Winston Churchill Praises the Virtue of “Brevity” in Memos to His Staff: Concise Writing Leads to Clearer Thinking

George Orwell and Win­ston Churchill didn’t agree on much. For exam­ple, while Orwell wrote with deep sym­pa­thy about coal min­ers in The Road to Wigan Pier, Churchill, as home sec­re­tary, bru­tal­ly crushed a miner’s strike in Wales. Orwell’s ear­ly years as “an appa­ratchik in the last days of the empire… left him with a hatred of author­i­ty and impe­ri­al­ism,” writes Richard Eil­ers. Churchill was a com­mit­ted impe­ri­al­ist all his life, instru­men­tal in pro­long­ing a famine in British India that killed “at least three mil­lion peo­ple.”

Impor­tant­ly for history’s sake, they agreed on the need to con­front, rather than appease, the Nazis, against both the British left and right of the 1930s. “At a time not unlike today,” says jour­nal­ist Tom Ricks, “when peo­ple were won­der­ing whether democ­ra­cy was sus­tain­able, when a lot of peo­ple thought you need­ed author­i­tar­i­an rule, either from the right or the left, Orwell and Churchill, from their very dif­fer­ent per­spec­tives, come togeth­er on a key point. We don’t have to have author­i­tar­i­an gov­ern­ment.”

Maybe some­what less important—but stren­u­ous­ly agreed upon nonethe­less by these two figures—was the need for clear, con­cise prose that avoids obfus­ca­tion. In Pol­i­tics and the Eng­lish Lan­guage—an essay rou­tine­ly taught in col­lege com­po­si­tion classes—Orwell describes polit­i­cal­ly mis­lead­ing writ­ing as over­stuffed with “pre­ten­tious dic­tion” and “mean­ing­less words.” These are, he writes, signs of a “deca­dent… civ­i­liza­tion.” Churchill has had at least as much influ­ence as Orwell on a cer­tain kind of polit­i­cal writ­ing, though not the kind most of us read often.

In 1940, Churchill issued a memo to his staff titled “Brevi­ty.” He did not express con­cerns about creep­ing fas­cism in bureau­crat­ic com­mu­niques, but decried the prob­lem of wast­ed time, “while ener­gy has to be spent in look­ing for the essen­tial points.” He ends up, how­ev­er, say­ing some of the same things as Orwell, in few­er words.

I ask my col­leagues and their staffs to see to it that their Reports are short­er.

  1. The aim should be Reports which set out the main points in a series of short, crisp para­graphs.
  2. If a Report relies on detailed analy­sis of some com­pli­cat­ed fac­tors, or on sta­tis­tics, these should be set out in an Appen­dix.
  3. Often the occa­sion is best met by sub­mit­ting not a full-dress Report, but an Aide-mem­oire con­sist­ing of head­ings only, which can be expand­ed oral­ly if need­ed.
  4. Let us have an end of such phras­es as these: “It is also of impor­tance to bear in mind the fol­low­ing con­sid­er­a­tions…,” or “Con­sid­er­a­tion should be giv­en to the pos­si­bil­i­ty of car­ry­ing into effect….” Most of these wool­ly phras­es are mere padding, which can be left out alto­geth­er, or replaced by a sin­gle word. Let us not shrink from using the short expres­sive phrase, even if it is con­ver­sa­tion­al.

Reports drawn up on the lines I pro­pose may at first seem rough as com­pared with the flat sur­face of offi­cialese jar­gon. But the sav­ing in time will be great, while the dis­ci­pline of set­ting out the real points con­cise­ly will prove an aid to clear­er think­ing.

The mes­sage “cas­cad­ed through the civ­il ser­vice,” writes Lau­ra Cowdry at the UK Nation­al Archives. A 1940 arti­cle in the Times picked up the sto­ry. But the prob­lem per­sist­ed, as it does today and maybe will till the end of time (or until machines start to do all our writ­ing for us). Frus­trat­ed, Churchill issued anoth­er admo­ni­tion, short­er even than the first, in 1951.

Offi­cial papers are too long and too dif­fuse. In 1940 I called for brevi­ty. Evi­dent­ly I must do so again. I ask my col­leagues to read what I wrote then… and to make my wish­es known to their staffs.

These mem­os, Cowdry notes, “may shed some light onto gov­ern­ment com­mu­ni­ca­tions work of the past,” and on the Churchillian style that may have tak­en hold for decades in gov­ern­ment doc­u­ments, as well as—of course—far beyond them. His emphat­ic state­ments also artic­u­late “key ele­ments of good com­mu­ni­ca­tion that would res­onate with the think­ing of any mod­ern com­mu­ni­ca­tor,” whether Orwell, Kurt Von­negut, or Cor­mac McCarthy, who has become a sought-after sci­en­tif­ic edi­tor for his strict min­i­mal­ism.

Churchill did not seem over­ly con­cerned with wordi­ness as a polit­i­cal prob­lem. Orwell did not approach the prob­lem philo­soph­i­cal­ly. That task fell to the Log­i­cal Pos­i­tivists of the ear­ly 20th cen­tu­ry. In his attempt to explain the wordi­ness of both under­grad­u­ates and world-renowned thinkers, “neo-Pos­i­tivist” philoso­pher David Stove goes so far as to ascribe over­writ­ing to “defects of char­ac­ter… such things as an inabil­i­ty to shut up; deter­mi­na­tion to be thought deep; hunger for pow­er; fear, espe­cial­ly the fear of an indif­fer­ent uni­verse….”

Some­thing to con­sid­er, maybe, when you’re look­ing at your next draft email, Face­book com­ment, or Slack mes­sage, and won­der­ing whether it actu­al­ly needs to be an essay….

via Bob Rae

Relat­ed Com­ment:

George Orwell’s Six Rules for Writ­ing Clear and Tight Prose

Nov­el­ist Cor­mac McCarthy Gives Writ­ing Advice to Sci­en­tists … and Any­one Who Wants to Write Clear, Com­pelling Prose

Kurt Von­negut Explains “How to Write With Style”

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Roald Dahl Gives a Tour of the Small Backyard Hut Where He Wrote All of His Beloved Children’s Books

Char­lie and the Choco­late Fac­to­ryThe BFGThe Witch­esMatil­da: Roald Dahl wrote these and all his oth­er beloved chil­dren’s books in a hut. Just fif­teen feet long and ten feet wide, it served him for 35 years as an office in which no meet­ings were held and no calls tak­en. For four hours a day, bro­ken into two-hour morn­ing and after­noon ses­sions, it was just Dahl in there — Dahl and his paper, his pen­cils, his sharp­en­er, his cof­fee, his cig­a­rettes, his increas­ing­ly eccen­tric col­lec­tion of arti­facts from his own life, and here and there the occa­sion­al spi­der web and goat drop­ping. It was all part of an effort, explains Dahl’s biog­ra­ph­er Jere­my Tre­glown, “not only to recre­ate his own ear­ly child­hood but to improve on it.”

“As a boy in the 1920s,” Tre­glown writes, “Roald used to hide up in a tree in order to write his diary.” But the hut, con­struct­ed right behind his Buck­ing­hamshire home, “was a more sub­stan­tial place to work, where he could com­mem­o­rate, and fan­ta­size about, his past.”

On his side were items like “his father’s sil­ver and tor­toise­shell paper knife,” a “tablet frag­ment with a cuneiform inscrip­tion found in Baby­lon” — a sou­venir from his time in the King’s African Rifles — and, “saved from oper­a­tions,” pieces of his own femur and spine. In his hut, Dahl wrote “sur­round­ed by these fetish­es, snug­ly wrapped in a sleep­ing bag, sit­ting in an old arm­chair, his feet on a trunk which was filled with blocks and tied to a leg of the chair, to pre­vent it from slip­ping.”

“I could­n’t pos­si­bly work in the house, espe­cial­ly when there used to be a lot of chil­dren around,” says Dahl in the 1982 clip at the top of the post as he approach­es his hut. “Even when there aren’t chil­dren, there are vac­u­um clean­ers and peo­ple bustling about.” He then goes in to demon­strate his writ­ing rou­tine, which involves the pour­ing of cof­fee, sharp­en­ing of pre­cise­ly six pen­cils “to a fierce point” (a step that had its own pro­cras­ti­na­tion val­ue), the brush­ing away of the pre­vi­ous day’s eras­er dust (onto the floor, where it has remained ever since), and the sit­u­a­tion with the arm­chair and sleep­ing bag. “Final­ly you get set­tled, you get into a sort of nest, you get real­ly com­fort­able,” Dahl says. “And then you’re away.”

The footage also includes views of Dahl’s much more tra­di­tion­al­ly well-appoint­ed main house, includ­ing its bil­liards table around which he and his local friends would gath­er for a twice-week­ly ses­sion. The game had its influ­ence on Dahl’s writ­ing life, and indeed his writ­ing hut. Among his “snook­er pals” was builder Wal­ly Saun­ders, whom Dahl hired to put it up in the first place (and whose for­mi­da­ble stature and ear size would, near­ly thir­ty lat­er, inspire the title char­ac­ter of The BFG). As he explains on the British Chil­dren’s pro­gram Going Live, he even cov­ered his hand­made wood­en writ­ing sur­faces, which he placed across the arm­rests of his chair, with green baize, a mate­r­i­al he found easy on the eyes.

When Dahl died in 1990, his writ­ing hut went untouched for two decades. But even­tu­al­ly, as explained in this ITV News clip, the sim­ple build­ing could­n’t with­stand fur­ther expo­sure to the ele­ments. So began the project to move the inte­ri­or of the hut, eras­er dust and all, to the Roald Dahl Muse­um and Sto­ry Cen­tre in Buck­ing­hamshire. Luck­i­ly for Wes Ander­son, this hap­pened after he came to Dahl’s home to seek per­mis­sion to adapt The Fan­tas­tic Mr. Fox from the writer’s wid­ow Felic­i­ty. So com­pelling did she find Ander­son­’s vision that she even allowed him into the “hal­lowed writ­ing hut,” the ide­al space in which to com­mune with Dahl’s spir­it. The hut may now no longer be whole, but that same spir­it con­tin­ues to course through the imag­i­na­tions of gen­er­a­tion after gen­er­a­tion of young read­ers.

Relat­ed Con­tent:

Read a Nev­er Pub­lished, “Sub­ver­sive” Chap­ter from Roald Dahl’s Char­lie and the Choco­late Fac­to­ry

When Roald Dahl Host­ed His Own Creepy TV Show Way Out, a Com­pan­ion to Rod Serling’s Twi­light Zone (1961)

The Recipes of Icon­ic Authors: Jane Austen, Sylvia Plath, Roald Dahl, the Mar­quis de Sade & More

Roald Dahl, Who Lost His Daugh­ter to Measles, Writes a Heart­break­ing Let­ter about Vac­ci­na­tions: “It Is Almost a Crime to Allow Your Child to Go Unim­mu­nised”

The Dai­ly Habits of Famous Writ­ers: Franz Kaf­ka, Haru­ki Muraka­mi, Stephen King & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Behold Octavia Butler’s Motivational Notes to Self

Hand­writ­ten notes on the inside cov­er of one of Octavia E. Butler’s com­mon­place books, 1988

I was attract­ed to sci­ence fic­tion because it was so wide open. I was able to do any­thing and there were no walls to hem you in and there was no human con­di­tion that you were stopped from exam­in­ing. —Octavia E. But­ler

Like many authors, the late Octavia E. But­ler took up writ­ing at a young age.

At 11, she was churn­ing out tales about hors­es and romance.

At 12, she saw Dev­il Girl from Mars, and fig­ured (cor­rect­ly) she could tell a bet­ter sto­ry than that, using 2 fin­gers to peck out sto­ries on the Rem­ing­ton type­writer her moth­er bought at her request.

At 13, she found a copy of The Writer mag­a­zine aban­doned on a bus seat, and learned that it was pos­si­ble to sub­mit her work for pub­li­ca­tion.

After a decade’s worth of rejec­tion slips, she sold her first two sto­ries, thanks in part to her asso­ci­a­tion with the Clar­i­on Sci­ence Fic­tion Writ­ing Work­shop, which she became involved with on the rec­om­men­da­tion of her men­tor, sci­ence fic­tion writer Har­lan Elli­son.

She went on to become the first sci­ence fic­tion writer to receive a pres­ti­gious MacArthur “genius” award, gar­ner­ing mul­ti­ple Hugo and Neb­u­la awards for her work.

An aster­oid is named after her, as is a moun­tain on Pluto’s moon.

Hailed as the Moth­er of Afro Futur­ism, she won the PEN Amer­i­can Cen­ter life­time achieve­ment award in writ­ing.

But pro­fes­sion­al suc­cess nev­er cloud­ed her view of her­self as the 10-year-old writer who was unsure if library-lov­ing black kids like her would be allowed inside a book­store.

Iden­ti­fy­ing as a writer helped her move beyond her crip­pling shy­ness and dyslex­ia. As she wrote in an auto­bi­o­graph­i­cal essay, “Pos­i­tive Obses­sion”:

I believed I was ugly and stu­pid, clum­sy, and social­ly hope­less. I also thought that every­one would notice these faults if I drew atten­tion to myself. I want­ed to dis­ap­pear. Instead, I grew to be six feet tall. Boys in par­tic­u­lar seemed to assume that I had done this grow­ing delib­er­ate­ly and that I should be ridiculed for it as often as pos­si­ble.

I hid out in a big pink notebook—one that would hold a whole ream of paper. I made myself a uni­verse in it. There I could be a mag­ic horse, a Mar­t­ian, a telepath….There I could be any­where but here, any time but now, with any peo­ple but these.

She devel­oped a life­long habit of cheer­ing her­self on with moti­va­tion­al notes, writ­ing them in her jour­nals, on lined note­book paper, in day plan­ners and on repur­posed pages of an old wall cal­en­dar.

She held her­self account­able by writ­ing out demand­ing sched­ules to accom­pa­ny her lofty, doc­u­ment­ed goals.

And though she wea­ried of the con­stant invi­ta­tions to serve on lit­er­ary pan­els devot­ed to sci­ence fic­tion writ­ers of col­or, at which she’d be asked the same ques­tions she’d answered dozens of times before, she was res­olute about pro­vid­ing oppor­tu­ni­ties for young black writ­ers … and read­ers, who found reflec­tions of them­selves in her char­ac­ters. As she remarked in an inter­view with The New York Times

When I began writ­ing sci­ence fic­tion, when I began read­ing, heck, I wasn’t in any of this stuff I read. The only black peo­ple you found were occa­sion­al char­ac­ters or char­ac­ters who were so fee­ble-wit­ted that they couldn’t man­age any­thing, any­way. I wrote myself in, since I’m me and I’m here and I’m writ­ing.

Her brand of sci­ence fic­tiona label she often tried to duck, iden­ti­fy­ing her­self on her busi­ness card sim­ply as “writer”serves as a lens for con­sid­er­ing con­tem­po­rary issues: sex­u­al vio­lence, gun vio­lence, cli­mate change, gen­der stereo­types, the prob­lems of late-stage cap­i­tal­ism, the plight of undoc­u­ment­ed immi­grants, and, not least, racism.

She side­stepped utopi­an sci­ence fic­tion, believ­ing that imper­fect humans are inca­pable of  form­ing a per­fect soci­ety. “Nobody is per­fect,” she told Vibe:

One of the things I’ve dis­cov­ered even with teach­ers using my books is that peo­ple tend to look for ‘good guys’ and ‘bad guys,’ which always annoys the hell out of me. I’d be bored to death writ­ing that way. But because that’s the only pat­tern they have, they try to fit my work into it.

Learn more about the life and work of Octavia E. But­ler (1947–2006) here.

I shall be a best­selling writer. After Ima­go, each of my books will be on the best­seller lists of LAT, NYT, PW, WP, etc. My nov­els will go onto the above lists whether pub­lish­ers push them hard or not, whether I’m paid a high advance or not, whether I ever win anoth­er award or not.

This is my life. I write best­selling nov­els. My nov­els go onto the best­seller lists on or short­ly after pub­li­ca­tion. My nov­els each trav­el up to the top of the best­seller lists and they reach the top and they stay on top for months . Each of my nov­els does this.

So be it! I will find the way to do this. See to it! So be it! See to it!

My books will be read by mil­lions of peo­ple!

I will buy a beau­ti­ful home in an excel­lent neigh­bor­hood

I will send poor black young­sters to Clar­i­on or oth­er writer’s work­shops

I will help poor black young­sters broad­en their hori­zons

I will help poor black young­sters go to col­lege

I will get the best of health care for my moth­er and myself

I will hire a car when­ev­er I want or need to.

I will trav­el when­ev­er and wher­ev­er in the world that I choose

My books will be read by mil­lions of peo­ple!

So be it! See to it!

via Austin Kleon

Relat­ed Con­tent: 

Why Should We Read Pio­neer­ing Sci-Fi Writer Octavia But­ler? An Ani­mat­ed Video Makes the Case

Octavia Butler’s 1998 Dystopi­an Nov­el Fea­tures a Fascis­tic Pres­i­den­tial Can­di­date Who Promis­es to “Make Amer­i­ca Great Again”

Watch a 5‑Part Ani­mat­ed Primer on Afro­fu­tur­ism, the Black Sci-Fi Phe­nom­e­non Inspired by Sun Ra

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

 

Martin Amis Explains His Method for Writing Great Sentences

Why does Mar­tin Amis writes sen­tences well? As a nov­el­ist, he nat­u­ral­ly has a high degree of pro­fes­sion­al inter­est in the mat­ter. But why does he write sen­tences so well? One might put forth the influ­ence of his father Kings­ley Amis, author of Lucky Jim, an endur­ing con­tender for the title of the fun­ni­est nov­el in the Eng­lish lan­guage. But giv­en how sel­dom one acclaimed nov­el­ist sires anoth­er — an event, in fact, near­ly unheard of — the her­i­tabil­i­ty of lit­er­ary tal­ent remains unknow­able. As for the direct influ­ence of Amis père on Amis fils, we can almost entire­ly rule it out: not only did Kings­ley nev­er encour­age Mar­tin to fol­low in his foot­steps, only once did he offer any kind of writer­ly advice.

“We sat in high-bour­geois splen­dor, my father and I,” writes the younger Amis in his mem­oir Expe­ri­ence, “hav­ing a pre-lunch drink and talk­ing about his first pub­lished sto­ry, ‘The Sacred Rhi­no of Ugan­da’ (1932: he was ten).” The father-son dia­logue runs as fol­lows:

— It was awful in all the usu­al ways. And full of false quan­ti­ties. Things like: ‘Rag­ing and curs­ing in the blaz­ing heat …’

— What’s wrong with that? I mean I can see it’s old fash­ioned …

— You can’t have three ings like that.

— Can’t you?

— No. It would have to be: ‘Rag­ing and curs­ing in the … intol­er­a­ble heat.’

You couldn’t have three ings like that. And some­times you couldn’t even have two. The same went for -ics, -ives, -lys and -tions. And the same went for all pre­fix­es too.

43 years lat­er, Mar­tin Amis would find him­self in the role of lit­er­ary advice-giv­er, deliv­er­ing his father’s prin­ci­ple of writ­ing onstage at the Chica­go Human­i­ties Fes­ti­val. The process of imbu­ing every sen­tence with “min­i­mum ele­gance and eupho­ny,” he says in the clip above (drawn from a longer inter­view view­able here) involves “say­ing the sen­tence, sub­vo­cal­iz­ing it in your head until there’s noth­ing wrong with it. This means not repeat­ing in the same sen­tence suf­fix­es and pre­fix. If you’ve got a con­found, you can’t have a con­form. If you’ve got invi­ta­tion, you can’t have exe­cu­tion. You can’t repeat those, or an -ing, or a -ness: all that has to be one per sen­tence. I think the prose will give a sort of plea­sure with­out you being able to tell why.”

Clear­ly writ­ing a sen­tence that has “noth­ing wrong with it” goes well beyond adher­ing to the rules of spelling and gram­mar. And even after you’ve elim­i­nat­ed all ungain­ly rep­e­ti­tion, you may still have con­sid­er­able work to do before the sen­tence ris­es to a stan­dard worth uphold­ing. There are oth­er ques­tions to ask: do you, for exam­ple, tru­ly pos­sess each and every one of the words you’ve used, not just in mean­ing but sound and rhythm? In order to do so, Amis rec­om­mends acquaint­ing your­self more inti­mate­ly with the dic­tio­nary and the­saurus. If all this makes the task of the aspir­ing writer sound need­less­ly daunt­ing, fol­low instead the much sim­pler advice Amis pro­vides in the clip just above: “Get to the end of the nov­el, then wor­ry, because you’ve got some­thing in front of you that you can work on. Save the anx­i­ety for the end.”

Relat­ed Con­tent:

Mar­tin Amis Explains How to Use a The­saurus to Actu­al­ly Improve Your Writ­ing

Nor­man Mail­er & Mar­tin Amis, No Strangers to Con­tro­ver­sy, Talk in 1991

Writ­ing Tips by Hen­ry Miller, Elmore Leonard, Mar­garet Atwood, Neil Gaiman & George Orwell

V.S. Naipaul Cre­ates a List of 7 Rules for Begin­ning Writ­ers

Nietzsche’s 10 Rules for Writ­ing with Style (1882)

5 Won­der­ful­ly Long Lit­er­ary Sen­tences by Samuel Beck­ett, Vir­ginia Woolf, F. Scott Fitzger­ald & Oth­er Mas­ters of the Run-On

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Write Only 500 Words Per Day and Publish 50+ Books: Graham Greene’s Writing Method

Image via Wiki­me­dia Com­mons

Nobody can write a book. That is, nobody can write a book at a stroke — unless aid­ed by aggres­sive­ly mind-invig­o­rat­ing sub­stances, and even then they sel­dom pull it off. As pro­fes­sion­al writ­ers know all too well, com­pos­ing just one pass­able chap­ter at a sit­ting demands a Stakhanovite for­ti­tude (or more com­mon­ly, a threat­en­ing­ly close dead­line). Books are writ­ten less one chap­ter at a time than one sec­tion at a time, less one sec­tion at a time than one para­graph at a time, less one para­graph at a time than one sen­tence at a time, and less one sen­tence at a time than one word at a time. Gra­ham Greene wrote his for­mi­da­ble body of work, more than 50 books, includ­ing nov­els, poet­ry and short fic­tion col­lec­tions, mem­oirs, and chil­dren’s sto­ries, 500 words at a time.

In one of his most beloved nov­els, 1951’s The End of the Affair, Greene has his writer pro­tag­o­nist Mau­rice Ben­drix describe a work­ing method much like his own:

Over twen­ty years I have prob­a­bly aver­aged five hun­dred words a day for five days a week. I can pro­duce a nov­el in a year, and that allows time for revi­sion and the cor­rec­tion of the type­script. I have always been very method­i­cal, and when my quo­ta of work is done I break off, even in the mid­dle of a scene. Every now and then dur­ing the morning’s work I count what I have done and mark off the hun­dreds on my man­u­script. No print­er need make a care­ful cast-off of my work, for there on the front page is marked the fig­ure — 83,764.

In his youth, Ben­drix notes, “not even a love affair would alter my sched­ule,” nor could one inter­rupt the night­ly phase of his process: “How­ev­er late I might be in get­ting to bed — as long as I slept in my own bed — I would read the morning’s work over and sleep on it.”

Much of a nov­el­ist’s writ­ing, he believes, “takes place in the uncon­scious; in those depths the last word is writ­ten before the first word appears on paper. We remem­ber the details of our sto­ry, we do not invent them.” Greene, too, set enough store by the uncon­scious to keep a dream jour­nal. A few year after The End of the Affair, writesThe New York­er’s Maria Kon­niko­va, “he faced a cre­ative ‘block­age,’ as he called it, that pre­vent­ed him from see­ing the devel­op­ment of a sto­ry or even, at times, its start. The dream jour­nal proved to be his sav­ior.”

All of us who write, what­ev­er we write, can learn from Greene’s meth­ods; Michael Kor­da got to wit­ness them first-hand. In the sum­mer of 1950 he was invit­ed by his uncle, the film pro­duc­er Alexan­der Kor­da, to come along on a French-Riv­iera cruise with a vari­ety of major indus­try fig­ures, Greene includ­ed. By that point Greene had already writ­ten a fair few screen­plays, includ­ing adap­ta­tions of his own nov­els Brighton Rock and The Third Man. But each morn­ing on the yacht he worked on a more per­son­al project, as the six­teen-year-old Kor­da watched:

An ear­ly ris­er, he appeared on deck at first light, found a seat in the shade of an awning, and took from his pock­et a small black leather note­book and a black foun­tain pen, the top of which he unscrewed care­ful­ly. Slow­ly, word by word, with­out cross­ing out any­thing, and in neat, square hand­writ­ing, the let­ters so tiny and cramped that it looked as if he were attempt­ing to write the Lord’s Prayer on the head of a pin, Gra­ham wrote, over the next hour or so, exact­ly five hun­dred words. He count­ed each word accord­ing to some arcane sys­tem of his own, and then screwed the cap back onto his pen, stood up and stretched, and, turn­ing to me, said, “That’s it, then. Shall we have break­fast?” I did not, of course, know that he was com­plet­ing The End of the Affair.

This work­ing rit­u­al, a Kor­da describes it, suits the sen­si­bil­i­ties of the writer, a con­vert to Catholi­cism who dealt with themes of reli­gious prac­tice in his work:

Greene’s self-dis­ci­pline was such that, no mat­ter what, he always stopped at five hun­dred words, even if it left him in the mid­dle of a sen­tence. It was as if he brought to writ­ing the pre­ci­sion of a watch­mak­er, or per­haps it was that in a life full of moral uncer­tain­ties and con­fu­sion he sim­ply need­ed one area in which the rules, even if self-imposed, were absolute. What­ev­er else was going on, his dai­ly writ­ing, like a reli­gious devo­tion, was sacred and com­plete. Once the dai­ly penance of five hun­dred words was achieved, he put the note­book away and did­n’t think about it again until the next morn­ing.

Just as Greene’s adher­ence to Catholi­cism lost some of its rig­or in his lat­er years (he claimed to have been con­vert­ed by argu­ments, then for­got­ten the argu­ments), his dai­ly word count decreased. “In the old days, at the begin­ning of a book, I’d set myself 500 words a day, but now I’d put the mark to about 300 words,” a 66-year-old Greene told the New York Times in 1971. But such are the wages of the nov­el­ist’s art, in which Greene felt a demand to “know — even if I’m not writ­ing it — where my char­ac­ter’s sit­ting, what his move­ments are. It’s this focus­ing, even though it’s not focus­ing on the page, that strains my eyes, as though I were watch­ing some­thing too close.”

Greene was­n’t alone in writ­ing a cer­tain num­ber of words each day. Accord­ing to a post at Word Counter, Ernest Hem­ing­way got start­ed on his own 500 dai­ly words at first light. Ian McE­wan says he aims “for about six hun­dred words a day and hope for at least a thou­sand when I’m on a roll.” For the more pro­lif­ic J.G. Bal­lard, a thou­sand was the min­i­mum, “even if I’ve got a hang­over. You’ve got to dis­ci­pline your­self if you’re pro­fes­sion­al. There’s no oth­er way.” The near-inhu­man­ly pro­lif­ic Stephen King dou­bles that: “I like to get ten pages a day, which amounts to 2,000 words,” he says in his mem­oir On Writ­ing. “On some days those ten pages come eas­i­ly; I’m up and out and doing errands by eleven-thir­ty in the morn­ing, perky as a rat in liv­er­wurst. More fre­quent­ly, as I grow old­er, I find myself eat­ing lunch at my desk and fin­ish­ing the day’s work around one-thir­ty in the after­noon.”

John Updike, no slouch when it came to pro­duc­tiv­i­ty, rec­om­mend­ed writ­ing for a length of time rather than to a num­ber of words. “Even though you have a busy life, try to reserve an hour, say — or more — a day to write,” he says in an inter­view clip pre­vi­ous­ly fea­tured here on Open Cul­ture. “Some very good things have been writ­ten on an hour a day.” At The Guardian, nov­el­ist Neil Grif­fiths dis­cuss­es his apos­ta­sy from the thou­sand-words-a-day method: “I’m writ­ing a nov­el — an artis­tic enter­prise, one hopes — but I was mea­sur­ing my work­ing day by a num­ber.” Switch­ing to the “fin­ish the bit you’re work­ing on” method, he writes, means he does­n’t have “half an eye on what is going to hap­pen in the next bit because with­out it I’ll nev­er make the day’s 1000. My sole con­cern is the words before me, how­ev­er many or few they are, and get­ting them right before mov­ing on.” And so, it seems, those of us try­ing to get our life’s work writ­ten have two options: do what Gra­ham Greene did, or do the oppo­site.

Relat­ed Con­tent:

John Updike’s Advice to Young Writ­ers: ‘Reserve an Hour a Day’

David Sedaris Breaks Down His Writ­ing Process: Keep a Diary, Car­ry a Note­book, Read Out Loud, Aban­don Hope

Ursu­la K. Le Guin’s Dai­ly Rou­tine: The Dis­ci­pline That Fueled Her Imag­i­na­tion

The Dai­ly Rou­tines of Famous Cre­ative Peo­ple, Pre­sent­ed in an Inter­ac­tive Info­graph­ic

Stephen King’s 20 Rules for Writ­ers

The Sev­en Road-Test­ed Habits of Effec­tive Artists

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

The Cork-Lined Bedroom & Writing Room of Marcel Proust, the Original Master of Social Distancing

Many of us now find our­selves stuck at home, doing our part to put a stop to the glob­al coro­n­avirus pan­dem­ic. Some of us are tak­ing the oppor­tu­ni­ty to write the ambi­tious works of lit­er­a­ture we’ve long intend­ed to. Such an effort of cre­ativ­i­ty in con­fine­ment has no more suit­able prece­dent than the life of Mar­cel Proust, who wrote much of his sev­en-vol­ume mas­ter­piece In Search of Lost Time (À la recherche du temps per­du) in bed. The Paris Review’s Sadie Stein quotes Proust’s biog­ra­ph­er Diana Fuss describ­ing him as hav­ing writ­ten “from a semi-recum­bent posi­tion, sus­pend­ed mid­way between the realms of sleep­ing and wak­ing using his knees as a desk.”

He did it in a bed­room lined with cork, an addi­tion meant, Stein writes, “not just to sound­proof but to pre­vent pollen and dust from aggra­vat­ing Proust’s aller­gies and asth­ma.” Though the Span­ish flu did make its way into France dur­ing Proust’s last years, the writer had been wor­ried about his own frail health since his first asth­ma attack at the age of nine.

He got the idea of lin­ing his bed­room with cork from his friend Anna de Noailles, “a princess and socialite, a patron of the arts and a nov­el­ist in her own right,” who also hap­pened to be “plagued with debil­i­tat­ing fears and neu­roses.” You can vis­it faith­ful recon­struc­tions of both of their bed­rooms at Paris Musée Car­navalet, an essen­tial stop on any Proust pil­grim­age. So is the Hôtel Ritz Paris, which main­tains a “Mar­cel Proust suite.”

William Fried­kin — yes, that William Fried­kin — stayed in the Mar­cel Proust suite, “for­mer­ly a pri­vate din­ing room on the hotel’s sec­ond floor, where Proust often host­ed small din­ner par­ties,” on the Proust pil­grim­age he recalls in The New York Times. “I was told by the hotel man­ag­er that the room was reserved for Proust to enter­tain when­ev­er he could ven­ture out from his cork-lined bed­room at 102 Boule­vard Hauss­mann.” No doubt Proust “absorbed inspi­ra­tion from con­ver­sa­tions here, ones that made their way into his writ­ing.” In the last three years of his life, the writ­ing almost entire­ly dis­placed the con­ver­sa­tion: Proust spent almost all his time in his cork-lined bed­room, sleep­ing by day and putting every­thing he had into his work at night. A con­tem­po­rary pho­to­graph of Proust’s cork-lined bed­room appears at the top of the post, as recent­ly includ­ed in a tweet by writer Ted Gioia call­ing Proust the “mas­ter of social dis­tanc­ing.”

Just above, you can watch a talk on the writer’s room and hyper­sen­si­tiv­i­ties (of both the aes­thet­ic and phys­i­cal vari­eties) that put him into it by Proust schol­ar William C. Carter, author of Mar­cel Proust: A Life and Proust in Love. What might Proust’s father, the epi­demi­ol­o­gist Adrien Proust, have thought about a new epi­dem­ic mak­ing the peo­ple of the 21st cen­tu­ry look to his son?  Even if we don’t take him as a mod­el for writ­ing life, this is nev­er­the­less an appro­pri­ate moment to read his work (now avail­able free online at the Inter­net Archive’s Nation­al Emer­gency Library). “What Proust inspires in us is to see and to appre­ci­ate every seem­ing­ly insignif­i­cant place or object or per­son in our lives,” writes Fried­kin, “to real­ize that life itself is a gift and all the peo­ple we’ve come to know have qual­i­ties worth con­sid­er­ing and cel­e­brat­ing — in time.”

via Ted Gioia

Relat­ed Con­tent:

Free eBooks: Read All of Proust’s Remem­brance of Things Past on the Cen­ten­ni­al of Swann’s Way

An Intro­duc­tion to the Lit­er­ary Phi­los­o­phy of Mar­cel Proust, Pre­sent­ed in a Mon­ty Python-Style Ani­ma­tion

When James Joyce & Mar­cel Proust Met in 1922, and Total­ly Bored Each Oth­er

16-Year-Old Mar­cel Proust Tells His Grand­fa­ther About His Mis­guid­ed Adven­tures at the Local Broth­el

The First Known Footage of Mar­cel Proust Dis­cov­ered: Watch It Online

The Nation­al Emer­gency Library Makes 1.5 Mil­lion Books Free to Read Right Now

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Free Online Writing & Journalism Courses

Image by Book Mama, via Flickr Com­mons

See our meta col­lec­tion–1,700 Free Online Cours­es from Top Uni­ver­si­ties–for a com­plete list of online cours­es, cov­er­ing near­ly every sub­ject.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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Why the University of Chicago Rejected Kurt Vonnegut’s Master’s Thesis (and How a Novel Got Him His Degree 27 Years Later)

vonnegut drawing

Image by Daniele Prati, via Flickr Com­mons

Kurt Von­negut has been gone a dozen years now, but in that time his stock in the world of Amer­i­can lit­er­a­ture has only risen. Just a few months ago we fea­tured the new­ly opened Kurt Von­negut Muse­um and Library here on Open Cul­ture, and we’ve also post­ed about every­thing from his writ­ing tips to his let­ters to his draw­ings. And we’ve fea­tured his con­cep­tion of “the shape of all sto­ries” as orig­i­nal­ly laid out in his mas­ter’s the­sis at the Uni­ver­si­ty of Chica­go, where between 1945 and 1947 he per­formed anthro­po­log­i­cal research into the Native Amer­i­can-inspired Ghost Dance reli­gious move­ment of the late 19th cen­tu­ry. “The fun­da­men­tal idea,” wrote Von­negut, “is that sto­ries have shapes which can be drawn on graph paper, and that the shape of a giv­en society’s sto­ries is at least as inter­est­ing as the shape of its pots or spear­heads.”

None of this flew with the anthro­pol­o­gy depart­ment. In an essay in his book Palm Sun­day Von­negut explains the unan­i­mous rejec­tion of his the­sis, “The Fluc­tu­a­tions Between Good and Evil in Sim­ple Tasks,” due to the fact that “it was so sim­ple and looked like too much fun. One must not be too play­ful.” Opt­ing not to have a sec­ond go before the com­mit­tee, the still-young Von­negut — with his har­row­ing expe­ri­ence in the Sec­ond World War only a cou­ple of years behind him — decid­ed to take a job as a pub­li­cist at Gen­er­al Elec­tric instead. In 1950, while still employed at GE, he would first pub­lish a piece of fic­tion: “Report on the Barn­house Effect” in Col­lier’s mag­a­zine. “Years lat­er,” says the Uni­ver­si­ty of Chica­go Chron­i­cle’s obit­u­ary for Von­negut, “the uni­ver­si­ty accept­ed Cat’s Cra­dle as Vonnegut’s the­sis, award­ing him an A.M. in 1971.”

“This was not an hon­orary degree but an earned one,” said Von­negut in a 1973 inter­view, “giv­en on the basis of what the fac­ul­ty com­mit­tee called the anthro­po­log­i­cal val­ue of my nov­els. I snapped it up most cheer­ful­ly and I con­tin­ue to have noth­ing but friend­ly feel­ings for the Uni­ver­si­ty.” Indeed, Von­negut called his time as a Phoenix “the most stim­u­lat­ing years of my life.” Gen­er­a­tions of read­ers have found in Von­negut’s work — not just Cat’s Cra­dle, the one that final­ly got him his aca­d­e­m­ic cre­den­tials, but oth­er nov­els like Moth­er NightBreak­fast of Cham­pi­ons, and of course Slaugh­ter­house-Five as well — some of the most stim­u­lat­ing writ­ing to come out of post­war Amer­i­ca. And yet Von­negut, as he writes in Palm Sun­day, con­tin­ued to regard his first mas­ter’s the­sis as “my pret­ti­est con­tri­bu­tion to my cul­ture.” The more suc­cess­ful the cre­ator, it can often seem, the more dear he holds his fail­ures.

Relat­ed Con­tent:

Kurt Von­negut Dia­grams the Shape of All Sto­ries in a Master’s The­sis Reject­ed by U. Chica­go

Kurt Vonnegut’s Term Paper Assign­ment from the Iowa Writ­ers’ Work­shop Teach­es You to Read Fic­tion Like a Writer

Kurt Von­negut: Where Do I Get My Ideas From? My Dis­gust with Civ­i­liza­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

 

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