“Good writing is the creative destruction of bad ideas.”
Thomas Basbøll

Every fall, I help teach Rasmus Koss Hartmann‘s first-semester course on the management of innovation in organizations. There are three mandatory written assignments at regular intervals, which all have the same form, as does the final exam at the end; students are asked to listen to a podcast and then “theorize, analyze, and discuss” the innovation it features. Riffing on Eric Ries’ (2011) “lean innovation” strategy, we ask them write a “minimum viable essay” (MVE). In a sense, we are preparing our students to work for arguably the most successful entrepreneur in history. Jeff Bezos recently explained on the Lex Fridman podcast (Lex Clips, 2023) that he begins executive meetings in his companies with a silent “study hall” where everyone reads a six-page memo written by one of the participants. In this post, I want to show how our minimal viable essay approximates Bezos’ six-pager and what we can learn from his meetings to improve our classroom practices. I will go through the three body paragraphs of the five-paragraph essay we ask our students to write and then conclude by saying something about how Bezos has inspired us to integrate peer-feedback into next year’s iteration of the course.

A minimal viable product (MVP) is a platform for testing features by exposing them to the intended users early in the development process. “The goal of the MVP is to begin the process of learning,” Ries (2011, p. 77) tells us, “not end it.” That means that the developer must have a sense of what the customer expects and must play to those expectations. Similarly, in our class, the theory paragraph of an MVE draws on the course readings to activate the reader’s expectations of the object. Importantly, we tell our students not to write for us, their teachers, but to write for each other. “It is inadequate to build a prototype that is evaluated solely for internal quality,” Ries points out (p. 64), and in our class the most important readers are the students’ classmates, who have read the same readings and discussed the same cases at roughly the same level of understanding. The theory paragraph is essentially a reminder to the reader of what they would have thought the analysis would show if they hadn’t already read the introduction that announces something a little more interesting. Though they need not make it explicit, we can say that the theory paragraph frames the null hypothesis.

It is the purpose of the analysis to bring about the artful disappointment of the reader’s expectations of the object. In our class, we tell the students to use the podcast they had been given as “data”; they can quote and paraphrase from it in an attempt to support their conclusions. If, for example, we were analyse the Bezos memo on the Fridman podcast we might challenge the expectation that it should be final and definitive. “The author of the memo has got to be very vulnerable,” says Bezos (Lex Clip, 2023); “they have got to put all their thoughts out there” (4:00). He says the experience of being read under these conditions is often “terrifying” but also “productive” (4:35). The key is to write a “real memo” (4:50) with “paragraphs” (4:56) and ideas presented in “complete sentences” and “narrative structure” (5:09), not just bullet points, which “can hide a lot of sloppy thinking” (5:02). But, while he likes a “crisp” memo, he prefers a “messy” meeting (0:26; 5:34) because the purpose is “truth seeking” not persuasion (2:34). To get to the truth you have to “wander” (0:45) — out loud, if you will. You can set a six-page limit and set aside 30 minutes for reading, but you don’t know what will happen from there when you start talking about it.

Since there will ideally be some tension between the theory and analysis, something will have to give. Either we (you and I, dear reader) will have to rethink our theory and learn to expect something else next time we consider a similar innovation, or the practice that is being discussed in the podcast will have to change. The analysis has thrown us just a little off balance and we have to find our footing again, either in theory or in practice. The discussion paragraph makes these implications explicit. So, for example, we have long encouraged our students to produce that “crisp” memo, our minimal viable essay, but we have been less explicit about how the students should use it as a place to, as Ries (2011) puts it, “begin the process of learning” (p. 77). Bezos, likewise, says that the memo is just the starting point. The goal is to reach “real breakthroughs” in the “wandering” meeting that follows. “It has a kind of beauty to it,” he says; “it has an aesthetic beauty to it” (1:00). It would be great if we can show our students this too.

Our minimal viable essay, then, approximates the Bezos “six-pager”, but we’re not quite ready to order our $500-million yacht. Our MVE does follow a narrative line — expectations, disappointment, implications — but, at five paragraphs, it is only about half the length of Bezos’ six-pager. (Using the Copenhagen Business School’s standard exam guidelines, we estimate 2 paragraphs to the page.) It should take about half an hour to write a paragraph and about one minute to read it. So, in a Bezos meeting we estimate that about 12 minutes are spent actually reading the words in the memo and the remaining 18 minutes of “study hall” are devoted to silently critiquing the ideas, making notes in the margins and formulating questions. This suggests an obvious group exercise for our students. Groups of five could hold five meetings throughout the semester, each devoted to one MVE contributed by one of the members. It took them about 3 hours (over a few days) to write the essay and they now spend 15 minutes reading and thinking about it, followed by 30 minutes of “wandering”. It has kind of beauty to it, doesn’t it, friends? Fair winds and following seas!

References

Lex Clips. (2023, December 17). Jeff Bezos on banning Powerpoint in meetings at Amazon [Video]. YouTube. https://youtu.be/e47wAgIhZ7o?si=DhiuSy0lQQU_LkNh

Ries, E. (2011). The Lean Startup: How Today’s Entrepreneurs Use Continuous Innovation to Create Radically Successful Businesses. Currency.

I started the year with a plea to preserve the college essay in the face of artificial intelligence. As the year ends, I’m still more resolved, if you will, to defend the genre as the touchstone of academic competence. In May, I suggested a course design that alternates between take-home and in-class essays to incentivize our students to develop their prose style. After the summer break, I wrote a few posts as time permitted — one about language models, two about Calvino, and one for undergraduates — and then decided to experiment with different daily writing routines. First, I spent four weeks writing a daily post in a very informal, unstructured way. Then I spent four weeks writing a formally composed paragraph every morning whose key sentence I had chosen the day before. I rounded out the semester by working every morning on my book and writing a weekly blogpost about the experience.

In my last post, I indicated the broad outlines of my plan for next semester. January will be very slow here, though I may post if the feeling strikes me. Something more rigorous will begin in early February.

In any case, I wish all my readers a very Happy New Year! I, for one, am looking forward to it.

I will be taking the rest of the year off from writing. Over Christmas, I’ll do some thinking about how to start up the new year. I think I might do some private experiments with Andrew Shields’ “111 words” exercise, a challenge that was recently taken up by Jonathan Mayhew. I don’t expect much of myself in January, but starting in early February I’ll be putting in eight solid weeks on the book again, driven along by the Craft of Research Series, which I have just announced the dates for: starting January 31, it will run every Wednesday evening. As always, I’ll begin with a general introduction to how to write a research paper, then get into some specifics (reviewing the literature, writing the theory, methods, and analysis sections) and then, in early March, take a broader view again and look at the structure of a paper. After focusing on the remaining major sections of the paper (background and discussion), it’ll be Easter. I’ll then take a one-week break.

By what route is the soul or history or society or the subconscious transformed into a series of black lines on a white page?

Italo Calvino

Calculating in the head.–Is it like calculation on paper?–I don’t know whether to call it ‘like’. Is a bit of white paper with black lines on it like a human body?

Ludwing Wittgenstein

Religion, teachers, women, drugs, the road, fame, money… nothing gets me high and offers relief from the suffering like blackening pages, writing.

Leonard Cohen

This week I struggled to write about the actual experience of writing, the activity of marking up a page with words. It is very clear to me now that this experience must be at the heart of a book called How to Write Papers. I think most people have distorted image of what writers do or, since students and scholars are of course themselves writers, a distorted image of what they’re supposed to be doing when they write. In fact, I think the distortions come from a kind of moral confusion, occasioned by an idealized image of how “real” writers compose their texts, how they translate their thoughts into sentences and paragraphs. Many people feel like they’re cheating. No matter how terribly they suffer, they feel like it is too easy, like they’re either plagiarizing or fabricating, pulling a fast one or making something up.

I think the reason for this is the almost infinite difference between words and the things they refer to. “Cat” and “dog” are nothing like cats and dogs. A sentence is nothing like the fact it states. (There are exceptions, of course. “Word” and “sentence” are something like words and sentences. This sentence is very much like the fact it is about.) Everything, more or less, is easier said than done. It is easier to write a story than it is to execute an actual sequence of motion and fact. And it is easier to tell a story than it is to write it. Whenever we read a good, clear passage of prose, however, we feel like it is a transcription of the clear, pure thoughts of the writer. We think it is a representation of the writer’s “stream of consciousness”. But this is exactly the illusion that constitutes good writing. The writing itself — the prose — seems, as George Orwell put it, “like a window pane” on the mind of the writer.

Rest assured, however, that the writer’s mind is nothing like what we see on the page. Except in the moment that you are now sharing with him. The moment when he rereads his thoughts, recognizes them as his own, and decides to publish them to his blog.

“The great learning is rooted in watching with affection the way people grow.”
Confucius

This week, I discovered my reader. As an author, the book I’m working on is my job. I am by no means just an author, and it is not actually what pays the bills, but this book does occupy my attention, puts me to work for an hour every morning. It is meaningful work because my attention is directed at a subject I care about, but it was already clear to me before taking up the project again that, at the beginning, I would be struggling with something very central: my image of the reader. It’s a book about academic writing, so my reader would obviously be an “academic”, but what does this really mean, and what do I think of academics? How do I actually feel about my reader?

I’ve always wanted the book to be as useful to scholars as it is to students. That is, I don’t want to describe “academic writing” differently when I talk to students and when I talk to scholars. Academic writing is always writing for your peers, whether they are colleagues or classmates. But what do I really mean when I say this? How are they connected? I don’t want to give too much away, but I think I came up with something useful this week. Academics are knowledgeable people and knowledge comes from learning. Students are learners; scholars are learnèd. But this does not mean that students don’t know anything, nor that scholars don’t still have a lot to learn. That is, I am writing for people who know a great deal but who are also learning. And I want to show them how writing can support this project.

A book employs an author but implies a reader. It “implicates” the reader in the author’s project and the author can lose the reader by implying things that the reader cannot identify with. There is always a danger that my readers will feel that I think they are ignorant or stupid, or cowardly or lazy. The truth is that I think they are. But only because, like me, they’re human. I have a great affection for them. We can always do better and becoming a better writer is a kind of self-improvement. The challenge of a book like this is to invite the reader to grow without insulting them. It’s going to take some work.