Andy Le Peau – Page 14 – Andy Unedited

An Editor’s Work

I clearly remember my second day as an editor forty-five years ago.

The first day was mostly orientation. But the second day an author came in to discuss a contracted manuscript with Jim Sire, my boss. I sat in watching and listening as they discussed the editing Jim had done. That morning and afternoon, the two of them sat side by side at a table, flipping through the edited pages one at a time, often reading aloud long passages. Jim would make observations and raise issues about certain passages, about what the author intended and how to resolve various questions. The two would work together to come to an agreement on what do do and move on.

That day provided my whole career with a metaphor for the work of editing. I haven’t always had the privilege of sitting side by side with an author going over a manuscript. But when I have made comments on a manuscript (a manuscript I would originally send to the author my snail mail and later by email) or talked on the phone, I tried to keep the image in mind.

I wanted the author to know I was on his or her side. I’d look for the positive, and cheer great sentences, paragraphs, and sections. I tried to understand what was closest to the author’s heart and goals. Sometimes that meant pointing out where I thought things had gone astray in the manuscript. If I could, I would offer alternatives for how things could be worded or structured or presented.

The editor-author relationship is ideally one of mutual respect and mutual submission. Sometimes the editor accedes to the author’s obvious expertise in subject matter. Sometimes it is the other way around because many editors have not just published six or a dozen books but dozens or hundreds.

A colleague, Jim Hoover, often said, “An editor is the author’s advocate to the reader—and the reader’s advocate to the author.” The job of editors is not to shape manuscripts the way they would write them. Rather when alerting authors to potential problems, editors aim to show authors what questions people might raise the first time they read the text. That is just virtually impossible for authors to do who are overly familiar with what they’ve written. “Isn’t it obvious?” No. Not always.

Editors are on the author’s side, aiming to make what authors have to say as strong as possible–but as strong as possible for the intended audience (which means advocating for readers). Editors and authors need not have an adversarial relationship. Rather they are partners, allies who sit side by side, facing a common challenge.
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Images: James W. Sire (IVP); Twilight (Hypatie, Pixabay)

Two Visions of the Future

Two novels written decades ago have shaped the genre of dystopias–grim tales of the near future. From these have come The Hunger Games, the Divergent series, The Handmaid’s Tale, The Matrix, even Pixar’s WALL-E, and many more. What are the two landmark books?

George Orwell’s 1984 (published in 1949) imagines a future dictatorship in which Big Brother knows everything that everyone does and thinks. Aldous Huxley’s Brave New World (published in 1932) imagines a highly technological society in which humans are genetically bred, indoctrinated, and drugged into passive obedience.

I’ve been rereading Neil Postman’s classic Amusing Ourselves to Death, published in 1985, and was once again struck by his opening comparison of these two. He writes:

Contrary to common belief even among the educated, Huxley and Orwell did not prophesy the same thing. Orwell warns that we will be overcome by an externally imposed oppression. But in Huxley’s vision, no Big Brother is required to deprive people of their autonomy, maturity and history. As he saw it, people will come to love their oppression, to adore the technologies that undo their capacities to think.

What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, or there would be no one who wanted to read one.

Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism.

Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance.

Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy.

As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny “failed to take into account man’s almost infinite appetite for distraction.” In 1984, Huxley added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure.

In short Orwell feared that what we hate will ruin us. Huxley feared that what we love will ruin us.

This book is about the possibility that Huxley, not Orwell, was right.

What do you think? Was Postman right? Is our world closer to Brave New World than to 1984?

The Current Events Entertainment Industry

I stopped reading, watching, and listening to the news twelve years ago. Although I believe in the importance of an educated and informed electorate, the news just made me mad and agitated me. It was simply not good for my soul. In Stop Reading the News, Rolf Dobelli adds a myriad of other compelling reasons in a series of short chapters. Here are a few.

News is irrelevant. Since news operations are out to make money by capturing eyeballs and eardrums, they do not focus on what’s important but on what gets attention. Crashes, explosions, murders, earthquakes, however, matter little to our individual lives or even national life.

News distorts reality. What’s a bigger problem—terrorism or suicide? We are about 800 times more likely to die by our own hand than by terrorism. Yet what do we hear about more? Likewise we hear lots about shark attacks, politicians, banking collapses, the Kardashians. We hear little about nurses, teachers, diplomats, ocean acidification. And which of those two groups is more important?

News encourages terrorism. Before Gutenberg, before mass media, there was no terrorism. There were attacks, sabotage, and murder, but the intent was to inflict strategic damage, not manipulate public opinion.

Dobelli offers more including how it disrupts our peace of mind, leads us to wrong conclusions, and wastes our time when we could be doing something more productive.

Before giving his reasons, he provides practical suggestions for cutting out the news, including a “soft option” and one for going cold turkey. He also deals with objections: How will I find out when something important does happen? Won’t I feel embarrassed when people ask me what I think about a new event? Isn’t being informed important for democracy?

Are there alternatives? Yes, he says. Read long-form journalism and books. If we do we’ll be much better informed citizens. Another constructive suggestion is to start “news lunches”—meeting one to one or in larger groups where one or two people take 15 minutes to focus on one thing they are working on or thinking about. Then discuss.

The news enterprise (shouldn’t we really call it “the current events entertainment industry”?) is broken–exacerbated by social media, fake news, foreign subversion, the politics of outrage, the lost art of compromise, talk radio entertainment, and the loss of the fabric of community locally and nationally. Dobelli’s analysis does not have the depth or insight of Neil Postman’s prophetic book, Amusing Ourselves to Death. But surely he is right when he says, “News is to the mind what sugar is to the body: appetizing, easily digestible and extremely damaging” (p. 16).

It’s time to change our diet.

Upside Down Writing Strategies

One of the best writing strategies is to write a lot of bad stuff. Yes, the more bad stuff we write, the better. If that sounds counterintuitive, it is. Here’s how it works.

One reason Beethoven and Picasso produced so many great works was that they produced a lot of ordinary, unknown works. We might know a couple of Beethoven’s nine symphonies, the last of his five piano concertos, his one violin concerto, maybe his opera Fidelio, and probably “Für Elise.” But in his 45-year career, he wrote at least 722 pieces.

He produced twenty variations for piano, dozens of sonatas for piano, for violin, and for cello, chamber music including sixteen string quartets, and more. Yet only a few are in the standard canon of often-played pieces; only a few are considered masterpieces.

We know Picasso as the twentieth-century artistic genius who created Guernica, the sculpture in Chicago’s Daley Plaza, and stunning abstract portraits. But he produced “more than 1,800 painting, 1,200 sculptures, 2,800 ceramics, 12,000 drawings as well as prints, rugs and tapestries—only a fraction of which ever garnered acclaim.”*

We know creative geniuses for their few great works. What we don’t know is that in general they simply outproduced their peers. Creating so much increased their odds that a few would be landmark creations.

We shouldn’t be afraid to create junk or to write something that’s ordinary. For thirteen years I have been blogging at Andy Unedited. In that time I have produced over six hundred posts. I do my best but most of them are just OK. A few, I think, are very good Yet I wouldn’t have written any good ones if I didn’t have the discipline of trying to produce something every week, including the commonplace ones.

A second upside down writing strategy is to do stuff besides write. Studies have shown that scientists are twelve times more likely to win a Nobel price if they write poetry, plays, novels or other works, than if they don’t. And twenty-two times more likely if they perform as an amateur actor, dancer, or magician.** To be more creative with our writing we should branch out.

If you write mystery novels, experiment with poetry. If history is your field, try literary fiction. Take up a musical instrument, go to museums, do some painting, throw clay pots, immerse yourself in Japanese culture. As I say in chapter 11 of Write Better, when we have a wider range of new experiences and ideas that we are exposed to, the more we will make interesting connections that can inspire our writing.

A third strategy: Don’t start at the beginning. If you are writing a book, don’t start with the first chapter, start with the easiest chapter—the one you’ve thought about a lot already.

If you are writing a chapter or an article, don’t begin with the first paragraph. Start with the easiest thing for you to write, whatever comes to your mind. It doesn’t have to be great or even good. It just has to be there. You can (and should) always revise later.

I emphasize this strategy with writers because it is the one piece of writing advice that I give to myself most often. Every time I sit down to write, I pause. and tell myself, don’t worry about where to start. Just start . . . anywhere, with any related or semi-related idea or story, whether good or bad. Just start.

What writing strategies have you found helpful?

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*Adam Grant, Originals, p. 36.
**Adam Grant, Originals, p. 47.

Credits: Daley Plaza (www.chicago.gov); Guernica (Pixabay, Almudena Sanz Tabernero)

Why Do We Hate Each Other?

Tomorrow, January 20, the United States will inaugurate its 46th president, Joe Biden. Given the contentious political year it has been, I thought it appropriate to repost my blog from February 8, 2019, about an important book by Republican Senator Ben Sasse (Nebraska) regarding the non-political reasons for our divides.

Why are Americans so at odds with each other? Why have so many people entrenched themselves in opposing camps, viciously vilifying each other? What has turned us into a nation of Us vs. Them?

Is cable news responsible? Did the Russians do it? Does it go back to Newt Gingrich or the Robert Bork confirmation?

In his book, Them, Senator Ben Sasse has a very unpolitical answer. It’s because, he says, we are lonely. We have fewer friends. We are more disconnected from our communities. So we grasp for a group to feel part of, to identify with. More and more that manifests itself in our political and social identities.

Since World War II single-person households have tripled to 26 percent. Technology has also pushed us into self-reinforcing corners where we just don’t encounter people as people who might have differing views. Other significant factors are at work as well.

Yes, cable news and radio talk showmen and show women have taken advantage of our situation. And yes, the Russians have fanned the flames too with more than 50,000 Russian-linked Twitter accounts fueling outrage by sending automated messages on both sides of issues. But these only feed on a pre-existing condition.

What’s the cure for our illness? The last half of the book offers several worthwhile remedies, from setting tech limits in our personal lives to building into a neighborhood or community to re-educating ourselves on how democracy works and what it stands for.

Sasse regularly says the book is not political in the sense of party politics or hot-button issues. He is right. The book is social and personal. When he does touch on political examples, he is to be commended for being very evenhanded–criticizing and praising as appropriate both right and left, both politicians and journalists, both Republicans and Democrats. Sasse models how we can treat each other as human beings, as fellow Americans who deserve our listening ear and our respect.

Writer at Work

Robert Caro’s book on Robert Moses and four books on Lyndon Johnson are legendary for their length (a total of almost 5,000 pages) and the length between volumes (about a decade). In Working, a collection of interviews and articles, we learn something of the method in his madness.

His passion is not just to inform readers but to help them see the force of these men and feel their impact. To do so he goes to tremendous, time-consuming lengths to track down and interview incredibly hard to find people and page through tens of thousands of pages of documents.

Caro was, for example, intent on finding out how Johnson’s ambition showed itself even in college. Everyone told him, however, that one key fellow student, Vernon Whiteside, was dead. Then one person said Vernon was alive and planning to live in a mobile home north of Miami in a town with “Beach” in the name. Caro and his wife tracked down every mobile home court in those towns (using phone books!) and finally found him–but didn’t call. He flew there to talk in person.

Multiply that by hundreds and we get some idea of why his books are so long and took so long.

Caro’s other passion is explaining how political power works because it has a tremendous effect on our lives. Robert Moses was determined to reshape New York City with bridges, highways, parks, and other public works. To do so, during his forty years in power, Moses displaced a half million of New York’s fourteen million people—forcing them out of their homes, destroying communities. In a democracy, Caro wants us to know how that kind of power (of an unelected official) works.

His powerful interviewing techniques range from the common (use silence to get people to fill in the quiet) to the persistent (asking over and over, “What did you see?”) to the obsessive (moving to the Hill Country of Texas for three years) to knowing the importance of place (taking Johnson’s brother to the Johnson Boyhood Home after visiting hours to trigger hidden memories of difficult dinner conversations between his brother and their father).

The book is disjointed and a bit repetitive because of its nature as a collection. But the dozens of fascinating anecdotes and tidbits give us a window into the work a writer with keen instincts and tenacity.

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image: flyleaf of Working by Robert Caro (edited manuscript page by the author)

NCIS–My Guilty Pleasure

NCIS is a predictable TV crime series that has just launched its eighteenth season. We usually start with a dead body. Because the death is connected to the Navy, the Naval Criminal Investigative Service (NCIS) team (led by Special Agent Jethro Gibbs played by Mark Harmon) grabs their gear and solves the crime.

High level technical analysis of DNA, chemicals, cell phone usage, facial recognition, and bank accounts lead them to the killer. One or two obvious, but ultimately innocent, suspects are thrown in to throw us off track. They rarely do. Quirky conversations among the team members give it a light accent. It’s all very formulaic. And I love it.

Why? We live in a world that often seems so random and chaotic. None of us knows who will get cancer next, be in a car accident, or where the next war will break out. Experts famously fail in making such predictions. We can increase the odds of living a healthy life, but we have no guarantees.

NCIS offers a different message. It tells us that the world has order. One of Gibbs’s famous rules, in fact, is “There are no coincidences.” We can know the truth. It takes hard work, hard science, teamwork, and intuition, but we can find it.

Some criticize crime procedurals like NCIS for more than their lack of artistic merit. As Helen Lewis notes, “In his book Homicide, David Simon argues that crime procedurals have created an expectation among juries that a trial will present them with a clear motive, a logical sequence of events, and some slam-dunk evidence for good measure. Many are surprised to find that real life is rarely so generous.”

Despite its shortcomings, NCIS has one more important message that I need to hear, that we need to hear: Justice exists and it is worth fighting for. Right and wrong are real, and we can successfully fight the wrong and work for the right. We may have setbacks and it may be complicated, but we can get there. And even if we don’t, it is right to try.

Yes, for me NCIS is a guilty pleasure, but I don’t feel too guilty.

New Year’s Reading Resolutions

I generally don’t make New Year’s resolutions for all the usual reasons. I do get regular exercise and watch my weight. But making plans at the beginning of the year don’t seem to get me very far.

One exception is reading. One tool I’ve found that helps keep me making progress is the Goodreads Reading Challenge. Goodreads is social networking site that is just about books. Friends post what they want to read, what they have read, give books a rating, and sometimes offer a review. I don’t try to get thousands of “friends.” Just a few hundred is plenty.

As each year begins, Goodreads (owned by Amazon) invites people to set a target for the number of books they’d like to read. Some pick ten, some twenty, some a hundred. Then each time you log on, you get a reminder of how you’re doing.

In recent years I’ve aimed at about fifty, and I’ve hit that target. This year I only read forty. That’s no cause to beat myself up. I’m sure I’ve been reading more than I would have otherwise just because that target is out there.

One friend recently told me that he thinks reading huge quantities is a mistake. Much better to read deeply. There is much merit in that. The beauty of a target like the Goodreads Reading Challenge is that we can pick a number that is right for us. It’s not the only way to measure how well we are reading. It can, however, be one helpful way.

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photo credit: Pixabay geralt

Favorite Day of the Year

December 21, the darkest day of the year, is my wife’s favorite. Why? Because it means that now every day will have more and more light.

Scholars don’t know and the Bible isn’t clear about what time of year Jesus was born. Nonetheless, December 25 is appropriate because (in the northern hemisphere at least) we are at the beginning of a period of increasing light each day. Jesus’ birth is associated with light in the Bible, and not just with the famous star the wise men followed. When the angels appeared to the shepherds, “the glory of the Lord shone around them” (Luke 2:9). But there is more.

A few days later, when Mary and Joseph present the infant Jesus in the temple, they were met by an old man named Simeon. God had promised him he’d see the Messiah before he died. When he saw the trio he took Jesus in his arms and said:

“My eyes have seen your salvation,
which you have prepared in the sight of all nations:
a light for revelation to the Gentiles,
and the glory of your people Israel.” (Luke 2:30-32)

The light to the Gentiles was a reference to the Servant of the Lord promised by the prophet Isaiah (42:6). Not only was he to be a light to Israel but to everyone.

John’s gospel makes the same connection, describing Jesus as “the light of all mankind.The light shines in the darkness, and the darkness has not overcome it.” (John 1:4-5)

It is easy to focus on the darkness this time of year, especially with all the troubles we see around us. And those are real. Yet even in darkness we hold in Christ the hope that each day we will have more and more light.

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Photo credits: Sunrise (Andrew Le Peau); Milky Way (Pixabay, Felix Mittermeier)

Tuesday Round Up

Charitable Writing

Just released is a terrific resource by Richard Gibson and James Beitler entitled Charitable Writing. I was glad to offer this endorsement:
“Who we are is absolutely foundational for anything we write. Gibson and Beitler take us to the heart of this largely unexamined principle. Without being grounded as people, our writing will run into a ditch, or we will, or both. As just one instance of this, the authors unmask the menacing metaphor of argument as a form of war, generously offering alternatives to reshape us. Throughout they gently yet firmly guide us to embrace loving others not only in what we write but in how we write.”

Books of the Year

Last month I reviewed Reading While Black. What I called “a necessary book for all of us” has just been named the Christianity Today Beautiful Orthodoxy Book of the Year. Congratulations, Esau McCaully!

In addition, the Culture and Arts Book of the Year went to The Sound of Life’s Unspeakable Beauty which earlier I called “beautiful and profound . . . With stories and a fascinating window into violinmaking which provides a rich metaphor tying it all together, we have a deep look at our life in God, and the art of God in us.” A tour de force by Martin Schleske.

Common Writing Slip-ups

Here are some great little reminders. I suspect I’ve messed up “sleight of hand” and “bated breath” more than once.

Advice That’s Out of This World

Ray Bradbury, whose 100th birthday we celebrate this year, offered some dandy writing advice during his long career. Here are some salient snippets from interviews, talks, and essays. Of course his emphasis is fiction, but so much of what he says applies to any kind of writing.