What Research Shows About Writing
"Slowpoke: How to be a faster writer" by Michael Agger in Slate (Aug. 10, 2011) does not, unfortunately, provide the miracle cure of its subtitle (darn!). Instead, it very briefly introduces some major figures and conclusions in the field of studies of the work methods of professional writers. It shares such nuggets as:
Some writers are "Beethovians" who disdain outlines and notes and instead "compose rough drafts immediately to discover what they have to say." Others are "Mozartians"-cough, cough-who have been known to "delay drafting for lengthy periods of time in order to allow for extensive reflection and planning." According to Kellogg, perfect-first-drafters and full-steam-aheaders report the same amount of productivity. Methinks someone is lying.
Ann Chenoweth and John Hayes (2001) found that sentences are generated in a burst-pause-evaluate, burst-pause-evaluate pattern, with more experienced writers producing longer word bursts. ... One also finds dreadful confirmation of one's worst habits: "Binge writing-hypomanic, euphoric marathon sessions to meet unrealistic deadlines-is generally counterproductive and potentially a source of depression and blocking," sums up the work of Robert Boice. One strategy: Try to limit your working hours, write at a set time each day, and try your best not to emotionally flip out or check email every 20 seconds.
Kellogg terms the highest level of writing as "knowledge-crafting." In that state, the writer's brain is juggling three things: the actual text, what you plan to say next, and-most crucially-theories of how your imagined readership will interpret what's being written. A highly skilled writer can simultaneously be a writer, editor, and audience.
Alas, the cognitive literature offers no easy solutions. The same formula appears: "Self-regulation through daily writing, brief work sessions, realistic deadlines, and maintaining low emotional arousal." My old enemy, self-regulation. We meet again.
Some writers are "Beethovians" who disdain outlines and notes and instead "compose rough drafts immediately to discover what they have to say." Others are "Mozartians"-cough, cough-who have been known to "delay drafting for lengthy periods of time in order to allow for extensive reflection and planning." According to Kellogg, perfect-first-drafters and full-steam-aheaders report the same amount of productivity. Methinks someone is lying.
Ann Chenoweth and John Hayes (2001) found that sentences are generated in a burst-pause-evaluate, burst-pause-evaluate pattern, with more experienced writers producing longer word bursts. ... One also finds dreadful confirmation of one's worst habits: "Binge writing-hypomanic, euphoric marathon sessions to meet unrealistic deadlines-is generally counterproductive and potentially a source of depression and blocking," sums up the work of Robert Boice. One strategy: Try to limit your working hours, write at a set time each day, and try your best not to emotionally flip out or check email every 20 seconds.
Kellogg terms the highest level of writing as "knowledge-crafting." In that state, the writer's brain is juggling three things: the actual text, what you plan to say next, and-most crucially-theories of how your imagined readership will interpret what's being written. A highly skilled writer can simultaneously be a writer, editor, and audience.
Alas, the cognitive literature offers no easy solutions. The same formula appears: "Self-regulation through daily writing, brief work sessions, realistic deadlines, and maintaining low emotional arousal." My old enemy, self-regulation. We meet again.