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Word For Writers

“The biggest problem with Word is that it is way too much program for 90% of creative writers and self-publishers.” JW Manus.

Yep. I read discussions of Word on the network all the time. Many of the comments are negative. Sometimes I take time to defend Word or offer tips on how to use Word more effectively. But I have to admit that something about Word is seriously broken, but not the application itself. It’s better than ever.

Agile programing and continuous update have changed the software industry. In the old days, we spent months or years designing a program down to the last detail. Then code and unit test for another year or so. Then quality assurance system testing executed tests based on the design, not the as-built code. Every failed test was a dagger in your heart. If you were “lucky” QA was cut short to meet roll out deadlines. And, more often than not, when the product finally hit the customers, it was a travesty.

Software is maddeningly complex, and its presence often changes its environment in ways that invalidate the requirements which the software is intended to meet, and software is more fluid than any physical object. A program designed several years before a real user touches it, never meets user expectations.

The enormous cost overruns and failed projects that plagued software of the 1990s were largely due to a methodology called called “waterfall development.” In the waterfall, design, construction, testing, and acceptance of the final product proceed in strict order. Each phase must be completed and signed off on before the next phase can begin. Administrators loved it because they always had signed documents to shake in people’s faces. It worked great for bridges, skyscrapers, World War II, and the moon landing, but failed for software.

Today, the prevailing approach is to build software in small increments. Build a single feature, release to a test user group, look at the problems and let the release generate further ideas, then fix the defects, incorporate the ideas, and roll out another incremental release. Keep the increments small and rinse and repeat forever. The network bandwidth and speed available today makes it possible to develop continuously in small increments. This has proven to be much more successful than the waterfall.

Microsoft and many other software developers have adopted the agile methodology, but the new methodology has its own problems.

An unforeseen consequence of agile programming and continuous update is that documentation doesn’t keep up well with the development of the product. Microsoft has opened a fire hose of development and innovation in Word and documentation has not kept up.

Writing and revising documentation often takes as much time as developing and testing code. Asking a writer to document incomplete code easily degenerates into a time-wasting mess. Distinguishing defects from features is often hard and software can turn on a dime. The documentation often has to be rewritten at the last minute anyway. Consequently, the documentation usually trails behind the product.

However, documentation is also critical to software quality. If a feature is not clearly enough documented for a customer to use it well, the system is broken, no matter how perfectly it works.

Microsoft Word has suffered from the efficiency of agile development and frequent updates. Word processing in general has leaped ahead in the last few decades and it becomes more powerful with every automatic software upgrade, faster processor, increase in available memory and storage, and jump in network bandwidth.

So often, when I read of writer’s problems with Word, I think of some poor sap trying to cut a two-by-four with a Skillsaw without plugging it in or turning it on.

And I sympathize. They’re writers. They don’t have time or inclination to become experts on a huge and challenging system like Microsoft Word. Writers usually learn just enough to get the job at hand done and then get back to their serious business of writing. The solution might work but be all wrong down the road. Two months later, when they tackle a similar problem, their half-learned and half-remembered solution lets them down. And intervening updates may have improved the process, but they also changed it. Who wouldn’t be mad?

Microsoft has not made it easy. These days, most developers aspire to programs that are so simple to use, they don’t need documentation. But that’s an aspiration that is devilishly difficult to realize when the work done by the program is as complicated and hard to understand as word processing today.

I’m a software engineer and architect who coded his first word processor at the same time he started using word processors forty years ago. In recent years, I’ve burned hours puzzling over Word help forums. I’ve resorted to reading the xml in docxs and studying Word OLE documentation to get a feeling for Word’s internals. I used to know developers on the Word dev team and watched them stumble while using Word. In the end, I’ve always concluded that Word is a good product, well-designed with surprising power and flexibility, but first priority for writers is to write, not become Word experts.

Nevertheless, the writers who plug in their Skillsaw, instead of going back to a handsaw, will make more sawdust.

Today, if you are having trouble with Word, I suggest getting a copy of Word For the Wise by JW Manus. It will help. I have some disagreements with some of her approaches—I go farther with styles and I think my process is easier and more foolproof—but you won’t go wrong following her advice. Her book is still the best I’ve seen.

Raymond Chandler on Plot

Raymond Chandler was one of the greatest detective story writers of the twentieth century. Chandler himself said that Dashiell Hammett invented the hard-boiled style, but Chandler was at least Hammett’s equal as a practitioner. Many film critics acknowledge that Chandler was responsible for bringing hard-guy detectives on dark streets and seedy alleys into movie theaters.

We all know that the essence of the detective novel is the murder plot. Chandler’s stories transformed murder from the intellectual puzzles of his predecessors into the quest for truth and honor in a deceptive and transient world. Chandler’s Los Angeles language, characters, and settings ushered classic drama into the popular detective story.

Chandler did not much care for who-dunits. He maintained that a mystery that depended on the final reveal of the murderer for its appeal was a failure. Famously, when a filmmaker working on a movie version of The Big Sleep sent Chandler a telegram asking who killed the chauffeur who drowned off the Lido dock, he wired back “Damned if I know.” Exactly who sent the telegram is unclear, but Chandler acknowledged writing the reply.

Chandler had his own way of composing a mystery plot. He said in various letters that he did not plan plots, he let them grow on their own. This runs counter to conventional writing advice and Chandler admitted that his method was inefficient. In a letter to an aspiring writer, Chandler explains the inefficiency of his method: “I do my plotting in my head as I go along and usually I do it wrong and have to do it over again. I know there are writers who plot their stories in great detail before they begin to write them, but I’m not one of that group.” (2 July 1951, in Selected Letters.)

Chandler wrote to his friend, mystery critic James Sandoe: “…my plot problem invariably ends up as a desperate attempt to justify a lot of material that, for me at least, has come alive. It’s probably a silly way to write, but I seem to know no other way.” ( 23 September 1948, in Selected Letters.)

When a scene went wrong for Chandler, he did not try fix the flaws with piecemeal editing; he could only start over. He tailored his method of typing his manuscripts for ease in rewriting. He typed in portrait mode on letter-size sheets cut in half. It appears from his manuscripts that he revised by underlining the words on a page that he wanted to keep and used only the underlined words as he rewrote the entire page. By keeping his pages small, revising by rewriting was more manageable in those pre-computer word processing days. (See “Chandler’s Writing Process” in Writing The Long Goodbye.)

Constrained to this torturous process, Chandler was not prolific. He wrote only seven novels, a couple dozen short stories, a few screen plays, a handful of essays, and a sprinkling of poems. He started writing mysteries in middle age after alcoholism destroyed a successful career as an oil company executive. Inefficient or not, Chandler’s process lead to his success as an virtuoso stylist and creator of characters.

Genres, Conflict, and Cartesian Spaces

I have been thinking hard about what I like about the books I like because, lately, I have found myself reading a lot of current books I don’t particularly care for and I wonder what is happening.

I published Fifty-Third and Dorchester earlier this year. I have been immersing myself in writing and the meta-world of the craft of writing. These days, everyone has a theory or method for writing a sure-fire hit. I read and listen to several websites and podcasts a week on writing craft. I have shelves of books on every aspect of the craft. Like me, every aspiring writer these days is flooded with advice. MFAs in creative writing abound. Compared to a decade ago, writers are much better educated on craft.

But I have to ask, why don’t I care much for the recently written books I read? My poor choices? A bad attitude? Out of step with the times? Or has political air pollution put a permanent sour taste in my mouth? Chronic dysphoria?

All of those are plausible, but I think it is something else because there are authors whose books continue to bring me pleasure. For example, I reread Dorothy Sayers first Peter Whimsey story last week and enjoyed it immensely. I saw flaws and superficialities that I did not notice the last time I read it, probably twenty years ago, but these are minor hypersensitivities that come from sweating over the imperfections in my own work. The issues highlight the many things that Ms. Sayers got right rather than detract.

My guess, which I intend to explore, is that current writers have lost sight of some sensibilities that older writers took for granted. Current literary crafters are painfully aware of a certain kind of conflict. The craft books almost all say that every scene, paragraph, and word must convey the striving of the character toward some goal or the reader will lose interest. The entire text must be plotted in a polar coordinate system that points to whatever it is that the character wants. This is robust underpinning. But has a bit of ennui slipped in? Is this the only story that can captures a reader’s fancy? Is it possible that a multidimensional cartesian space can be equally or more compelling?