“And I remember always that knowledge is made for cutting.”
– Dean W. Ball
From his essay: How I Work
Inspiring, especially the Beethoven bits.
Dean W. Baker, “How I Work,” Hyperdimensional (blog), 2025, https://www.hyperdimensional.co/p/how-i-work.
Tag: writer’s inspiration
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I seem to have lost my ability to focus and force my way back into a novel. So today I introduced a period of martial law. Never leaving my desk, writing a set amount during a set period of time, all the familiar methods I used to fall back on. There is great satisfaction to be had from looking at the empty page, at your notes, at what you’ve already done, then will yourself, almost force yourself, to write some more, and finding that it actually works. It means I am still able to use my imagination to escape from this world into the imagined world of my novel.
Sheer will. Sometimes it takes sheer will and martial law to type one page.
Pamuk, Orhan. Memories of Distant Mountains: Illustrated Notebooks, 2009-2022. United States, Knopf Canada, 2024. pg 162
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I thought I was going to be a painter. At 22, I killed the painter inside of me and began writing novels. In 2008, I walked into a stationery shop, bought two big bags of pencils, paints, and brushes, and began joyfully and timidly filling little sketchbooks with drawings and colors. The painter inside of me hadn’t died after all. But he was full of fears and terribly shy. I made all my drawings inside notebooks so that nobody would see them. I even felt a little guilty: surely this must mean I secretly deemed words insufficient. So why did I bother to write? None of these inhibitions slowed me down. I was eager to keep drawing, and drew whenever I could.
More goodness from from Memories of Distant Mountains.
Wake up! The painter inside of you is alive not dead!
Keep drawing and draw whenever you can!
Pamuk, Orhan. Memories of Distant Mountains: Illustrated Notebooks, 2009-2022. United States, Knopf Canada, 2024. pg 16
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Once in a while I feel like leaving a drawing unfinished. So that years later it can show me or someone else how I came to draw these pictures in the first place. And also because I’ve suddenly noticed the drawing below looks pretty enough in its unfinished form.
As read from Memories of Distant Mountains – Illustrated Notebooks, 2009-2022
Beautiful book.
No regrets, no remorse, no re-anything, for buying this one. Every page an invitation to keep drawing.
Pamuk, Orhan. Memories of Distant Mountains: Illustrated Notebooks, 2009-2022. United States, Knopf Canada, 2024.
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One learns by thinking about writing, and by talking about writing — but primarily through writing.
Mary OliverIt’s in the doing, where the learning happens.
Oliver, Mary. A Poetry Handbook. Taiwan, Harcourt Brace & Company, 1994. pp17
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What if across your lifetime, you could only choose one book to read?
You can only read so many books in a lifetime. I mean, part of me thinks we’d be better off picking one book and never reading another book, and just getting through that one book very well.
The Cultural Tutor. 48:46Which book would you choose?
For readers, it would be challenging to only read one. Dipping in and out of books is proven method for determining what to read. But the idea of rereading for a deeper understanding is invaluable.
See philosopher/entrepreneur Johnathan Bi‘s careful reading approach:
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Every. Word. Matters.
Sami theorizes that Anderson’s fine grained visual style came out of his writing, which is similarly exact. There’s not much room for verbal improvisation in a Wes Anderson picture because the dialogue is written to mirror, complicate, or intensify Anderson’s filmmaking choices. Every ellipsis, comma, colon, semicolon, exclamation point, parenthetical, and period in a line of dialogue complements the camera movements, lighting, visual effects, sound effects, and music. It’s all of a piece. Filmmaking is screenwriting, screenwriting is filmmaking. All is text. The discrete shots are phrases, sentences, or paragraphs within the larger manuscript of the film. Words matter. Punctuation matters. Sentence length matters. The longer more elaborate camera moves in a Wes Anderson picture could be compared to a monologue in the theater, or a run-on sentence in an essay or novel that keeps going and going till it finally stops.
Scripts can be dismissed in terms of how a movie looks visually. We typically think storyboards and dailies communicate the visual direction the filmmaker desires.
But as Sanjay Sami theorizes, the preciseness of Anderson’s scripts, e.g. word choice, punctuation, the location of a colon or exclamation point, all contribute to the look.
Screenwriting is filmmaking. Akira Kurosawa agrees:
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Warning. Not for the faint of heart.
The simple fact is that there is no job or career in which keeping track of your learning isn’t useful.
Ted GioiaWe tend to think of note taking as short hand, or jotting down quick partial sentences. Lamp post notes that will shine a glimmer on a distant a idea when we revisit them. (If we revisit them).
Some examples of lamp post notes are:
Cornell notes.
Bullet journaling.
But Gioia’s note taking method advocates for writing notes in complete sentences and connecting paragraphs. A more demanding, but more rewarding form of note-taking.
Read the entire piece here.
The greatest reward from reading is in the ways it improves and broadens you the reader.
Ted GioiaGioia, Ted. How I Take Notes. https://www.honest-broker.com/p/how-i-take-notes, August 7, 2023
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I’ve been waiting months for this podcast episode. Tyler Cowen and Lydia Davis did not let me down.
For a writer of her stature, Lydia openly admits she finds very long books hard to approach:
COWEN: Do you think the late Thomas Pynchon became unreadable, that somehow it was just a pile of complexity and it lost all relation to the reader? Or are those, in fact, masterworks that we’re just not up to appreciating?
DAVIS: Since I hesitated to even open the books, I can’t answer you, because I do find — not all long books — but very long, very fat books a little hard to approach, and some of them, I try over and over. If I sense that it’s really a load of verbiage, I really don’t. I fault myself for not having the patience to get through at least one, say, late Pynchon, but I haven’t.
Don’t despair! Lydia Davis also struggled to read Ulysses. It took two cracks and a move to Ireland for her to finish:
I had a problem a long time ago trying to read Ulysses by Joyce, and started it twice, and finally read it when I lived in Ireland, which made it much easier because I had his context. That too — I suppose because it had different chapters, each of which approached the ongoing story in a very different way — I found that possible too.
I’m believing more and more, that what great books do, what the internet at it’s brightest light does, is make introductions.
Today’s introduction? The Catalan writer Josep Pla:
There’s a book by a Catalan writer called Josep Pla that’s called The Gray Notebook. That’s very fat, but I keep going back to it and delighting in it, but I’m not reading it all at once. I’m going back to it and just sort of nibbling away at it. It was an amazing project. He took an early, very brief diary of his when he was 21, I think, and it only covered a year and a half. He kept going back to it rather than publishing it. He kept going back to it and expanding it with more memories and more material, and I love that idea. Maybe that’s why I can read it.
Lydia admits the Harry Potter series didn’t captivate her. She preferred the writing in Philip Pullman’s The Dark Materials trilogy. But she understands, Harry Potter’s greatest value is hooking kids on reading:
COWEN: How would you articulate why you don’t like the Harry Potter novels?
DAVIS: That’s fairly easy, although I should have a page in front of me. It’s always better if you have the page, and you can say, “Look at this sentence, look at that sentence.” At a certain point, my son was reading Harry Potter as kids do and did. I think he was probably 11 or 10 or 11, 12, 9 — I don’t know. Also, the Philip Pullman trilogy, whose name I always forget. I thought it would be a lot of fun to read the Harry Potter books because I knew a lot of grownups were reading them and enjoying them. I thought, “This is great. There are a lot of them.”
But when I tried to read them, I didn’t like the style of writing, and I didn’t like the characters, and I didn’t like anything about them. Whereas, I opened the first Philip Pullman book and read the first page and said, “This is wonderful. The writing here is wonderful.” I really think there’s an ocean of difference. I wouldn’t put down the Harry Potter books because, as we know, they got a lot of kids reading and being enraptured with books. I think that matters more than anything, really — getting kids hooked on reading.
Brilliant and insightful. Do give it a listen or read the transcript in full here.
Pair with Henry Oliver’s Lydia Davis twitter thread.
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The entire conversation will expand your mind, but I wanted to capture Adam’s suggestions for being a productive writer:
COWEN: You’ve written an enormous amount. Just this last week you had a major piece come out in the Guardian, one in London Review of Books. Your books are very long. What is your most unusual writing habit?
TOOZE: I’m not sure it’s unusual, but I think it’s the writing habit that many people have who do write a lot. I write every day, basically. I haven’t always found writing easy at all. I’ve been to a lot of therapy of various types to stabilize myself emotionally and psychologically. I still do. It’s very important for me in handling the stresses that arise in writing.
And one of the things I realized in the course of that is that, actually, rather than thinking it was something terrifying that I had to steel myself to do, the best way to think about it was as something I do every day, so it’s like exercise. If I have the chance, I like to exercise. It’s a puzzling activity. I just treat it almost as a game, rearranging the words, trying to fix things.
I’ll say to all of my grad students, you can do that for 10 minutes every single day, regardless of what else is going on in your life. You can always find that 10-minute slot. So that is the thing that I make sure I do. And that means even big projects slowly move along because then, when you get the big slice of time, the three or four hours at the weekend or something, it’s actually top of stack. You know where to go because you’ve been puzzling away at it and chewing on it every day, even if it’s only for 10 minutes.
COWEN: I give the exact same answer, by the way.
Not ground breaking advice by any means. But it applies well, specifically to editing.
10 minutes of edits a day and eventually you’ll have a finished piece.
Also, Adam’s suggestion for the best way to travel through Germany:
I would say travel. Get on the train. Unless you’re a car nut, and you want to experience the freedom of driving a Porsche at 200 miles an hour, which you can do if you do it at 2:00 am. The roads are clean enough, and they’re smooth enough.
But other than that, ride the train. Sit in an ICE going at, absolutely no kidding, 200 miles an hour, powered by solar power, and watch your coffee not even vibrate. It’s absolutely stunning. They have to put speedometers into the trains to make people aware of how fast they’re going.
Enjoyable. Watch in its entirety here:
Floodlights and Goalposts 