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Posts tagged "john mcphee"
There’s another (paywalled) John McPhee piece in this week’s New Yorker on his writing process. After he reads his second draft aloud and makes some adjustments, he starts drawing boxes around words that he thinks can be improved:
You draw a box not only around any word that does not seem quite right but also around words that fulfill their assignment but seem to present an opportunity. While the word inside the box may be perfectly O.K., there is likely to be an even better word… If none occurs, don’t linger; keep reading and drawing boxes, and later revisit them one by one.
Then, you go not to a thesaurus, but a dictionary:
With dictionaries, I spend a great deal more time looking up words I know than words I have never heard of—at least ninety-nine to one. The dictionary definitions of words you are trying to replace are far more likely to help you out than a scattershot wad from a thesaurus.
His reasoning: the dictionary not only gives you a gives you a list synonyms, it also gives you a deeper understanding of the meaning of the word, and sometimes the definition can lead you to a better way of phrasing altogether.
In the search for words, thesauruses are useful things, but they don’t talk about the words they list. They are also dangerous. They can lead you to choose a polysyllabic and fuzzy word when a simple and clear one is better. The value of a thesaurus is not to make a writer seem to have a vast vocabulary of recondite words.
Filed under: writing
(via Sara Bader)
You can build a strong, sound, and artful structure. You can build a structure in such a way that it causes people to want to keep turning pages. A compelling structure in nonfiction can have an attracting effect analogous to a story line in fiction.
I had done all the research I was going to do…. I had read all the books I was going to read, and scientific papers, and a doctoral dissertation. I had assembled enough material to fill a silo, and now I had no idea what to do with it.
He likens the process to cooking:1
The approach to structure in factual writing is like returning from a grocery store with materials you intent to cook for dinner. You set them out on the kitchen counter, and what’s there is what you deal with, and all you deal with.
Pre-computer, McPhee started out by typing out all of his notes, leaving blank space after each one. After studying all of his notes, he’d write out elements of the story on index cards, each representing a component of the story.
All I had to do was put them in order. What order? An essential part of my office furniture in those years was a standard sheet of plywood—thirty-two square feet—on two sawhorses. I strewed the cards face up on the plywood. The anchored segments would be easy to arrange, but the free-floating ones would make the piece.
And then it was time for the scissors:
After reading and rereading the typed notes and then developing the structure and coding the notes accordingly in the margins and then photocopying the whole of it, I would go at the copied set with the scissors, cutting each sheet into slivers of varying size. If the structure had, say, thirty parts, the slivers would end up in thirty piles that would be put into thirty manila folders. One after another, in the course of writing, I would spill out the sets of slivers, arrange them ladder line on a card table, and refer to them as I manipulated the Underwood. If this sounds mechanical, its effect was absolutely the reverse. If the contents of the seventh folder were before me, the contents of twenty-nine other folders were out of sight. Every organizational aspect was behind me. The procedure eliminated nearly all distraction and concentrated only the material I had to deal with in a given day or week. It painted me into a corner, yes, but in doing so it freed me to write.
It’s interesting to note that McPhee usually has his beginning and ending in mind when he starts writing. How does he know when he’s done?
When am I done? I just know. I’m lucky that way. What I know is that I can’t do any better; someone else might do better, but that’s all I can do; so I call it done.
- How Rebecca Skloot built The Immortal Life of Henrietta Lacks
- LOOPER’s borrowed story structure
- Lawrence Weschler’s building blocks
Funny to contrast McPhee’s cooking metaphor to David Rakoff’s: “Unlike cooking, for example, where largely edible, if raw, ingredients are assembled, cut, heated, and otherwise manipulated into something both digestible and palatable, writing is closer to having to reverse-engineer a meal out of rotten food.” ↩