Writing

Philosophy

• don't make a sentence do too much work. If you're reaching for commas to string thoughts together, you probably need to break the sentence down.
• every word should do something meaningful. A paragraph has a single responsibility, like a module in programming. Its responsibility is carried out by the sentences.
• sometimes descriptive words serve a purpose. You have to ask yourself if the words are necessary based on the sentences' purpose. Is it just filler (clutter)? Then cut it out
• never say anything in writing that you wouldn't comfortably say in conversation
• Change your perspective when you are writing. Write for yourself, and don't give a damn about what other people think. Write as if you are thinking.
  • write in the same manner as when you talk to yourself on walks. Think about the purpose of those talks. In essence, it is a dialogue. It is for you. Keep your writing in the same vein.
• when reading any sentence, consider the sentence that came before it.
  • ex. "The tragic hero of the story is Othello. Small and malevolent, Iago feeds his jealous suspicions."
  • there's nothing wrong with the second sentence, but it doesn't follow well from the first.
• allow the reader to think for themselves. Lead them down a trail, but let them take their own steps. Don't annoy them by over-explaining.
  • ex. "The average double play takes 4.3 seconds, so naturally of you see a player getting to first base in under 4.3 seconds, you're interested in them."
    • we don't need to add a sentence explaining how 4.3 seconds is a great time.
  • avoid words like "surprisingly, predictably, of course", which put a value on a fact before a reader even encounters it.

Structure

• The philosophy: think in terms of paragraphs, not sentences.
• The most important sentence in any article is the first one. If it doesn’t induce the reader to proceed to the second sentence, your article is dead. And if the second sentence doesn’t induce him to continue to the third sentence, it’s equally dead.
• Every paragraph should amplify the one that preceded it.

Hook

• Often the hook comes from some odd fact that the author was able to discover, rather than originating from the author's style.
  • ex. - "I spent the afternoon taking notes at the museum, focusing my attention to one piece in particular". The sentence is structured in such a way that it creates intrigue about what insight the author picked up"

Direction

• Make it clear to the reader what they stand to gain from reading this particular piece. Create intrigue where possible by baiting.
  • For this reason, "setting the stage" is generally a bad idea, as it wastes time.
• Now, what do your readers want to know next? Ask yourself that question after every sentence.
• Readers should always feel that you know more about your subject than you’ve put in writing.

Surprise

Grammar

• Use active verbs to invigorate the sentence.
  • eg. "Launch a business", as opposed to "Starting a business"
  • tip: avoid verbs that include an appended preposition.
    • ex. set up, get on

Dead sentence

• a sentence where the reader is unable to visualize anybody performing some activity.

Words not to use

• quite
• rather

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Hedging word - basically any word you use that undermines the desire of the sentence.

• ex. "and yet, on balance, I think it was a success"

Inactive vs active sentences

The problem with these sentences is that they have no people in them and they have no working verbs. All they have is is or isn't, so the reader can visualize anybody performing some activity.

• the common reaction is incredulous laughter

• most people just laugh with disbelief

• bemused cynicism isn't the only response to the old system

• some people respond to the old system by turning cynical, others say...

• the current campus hostility is a symptom of the change

• it's easy to notice the change, you can see how angry all the students are

Having the action done to the subject

He was struck by a thought; He was emboldened to say

• Notice how these sentences have the construction of an object having an action done to it. The action used is also quite active. Struck and emboldened are both lively words

Links (TO journal)

• Curiosity
• persuasion