writing


Negotiating a world of suppressed information 1

When information on a topic is broadly suppressed, what are we writers supposed to do? There are two easy answers, both error-prone. One is to reject all claims that there’s suppression and call them a “conspiracy theory.” The other is to assume that whatever is being suppressed is true.

Let’s look at the hypothesis that COVID-19 originated in a lab in Wuhan and somehow escaped into the population. I don’t know if that’s true, but the circumstances make it a possibility worth investigating. There have been many attempts to discourage an examination of the question. A Vanity Fair article by Katherine Eban summarizes the battle.
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Writing about music

“Writing about music is like dancing about architecture.” It’s not clear who first said this, but it reflects the difficulty of discussing music in words. It doesn’t mean either one is impossible — I can imagine a good ballet on the creation of a monumental building — but both are challenges.

The problem comes when addressing a general audience. If you’re writing for musicians or music students, there’s a whole technical language for the job. But how do you say meaningful things about a musical piece without talking about voice leading, diminished chords, tonality, and other esoteric concepts?

I like to make music and write about it, though I haven’t often been paid for either. I enjoy good writing about music and have a lot of books on the subject. Based on that, here are some of my thoughts on how to write about it, with examples that I didn’t write.
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The “Pro Act” bill threatens free expression

The more I hear about the “Pro Act” bill (it’s not an act till Biden signs it), especially from its supporters, the more convinced I am that it’s a threat not just to writers’ livelihoods but to free expression.

As I wrote in an earlier post, the bill is a wolf in sheep’s clothing. On the surface, it just grants freelancers a freedom we didn’t have before, the freedom to deal with clients through organizations. This ignores the reality of labor law, which gives unions the power to compel employers by force of law to enter into agreements. Outsiders often have the choice of joining the union, giving the union money without joining, or not working for a unionized employer.
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Sunk costs and opportunity costs for writers

Economics is more personal than most people realize. Every choice about how to allocate your resources is an economic decision, and time is your most basic resource as a writer. You expend time on your work in order to get income. Sometimes you know exactly what you’re going to do today and what you’ll get in return. A lot of the time you face choices. Which of your customers should get your attention first? Should you put them aside for a while and look for new income opportunities? Should you keep working on a time-consuming project or give it up as a lost cause?

Two economic concepts are useful in making these decisions: sunk cost and opportunity cost.
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An assault in Congress on freelance writers

Previously I’d written about California’s AB-5, which put heavy restrictions on the number of articles freelance writers could sell. That was ultimately amended, after some major companies stopped using freelancers.

A bill now in Congress is raising similar concerns. It’s different from AB-5 in important respects but is still disturbing. The “PRO Act” has passed the House of Representatives and gone to the Senate. It would require clients to treat freelance writers as employees, but only in certain respects. To be exempt, writers would have to pass all three requirements of the “ABC test”:
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Enough with the “phobia” epithets

Sometimes, to make a point you just have to lecture. This is one of those times. I don’t think most of my regular readers need the lecture, but you might like to point it out to those who do.

Start of lecture:

Do you know what the word “phobia” means? Merriam-Webster gives a single definition: “an exaggerated usually inexplicable and illogical fear of a particular object, class of objects, or situation.”

The central word is “fear,” which is what “phobia” means in Greek. It’s generally a reaction someone has no immediate control over, though it’s possible to reduce it with long-term measures. Examples are acrophobia (fear of heights), claustrophobia (fear of enclosed places), and agoraphobia (fear of crowds). They don’t normally entail hostility, just a strong desire to avoid whatever it is.
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What does “Trust science” mean for writers?

Writing about science is hard. To start with, it’s complicated. Scientists deal in concepts which most people outside their field don’t understand. Most of us have no more than a vague idea of what a boson is (my spell checker doesn’t even recognize the word) or what the difference is between a brontosaurus and an apatosaurus (they’re the same beast).

An even bigger complication is the way science works. Scientists accumulate information, form hypotheses, and try to find out if their hypotheses explain the data. If they do, hypotheses build up into a theory. The term “theory” doesn’t mean a tentative guess, as it does in ordinary speech; it means a set of ideas which is the best explanation available.
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Links, URLs, and embeds

It surprises me how many writers don’t understand how links work. Here’s a brief guide on some technical (but not too technical) points.

The structure of a URL

Understanding HTML isn’t essential to writing an article. Usually you work in an editor that takes care of those details. But you can’t get around understanding links. A link uses a uniform resource locator or URL. Here’s what it looks like:

https://www.example.com/path/file

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Virtually absurd

When you don’t see people face to face and all your interactions are by phone or over the Internet, life can take on an unreal quality. It feels as if we’re living virtual lives, not real ones. Maybe that’s why writers put the adjective “virtual” on virtually everything. Instead of real learning, we have “virtual learning.” There was talk of the Democratic and Republican presidential candidates having a “virtual debate,” apparently in lieu of actually debating. Yet perversely, people we barely know on Facebook are “friends,” not “virtual friends.”

We need to hang on to the reality of life. The term “virtual” means being not quite something or being simulated. If something is “virtually impossible,” it still has a glimmer of possibility.

Many things are now simulated on the Internet because we can’t do them in real life; there are virtual meetings, virtual classrooms, virtual attendance, etc. That’s legitimate. But the outcomes ought to be real. Virtual classrooms should result in real learning, or what’s the point? Distance doesn’t make things less real. People have debated by correspondence for thousands of years; why does distance suddenly make debates “virtual”?

The word “virtual” is an antonym of “literal.” Maybe the long history of abusing “literal” has made the abuse of its opposite inevitable. If you can say someone “literally exploded” when there was no explosion, then why not say you “virtually learned” when you actually learned?

“Virtual,” like “algorithm,” is a trendy word to stick everywhere because it makes the writer sound computer-smart. But it’s virtual smartness, just the appearance of it. Let’s hold on to what’s real in life and not dismiss everything we do at a distance as “virtual.”