Writing Is Thinking

When you write about your work, it makes all of us smarter for the effort, including you. Done well, this kind of sharing means you’re contributing signal, instead of noise. But writers are made, n…

This is Not the End of Reading. It's the End of Modernism.

Why academics and journalists are confusing Modernism with reading itself.

On Writing #3

Periodically I like to gather various observations about writing, and share my perspective.

BookHive — Reading is better together

Track your books, connect with friends, and discover your next favourite read on an open, social platform.

BookHive — Reading is better together

Track your books, connect with friends, and discover your next favourite read on an open, social platform.

BookHive — Reading is better together

Track your books, connect with friends, and discover your next favourite read on an open, social platform.

Creative Reading: Scaffolding Reading for Transformation

Reading augmentation systems increasingly help readers process text at scale. While these tools address real constraints of time and cognitive load, they often implicitly frame reading as information transmission, or "reading to discard," delegating interpretation and effort to the machine. Yet this delegation changes the outcome of reading. For example, in scholarly reading, deciding what a research text implies and why it matters is central to the work of scholarly production. We propose creative reading as an alternative goal: reading augmentation that supports readers in creating both readings and themselves as readers. By putting literary and narrative theories into conversation with scholarly sensemaking and creativity support, we present a provocation-oriented design space for valuing the process of reading as a way of preserving a plurality of readings and transforming readers over time.

Creative Reading: Scaffolding Reading for Transformation

Reading augmentation systems increasingly help readers process text at scale. While these tools address real constraints of time and cognitive load, they often implicitly frame reading as information transmission, or "reading to discard," delegating interpretation and effort to the machine. Yet this delegation changes the outcome of reading. For example, in scholarly reading, deciding what a research text implies and why it matters is central to the work of scholarly production. We propose creative reading as an alternative goal: reading augmentation that supports readers in creating both readings and themselves as readers. By putting literary and narrative theories into conversation with scholarly sensemaking and creativity support, we present a provocation-oriented design space for valuing the process of reading as a way of preserving a plurality of readings and transforming readers over time.

A home for the writing you love · Standard Reader

New writing from the standard.site publications you subscribe to — calm, chronological, and yours to take anywhere.

Paragraph

Where writers share, grow, and get paid — one post at a time.

Toward a durable writing stack – Writings and rehearsals by Nathan Schneider

I have benefited over the years from others who have documented their writing setups, and so I feel some obligation to pay the favor forward by doing so with my own. The stack I’ll describe here is one I’ve been iterating on for about twenty years, starting from when I began discovering the pleasures of plain-text writing. Every aspect of it has changed over that period, but the some basic goals and flows have been with me through the writing of my college thesis, five books, and hundreds of articles. I am quite happy with where I am, and others might benefit from what I’ve come up with.

The 'Paperwork Flood': How I Drowned a Bureaucrat before dinner., Sightless Scribbles

A fabulously gay blind author.

Today · Standard Reader

Fresh writing from the publications you subscribe to, every day.

Alasdair MacIntyre’s Philosophy in Practice

It is a curious thing when an artist, thinker, or writer gains influence outside the audience he intends or is comfortable with. When a thinker associated with the right becomes popular on the left, or a novelist associated with the progressive left becomes popular among conservative readers, there can be a sort of strain felt between the audience in fact and the “true” audience, or between those who feel themselves to be the authentic recipients of a work’s message and meaning and those who, to the true believers, come across as opportunistic in their enjoyment of works in tension with their own views. The same is true when a writer working within an academic discipline gets picked up by those outside it: Those working within that discipline may find the co-opting of these thinkers misplaced at best or malicious at worst.