post, if I wanted to remember all the books I buy from Octavia's Bookshelf, then I'd create a card titled "Octavia's Bookshelf" and list the title along with the date 2024-08-13 and file it alphabetically within the "O" tab section of the index. Obviously this might be more useful if I had more extensive notes about the book or its purchase on the 2024-08-13 card. I did create a short journal card entry about the bookstore on 08-13 because it was the first time I visited the bookstore in it's new location and decor, so there are some scant notes about my impressions of that which are cross-indexed to that Octavia's Bookshelf card. Thus my Octavia's Bookshelf card has an entry with "The Book Title, 2024-08-13 (J)(R)" where the '(J)' indicates there's a separate journal entry for that day and the '(R)' indicates there's also a receipt filed next to that day's card.

I also created an "Author Card" with the author of the book's name, the title, publication date, etc. I included the purchase date and the reason why I was interested in the book. I'll use that same card to write notes on that particular book as I read it. These author cards are filed in a separate A-Z tabbed 'Bibliography' section for easily finding them as well. (I suppose I could just put them into the primary A-Z index, but I prefer having all the authors/books (I have thousands) in the same section.)

I also have a rolodex section of people filed alphabetically, so I can easily look up Steve and Sonia separately and see what I might have gotten them on prior birthdays as well as notes about potential future gift ideas. I had tickler cards with their names on them filed in early August and now that they're in my to do list, I've moved those cards to August 2025, ready for next year's reminder. Compared to a typical Future Log I don't do nearly as much writing and rewriting when migrating. I just migrate a card forward until it's done or I don't need it anymore.

If you've used a library card index before, the general idea is roughly the same, you're just cross-indexing more than books by title, author and subject. You can index by day, idea, project, or any other thing you like. My card index cabinet is really just a large personal database made out of paper and metal.

The secret isn't to index everything—just the things you either want to remember or know you'll want to look up later and use/re-use.

On many of the older 40s/50s typewriters, the same key will work on almost everything. If you search online there are a few people who have posted a 3D printable key that you can download and may be able to print at your local library. I'm guessing based on the limited photo, yours is an early 40s Smith-Corona.

I've tried a few local locksmiths who don't seem to carry these keys anymore.

I've got a late 40s Smith-Corona latch that occasionally self-locks and for ages I used a bent paperclip in the rough shape of the old keys to easily pick the lock with just 10 seconds of jiggling around inside. Roughly a 2 mm straight section of paperclip with a 1mm "T" section that sticks out (even just on one side) about 4-5mm and then continues straight ought to work if you're in a jam.

The level of security these keys/locks provide is minimal at best.

If you go the online route to buy a key, they can be quite expensive, so if you're a collector, just wait for a machine that comes with one and you'll have another typewriter for "free" in the deal.

reply to u/Succu6us66 at https://old.reddit.com/r/typewriters/comments/1eqk6rd/typewriter_lock/

reply to u/IndividualCoast9039 at https://new.reddit.com/r/typewriters/comments/1endi5d/screenwriter_here/

There's really no such thing as a screenplay specific machine, though for ease of use, you'll surely want one with a tabulator (tabs). If you want to hew toward the standard screenplay formatting look for pica machines (10 characters per inch) rather than elite machines (11-12 characters per inch).

SoCal is lousy with lots of great machines. If you want something that's going to work "out of the box" you'll pay a few bones more, but unless you're a tinkerer, it's definitely worth it.

I'd recommend checking out the following shops/repair joints near LA that specialize in machines for writers. Most will let you try out the touch and feel of a few in person to figure out what will work best for you. Putting your hands on actual machines will help you know which one you'll want for yourself.

• Helmut Schulze, Rees Electronics / Star Typewriters, 2140 Westwood Blvd. #224, Los Angeles, CA 90025. 310-475-0859 or 877-219-1450. Fax: 310-475-0850. E-mail star@startypewriters.com. Schulze has many years of experience and has restored typewriters of famous writers for collector Steve Soboroff.
• Aaron Therol @ Typewriter Connection, DTLA, https://www.typewriterconnection.com/
• Bob Marshall, Typewriter Muse, Riverside, CA. Service, restoration, and sales. Website: typewritermuse.com.
• Rubin Flores at U.S. Office Machine Co. over in Highland Park 323-256-2111 (better at repairs, restoration; I don't think he keeps stock)

​

I'd generally endorse most of the advice on models you'll find in these sources which are geared specifically toward writers, all three sources have lots experience and reasonable bona fides to make such recommendations.

• https://www.youtube.com/watch?v=h9dXflhDed0
• https://www.youtube.com/watch?v=aKMt-aCHZZk
• https://typewriterreview.com/2020/01/10/top-10-writerly-typewriters/

All machines are slightly different, so pick the one that speaks to you and your methods of working.

If it helps to know what typewriters actual (screen) writers have used in the past, check out https://site.xavier.edu/polt/typewriters/typers.html

Beyond this Just My Typewriter has a few short videos that'll give you a crash course on Typewriter 101: https://www.youtube.com/playlist?list=PLJtHauPh529XYHI5QNj5w9PUdi89pOXsS

​

Reply to Kathleen Spracklen's video

Alternate systems for helping to thin out typewriter collections:

Designer William Morris' weighing system:

“Have nothing in your houses that you do not know to be useful or believe to be beautiful.”

I once had a collector friend who loved standard typewriters, so his weighing system was as follows:<br /> - If it weighs over 25 pounds, keep it<br /> - If it weighs less than 25 pounds, sell it off

And naturally, minimalist Marie Kondo's system:<br /> - Does it spark joy?

Joe Van Cleave also had another video for creating a minimal collection based on categories of typewriter which may also be useful for some: https://www.youtube.com/watch?v=0Ej6kd1FsnE

Reply to LibraryLin

Big Blue Gets Renewed by [[Joe Van Cleave]]

I like the aftermarket upgrades you've made.

The Cheers reference reminds me that I've been trying to pair drinks with machines as I write. I had a blue cocktail on a cruise to Alaska last year that used glacier ice (which is blue), but since that's not easy to source in ABQ, maybe try an "Electric Iced Tea" which is a variation on the Long Island iced tea but which swaps blue curaçao for the triple sec and a clear lemon-lime based soda for the cola.

reply to u/IamOkei at https://new.reddit.com/r/Zettelkasten/comments/1eg8jhe/how_different_is_bob_dotos_a_system_for_writing/?%24deep_link=true&correlation_id=f06f9a20-472b-4d1d-9820-65a28e4efb04&post_fullname=t3_1eg8jhe&post_index=0&ref=email_digest&ref_campaign=email_digest&ref_source=email&utm_content=post_title&%243p=e_as&utm_medium=Email%20Amazon%20SES

Doto's book is far more focused, well-written, and actually edited. Scheper's less well written and in need of heavy editing. Save yourself the extra 400 pages and spend that time practicing the craft instead.

If you were starting from scratch without any knowledge of the area, I would highly recommend Doto's work, possibly mention Ahrens in passing, and not suffer anyone to mention Scheper's book. If you're an academic, I would recommend Umberto Eco or perhaps if a historian, one of the many books on historical method like Barzun, Gottschalk, or Goutor.

As background, both Scheper and Doto sent me pre-publication drafts of their work-in-progress to read. I've also read the majority of other books, papers, articles, and works in the space over the past 150+ years including nearly 100% of the references footnoted the two texts referenced. See also: https://boffosocko.com/research/zettelkasten-commonplace-books-and-note-taking-collection/

reply to u/DinoPup87 at https://new.reddit.com/r/typewriters/comments/1efzeor/adler_tippa_id/

It's a common misconception that the database lists all serial numbers.

You'll need to identify the make (and preferably the model) to search the database. Then you'll want to look at the serial numbers which your serial number appears between to be able to identify the year (or month if the data is granular enough) your machine was made. Reading the notes at the header of each page will give you details for how best to read and interpret the charts for each manufacturer. Notes and footnotes will provide you with additional details when available.

You can then compare your machine against others which individuals have photographed and uploaded to the database. Feel free to add your typewriter as an example by making an account of your own. Doing this is sure to help researches and other enthusiasts in the future. Don't forget photos of your manual, tools which came with your machine, your case, and original dated purchase receipts if you have them.

Chances are that you've got your original metal spools, and if so, definitely keep them. You can make a quick measurement, but I'm guessing you're going to want 1/2" or 13mm wide universal ribbon.

You can buy this in many places and in various color combinations (if you have a bichrome machine—look for a black/white/red switch which can usually be found on the front of your machine) for just a few dollars for 16 yards or about 14 meters to fill up a 2 inch diameter spool. Often it will come on cheap universal plastic spools which you can use to wind onto your own original metal spools if necessary.

Some machines often make use of proprietary mechanisms or geometry on their spools to effectuate the auto-reverse mechanism of the machine (though you'd have to check on your particular unit). Many machines after the 40s used small grommets on the ribbon itself to trigger the auto-reverse mechanism. If yours doesn't, you can trim these off with scissors as you spool the ribbon onto your machine if you're worried they'll get in the way.

Some smaller ultra-portables can and often do use smaller diameter spools which only fit 12 yards of ribbon, but you can always cut your ribbon down from bigger spools if necessary.

A few good sources of ribbon can be found at https://site.xavier.edu/polt/typewriters/tw-faq.html#q1.

If you don't have the original spools and the cheap plastic universal ones don't work on yours, you can find replacements via https://www.ribbonsunlimited.com/ or by calling around to repair shops which may have extras https://site.xavier.edu/polt/typewriters/tw-manuals.html

Incidentally, having your typewriter make and model as well as serial number can be helpful. You can often identify the model via https://typewriterdatabase.com/ if it's not on your typewriter directly. I'm guessing from the 2Y5852 that you've got a Good Companion No. 2 circa 1942, but you can track that down by looking at the database and individual galleries with photos.

If you don't have one already, you might find a manual for your machine (or one very similar to it) at https://site.xavier.edu/polt/typewriters/tw-manuals.html

reply to u/Fancy_Temporary_5902 at https://new.reddit.com/r/typewriters/comments/1eg176q/im_trying_to_id_a_typewriter_of_my_dads_as_it/

I've used the small typewriter tables with drop sides and wheels before. I appreciate their small size and ability to move around. I'm actively looking for a new one at the moment. (I sold the original 20 years ago when downsizing during a move between apartments and prior to restarting my collection.)

I currently use a dual pedestal desk and and usually have my typewriters on the pull out writing drawers. This drops the typewriter an inch and makes one's typing position (27" off the floor) much more comfortable than having the typewriter higher up 29-31" for most modern desks and tables.

I have tested a pedestal desk with a spring-loaded typewriter platform that moves up and out of the desk after opening a door. This was an excellent experience, and if I find another, I will surely purchase it. The tough part is that they take up a lot of space as the internal desk space is given entirely to hiding the typewriter when not in use. They're definitely great if you have a heavy 30+ pound standard typewriter that's not so mobile.

The third type are wooden desks with two desk height levels. One for traditional desk work and a second lower one as the typewriter platform. The lower height is obviously much more ergonomic for typing for long periods. On most of these desks, the inset typewriter space is most often given completely over for the typewriter to be there permanently. If your plan is to only have a typewriter, then jump, but their use is more difficult if you're sharing that space with a computer and need to move the two back and forth regularly. Additionally, the wooden desks have either permanent cut outs or can be flipped over to hide the cutout and make the entire desk space flush when the typewriter isn't in use. You'll have to use your own gut to decide which of these two might be best for you. I recently saw a reasonable version of a convertible wooden desk at https://abqtypers.substack.com/p/convertible-typewriter-desk

I find these pop up pretty regularly in the $200-500 range. Often owners don't want them because they don't use typewriters, and they don't move easily, so they're likely to come down in price pretty quickly/easily.

I've felt guilty in the past that often we don't directly discuss the book and what it says, but since we've each individually had our own "conversations with the author", our sessions then become a method of taking those extant (hidden discussions) and bringing them to a group to have not only discussions with each other, but extend those discussions with other books we've read and connecting them with reading, watching, listening we've done with other sources. In some sense, we're creating connections (conversations) with all the other things rather than necessarily discussing the exact thing at hand. This is a different form of work than the work of the initial discussion we individually have with the author (in this case Adrian Johns) and this is something many book groups don't go past.

I don't feel so guilty about it anymore...

reply to u/Deep-Seaworthiness48 at https://www.reddit.com/r/typewriters/comments/1e5gh4p/two_5_keys_sc_poweriter/

Things like that happened on alternate language/region typewriters. I've got a Dutch keyboard layout that repeats a % symbol twice.

It's likely that the pound symbol was needed/required so they pulled one from a pre-existing typeslug and key cap on a keyboard where the £/5 key was common and replaced the 1/! which in the era was widely known could be done by alternate means (aka lower case 'l' and '.' backspace '''.

The value of the £ was more important to the typist and because of typeface manufacture was probably easier to do in the £/5 existing combination from something like the English No. 1028, International No. 1060 keyboard, the Brazilian No. 1065, or the Danish No. 1047 all of which paired the £/5. See also: https://munk.org/typecast/2023/02/03/1954-smith-corona-scm-typewriter-type-styles-and-keyboards-catalog/

Off hand, I don't see another S-C keyboard combination from that time period that had a £ paired with any other glyph/character. In the "change-a-type" time period they likely wouldn't have done a custom black key for the £/5 when they were already manufacturing one in a matching white. If they didn't also swap out the key at the far right end of that bank, I would expect it to be a standard black '+/=' key cap and slug.

reply to u/67comet at https://www.reddit.com/r/typewriters/comments/1e4hu0s/smith_corona_electra_120_ribbon_carrier_not_moving/

That piece is called a ribbon vibrator which moves the ribbon up and down. They generally operate on gravity and as a result they need to be clean and free from oil, gunk, hair, dust, etc. Usually they slide up and down freely. There's a colloquial saying in the typewriter space that "A typewriter isn't really broken unless it's clean and broken."

Occasionally ribbon vibrators can become bent which makes them inoperable and this can be remedied with some light forming (bending) with an appropriate screwdriver or needle nosed plier. You can search YouTube and you'll find a variety of videos for cleaning and forming these back into shape so that they slide cleanly.

As for your missing 1/! slug, it's unlikely that you'll find someone selling just the slug itself and then you'll need to solder it on perfectly and/or adjust it slightly with appropriate tools to get the right alignment. Far better is to check around with repair shops that might have the same or similar machines which they're parting out and then you could request one. Your best bet is to purchase the entire typebar and slug assembly from a donor machine which you can then swap out into your machine and skip the soldering. For this https://www.youtube.com/watch?v=pFMu6dUROGA can give you tips.

To find donor machines, try repair shops on this list: https://site.xavier.edu/polt/typewriters/tw-repair.html

reply to u/riatai69 at https://www.reddit.com/r/typewriters/comments/1e3c0zy/tools_for_a_deep_maintenance/

You can do a tremendous amount with just a few things:

• thin Philips screwdriver with a small magnet to hold/catch screws
• small adjustable wrench
• bottle of Simple Green (or other mild cleaner)
• can of mineral spirits (naphtha, paint thinner, varnish remover, PB B'laster etc.) with a standard/cheap restaurant refillable ketchup/mustard squeeze bottle
• Toothbrush (and/or brass bristle brush)
• canned air
• a piece of string (useful for reattaching some pieces without more specialized tools, and particularly for reattaching springs)
• light machine oil (gun or sewing machine) for very lightly oiling your carriage rails
• YouTube for watching lots of typewriter repair videos

If you want to go higher end and do a lot more

• a set of spring hooks with push/pull ends
• full set of small wrenches
• more custom screw drivers
• a nice thick felt pad (approx 15" x 15" x 1/2"+ for having a place to sit your typewriter on without scratching it up)
• a small lazy susan big enough to set your typewriter on to more easily manipulate it
• air compressor (to replace your canned air)
• bins and trays for storing typewriter parts and screws while you're taking them apart and putting back together
• a set up for spraying down/washing out typewriters (DIY ideas include paint roller trays or plastic milk crates as a base and plastic bins for catching the run off)
• wiping cloths or similar cloth rags for wiping things down

If you want to go crazy

• Keyring pliers
• set up for respooling ribbon from 330+ yard spools
• The Manual Typewriter Repair Bible https://typewriterrepairbible.com/ as well as various other repair manuals and all the tools listed within them.
• storage shelving for 100+ typewriters
• a small collection of machines for parting out
• an 800+ square foot workshop space
• a publisher for you book about typewriters

When you're really ready for full-on insanity

• professional dunk tank and fire suppression equipment
• Your own typewriter repair shop and storefront
• I hear there's one for sale in Cambridge, MA https://www.bostonglobe.com/2024/05/17/business/cambridge-typewriter-new-owner-retirement-tom-furrier/ It probably comes with everything mentioned above as well as lots of machines for parting out.

reply to u/ingeniouskeys at https://www.reddit.com/r/typewriters/comments/1e0utt9/differences_between_olympia_sge_typewriters/

The Typewriter Database is going to be one of your better sources, but will require delving into each particular exemplar to see what their owners may have written about them. So, for example, go to https://typewriterdatabase.com/Olympia.SGE40.61.bmys and then click on the individual galleries for all the machines. If you've got an account, you can message those who currently have them and ask questions directly.

Given their manufacture in the late 60s and into the early 70s you're likely to find small incremental improvements in the electrical side, but you're also likely to find more dramatic changes in manufacturing which made them cheaper (replacing metal pieces for flimsier plastic.) I doubt the 45 (later 70s) is going to be incredibly much better than the 40, which I would suspect to be more robust from a manufacturing standpoint. You may have vaguely better "specs", but its build quality is likely going to suffer even more, so you'll have to balance out what you're after.

If you want to delve into the deeper specifics, then try out the repair manuals for them: https://www.lulu.com/shop/ted-munk/the-olympia-sge-304050-typewriter-repair-manual/paperback/product-1e4pnd4v.html?page=1&pageSize=4

Typically in this sub, when people ask, "Is it worth it?" the presumption is that they're buying it to use for themselves. You left out your context of buying it to sell until later. This means that once you've cleaned things up, and go to try to sell it for something above $40, people are going to show up here and ask that same question. When they do, the answer is going to be that it's far too expensive, especially with shipping which is notoriously tricky, expensive, and risky.

You'll be sitting there with a typewriter that you don't care enough about to have known anything about it or if it had any particular value. This also probably means that you don't know enough about what goes into cleaning and properly adjusting a typewriter either. If someone is a sucker enough to pay the crazy mark up, it means that someone who wants to try out a typewriter will be buying a sub-par machine and have a sub-par experience.

unposted reply to u/DistributionPure6051 at https://www.reddit.com/r/typewriters/comments/1dqr02l/is_this_worth_it/<br /> (Most of context is hiding because of downvoting)

reply to u/virtualellie at https://www.reddit.com/r/typewriters/comments/1ds1aps/typewriter_suggestions_for_newbie/

aggregated links from prior notes:

I'd generally endorse most of the advice on models you'll find in these sources which are geared specifically toward writers, all three sources have lots experience and reasonable bona fides to make such recommendations.

• https://www.youtube.com/watch?v=h9dXflhDed0
• https://www.youtube.com/watch?v=aKMt-aCHZZk
• https://typewriterreview.com/2020/01/10/top-10-writerly-typewriters/

Obviously, you'll want to steer towards the smaller portables in the lists, but most of what's represented should fit your criteria. You'll notice a lot of overlap but with different positioning, so there's obviously some personal preference at play. If there's a nearby shop to you, it may be worth driving over to try out the touch and feel of some machines to see which you like best. Try https://site.xavier.edu/polt/typewriters/tw-repair.html

There was also some sage advice from u/Thylacine33 about purchasing the other day which may be helpful: https://www.reddit.com/r/typewriters/comments/1drj32h/comment/lawb2h7/

Beyond this Just My Typewriter has a few short videos that'll give you a crash course on Typewriter 101: https://www.youtube.com/playlist?list=PLJtHauPh529XYHI5QNj5w9PUdi89pOXsS

reply to u/Rabbits16 at https://www.reddit.com/r/typewriters/comments/1df7o2t/request_type_writer_suggestion_please/

For that budget range, pick up something cleaned and fully serviced from a nearby shop https://site.xavier.edu/polt/typewriters/tw-repair.html

Too many resellers are pushing overpriced machines that say "works" or "may need servicing" on some online shops like ebay or Etsy for top end pricing when you can get something truly spectacular and ready for the next 50 years from a serious pro that needs the support for the same price.

As for particular machines to look at, I can't find much to fault in Joe's advice here https://youtu.be/aKMt-aCHZZk?si=CGPduwA4A3HPDm3u

Too many people fetishize Luhmann and his system. Yes he wrote a lot and yes he was productive, but was he as influential as any of the thousands upon thousands of writers and academics who used broadly similar methods? A lot of Luhmann's productivity boils down to how one chooses to define productivity. As an example: Isaac Newton, John Locke, Taylor Swift, and even Eminem had broadly similar not taking methods and though their note corpuses are dramatically smaller than Luhmann, their influence on art, culture, and humanity dramatically exceeds that of Luhmann.

I would posit that most serious note takers' productivity boils down to their utter simplicity and easy ability to replicate that method for decades. The largest part of Luhmann's productivity was that he not only had a simple system, but that he was privileged to use and practice at full time for the length of his academic career. (He also didn't face the scourge of peer-review that most academics are forced to run today.)

As an example of someone whose methods were very similar to Luhmann's, but who was dramatically more productive (from a generic definition of it), take a look at S. D. Goitein who wrote out about 1/3 the number of slips that Luhmann did, but used them to write almost a 1/3 more articles and books! Luhmann: 90,000 slips, 550 articles, 50 books versus Goitein: 27,000 slips, 669 articles, 69 books. Interestingly Goitein's method of organization was much closer to the topical organization to the vast majority of zettelkasten/card index users (as well as Obsidian users) than to Luhmann's alpha-numeric organizational method. There isn't nearly enough scale in (psychology, cognitive psychology) research to reasonably compare analog versus digital methods, much less enough research to distinguish between methods at the scale of individual people. Everyone will respond differently to different modalities because the breadth of neurodiversity within the population. The psychology research you're citing is painfully, painfully thin and is far from reaching the level of replicability. As a result, the best practicable advice to any individual is to experiment for themselves and choose the method they feel works best for them from a sustainability perspective.

reply to u/Quack_quack_22 at https://www.reddit.com/r/ObsidianMD/comments/1doqgar/why_can_luhmann_manage_information_better_than/

I found that Luhmann's information management system is not more complicated, but it is more effective than the influencers talking about taking notes on Obsidian. Because he took notes by hand:

Studies show that taking notes by hand has a positive impact on many different brain areas. Writing by hand is slower than typing: The slowness of handwriting helps Luhmann consider and select important words to write in literature notes. -> he will remember better the brain is relaxed -> the brain is more creative: when writing literature notes -> he will come up with more ideas so he can write permanent notes. To put it more simply. Luhmann takes notes to find as many ideas as possible to write in permanent notes, then these permanent notes will become a complete essay after Luhmann connects them together. And writing citations, summaries of content and citing sources in literature are just proof that his ideas are correct (ironically, people who make content about obsidian (also Tiago Forte) just encourage copy-paste).

Thus, copying highlights from Kindle to Obsidian becomes useless if you don't understand anything about highlights and don't get any ideas from them. I don't claim that typing makes us stupid, because people who write on computers have a habit of carefully correcting spelling and arguments, which helps them think more deeply = more smart.

Sources: https://www.forbes.com/sites/nancyolson/2016/05/15/three-ways-that-writing-with-a-pen-positively-affects-your-brain/ https://www.psychiatrist.com/news/handwriting-shows-unexpected-benefits-over-typing/

P/s: I think this guy is very precise about the zettelkasten method: he takes notes on paper like Luhmann to get ideas, then he just starts copying them into Obsidian. (https://www.youtube.com/watch?v=FrvKHFIHaeQ&t=0s)

If you've got heavy impressions going to the level of the backing sheet or things like your period cutting holes directly through your paper, then it's not really so much an issue of typing too hard, but your carriage is slightly out of alignment with respect to your type bars.

Your typeface shouldn't actually hit the platen when pressed (or held forward), but should just kiss the ribbon which then places the imprint onto the paper. Holding your typeslug forward against the type guide you should have just enough space to slip a piece of paper between your slug and the platen. If there isn't a tiny bit of space, your typeface will chew up your ribbon and paper over time. The typing thunk sound that typewriters make isn't the slug hitting the platen (aka cylinder), but the typebar hitting the anvil (aka ring).

The proper adjustment for fixing this is thus commonly called a ring and cylinder adjustment and how it's effected depends on whether you have a segment shift or a carriage shift machine. On many machines it requires adjusting two screws on either side of the machine. It changes the distance of platen from typeface and can prevent your making holes in the paper and/or ribbon, which isn't good. Sometimes using a simple backing sheet can remedy a bit of this distance problem, especially on platens which have hardened or shrunk slightly over time. Searching YouTube for your make/model (or similar models) will usually show you the adjustment you'll need to make to remedy these problems.

See also: https://hypothes.is/a/AegRziHnEe-Ud_stVcPQLA

Reply to u/Bitter_Rent_141 at https://www.reddit.com/r/typewriters/comments/1dnnh2n/is_this_normal/

I only have a few very specific memes indexed in my box: https://boffosocko.com/tag/zettelkasten-memes/ and a few more at https://hypothes.is/users/chrisaldrich?q=zettelkasten+meme

Historically, Aby Warburg had a large image-based zettelkasten for his work on art which predated Richard Dawkins' conception of meme, but I think qualifies. See: https://boffosocko.com/tag/aby-warburg/ or his Bilderatlas Mnemosyne project: https://warburg.sas.ac.uk/archive/bilderatlas-mnemosyne

It's digital in nature, but Shawn Gilmore has a large collection of images of string walls, Anacapa charts, walls and floors littered with paperwork by obsessives, etc. for his cultural research. It also includes some popular memes. https://www.vaultofculture.com/nst

replyy to u/a2jc4life at https://www.reddit.com/r/Zettelkasten/comments/1ddhn9n/memes/

Let's turn your question around: What exactly are you hoping to get out of it for yourself? Do you have specific goals for your own use?

You may like the idea of having and using a hammer, but if you don't have a project that requires a hammer, then owning and trying to hammer on random things in an unfocused way is probably not the right tool for your needs.

reply to u/arealnamestakenreal at https://www.reddit.com/r/Zettelkasten/comments/1dko10r/success_histories_4_years_into_zettelkasten_and/

Removing rust from typewriters

Steel wool can be useful for removing rust from keylevers and other parts on typewriters, but can leave dust/slag behind which can be a bear to clean up especially when used on typebars.

De-rusters like Evaporust can be useful, but should be tested against causing harm to other parts of a machine. Some rust removal chemicals can strip galvanization from machine parts. Olympia typewriters in particular are infamous for galvanized steel parts.

Another option can be to use a rotary tool (like a Dremel) with a wire brush head to remove rust.

Take care and be sure to use proper eye protection against dirt, dust, and chemicals when doing this sort of work. Also make sure you have proper ventilation and/or a mask to avoid breathing in dust and toxic chemicals.

Richard Polt's site has additional resources for typewriter restoration: https://site.xavier.edu/polt/typewriters/tw-restoration.html

Reply to https://www.reddit.com/r/typewriters/comments/1da2zg6/how_do_i_remove_rust/

Not sure if it may help your Typewriter Typefaces Bible project or not, but I'll mention that Marcin Wichary used the Internet Archive to collect a lot of the materials for his massive 3 volume 2023 book "Shift Happens: A Book About Keyboards": https://archive.org/details/wicharytypewriter

In addition to lots of material which he found and collected on the Archive, he added a huge number of resources, catalogs, and books which are either rare or incredibly difficult to find by uploading them to the Archive for others to potentially find and use. You and others may find it valuable and or useful to follow his pattern of uploading and storage there.

syndication link

For yellowed glass keys on typewriters, there's usually a key top covered by a piece of paper with the key glyph on it which is sandwiched in with a small piece of glass and a metal ring that holds it down with several metal tabs underneath the key to hold it all in place. There are custom keyring pliers for quickly removing and replacing the papers which needs care not to crack the glass. Otherwise you can manually bend the metal tabs on all your key rings to remove them and replace the papers. (This is generally a LOT of work either way.) See: https://www.reddit.com/r/typewriters/comments/1csni4d/neat_find_on_clients_kmg/

I prefer the yellowed patina of the older key papers, so I tend to leave them versus spending the time and effort to replace them.

To be more specific on solvents for beginners, potentially try mineral spirits (white spirit in UK), paint thinner, naphtha (lighter fluid), kerosene, varnish remover, PB B'laster, or carburetor or brake cleaner. Be careful as many of these are flammable and some can remove paint or decals; use all of them in a well ventilated area. You may see some recommend household variations of alcohol, but these do contain water and generally aren't very effective solvents for the types of oil/grease/dust you'll probably want to remove; professional typewriter repair shops would not use alcohol on a machine. And for those in the back, no one but a psychopath would use WD-40 on a machine's internals.

https://www.youtube.com/watch?v=xjumGF9NFE8 is a pretty solid cleaning primer. Searching YouTube will uncover some potential additional advice in addition to what you can find at https://site.xavier.edu/polt/typewriters/tw-restoration.html

Good luck. That's a lovely machine!

Everyone mentioned most of the usual tricks, but one.

To get your sticky typewriter keys working again, while you're flushing out the segment with your solvent of choice (lacquer thinner, paint thinner, mineral spirits, alcohol, etc.), actually move the typebars using the keys or by other means. This will help to get them moving and allow the solvent and subsequently compressed air to help flush the oil, dust, hair, etc. out of your machine. You've already got a mechanical cleaning device of sorts (the typebar itself) inside the segment, so move it while you're flushing it out!

It may take a few repeated treatments/attempts to get it all clear for all the keys, but it's far easier than taking everything apart.

reply to u/nogaesallowed at https://www.reddit.com/r/typewriters/comments/1cp75ln/how_do_you_clean_a_1mm_gap/

People were recommending all sorts of ideas and solvents here, including folded card stock, tooth brushes, floss, toothpicks, interdental brushes, wood cuticle sticks, Swiss Army knife tweezers, microbrushes, and even an ultrasonic cleaner.

Reply to Nidhi Sachdeva: Nidhi Sachdeva, PhD Just went through the micro-lesson itself. In the context of teachers using to generate instruction examples, I do not argue against that. The teacher does not have to learn the content, or so I hope.

However, I would argue that the learners themselves should try to come up with examples or analogies, etc. But this depends on the learner's learning skills, which should be taught in schools in the first place.

Reply to Nidhi Sachdeva: I agree mostly, but I would advice against using AI for this. If your brain is not doing the work (the AI is coming up with the story/analogy) it is much less effective. Dr. Sönke Ahrens already said: "He who does the effort, does the learning."

I would bet that Cognitive Load Theory also would show that there is much less optimized intrinsic cognitive load (load stemming from the building or automation of cognitive schemas) when another person, or the AI, is thinking of the analogies.

https://www.linkedin.com/feed/update/urn:li:activity:7199396764536221698/

Alan Clark True. As Dr. Sönke Ahrens says, "The one who does the effort does the learning."

What goes on in the mind is how learning happens, it is the learner that must do the learning.

I think what you mean is that when YOU are teaching, it does not mean OTHERS are learning.

What I meant was that when the LEARNER is doing the teaching, HE consolidates his own learning.

Comment link: https://www.linkedin.com/feed/update/urn:li:activity:7197621782743252992?commentUrn=urn%3Ali%3Acomment%3A%28activity%3A7197621782743252992%2C7198233333577699328%29&dashCommentUrn=urn%3Ali%3Afsd_comment%3A%287198233333577699328%2Curn%3Ali%3Aactivity%3A7197621782743252992%29

Link for Hypothes.is context: https://www.linkedin.com/feed/update/urn:li:activity:7197621782743252992/?commentUrn=urn:li:comment:(activity:7197621782743252992,7198233333577699328)&dashCommentUrn=urn:li:fsd_comment:(7198233333577699328,urn:li:activity:7197621782743252992)

Reply to John Whitfield: I think that one is mostly a semantic issue. In some definitions of learning, learning does equate to a change in behavior. In parenting for example, how is learning measured? If the behavior is changed. Therefore, for parenting, learning is a change in behavior.

I'd argue for many books the same is true, what is the use of a book if the knowledge is only in your head. Application, thus changing one's behavior, is essential for the proper use. Obviously this is not for everything the case, but I am highlighting a few scenarios where it would be accurate to say that learning is a change in behavior.

Nothing is ever black and white, it is quite simplistic to say such things, often there is a lot of nuance going on.

Comment link: https://www.linkedin.com/feed/update/urn:li:activity:7197621782743252992?commentUrn=urn%3Ali%3Acomment%3A%28activity%3A7197621782743252992%2C7198233333577699328%29&dashCommentUrn=urn%3Ali%3Afsd_comment%3A%287198233333577699328%2Curn%3Ali%3Aactivity%3A7197621782743252992%29

Link for Hypothes.is context: https://www.linkedin.com/feed/update/urn:li:activity:7197621782743252992/?commentUrn=urn:li:comment:(activity:7197621782743252992,7198233333577699328)&dashCommentUrn=urn:li:fsd_comment:(7198233333577699328,urn:li:activity:7197621782743252992)

Reply to Alan Clark: Alan Clark Perhaps teaching is not learning, but teaching is an excellent way of consolidating and verifying knowledge. Depending on how one does it, the teaching improves both comprehension and retention. See, for example, the whole-part-whole reteaching method that Dr Justin Sung teaches in the advanced parts of the iCanStudy course.

Comment link: https://www.linkedin.com/feed/update/urn:li:activity:7197621782743252992?commentUrn=urn%3Ali%3Acomment%3A%28activity%3A7197621782743252992%2C7198233333577699328%29&dashCommentUrn=urn%3Ali%3Afsd_comment%3A%287198233333577699328%2Curn%3Ali%3Aactivity%3A7197621782743252992%29

Link for Hypothes.is context: https://www.linkedin.com/feed/update/urn:li:activity:7197621782743252992/?commentUrn=urn:li:comment:(activity:7197621782743252992,7198233333577699328)&dashCommentUrn=urn:li:fsd_comment:(7198233333577699328,urn:li:activity:7197621782743252992)