Monday, September 23, 2024

Nietzsche’s ideas about morality were shaped by philology | Aeon Essays

 Nietzsche’s ideas about morality were shaped by philology | Aeon Essays

In Human, All Too Human (1878), Friedrich Nietzsche wrote that ‘A lack of historical sense is the original failing of all philosophers.’ In accusing philosophy of lacking historical sense, Nietzsche was echoing broader trends in 19th-century thought. In comparison with the ‘philosophical’ 18th century, the 19th century is sometimes described as the ‘historical’ century, one in which investigation into more universal features of human reason gave way to increased focus on how particular historical trajectories influence language, culture and moral assumptions.

The 19th century is also what one might call the ‘philological century’. Philology is the critical study of written sources, including their linguistic features, history of reception and cultural context. Today, the term sounds outmoded, evoking dusty, learned tomes of fastidious source criticism. However, philology was a leading intellectual discipline in 19th-century Germany due to a flurry of methodological developments that revolutionised our understanding of ancient and sacred texts. New rigorous techniques of verifying sources were developed, merely speculative hypotheses were discouraged, more detailed comparative studies of language were conducted. While such methods were scholarly, sometimes bordering on scholastic, their application had significant cultural impact, spilling out of scholarly journals into broader public consciousness.

Nietzsche imbibed these trends as a young man. An all-round talented student (mathematics was a notable exception), he gained admittance as a 14-year-old to Schulpforta, one of the most prestigious humanistic schools in Germany. A training ground for scholars and teachers, the school’s specialty was classical antiquity, and Nietzsche received a rigorous education in Greek and Latin, read historical works by Voltaire and Cicero, and wrote philological treatises on topics such as the saga of Ermanarich and the Greek poet Theognis.

This philological education informed not only his early works that deal directly with Greek antiquity, such as The Birth of Tragedy (1872), but also his later books on morality and moral psychology. Appreciating this philological influence is crucial for understanding the significance of his philosophically most important work, On the Genealogy of Morality (1887), and the ‘genealogical’ method of philosophy it has inspired.

On the Genealogy of Morality is a puzzling book. It deals with many classic topics of moral philosophy, such as the concept of good, free will, moral responsibility and guilt. However, it does not investigate them in a typical philosophical fashion – for instance, by asking ‘What is good?’ or ‘Do we have free will?’ Rather, it takes a historical approach, asking where our ideas about the good, or free will, or guilt, have come from.

Nietzsche’s answers to these historical questions were and continue to be, to put it mildly, controversial. Not for nothing did he describe himself as ‘dynamite’. For instance, he argued that contemporary Western egalitarian and altruistic assumptions were a form of ‘slave morality’ that emerged from the frustrations and ressentiment (roughly, resentment) of a priestly caste. This slave morality was a reaction against what Nietzsche calls ‘master morality’, an archaic ethics that emphasises virtues of excellence, health and respect for social hierarchy. Master morality valorises strength and denigrates the meekness and bookish intellectualism of the religious leaders of the priestly caste. In response, according to Nietzsche, the religious leaders invented a new evaluative framework in which they come out on top – one in which aggressiveness is classified as ‘evil’ and meekness and altruism as ‘good’ – a revaluation of existing values. These moral assumptions are then taken up by the lower slave caste, as they valorised their lowly status and enabled them to reinterpret their impotence as principled choice. In sum, on Nietzsche’s view, many of our fundamental moral assumptions derive from archaic status competition.

What has puzzled many readers of Nietzsche’s genealogy is how these historical claims are supposed to be relevant to philosophical questions about morality. Nietzsche states that his ultimate aim is to assess ‘the value of our values’, but it is not clear how his historical claims could or should contribute to this assessment. In turning to history, it might seem that Nietzsche is simply shifting the subject of moral philosophy, following the adage that if you don’t like what is being said, then you should change the conversation. After all, the question of where our values come from just seems like a different question from philosophical questions about their nature, value and authority. If Nietzsche is trying to use this history to answer these philosophical questions, then it might seem he is committing a fallacy, the ‘genetic fallacy’.

Showing that something has a bad origin isn’t sufficient to show that it is bad

The genetic fallacy is the purported mistake of evaluating something on the basis of its origin or past characteristics. For instance, imagine a friend tells you that you should not wear a wedding ring because wedding rings originally symbolised ankle chains worn by women to prevent them from running away from their husbands (the example is from Attacking Faulty Reasoning (7th ed, 2012) by T Edward Damer). Even if wedding rings have such a dubious history, this history does not show that it is bad or objectionable to wear them now. When Nietzsche suggests that he should reevaluate Christian morality on the basis of this origin story, we might suspect he is employing a similar type of fallacious reasoning.

Concerns about falling prey to the genetic fallacy are part of what explain moral philosophy’s lack of a historical sense. Showing that something has a bad origin isn’t sufficient to show that it is bad, as the previous examples indicate. Neither does examining the origins of our values seem necessary for evaluating them. To evaluate our moral beliefs and practices, it seems that we need only look at the reasons for and against them, not the causes of our beliefs in them. For instance, to criticise egalitarianism, we should consider potential objections to egalitarian attitudes, such as that they recommend levelling down, prevent the achievement of human excellence, or fail to honour supposed differences in moral desert. Whatever one thinks of these criticisms, it seems that making and assessing them does not require looking at the history of our values. If these points are correct, we can see why moral philosophy would proceed ahistorically: if moral philosophy aims to critically scrutinise the value of our values, and origin stories are neither necessary nor sufficient for this purpose, then origin stories are irrelevant to moral philosophy.

Nietzsche thought this reasoning mistaken, although exactly why he thought so is a matter of scholarly dispute. His historical critique is typically understood in one of two ways: either he held that historical information was directly relevant to the authority or justification of moral norms, or he held it was indirectly relevant by providing evidence that moral attitudes are motivated by ressentiment and/or hinder great human achievements.

To grasp how history might be directly relevant to the status of our values, we might begin by acknowledging that the value of many human artefacts depends on their history – Picasso paintings are more valuable than perfect replicas because they come from Picasso and not from a copyist, and your family heirlooms hold special value because of their historical connection to your family. Something similar may be true of our values.

For instance, if our values include or imply commands, then their history might be relevant to their authority, our obligation to obey themMany commands depend for their authority on the authority of the commander, and vengeful clergy with status anxiety do not seem like authoritative commanders. More specifically, one might think that the authority of moral commands depends on their coming from God or pure reason, so insofar as historical investigation reveals that they derive from a secular ‘human, all too human’ source, then history might undermine their authority. If Christian values turn out to have been born from resentment, then that, on this sort of argument, undermines their value to us today. In a similar way, philological work that traces the Bible back to secular origins might undermine the authority of the moral teachings contained within it by undermining the claim that those teachings come from God or Jesus.

Another way that the status of our values may depend directly on their history is if they include or imply beliefs about value claims, as historical information can affect whether our beliefs are justified. I might destabilise a belief by coming to know that the process by which I acquired that belief is unreliable. For instance, say I believe a rumour that my grandfather used to pilfer money from the church collection jar, and I acquired this belief from my father. However, I then learn that my father heard this rumour from his brother, who is a notorious liar and resentful of his strict religious upbringing. Given that my belief traces back to an unreliable source, I might reasonably think that my belief is no longer justified.

If moral norms were originally motivated by ressentiment, then this directly ‘taints’ them in some fashion

Similarly, it might be that we acquired our moral beliefs from our parents (and broader culture), who acquired them from their parents (and broader culture), all the way back to the vengeful clergy. But if vengeful clergy are not a reliable guide to the moral truth, then I should distrust my parents’ teachings and therefore my moral beliefs. Nietzsche’s historical story might therefore help emancipate us from illusions by exposing information that challenges our faith in cherished but unjustified assumptions.

These points about authority and justification are points that philosophers sometimes make about the relevance of history for moral philosophy, and it is possible that Nietzsche was making points of this kind. However, this interpretation does not capture what many commentators and lay readers typically take to be the main insights of Nietzsche’s text. For instance, when undergraduates read the Genealogy, they usually take with them the idea that Nietzsche’s history shows that much avowed concern with virtue, rightness and justice is less noble than it purports to be – it is motivated by some concoction of petty vengefulness, self-valorisation and resentment against powerful and high-status others. Here, it is Nietzsche’s claims about the particular interests and motives of the priests, warriors and slaves that is crucial, not merely the fact that none of these figures is divine or reliable.

How might these interests and motives play a role in Nietzsche’s critique of morality? Perhaps Nietzsche is assuming that, if moral norms were originally motivated by ressentiment, then this directly renders them objectionable by ‘tainting’ them in some fashion, even if those who conform to them nowadays are not motivated in the same manner. However, Nietzsche need not make this assumption. It is more likely that Nietzsche sees his historical story as relevant in a more indirect manner, as evidence of similar psychological dynamics in contemporary society. On such a view, genealogy is relevant to a critique of morality because it provides evidence that contemporary morality has objectionable features, such as bad motives, that are not themselves historical.

The idea that many avowed moral views have dubious motives is not a hard sell, particularly given modern internet culture. So one might wonder why one need turn to history to make this observation. There are two reasons. First, Nietzsche’s history helps us see these dynamics more clearly by telling a historical story in which they are present in a simple and unmasked form. While contemporary morality is overlaid with complexities and rationalisations, if we look to the past, we can better see psychological dynamics that have now been obscured. History, on this interpretation, is used to unmask the present.

Second, because we are less personally and emotionally invested in viewing past situations in a particular manner, we are better able to take a less credulous, more realistic perspective of it. While we might bristle at thinking that our political convictions are motivated by ressentiment, we are more likely to recognise this dynamic in historically distant others, which then enables us to recognise it more easily in ourselves. Historical perspective prevents us from giving in to wishful thinking.

These points form an important strand of Nietzsche’s thinking. However, there are challenges to reading Nietzsche as using history in this indirect, evidential manner. Such interpretations treat the past as merely a simplified version of the present, differing from contemporary society only in minor ways. Consequently, this approach overlooks the kinds of significant historical change and contingency that are central to historicist perspectives on our social practices. If this account of Nietzsche’s genealogy were the whole story, it would seem that Nietzsche himself would lack a historical sense. If we want to understand how Nietzsche’s Genealogy might honour such historicist assumptions, we should turn to the history of Nietzsche’s genealogical method itself. That is, we should return to philology.

Much philological research in Nietzsche’s time was interested in investigating the way in which ancient and sacred texts are complex composites, with diverging elements stitched together from conflicting sources. For instance, Julius Wellhausen argued that the Pentateuch, the Hebrew Bible, was a human artefact that could be decomposed into four independent sources, each of which originated significantly after Moses (who was previously thought to be the sole author, a kind of ghostwriter for the divine). This source criticism enables us to see the Hebrew Bible less as a unified work and more as an amalgam of distinct elements with differing histories. This information discourages looking to the Bible for a unified theology, and therefore encouraged taking a less theological approach to the Bible generally.

As a teenager at SchulpfortaNietzsche learned this broad philological approach to ancient texts. For instance, his teacher Friedrich August Koberstein (himself a revered scholar and historian) suggested that he research a poem on the saga of the 4th-century Ostrogoth King Ermanarich. The poem is puzzling because some parts describe Ermanarich as a noble hero while others describe him as a coward and someone who murdered his wife. It is not obvious how readers are supposed to evaluate Ermanarich. Adopting a historical perspective, young Nietzsche argued that these conflicts arise from the fact that the poem does not have a single author but rather derives from a variety of sources – it is a layered construction with some parts from the Near East, others from Germany, as well as some from Denmark and Britain.

Nietzsche traces back different aspects of our moral framework to distinct sources

This broad approach to texts informs Nietzsche’s thinking about contemporary morality, which he describes in the Genealogy’s preface as a ‘long, hard-to-decipher hieroglyphic script’. When we look at our contemporary values, there are some ostensible tensions. For instance, many believe that excellent human achievements deserve special admiration and rewards, but also that it is only fair to receive special rewards for things that one has earned. But excellent human achievements are often due, at least partially, to innate talents that are not earned, so these views seem in tension. Much moral philosophy involves teasing out such intuitive judgments, finding tensions among them, and considering ways of resolving these tensions, much like a theological approach to the Bible involves identifying explicit and implicit theological claims in the text, finding tensions among them, and considering ways of resolving them.

However, Nietzsche’s philological approach is different. Like Wellhausen’s historical analysis of the Hebrew Bible, Nietzsche traces back different aspects of our moral framework to distinct sources. The perfectionist elements come from the warrior caste, the egalitarian ones from the priestly caste and slave caste, and other aspects of our moral framework – such as respect for ancestors – have still other sources. Rather than simply different strands coming together, we have a ‘document’ that has been rewritten and reinterpreted over time, often by those with complex and conflicting motivations. A philological approach to morality understands it as a complex amalgam rather than a unified evaluative framework.

This historical approach differs from more typical forms of moral philosophy because it does not assume that there is a unified answer to questions like ‘What is the good?’, at least if that answer is supposed to fit with many of our intuitive judgments. Rather, it brings out the competing strands of our moral thinking by providing an explanation of their presence that suggests that there won’t be a way to reconcile them. That is, just as a scientific philology of the Bible might undermine the presuppositions of Christian theology – that one will be able to construct a unified theology that fits sacred texts – so too a philology of morality undermines a presupposition of a certain strand of moral philosophy, that there is a unified moral theory that will make sense of our moral assumptions and practices. When one takes the historical perspective, much moral philosophy looks like it is engaged in a hopeless apologetic project of trying to reconcile what cannot be reconciled. There is no higher compromise between masters and slaves.

Now, if Nietzsche’s philological approach were relevant only to philosophical methodology, it might seem of little interest outside academic debate. However, this approach to morality does not just highlight a problem for contemporary moral philosophy. It also highlights a problem for us. For the fact that our modern moral views are fragmented and disunified itself poses problems. It means that it is difficult to act effectively and consistently, as there is no overarching framework for reconciling competing considerations in practical decision-making. It means that we might be committed to assessing ourselves according to conflicting criteria, ensuring that we are never able to measure up to the standards we set for ourselves. It sets us against ourselves. Nietzsche considered this kind of fragmentation and tension in our views a kind of illness, one of the ways in which modern society is sick.

Once one sees how the tools of philology can be applied to morality, it is easy to see how they can be extended to other parts of contemporary culture. If we examine the history of the norms that structure various social identities, we are often able to make salient forms of internal conflict that are latent in everyday life. For example, by examining the history of gender norms, we may more clearly discern tensions within contemporary conceptions of gender – eg, if you’re a woman, you are supposed to be both an angel of the house and a girlboss, and if you’re a man, you need to be an alpha while avoiding being toxically masculine. These competing norms often create conflicts within those who are invested in these identities, and clarifying the conflict may help avoid fruitless and frustrating attempts to reconcile these competing elements.

Of course, fragmentation and tension need not always be negative – there can be productive tensions, as Nietzsche recognised. Later theorists who have wanted to apply this philological approach to the cultural sphere have often aimed to emphasise its emancipatory potential. For example, understanding national histories as multifaceted genealogies, yielding political communities that are complex composites rather than unified cultures, enables one to appreciate the dynamism of cultural richness and challenge simplistic views of cultural homogeneity. ‘Unity’ is not a virtue in every domain.

Stepping back, a central puzzle about Nietzsche is why a self-styled ‘philosopher of the future’ should be so interested in the past. By examining the history of Nietzsche’s historicism, we can discern an answer. If employed critically, philology is not merely a tool for exploring the past but one for actively shaping the future. 

Friday, September 13, 2024

33 Writing Tips for Non-Fiction Authors

 Tucker Max 

As a general rule, I don’t write writing advice lists, and I dislike posts with “writing tips.” The problem is that young writers and Authors study those lists instead of the fundamentals. If you want to actually write and publish a book, there’s no substitute for executing the simple fundamentals of good writing.

But — that being said — there’s always a place for learning new tips and tricks that you can add on top of the fundamentals and help you become a better writer.

I’ve collected the best 33 writing tips I use. Some of these are things I came up with in my career writing 4 New York Times bestsellers (that sold over 4 million copies). Most of the lessons didn’t originate with me. They’re quotes and learnings I got from other great writers and Authors — some famous, some not — that have helped me in my career.

I’m passing these to you in hope they help you as much as they helped me.

Writing Tip #1: Clarity is the mark of genius.

“Creativity that blurs clarity is pretentious. Creativity that sharpens clarity is genius.”
— Roy H. Williams

I put this first because it’s the most important tip you can take from this list. If you do nothing more than write clearly, you’re going to be in the top 10% of all writers.

Don’t try to sound impressive, just try to be clear.

Don’t obsess over your writing style, just try to be clear.

Don’t try to be anything other than clear, and you’ll be good.

The downside to this tip is that if you don’t have anything to say, then being clear will make that obvious.

“An intellectual is a man who says a simple thing in a complex way. A genius is a man who says a complex thing in a simple way.”
— Charles Bukowski

Writing Tip #2: End each day mid-sentence.

This is a simple tip, and I can’t remember where I learned it, but it has worked for many, many writers: stop each day in the middle of a sentence.

This is for people who have trouble picking back up each day. If you stop in the middle of a sentence, then you have a clear place to start and an easy way to create momentum.

Writing Tip #3: Give yourself permission to write a mediocre first draft.

Write a bad first draft as fast as you can.

At Scribe, we call this part of the writing process a “vomit draft.” The point is to not edit or even read anything that you are writing as you do your first draft. Of course you will go back to it later and edit, but not on the first pass. The ONLY goal of the first pass is to get it done.

This is because one of the biggest obstacles between the desire to write and an actual finished piece is overcoming your own self-doubt. Doing a mediocre first draft is a great way to get momentum and start moving.

“Get it down. Take chances. It may be bad, but it’s the only way you can do anything really good.”
— William Faulkner

Writing Tip #4: Write what’s obvious to you but invisible to others.

“If something is easy for you, but hard for other people — that’s your book topic.”
— Tucker Max

I know I quoted myself. It’s terrible, but I couldn’t find anyone else who said it better.

When something is obvious to you, but is hard for other people, that is a great place to explore and write. This is because you’ve figured out how to do this in a way that others have not — and that is the exact knowledge that others want and need.

We all have knowledge and perspectives that others do not, and that is precisely what writing is for — sharing that knowledge and wisdom.

“The skill of writing is to create a context in which other people can think.”
— Edwin Schlossberg

Writing Tip #5: Make 250 words your daily word count minimum.

“Little strokes fell great oaks.”
— Ben Franklin

Why 250 words? It’s approximately the number of words per page in a printed book. So if you’re writing about 250 words a day, that’s about a page a day.

Yes, this is a very low goal. But a low goal is good. A low goal is not intimidating, so it will help you get started. It will also make you feel good when you surpass it, and entice you to keep writing.

This is a classic sales technique — lowering the quota to inspire action — that works wonderfully with writing.

The best part is that it adds up quickly: By writing just 250 words a day, you can get a 120-page (30,000-word) first draft done in about four months.

That is fast, and you’ll do it with what feels like very little effort and not a lot of time. As you can see, it’s all about consistency.

Writing Tip #6: Expect writing to be hard.

I wish I had a fun quote here about this, but writing is hard work. If it were easy, everyone would be good at it.

The key here is to go in knowing this. Expect it to be hard, tiring, confusing, overwhelming, and painful. I know this sounds obvious, but most people have a fantasy in their heads about writing that misses the crappy parts.

Embrace the crappy parts. That’s the only way to actually get it done.

Writing Tip #7: Habit is the foundation of writing.

“Motivation is what gets you started. Habit is what keeps you going.”
— Jim Ryun

This follows from the “writing is hard” tip. The ONLY way to make it easier is to build a writing habit.

There are great methods to use to make it a habit (this post describes one way that I know for a fact works). If you’re serious about writing, then it has to become a habit in your life. Something you do just about every day (at least when you are working on a project or book).

If you treat writing like a special thing that happens only when you are inspired, then it won’t happen. If you treat writing like a job or skill that you must focus on and schedule, then it will. So start writing.

“First we make our habits, then our habits make us.”
— John C. Noble

Writing Tip #8: Doesn’t matter that it’s been said; say it again.

“There’s always room for high-quality thoughts/opinions. Venn diagram of people with knowledge and those who can communicate is tiny.”
— Andrew Chen

Being totally original in writing is not only (virtually) impossible, it’s also not a great strategy. To be totally original you have to be so far away from the mainstream as to be irrelevant.

To add value to the world through writing, you are far better off sharing what you know in a way that people get. Great example:

There are millions of weight loss books. Everyone wants to lose weight.

What’s the disconnect?

It’s not information. It’s the way the information is being presented.

Every field has a contradiction like that. Find it and solve it.

Writing Tip #9: Most “writing” is actually editing.

“Writing is easy. All you have to do is cross out the wrong words.”
— Mark Twain

This is obvious to experienced writers, but for some reason, newer writers find this shocking. If you do your first draft properly, it will come out fast and be bad writing. Then you start editing, and that’s when the serious writing starts.

Writing Tip #10: Say the thing you are afraid to say.

“Whether or not you write well, write bravely.”
— Bill Stout

This is one that every writer struggles with, and I can tell you from experience, your writing will be successful in direct proportion to how well you do this.

The more you say the thing you are afraid to say, the better your writing will be.

The more you run from it, the worse it will be.

This is because, at our core, we are all searching for truth in a world that does not speak much of it. If you get up and speak just a little truth, people will love you for saying and doing the thing they wanted to say and do, but did not.

“Making a judgment, taking a stand and then acting against an injustice or acting to support excellence is the stuff of the everyman hero. If you are an aspiring artist and you wish to avoid ‘judgments,’ you’ll find that you have nothing to say.”
— Steven Pressfield

Writing Tip #11: Read your writing out loud.

This is not the only way to edit, but it’s the best.

When I was writing my first #1 bestseller, I had teams of proofreaders working through the book.

First I proofread it, then I had the help of editor friends, and finally the publishing company had their people do their copyedits. I did not think that a single mistake would sneak by, and happily locked in the manuscript.

A few months later I recorded my audiobook, and as I read through the manuscript out loud, I was horrified.

There were 100 tiny little word choice mistakes and changes I only heard once I said them out loud.

It drove me nuts.

Don’t make the mistake I made. Read your manuscript out loud, hear the mistakes, and change as you go.

If the words roll off your tongue, they’ll also flow smoothly in readers’ heads. Learn from my mistake — read your manuscript out loud and make your changes before you start the publishing process.

If it’s something you would say out loud, then it reads clearly on the page. If it’s something you would never say to another person, it won’t read as clearly.

Writing Tip #12: Avoid the “Mom edit.”

Be very careful with asking friends and family to give you feedback. I’ve seen a lot of manuscripts ruined by friends and family trying to be nice.

The “mom edit” is almost always the worst. Here’s a piece of advice — don’t do it.

What happens is they feel like they are supposed to give feedback, so they just mention things that occur to them. While they are well-intentioned, most of their advice is not only wrong, but it’s also counterproductive and toxic — a dynamic that can send authors into spirals.

The bottom line? Unless your friends and family are writers, or are in the audience of your book, or you are okay with ignoring them, don’t let them give you feedback.

Writing Tip #13: Beat writer’s block by asking what you’re afraid of.

Staring at a blank page? I have a simple trick I use to beat writer’s block. When I am stuck, I ask myself the question:

What am I afraid of?

Hint: it’s pretty much always some fear you don’t want to face (this is a list of common author fears).

Here’s the thing though — this won’t work if you aren’t honest with yourself. And of course, you have to be self-aware enough to know when you’re not being honest.

This works for me (most of the time), because I’ve spent many years in different forms of therapy, and I have gotten pretty decent at seeing my own bullshit (again, most of the time, not always).

If you’re not like that — and most people are not — this strategy won’t work. You’ll just spin up elaborate rationalizations to convince yourself that there is a REAL reason and it’s not some fear you aren’t facing.

But if you do this, if you can actually understand the fear that is driving your block, then you can solve it. I walk you through exactly how to beat your book writing fears in this piece.

Writing Tip #14: Spend time on your book title.

Your book title is the most important marketing decision you’ll make. Period.

Just like companies that spend millions on naming new products, and media companies that spend time testing different titles for posts, you should spend substantial time and energy finding the right book title.

This is a very important decision, and one you need to think about and get right to ensure your book has the best possible chance of success.

The title is the first thing the reader sees or hears about your book — even before the cover in most cases — and getting it right is the single most important book marketing decision you’ll make (even though most people don’t think about it as marketing). The title forms the basis of the reader’s judgment about your book.

Let’s be clear: A good title won’t make your book do well. But a bad title will almost certainly prevent it from doing well.

Writing Tip #15: No one cares about your book, they only care what your book gets them.

“This is the value for me of writing books that children read. Children aren’t interested in your appalling self-consciousness. They want to know what happens next. They force you to tell a story.”
— Philip Pullman

So many people want to write because they, unconsciously, see it as a way to express emotions or do therapy that they otherwise don’t or won’t do.

If you are writing for that reason, that’s cool — but understand that book is called a diary. You don’t need to publish that.

If you are writing something you want to publish, then you are writing for the reader. Even if the book is about you.

I am the perfect example — I wrote 3 #1 New York Times bestselling books about my life…and every single one is focused on entertaining the reader, not me. I know, it sounds very counterintuitive, but it’s the truth:

No one cares about your book — they only care what your book gets them.

Writing Tip #16: Cut everything unnecessary.

“Never use a long word where a short one will do.”
— George Orwell

The question, “What can I cut?” is the most important one to ask in writing.

The more you cut without losing meaning, the better.

A short good argument will always beat a longer good argument. Always.

There is NEVER a reason to write a single word more than necessary.

Note: Do not mistake clarity with brevity. Both are important, but they are different, and that’s why they are different tips.

“The most valuable of all talents is that of never using two words when one will do.”
— Thomas Jefferson

Writing Tip #17: Grammar rules are made-up bullshit.

“Remember, Grammar Nazis: It’s YOU’RE going to die alone.”
— Damien Fahey

This is one of those facts that most writers never stop to think about. There is no such thing as a hard and fast grammar “rule.” There are multiple different books that claim to be the one truth, but none of them are.

You can do anything you want — as long as it works for the reader.

Writing Tip #18: When necessary, learn the proper rules.

I know I said that all grammar rules are bullshit. They are. But the fact is, there are times and places that breaking the rules will make you look bad in a way that doesn’t help you.

Make sure you know all the big rules so that you can know when it makes sense to break them or to abide by them. Know all of these things (or just reference the links when you need them):

What are the parts of a book?
What are the rules for a book proposal?
How do you write the Foreword?
How do you write an Acknowledgments?
What is positioning and why does it matter?
How to write your Author Bio
How to write a book description that sells
How long should your book be?
How to do a great book cover
What are all the different types of editing?

There are endless other rules. You don’t need to know this upfront, just know that there are rules, and you can break them, you just need to know them ahead of time to know which ones to break and when.

Writing Tip #19: Good editing hurts your ego.

“When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done.”
— Stephen King

This is the most painful truth of writing: good editing crushes your ego. You will fall in love with something that doesn’t work, and the only solution is to cut it. What you do then determines the quality of your writing.

Until you have cut something that you loved but no one else does, you are not writing.

“In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.”
— Antoine de Saint Exupery

Writing Tip #20: Great writing is great storytelling.

“If you can tell stories, create characters, devise incidents, and have sincerity and passion, it doesn’t matter a damn how you write.”
— W. Somerset Maugham

This is a very important tip that so many writers fail to understand — no one cares about your fancy words or perfect sentences. That’s like a chef who is obsessed with spices but doesn’t spend time on the main dish.

Your reader cares about the story.

That doesn’t mean your writing can be bad. But writing is just a vehicle to tell a story, not an end in itself.

Don’t be the writer who forgets the point: teach your reader something valuable through story.

“The most powerful person in the world is the storyteller.”
— Steve Jobs

Writing Tip #21: If you get stuck, describe to a friend and record yourself.

If you are stuck writing, then talk out loud to a friend. Tell them exactly what it is you want to say, and all of the sudden it will flow seamlessly out of your mouth.

This is so dead simple, and I’ve been doing this for more than a decade to get past almost any writing obstacle I have encountered.

Note: I use Rev or Temi. They are both apps on my phone, and work great.

Writing Tip #22: Writing cannot be taught; only learned.

“Writing cannot be taught, though it can be learned.”
— Joseph Epstein

Take all the writing courses you can, and read all the articles you want. They are great and a part of learning to write.

But the point of this tip is that you’ll never be taught to write. It won’t come from the outside. It is inherently a creative activity, and thus you must actually write and learn yourself how to do it.

Getting guidance is great. But you must still learn it yourself.

Writing Tip #23: Nothing happens until you publish.

“Every accomplishment begins with the decision to try.”
— Neil Patel

Another thing that is obvious to professional writers but seems to escape amateurs. Until you publish your writing, nothing happens. It’s just a diary.

And by publish, I mean put it anywhere on the internet or out to the world. Not just a book. Sharing is the most important step of writing.

Writing Tip #24: Write what you are trying to figure out.

“If you’re saying it, it’s about you.”
— The Last Psychiatrist

I do like the “write what you know” cliche, but I don’t think it’s entirely accurate all the time. It’s also very valid to write what you are trying to figure out.

Why?

Because it will not only help you figure it out, but it also will help others who are behind you on the path.

The reality is that there is no finish line, so you might as well write and publish now. You can always do more later.

Writing Tip #25: Keep selling your reader after they’ve bought the book.

Just because the reader bought your book, your job is not over. You have to keep them engaged.

This is why most book introductions are so awful. Authors think the purpose of the introduction is to explain everything they will talk about in the book.

That is boring and wrong.

The purpose of a good introduction is to engage the reader and get them to read the book. Just because someone is reading an introduction does not mean they are going to finish the book. The thing that scares people off of books is not the price — it’s the commitment of time.

People don’t care about $10. They care about spending their time on something that is interesting and engaging to them.

That is the job of the introduction: prove to the reader this book is worth reading. A well done introduction grabs the reader and compels them to keep reading. It pulls them through and makes them excited to start the content, because the introduction has answered the most important question the reader has:

“Why should I read this book?”

Writing Tip #26: Never focus on tools; only on story.

Don’t spend one iota of time obsessing over your writing tools. That is all bullshit, a distraction to get yourself away from the hard job of writing.

Pick any software you like that is easy, and then go forward.

Writing Tip #27: Don’t try to be a “writer.” Just write.

For this lesson, I like to use a metaphor about restaurants:

Yes, the best restaurants in the world do have the experience and the atmosphere down. That stuff matters.

But more important than any of that — they do the fundamentals perfectly. They get simple, fresh ingredients and prepare them well. That’s it. If you do only that, you’ll provide massive value to a ton of people.

But the wannabe fancy chefs don’t do that. They look at the best restaurants and only see the accouterment. They copy the atmosphere, the experience, and focus on all the pretentious bullshit.

Then they fuck up the salad and overcook the steak.

Most writers are overcooking the steak because they are so concerned with identifying as an amazing writer that they overlook the fundamentals. Instead, they try to be clever. They are focusing on the words and forgetting about the story.

The sooner you go of the idea that you’re a “writer,” the faster you can perfect the fundamentals of writing, and then write things that people want to read.

Writing Tip #28: Hand write copies of your favorite writing to improve your writing.

This is a trick I learned from the best copywriters in the world:

Take some pages from the best writing of any writer you want to sound like. Copy that out, by hand. Literally copy it, word for word, in long hand.

I’ve done this with long-form prose writers, and it works wonders.

This gives you an entirely different way to get into the head of a writer you respect and want to emulate. You learn the feel of the words and how they think.

Then you can turn that into your own style.

Writing Tip #29: Write for the reader who won’t read as carefully as you write.

Remember, your reader is distracted and selfish. They are not going to read with the care you put into writing. Don’t fret about that, just account for it and write so that they can’t misunderstand or get lost.

This is the same reason that pop songs are designed to sound good on ear buds. Buy designing for the hardest environment, you ensure your writing works in all environments. And it usually makes it better.

Writing Tip #30: Great stories create emotion and meaning.

“Experiencing stories that tell the tale of protagonists for whom we can empathize gives us the courage to examine our own lives and change them. So if your story doesn’t change your lead character irrevocably from beginning to end, no one will really care about it. It may entertain them, but it will have little effect on them. It will be forgotten. We want characters in stories that take on the myriad challenges of changing their lives and somehow make it through, with invaluable experience. Stories give us the courage to act when we face confusing circumstances that require decisiveness.”
— Shawn Coyne

When you read that, do you think Shawn is talking about fiction?

He’s not. He’s talking about all writing.

Fiction or non-fiction, you are still telling a story and for that story to work, it has to hit the emotional core of people. Help them find meaning, purpose, truth, or whatever it is they are searching for.

This applies to something as simple as an instruction manual.

All writing is about emotion and meaning.

“Life is chaotic and meaningless, and you have to find your meaning. You must find the answer, you can’t just live. That’s the point of story: helping you find your meaning in life.”
— Robert McKee

Writing Tip #31: Expect 50% of your ideas to occur after you start.

This is annoyingly true. No matter how much you outline or think or plan, writing itself will generate more ideas.

For example, I outlined this piece to have 15 writing tips…31 later, I am two more from being done.

Writing Tip #32: Use a parking lot to capture ideas.

When I write, I end up accumulating notes for lots of other topics I want to write about later. Instead of those spinning in my head and distracting me, I have a note called a “Parking Lot,” and I put all my ideas for future pieces there.

It both ensures that I don’t lose them and gets them out of my head so I can focus on the piece I am working on.

Writing Tip #33: The only absolute rule in writing is “do what works.”

“You must understand that there is more than one path to the top of the mountain.”
— Miyamoto Musashi

All of these tips have worked for me (and for the thousands of writers my company has coached), but it doesn’t mean that they’ll work for you. Some will, some will not.

Here’s the point: the only absolute rule is that there are no rules, and all you have to do is do what works.

If it works, it’s right.

If it doesn’t, it’s not.

This is because writing isn’t about the words and sentences. It’s not even about the story.

Writing is about the impact the writing has.

What works is what matters, that’s it.

Have you stalled writing your book?

You have plenty of ideas you want to put into your book, but can’t find the time. Or maybe you’re frustrated with the writing process. When you seek advice, people tell you, “It’s all about discipline.”

But that doesn’t help you actually write your book. So you never finish your book, and the community you seek to impact never gets the benefits of your wisdom, and you don’t get the benefits of being a published author.

There’s an easier way — my new book, The Scribe Method: The Best Way to Write and Publish Your Non-Fiction BookGet your digital copy of the book for free, and start writing.

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