“The more ignorant a writer feels, the more artificial becomes his style.”
(Cyril Connolly)

Let us consider the student’s predicament. Students are those members of our community who enroll in classes and attend lectures and complete assignments and sit for examinations, all in order, finally, to receive degrees. Though we preach the value of learning for its own sake, we give them many other reasons to learn the material we put before them. They may be called on in class and be embarrassed by their lack of preparation, they may submit an assignment and be disappointed by their grade, or they may graduate and find themselves competing with people more knowledgeable than they are. Or they may be proud, or happy, or victorious in these situations. Either way, the value of learning isn’t purely intrinsic.

Our students expect that the education they receive will play a role in their future success, in their pursuit of wealth and power. (Let’s not moralize about these basic ambitions. Perhaps they know that true wealth lies in knowing when you have enough and perhaps they seek power only to let them make the world a better place.) Whatever their extrinsic motivations, all we can do, as their teachers, is to impart knowledge. But we, too, are bound, by our obligations to society, to certain extrinsic values; we must reward our students for what they learn and punish them for that they don’t. So, like it or not, we give our students an incentive to pretend to know more than they really do, to present themselves for examination more confident than they really are. In short, we can’t help but make them feel a little ignorant when they write — less knowledgeable than they think they ought to be. “Just be natural,” doesn’t seem like a viable option when writing a term paper.

Cyril Connolly devoted the first third of his Enemies of Promise to “the predicament” of style. He was talking about the sort of thing that makes a book age well or badly. Style, after all, is often the means by which a book shows its age. A book can go “out of style” in this sense when the fashions change and its eloquence chafes against the “modern” demand for something more colloquial. We’ve all been students and had the experience of reading work from semesters past, cringing a little at the affected tone we thought was suitably “academic” or “scholarly” at the time. In hindsight, we recognize immediately that we were pretending to know more than we really did, and that we were vaguely hoping to get away with it. We were not opening our thoughts and feelings, our minds and hearts, to the criticism of people who are qualified to tell us we are wrong. We were trying to get our ideas across to our readers — indeed, past them.

Students often imagine that they are writing for their teachers and their examiners. You might think I’m using the word “imagine” strangely here, since, surely, they are in fact writing for their teachers and examiners. Well, yes and no. Their teachers are not really reading their work, since they have been put in the position of a judge — a position that they often resent as much as their students do. They do not really feel “addressed” by the students, except perhaps as the object of this shared resentment. But this situation is of course false; it is artificial, and it should be avoided if we can. The students should be writing for their peers, for people they respect as intellectual equals. Teachers should be judging them on their ability thus to address each other. Students should be developing a prose style that lets them share their thoughts with the brightest and most ambitious of their classmates. It is this conversation that their writing should contribute to.

This year, in any case, I’ll once again be telling students to address themselves to each other, with all the confidence and humility that this implies. They should get to know each other and they should choose their topics with each other in mind. They should weigh their claims so that their fellow students will find them just a little a hard to believe, understand, or agree with (in a word, interesting), and they should learn to write paragraphs that support, elaborate, or defend them accordingly. They should not develop a style that impresses their teachers but one that opens their own thinking to that of their peers. (Yes, of course, their teachers should be impressed when they succeed.) So they will have to make up their minds about what they are learning. They will have to speak their mind. And they will have to learn to write it down. That’s what I intend to tell them.

During the lockdown I had a number of teaching experiences that I’m going to try to integrate into my attempts to impart Writing Process Reengineering to doctoral students and early career academics. In November, I will be running a four-week course here at the Copenhagen Business School, which will also have a “massive online”, if you will, presence. I thought I’d write a little post today about what I have in mind.

The course consists of three 3-hour on-campus meetings: an introductory seminar, a masterclass, and a capstone seminar. In between meetings, participants will do 20 hours of writing, but they can leave some of this for the week of the capstone seminar, which is on a Monday. At the end of the course, they should have a complete first draft of a journal article and 40 very explicit writing experiences. They will also have given and received feedback and discussed the problem of academic writing from philosophical, rhetorical, and literary perspectives; they will have been exposed both to the grand ideas of Writing Process Reengineering and its grimy little nuts and bolts. And they should depart with a good sense of how they can continue to implement it in their research and writing processes going forward, hopefully throughout a long and productive career.

As an ambitious explorer of media, I’ve decided to add a podcast element to the course. In fact, I’ve decided to organize it in such a way that a “podcourse” is available to people who can’t attend the live sessions. Participating in this way will require a little extra reading, but if they make a little effort, they should be able to get almost as much out of it as the flesh-and-blood participants.

This is something I learned from a writing course I co-teach in one of our master’s programs. The standard set-up is to meet with students for whole (8-hour) days separated by a few weeks. Moving these sessions online during the lockdown was quite exhausting for both the instructors and the participants, but it was not possible simply to shorten the days and have more of them. (Our professional master’s programs are designed for people who have an easier time devoting a whole day to study than taking a few hours out of their workday.) So we came up with an elegant solution. The last two hours of every day were organized around two pre-recorded 20-minute podcasts, each with a short exercise that could be completed within about half an hour. This allowed participants either to leave it for later in the evening, or even another day, or go straight to it (since they may already have freed up the time.) It offered a good combination of structure and flexibility.

To get them away from the screen, we encouraged participants to take the podcasts with them on a walk, and we even designed the exercises so that they could be done unaided by anything more complicated than a pen, a piece of paper, and their imaginations (in some cases, their imaginations were actually equipment enough). This is what I want to try to replicate for my course, but on a daily rather than semi-weekly basis.

Starting in early November, therefore, I’ll begin to post short 5-minute podcasts with reflections and exercises to prepare participants for the writing they will do on each (most) of the days between meetings of the course. There will be twenty podcasts in all, five days a week for four weeks. The idea is to listen to them as the last thing you do in your working day, just before deciding what you will write in the morning. I recommend you listen to them in a relaxed mood, perhaps while taking a walk. When the course is over, the twenty podcasts will remain on the course website, so you can take the course again anytime you want to devote some deliberate hours to getting better at writing. You just book some writing time into your calendar, and listen to a brief podcast at the end of each day.

I’m looking forward to seeing how well this works. Both as a supplement to the on-campus course and as a stand-alone podcourse. Any feedback, even at this early planning stage, is much appreciated. Let me have it!

[Read the full program and register here.]

I’m back from my leave and looking forward to talking to scholars and students about their writing again. As always, I will be pursuing it as a “craft” that can be developed through practice. I’ve been putting the final touches on my main activities for this semester and I thought I’d share them today for those who are interested. You will notice that registration is open only to CBS students and staff, but if you would like to participate in something and are not part of the CBS community feel free to contact me to see if that might be possible. Some of these activities have an online option, and that will usually be a quite open channel. You can get an overview here.

As a new thing this year, I’ve decided to address some ordinary “pedagogical” issues. What can we do to improve ourselves as students, as learners? There’s a definite art to this, which is situated in some rather familiar conventional contexts, aptly captured in the title of Norm Friesen’s The Textbook and the Lecture, or what I sometimes simply call “the academic situation”. This situation provides a number of reliable resources for learning, and, of course, a number of dependable challenges to overcome. For example, it provides us with an orderly framework within which to think, which risks becoming a set of constraints on our creativity. We are encouraged to be precise, but there’s a risk that we’ll be bored. That tension is virtually constitutive of academia.

The “Art of Learning” series in the fall is intended as a kind of loose warmup to the more goal-oriented “Craft of Research” series in the spring. In the fall, we’ll talk about the various competences that together define what it means to be a “knowledgeable” person, what it means to have “learned” something. In the spring, we’ll bring these skills together in the work of researching and writing a year-end project or thesis. If a research paper is written “one paragraph at a time” an education proceeds through azure moments, “rooted in watching with affection the way people grow”. The talks will give me an opportunity to explain what I mean by this, not least to myself.

I don’t intend to make too much out of the distinction between “art” and “craft”, except that, to me, craftsmanship is more about the work that is produced and artistry is more about the experience that it produces. Somewhat clumsily, we might say that craft is more objective and art is more subjective. Craft is about whether the thing works, while art is about what it does to us. The reason they’re hard to keep apart, of course, is that a “work of art” works precisely when it moves us. And sometimes an encounter with plain old good craftsmanship is a transformative experience in itself. It’s a good thing I’ve a got a few weeks before I start, and many more to work though these issues one at a time!

While I was on leave, I drew a lot of hands. My artist friend helpfully reminded me to draw, not what I know, but what I see. Even more specifically, she told me to begin with the shadows, not the lines. “The lines aren’t really there,” she said; “they’re just edges, where things end.” I have tried and tried but I’m still blinded by my knowledge from seeing my hand clearly. On some days I am proud of what I have accomplished, on others I am frustrated beyond consolation. On some days, I feel both emotions about the same drawing. I am far from mastering the craft of drawing anything, let alone the complex machinery of the hand. But I am learning.

“We suffer and we learn,” said Aeschylus. For many students, that’s all there is to it. You tough it out, you suffer through it, and you move on with your life. But what I want to suggest is that this suffering isn’t just what Oscar Wilde (writing from jail) called “one very long moment”. It is a series of discrete moments during each of which we find a specific kind of composure. We learn how to read and how to write, how to listen and how to talk, how to think and how, finally, to enjoy the whole business of knowing things, one experience at a time. We have to give ourselves the time to do this. We have to find a moment, and then another, and undertake to learn something from it. Under these conditions, guided by this discipline, I would argue that Whitman’s words hold true: “Whatever satisfies the soul is truth.”

I took some time off this summer to begin work on a book. Like you, I had had a strange year, and as the spring semester drew to a close I could feel I needed some time to think things through in a new way. I was generously granted a leave of absence from my duties at the Library, and I cleared my calendar so that I had three hours a day to work on the book and the rest of the time to think and read and play and putter around. For a number of personal reasons, I have had to make some lifestyle changes (I turned fifty this year) and, since May, I’ve been running regularly, walking a lot, and taking care to derive pleasure from everyday things like cooking and listening to music. Like the book, it’s a work in progress, but I think I now know what Hemingway meant when he said, “I always live a hell of a healthy life for the first five hours of every day.”

I have written before about the idea that fell into place for me while doing the Craft of Research talks this spring. When I talk to students and scholars about their writing, I always get them to imagine an iceberg (Hemingway’s famous iceberg), with their paper above the surface of the water and their study below. The paper has a number of sections: introduction, background, theory, method, analysis, discussion, conclusion. The study has various components: documents, literature, experience, data, and a great deal of thought. I slowly began to notice the centrality of experience as the basis of our methods. Our papers are connected to our studies most intensely in our methodologies — our account of what we did to collect our data and why we did it. Writing our methods section is the closest we come to simply telling a story based on personal experience. It’s the most “literary” part of our paper, if you will. We just have to be honest, we just have to be ourselves.

This is a rather stern lesson, I know. It has become increasingly clear to me that academic writers (perhaps especially students, but certainly not only them) struggle with their papers largely because they don’t quite know what they’re talking about, who they’re talking to, or even, sometimes, who they think they are. They are using their writing to find out what they mean, to discover what they have learned from their studies. And I know that a lot of writing advice encourages this way of thinking. My book proposes a different strategy and, I must say, I’m not at all sure how it will go over when I finally find the courage to publish it. I believe you will become a better writer if you resolve to write down what you know for the purpose of exposing those ideas to criticism. So you have to begin with claims you understand and think are true. You have to write from the center of your strength, wherever it is.

Like I say, I’ve been struggling all summer with this idea, trying to find a fitting tone of voice in which to present it. I like to think I’m a pleasant and affable fellow, but there’s something hard and terse in my instructions for writers. I want to encourage writers to experiment, but I don’t want to nurture their illusions. So I imagine that my book, like my coaching, won’t be for everyone, and that’s because I don’t actually think writing is for everyone. By extension, I don’t think scholarship is for everyone either. We want to encourage our students to succeed in our classes, of course; but we must let them discover that they may not be suited for academic life. We can spare them a lot of trouble if they discover this before they enroll in graduate school. As we now return to the daily routine of teaching and learning, this is something I’ve been thinking about.

For me, it’s been a long, slow summer, with plenty of time to reflect. I have a really privileged position in the academy. Most importantly, I have the privilege to work with ambitious and intelligent people who want something out this life and want to make a contribution to their world. To this end, some have chosen (or will soon choose) to devote themselves scholarship as a career, and I wish them well in that, of course. Others will choose to go into one or another profession, or start a business, seek elected office, or pursue an art. If I have anything to do with them, it’ll probably be because they need to write something and want to learn how to do that better.

The core of my contribution will continue to be something like this:

Write what you think. Write in order to expose the ideas you actually have to the criticism of your peers. If you’re a student, always write for your fellow students — the most serious and interesting among them. If you’re a scholar, write for those one or two dozen people whose names you know and whose methods you respect. In short, write with a reader in mind who is qualified to tell you that you are wrong. Get used to that posture. It is what distinctly “academic” writing is all about. If you don’t like it, there is no shame in that. It’s not for everyone. To be frank, we probably don’t actually need more academics. But while you are here, at university, try as hard as you can to become good at it. Even outside the academy, we need people who understand what it means to be critical.

Like I say, I’m a little doubtful about the tone of this thing. I know that by writing I, too, am merely exposing my ideas to criticism. I look forward to hearing what you think. The summer is over. It’s time to go back to school. Time to discover what I’m wrong about. To learn.

“The world is the totality of facts,” said Wittgenstein, “not things.” His early philosophy is no longer as fashionable as it once was, and he himself rejected it later in his life, but I’ve never really been able to shake the hold it got on me when I first read it. “We make ourselves pictures of the facts,” he also said, and I’ve made a great deal of that through the years.

“To think is to draw logical pictures of facts,” I tweeted yesterday, for example. “Philosophy is the art of their arrangement.” That was almost a plagiary of Wittgenstein, who said that propositions are logical pictures of facts, that such pictures are thoughts, and that philosophy could confine itself entirely to the perspicuous arrangement of scientific propositions. The austere “modernism” of that project has always appealled to me.

It is my view that scholars are stewards of fact, intellectual housekeepers. They maintain the machinery we need to cultivate a “propositional attitude” — a posture of belief, if you will, in “facts of the matter”. Ezra Pound said that good writers keep the language efficient as a means of communication and I would argue that good academic writers do this mainly in regard to our ability to make factual claims and challenge them.

As Bertrand Russell put it in his introduction to Wittgenstein’s Tractatus, “The essential business of language is to assert or deny facts.” Wittgenstein himself would later recant on this point, granting that language has a lot of other business to conduct on our behalf, but I would suggest that academics can reasonably take this as their “core business”, if you will, the logical form of their “value proposition”. The job of an academic is to assert and deny facts — to maintain and discard factual propositions in accordance with their truth and falsity.

Again, I understand that this is a rather “modern” value. Many academics today, working under the banner of some variety of “postmodernism” might chafe a bit at the idea their “job” is to keep “the facts” in working order. (Indeed, they might chafe at the idea of being told what their job is!) But perhaps our collective horror of the “post-truth condition”, our indignation over “fake news” and the circulation of “alternative facts”, can bring us together in a common cause?

Yes, this metaphysics of presence — this ontology of “facts” and epistemology of “truth” — is open to deconstruction. But surely there are some things that are more reasonable to believe than others? Perhaps our scholars can help us keep track of them. Reality may be a social construction, but surely a construction can be more or less well made?

Most of the important facts cannot be known to us by direct observation. Indeed, we are consigned to believe many of them simply because we have been told that they are the case. Others we must infer on the basis of our data, and we must be open to challenge from peers with data of their own. So long as we clearly distinguish between our claims and our basis for making them, we are opening ourselves to the criticism of people who are qualified to tell us that we are wrong. In this environment, claims may be evaluated on a running basis, even if some of them are likely to be wrong. We’re not going to get all the facts right, but we’re also not going to leave the truth entirely to chance.

We can’t all be responsible for everything. My own “modernism” is predicated on a division of labor, which is itself a perfectly modern notion. Not only can a scholar not know all the facts, there are other responsibilities. Consider the politician who we hold responsible for “the acts”. Or consider the philosopher! Socrates famously claimed only to know that he didn’t know. His responsibilities lay elsewhere, and modern philosophy traced them squarely to a stewardship of our concepts, our categories of thought, our capacity for reason. Or consider the modern poet, whose job it is to refine our emotions, to keep the language of passion in working order, to keep upright our posture of desire.

Everyone has a job to do. Sometimes our fields overlap a little and that is fine, but we all have something to be good at, something to be proud of, and scholars, like I say, do well to understand themselves as stewards of factual discourse. They maintain the parts of language that we need to assert and deny statements about what is and is not the case. I think this is an important job.