On The Evils of Paragraphism

Over the past few years of teaching undergraduates, I noticed a trend. Students were becoming excessively concerned with paragraphs. They would write two-page paragraphs, and refuse to break them up, because “it is all one idea.” Or they come pleading for transitions.  ”How can I possibly connect one paragraph to the next?” seems as dominant a question  as “Can you proofread this?” Their essays are typographically paragraph-based as well. Many are double-spaced AND indented, asserting through spacing that “now I have finished one idea and am moving to another!!!”

Why this paragraphism? Two recent, unrelated developments, I hazard: 1.) Composing on computers. A word processing screen in “normal” view frames writing on the paragraph level. Rather than conceive of one’s writing surface as a page–as when writing longhand on an 8 1/2″x11″ piece of paper, or, when typewriting, peeking behind the carriage return to see how much of a page is left–a monitor focuses our attention on the paragraph. 2.) Standardized testing. The five-paragraph essay is, after-all, named after this odd unit of breaking up thoughts, and high-school teachers and first-year writing instructors needing to prepare students for AP exams, SAT writing tests and exit exams teach to the paragraph.

Why does paragraph ascendency matter? Two reasons: it takes focus away from the sentence, where voice, style and tone are found, and it influences how we think about ideas–in shorter, discrete bursts that often leave too much “space” between each other, thus truncating thoughts. It stymies the development of more complex, sophisticated thoughts.

Notes Towards A Theory of Twitter (Revised)

Introduction:

How does Twitter work as a new literary form? Not as a form of social media, or platform to get famous, or business venture, but as a writing form. Here are my ideas towards a theory of Twitter. I argue it is associative and based upon the sentence. And one other things.

Body

Twitter is an associative writing form, not a narrative one. In Twitter, we are sent somewhere else-via a link-or reminded of something. We are not telling stories. Thus, while the twitter fiction is swell and cute, it usually it misses the generic boat. Twitter promises a new slate for poets. For fiction writers, not so much. (For what I find to be a notable exception, see my piece for Economist.com). Tweets create meaning and aesthetic experiences  by reminding us, not by telling a story.

1.a.) Twitter does not operate on the narrative arc of rising action, suspense, climax, and denouement. There is no arc. Instead, Twitter is horizontal-one thing reminds one of another thing, instead of one thing leading to another thing. This works on the level of interTwittering (i.e.: Read something on the web. Think it would be nice to share. Link to it in Twitter. Go back to what you were doing), and intraTwittering (i.e. Read an interesting tweet. Respond by posting a new tweet. Go back to reading other tweets).

1.b) If there is a perspective induced by Twitter, it is an immanent one-we are all inside-rather than an objective one-here is how I see things. Twitter lacks single-point perspective (or omniscience).

2.) Twitter helps resist the curse of paragraphism.  Word processing programs and online writing have focused our attention on the paragraph. When we wrote on paper, or typed on a typewriter, writing was readily conceptualized  on the level of the page (as in  “phew! I’ve finished one of four pages of my assignment!”). Lately, the paragraph has reigned. As one cannot “see” an entire paper, or, often a whole page, when composing on a computer, writing became more shaped around the element one can easily grasp on a computer monitor-the paragraph. The paragraph is the unit of a written work most equivalent to a computer screen. Paragraph-ism has created firmer divisions between tabs, as paragraphs are conceived more distinctly, and, during the writing process, often worked on and worried before considering the next paragraph. I hazard that we have also become habituated to thinking in paragraphs: we think in topics, with a few supporting ideas. Nothing proves this more than reading 5 paragraph essays by high-schoolers and college first-years.  In the Twitterverse, we think in sentences.

2.a.) A new focus on the sentence is salutary. The paragraph is a fine element upon which to dwell, but it does not foreground word choice, syntax, and punctuation as well as the sentence does. Clarity and concision-two key elements of style-are garnered on the sentence level, and prose ethics and politics are best gleaned on the sentence level, too: the subjects and verbs we choose make a difference, as George Orwell taught us in “Politics and the English Language.” Twitter exposes how often we obscure agency, nominalize and use two words when one would do. The Twitter box, with hard lines all around, makes the space of thought stark.

Twitter may have some odd analogy to a compositor’s stick. Compositors would select type and put letters in their stick, upside down and backwards, before laying them on a galley. The average length of the type in a stick before laying down (or “publishing”) is not too far from 140 characters.

Conclusion:

There is no summing up on twitter. There are many arrows pointing one across (not up or down) to the ideas of others, cross-fertilization, and forced attention to the composition of sentences.

(for a guide on how to tweet, see Why Tweet? And How To Do It)

Infiltrating An All-Male Bibliophile Club

(Rowfant gopher)

Cleveland’s The Rowfant Club started in 1892, when a group of well-to-do Cleveland men — book collectors and aficionados — banded together for “the critical study of books in their various capacities to please the mind of man.” Once private publishers of its own “editions of books, prints, and kindred matter,” the Rowfant Club has supported book talk, book collecting and book arts ever since.It’s hard to find the Rowfant Club and even harder to write about it because the club abhors publicity. Any member who causes the club’s name to appear in print is deemed guilty of “a gross impropriety and an abuse of the privileges of the club.” So we know little about the rich and checkered history of one of America’s two remaining all-male bibliophile clubs. I found it; even paid it a visit. And, because I’m not allowed to be a member, I can tell you about it.

I discovered the Rowfant Club when I was invited to give a lecture at an upcoming monthly meeting. It was an unusual invitation. Women can be invited as guest presenters and may stay for dinner but absolutely cannot become members.  I accepted: it may have been politically incorrect., but I’ve always been a girl who loves old boys’ clubs with their leather chairs, mixed drinks and ashtrays on every table. And old books.At the Rowfant Club, I presented a paper on the publishing history of Theodore Dreiser’s 1900 “Sister Carrie.” I argued that Americans during that moment of industrialization were longing for a pre-industrial past. Not coincidently, the Rowfant Club, the Grolier Club, the Caxton Club and other storied book clubs sprouted up at the same time, in part to support fine-press, non-machine-made books.So, on a typically gray, 40-degree Cleveland evening, I went to the mansion where they meet. The Merwin House is one of Cleveland’s oldest inhabited houses and one of the few remaining legacies of Cleveland’s robber-baron past. Since then, Rowfant’s member rolls have changed little. Members are still upstanding, well-heeled businessmen, stockbrokers, lawyers, doctors, university faculty, librarians and other professionals. Many are book collectors. For these men, preserving tradition has meant braving an increasingly seedy and forbidding neighborhood where members have been solicited by prostitutes and robbed. The strict no-publicity policy has kept the name “Rowfant Club” out of police reports.It’s not as if many would recognize the name anyway. Rowfant was the home of a well-known British book collector, Frederick Locker-Lampson. It was chosen instead of the Gopher Club, suggested to indicate “the eagerness of bookmen to ‘go for’ excellent and rare books.” And though it didn’t stick, the pesky gopher is well grounded in many of the club’s traditions.Since gophers are relatives of groundhogs, the Rowfant Club meets annually on Groundhog Day (Candlemas). The confusion between gophers and groundhogs also gave the club its mascot — and a stained-glass woodchuck in the Rowfant building. Each Rowfant member has his own cast-bronze woodchuck candlestick in homage to the club’s motto (“Light seeking Light doth Light of Light beguile”) that is lit by the president in the annual Candlemas procession.

As they have for more than a century at the weekly Wednesday meetings, each member places his candlestick on the table to reserve a spot for dinner, which is prepared in the club’s kitchen and served by a female staff. A speaker, often a national expert on book collecting, book culture or fine printing, precedes dinner in the lecture hall.

A black-tie dinner kicks off each year. And there’s a Friday lunch group, where members give talks, as well as summer picnics that occasionally include spouses, and an annual book auction, which actually prompted the publicity ban in 1895 after a newspaper article poked fun at it.

Although I would gladly have donned a ball gown and joined them for the black-tie dinner, my dream of being one of the boys was fulfilled the Wednesday night they gathered to hear me speak. Dressed in suits, with impeccable manners to match, they took my coat, offered me a drink and chatted with me before directing me to the lectern at the front of a room filled with sturdy wooden chairs. And about 30, mainly elderly men. It was far more civilized and glamorous than the sterile hotel conference rooms where academics meet to exchange ideas.

After my talk, members returned their candlesticks to the mantel next to their friends’ and those of members long deceased. When a member of the club dies, his candlestick is capped in a “Survivor”-like ceremony and memorialized on the mantel. Each of the nearly 1,000 woodchucks is individually designed and crafted, a source of pride that prompted a 1959 book, “The Rowfant Candlesticks,” on their history and design.

Dinner conversation turned from 20th-century publishing practices to collecting to how Oberlin undergrads respond to Dreiser’s dense, dated novel. And though it never came up in conversation, I discovered the club’s remarkable good humor about its controversial positions — and some other quirky rituals — by reading through dusty Rowfant publications I found in archives around Northeast Ohio.

Although the club’s position has never wavered on women, rumor has it some have tried to infiltrate the club by showing up at the door asking to hear a scheduled lecture (they were politely shooed away) or asking to be proposed for membership.

In a 1983 volume of “Wrongfontia,” containing club parodies and lore, a poem begins by poking fun at the members (“We self-styled Baedekers of books, …/Stuffed shirts led by a stuffed groundhog),” but concludes, “So, if your wives should ever sneer/When they of Rowfant antics hear,/Just turn to them that ‘old deaf ear,’/With, ‘This is as we like it, dear.’ ”

For at least one member, there was good reason for keeping his wife in the dark about club activities. Upon her husband’s death, the wife expressed her gratitude for the club that entertained her husband every Friday night. But her husband never actually came to the club. As a member wrote, “After his death it was difficult to find anyone who knew him well enough to cap his candle. But his widow always had a warm spot in her heart for Rowfant; so, evidently, did someone else.”

Perhaps the club’s darkest time occurred in 1902, when Charles Chestnutt, an African-American author and lawyer, was proposed for membership. The Council of Fellowes voted on Chestnutt’s membership by depositing either a white or black ball into a ballot box. Two black balls denied membership.

When Chestnutt was blackballed, he retaliated by publishing a short story, “Baxter’s Procrustes,” that portrays the Rowfant Club as a group of windbags who prize books as collectible objects but have no interest in literature. In the story, a man named Jones is a member of the Bodleian Club, “composed of gentlemen of culture who are very interested in books and book-collecting.” Jones plays a hoax on the gentlemen by printing a book using the highest-quality materials, including fine paper, binding, print and typesetting. The book is printed in an edition of 50 and sealed with a transparent wrapper, making it so highly prized that buyers are reluctant to unwrap the book to actually read it. This doesn’t stop some members lauding its literary merits, however. One visitor, intrigued, takes off the wrapping to read “Procrustes” and discovers it to be full of blank pages.

Despite Chestnutt’s public parody of it, the Rowfant Club eventually granted him membership in 1910, after which he gave speeches about prominent African Americans at Friday lunches. In 1966, they published editions of Chestnutt’s work, including “Baxter’s Procrustes.”

Indeed, the Rowfant Club remains like “Procrustes.” It’s an exquisitely printed, limited-edition blank book. It’s pretty, nice to have somewhere on the shelf and valuable. But you can’t help thinking that more people should have a chance to appreciate it. And once you open it up, it’s missing something.

As Groucho Marx famously quipped, if they were to have me as a member, I wouldn’t want to belong. The Rowfant Club would become a far less interesting place. They’d lose their tenacious grip on history; their impersonation of a bygone era would ring hollow. I’d have to take them on for being elitist, outmoded and detached from the world today.

I just like the thought that every Wednesday night Cleveland bookmen are trudging across a deserted downtown parking lot, entering well-appointed rooms to talk binding and typesetting and, at dinner, lighting their woodchuck candlesticks, bumping elbows in good sexist cheer.

 

Thoughts About iBook Author From A Textbook Author

I’ve been following the news of Apple’s new iBook Authoring platform with particular interest, as I am currently co-editing a textbook, aimed at first-year composition courses, for Pearson, one of the “big three” education publishers. In fact, we have a deadline today, so I’ve been bouncing back and forth between finishing one chapter for our editors and reading the news from Apple.

Over the course of the day I’ve swung from applauding Apple to becoming quite grouchy at the company. Here are some issues I come back to:

–right and permissions. Many textbooks, including the one I am working on, are anthologies, full of reprints of the work of others. How is Apple handling the question of rights and permissions?

–as I understand it, any book produced and sold with iBook Author could not be sold any other place. So not only would instructors adopting my book be telling students what to buy but also where they must buy it. That makes me uneasy, plus—

–the students would have to own an iPad!

–It seems one could create a textbook and then export it and sell it elsewhere. However, the terms state that “only text can be exported.” Well, that sort of defeats half the purpose of an “image rich environment blah blah,” no?

–The book I’m working on is using the web as a complementary resource, directing students to links and using collaborative tools. Would the textbook sold through Apple have to sacrifice these features?

I’m sure many dogged tech reporters will provide some answers soon. And I hope the work I am doing today does not end up unwittingly contributing to a more closed, proprietary and expensive educational experience for college students down the line.

 

 

Self-Publishing FTW: The Story of “New To Cleveland”

A few weeks ago, I saw a notice about a self-published book called “New To Cleveland: A Guide To (re)Discovering The City.” I didn’t think much of it, because, well, you know: self-published, blah blah. But I clicked on the link. Now this, I thought, is one beautiful website: New To Cleveland.

I bought a copy of the book, but still did not expect too much. I decided to spend $30.00 simply as a gesture of support these folks who had done a yeoman, admirable job of pulling together such a pretty website and writing a book on a good topic. But then I opened it up. The inside of the book was as beautiful as the website. Wonderfully designed and gorgeously illustrated, the text was smart, on point, useful and revelatory. I read it cover to cover the night I bought it. I told all my friends about it. And I sent a note to Karen Long, book editor at Cleveland’s Plain Dealer.  She was similarly impressed, and led her Sunday book page with a review.

Last night, I met with Justin Glanville, the writer of the book. He told me they have almost sold out their print run of 1,000–for a book that has been out for only about 6 weeks, had no publicist or marketer, and cost a hefty-ish $30.00. That, methinks, is a lot of copies. Glanville and his collaborator, Julia Kuo, put up their own money for the printing costs, and they have earned it back and are in the black. Go risk-taking paired with smarts and talent, I say.

What next, though? Glanville and Kuo don’t have many copies left. They are not sure whether they should self-finance another print-run, work with a traditional publisher or put out an e-book. Me, who usually has an opinon on everything, is not sure what the best answer is either, though I do think  part of the book’s value lies in its design and unique beauty as a work of book arts, although it certainly could stand alone as a trove of useful information.

 

 

 

The Future Of Publishing? The Next Big Digital Thing?

The part of my life that I pay the most “continual partial attention”to is the future of publishing. It is there in my twitter feed, random clicks on publishing-related links and amazon (yes, I said it) surfing. Most of the sounds and nouns I half-hear on this part of my brain go something like this: “publishingtwitterbankruptcyselfpublishingebooksblogsinnovationplatform”

Everyone is in a tizzy! But if I tear myself away from distractions and boil it down, it’s pretty simple: the old model is on its last legs, and there are a thousand possible new models out there vying for attention.

The people angling for the next killer app are the back of the house folks: the marketers, “social media gurus” hired by publishers, distributors, sellers, pundits. Lots of people are busy building new things. They are hiring people to tell them what it might be. They are launching new beta platforms. They are flying to conferences to hear “thought leaders”. Boil that down and it goes like this: lots of money is being spent trying to figure out what’s next.

Meanwhile, in their pajamas and at the coffeehouse, while taking a break from their manuscripts, authors and writers like me are logging on to twitter, facebook, blogs and becoming much savvier at how publishing works. It is less of a mystical “and then a man with a pipe picks up the phone” story of how a Scrivener file gets on a display table at Barnes & Noble. Writers–even those outside of New York and MFAland– are talking to readers, fellow writers, sharing war stories, agents, comparing royalty statements (“so that minus sign means it lost money, right?”). They are building communities by starting blogs, tweeting–all those things that are said any serious writer must do to be viable. This means that authors are now more of a community than before, and one not as beholden to location and background as before.

While the publishers are spending money trying to figure out what readers might want, writers are spending time figuring out how publishing works.

So here’s my radical idea: why don’t some of those people spending money on prototypes, consultants and new websites no one ever visits give a small percentage of those dollars directly to authors? Specifically, to those authors who have already sunk costs into understanding the business end of publishing? Those dollars would go much further than that consultant’s fee.

Small seed grants made directly to authors with proven track records and good ideas would garner a far better ROI than hiring another marketing consultant or developing another way for traditional publishers to “reach out” to readers. Got a new idea for how to market or publish books? Hire an author to test it out.

I know, I know, this is naive. Even worse, it is a *rant* based upon naivete. Yuck. I hate coming upon blog posts just like this when I am distracting myself.

Still: it irks me to count in my head, as the twitter stream gurgles by, all the money being poured into antic publishing experiments while authors are finding advances and contracts increasingly hard to come by.

For writers, the calculus is simple: Money=Time. Time=Writing. Writing=Cool New Books.

 

Trench Reading: Soldiers As Early Adopters of New Book Technologies

Did you know that the early adopters of paperbacks, launched by Penguin in the 1930s, were soldiers? They carried Penguins into battle during World War II. The new small and lightweight books could be stored in their uniforms as they fit inside the pocket above the left knee and in gas mask bags. Penguin’s non-fiction and quality literary titles, such Bernard Shaw’s An Intelligent Women’s Guide To Socialism, Capitalism and Sovietism and Ernest Hemingway’s A Farewell To Arms, influenced soldiers’ lives and Britain’s war effort. In 1938, American houses followed Penguin’s lead, and published paperbacks that soldiers also carried. One, who had been shot and was waiting for help in a foxhole, “spent the hours before help came reading Willa Cather’s Death Comes For The Archbishop. He grabbed it the day before under the delusion that it was a murder mystery, but he discovered, to his amazement, that he liked it anyway.”

What are soldiers reading today?  Are our current revolutions in book publishing having an impact in Basra, as it did at Dunkirk?  Yes, it turns out. Operation E-Book
 launched by author and veteran Ed Patterson, sends free e-books to soldiers. They have partnered with Smashwords, and authors volunteer to have their books distributed to soldiers no matter which electronic device they use.  “We are just south of Baghdad and still have 9 long months out here. I love to read on my Kindle, so thanks,” wrote a sergeant in Iraq. Another soldier wrote a blog post with tips for Kindle battery life and wireless access in Iraq (He suggests titles, too, including The Seven Pillars of Wisdom by T. E. Lawrence). Audiobooks are popular, too: over 500 boxes of playaways, self-contained audiobooks, are sent to Iraq and Afghanistan each month, thanks to the Army Library Programs.

 

Telling (And Selling) Cleveland Stories To Others

Two things happened recently to lead me to the below:  1.) I received a CPAC Creative Workforce Fellowship, and want to give back, and 2.) I went to a meeting of the Ohio City Writers in which people debated Cleveland, thumbs up or down and I realized that I had finessed this issue in my own work by writing for national publications, which takes some heat off this local debate. (My pieces have ranged from puff to balanced to negative-ish)

And, so, this:

Pitching Cleveland Stories To National Publications: A Free Workshop.
Tuesday, February 7, 7:00-9:00
Loganberry Books 

Do you want to write for Wired or The Millions or Foreign Policy or any other national publication, online or print, paying or not? Are you aware of things happening in town and want to write about them for non-Clevelanders? Then you might find this workshop worth your time.

For the first hour, I will share with you pitches I wrote for Smithsonian, O, The Oprah Magazine, Gourmet, The American Prospect, The Economist and other publications about Cleveland. I will explain how I came up with the story idea, how I chose who to pitch it to, and how the process went from pitch to acceptance to published piece to payment. I’ll sprinkle in some rejection stories, too.

For the second hour, we will work as a group, brainstorming story ideas and possible markets, and working to come up with new angles or new publications. We’ll also brainstorm ways to find story ideas in town.

I’m offering this for free (though if you decided to go to amazon to buy a copy of my book, who am I to argue?). I’ll take as many as want to attend up to a reasonable seminar-type number.

BUT: this workshop will not teach you the basics of freelancing, so it’s best if you have some experience and knowledge. Maybe I’ll do another workshop on freelancing 101. Watch this space. This will work for writers who have some experience-writing reported articles, personal essays or cultural criticism for edited publications.

Thanks to Harriet Logan, we will be able to meet at Loganberry Books on Larchmere: http://loganberrybooks.com/

Who am I?  I am a tenured professor at Oberlin where I have taught  narrative non-fiction and magazine writing, so that gives you the teaching credentials. I’m on a break from that job now, and am a full-time freelance writer. I have written articles, criticism and personal essays  for many national publications, and some of those pieces were about Cleveland.

update: This workshop is full. If you are interested in attending one I may offer in the future, shoot me an email. 

What I’ve Been Up To Lately

January finds me doing archival research at the Western Reserve Historical Society and other spots for a project I am doing on the history of Cleveland’s garment industry. The findings are fascinating, particularly the numbers of Jews who were living and working in Cleveland before the Civil War (who knew?). This is a great story, never before told all in one.  By mid-century, Cleveland was 2nd to New York in the garment industry, and 7% of its workers were employed by textile companies. For now, though, I’m still in the 19th century, reading about how cold and dark were Cleveland’s streets when Jewish immigrants arrived from Hungary to sell notions.

When it comes to projects completed, I have piece in the January 8 New York Times Sunday Book Review called Why Authors Tweet.

In December, I wrote about divorced women on tv for Slate. 

A piece on Zora Neale Hurston and her hometown, Eatonville, Florida appeared in the November issue of Humanities Magazine.

I published a review of Shalom Auslander’s Hope: A Tragedy for the Cleveland Plain Dealer on Sunday.