these writing tips [@marcusrediker via @tylercowen] are simply fantastic: very useful & actionable, not just the typical obvious stuff, and obviously waaay better than all the bullshit threads the fortune-cookie-tweeters oft share here on such https://t.co/oxKcABptd4
— Sonal Chokshi (@smc90) March 20, 2022
Writing tip no. 1: as I write a book I bury myself in a brilliant work of fiction about the same time period, to fill my mind with its literary power. Example: as I wrote *The Fearless Benjamin Lay* I read Barry Unsworth's *Sacred Hunger* (for the fifth or sixth time).
— Marcus Rediker (@MarcusRediker) March 19, 2022
Writing tip no. 2: in my view, the essential unit of good writing is the paragraph. If you're stuck, spinning your wheels, write one strong paragraph, just one, about whatever topic you are on. In my experience, this breaks the logjam and allows thoughts to flow onto the page.
— Marcus Rediker (@MarcusRediker) March 19, 2022
Writing tip no. 3: when I know what I want to write about the following morning, I reread my primary sources closely the night before. This makes it easier to get started the next day, and sometimes the unconscious mind does a stunning job of sorting things out.
— Marcus Rediker (@MarcusRediker) March 19, 2022
Writing tip no. 4: find a fragment of a poem from the time period you are studying, one that embodies a theme or two of your investigation, and write a paragraph, a section, or a chapter around it. Make that poem sing its historical significance.
— Marcus Rediker (@MarcusRediker) March 19, 2022
Writing tip no. 5: embodiment. Anytime you can make an idea or a concept come alive through a person or an event, do it. Making your reader see your argument through vivid, concrete human thought and action is much more powerful, convincing, and memorable than a dry abstraction.
— Marcus Rediker (@MarcusRediker) March 19, 2022
Writing tip no. 6: economy of expression. Strunk and White said, “Omit needless words.” Blaise Pascal wrote to a correspondent: “I'm sorry I wrote you such a long letter; I didn't have time to write a short one.” Use 3 words rather than 4; be ruthless. Shorter = more powerful.
— Marcus Rediker (@MarcusRediker) March 19, 2022
Writing tip no. 7: go on reading your sources until you hear voices, then write a deeply human story about your historical subjects. Readers want to learn about real people, making real choices, in real circumstances. Make your actors complex and multi-dimensional.
— Marcus Rediker (@MarcusRediker) March 19, 2022
Writing tip no. 8: Three things scholars need to do to write for a broader audience. First, you have to want to. (Most do not.) Second, you need to read gifted prose stylists and learn from them. Third, you must work hard at the art and craft of writing. It’s all pretty simple.
— Marcus Rediker (@MarcusRediker) March 19, 2022
For those of you who have been following my advice about writing, here is an essay you might find useful, something I wrote a few years ago entitled “The Poetics of History from Below”: https://t.co/E726bRa5XM pic.twitter.com/dLKE6Ma8UH
— Marcus Rediker (@MarcusRediker) March 20, 2022
THE POETICS OF HISTORY FROM BELOW This Kentucky coal miner was a larger-than-life figure in my youth. I fondly remember sitting with him at the kitchen table. In one hard hand he held a Lucky Strike. In the other hand he held a saucer of his beloved Maxwell House coffee, which he sipped that way even when it was no longer hot. In this posture he told endless stories to a boy who sat enthralled amid the pathos, humor, and quiet heroism of working-class life. His mood changed with the story. He laughed with his whole body, like the then-popular comedian Red Skelton, at his own funny parts. His visage grew dark and scary at moments of danger or injustice. His eyes danced with the drama of his words. I knew something big was coming when he paused, put the cigarette in the ashtray, and set aside the saucer, freeing his hands for emphasis. His stories were vivid, complex, passionate, and somehow always practical. They featured apocalyptic Biblical language (a lot of hell-fire), long silences (with fateful stares), and curse words that were normally forbidden in our house (son-of-a-bitchin’ this and that). He always managed to tell a big story within a little story. ........ What I remember most of all was how his telling of the story made clear how wrong the hanging was, and how a real-life lynching looked nothing like what we had all seen on television. He described a frantic, terrifying struggle, with legs flailing, ugly cheers from the crowd, and in the end a limp body with dangling eyeballs and wet pants. The storyteller’s sympathy was firmly with the victim, whose deadly ordeal he had made terribly, hauntingly real. .......... Poetry written by workers may be rare, but poetry to be found in action, in resistance by workers, is plentiful; it can be found most everywhere. My grandfather taught me to look for it. To give an example: I discovered a profound one-word poem in a memoir written by Silas Told, a sailor turned Methodist minister who described a drama aboard the slave ship Loyal George in 1727. An enslaved man had decided to die by hunger strike. Captain Timothy Tucker tried to force him to eat. He horse-whipped him to a raw and bloody pulp. He threatened to kill him. The nameless man uttered one word: adomma, so be it. Captain Tucker placed a loaded pistol to his forehead and repeated the demand to eat. Again: adomma. The captain fired and the blood gushed but the man stared him directly in the face and refused to fall. The captain cursed, called for another pistol, and shot the man in the head a second time. Again he would not drop, to the astonishment of all who looked on. A third shot killed the man but by this time an insurrection had exploded among the enslaved, who were inspired by the man’s resistance and outraged by his treatment. .........
One of the big questions in the Kentucky coal fields in the 1930s was, which side are you on?
....... I try to develop an ethical relationship with the oppressed and exploited people I study. The relationship is imaginary but no less important for that. ..... In the end I strive to write history that is vivid, complex, passionate, and practical.@MarcusRediker I went to college in KY. Was there for five years. Berea. Then in Lexington for another six months. :) Am very aware of the coal mine stories.
— Paramendra Kumar Bhagat (@paramendra) March 20, 2022