This doesn’t have to be pretty, make sense, or go into detail yet — it just needs to be words on the page.
I’ve seen lots of people talk about the idea of “writing ugly” at a high level, but not many that spell out how to do it.
Want to know the secret to getting past the blank page when you sit down to write?
Here's how I've mastered it. THREAD!
This doesn’t have to be pretty, make sense, or go into detail yet — it just needs to be words on the page.
I’ve seen lots of people talk about the idea of “writing ugly” at a high level, but not many that spell out how to do it.
Before you try to get too in-depth, create a loose framework. It should look something like:
· Intro
· Background
· Specific Points/Ideas/Tips
· Conclusion
This allows you to visualize what you'll build upon. It’s your road map.
You’ll want to focus on the middle section of your outline first. Nail down the examples or points you want to walk through.
Include internal + external resources (and quotes!) for reference. Bullet points work well here.
Once you have the middle section complete, look at it as a whole to determine what kind of background information you need to share so the reader has relevant context.
This could be a fictional scenario, a story, a quote — something that provides a backdrop.
These two parts come last. They should be similar, but not identical. (Sisters, not twins.)
Your introduction welcomes the reader with a conversational tone, while the conclusion goes over what you explained and reminds him/her of the one main takeaway.
When your ugly first draft is complete, you can then go back in to polish things up and perfect your work — but not before then. Self-editing while you write is the enemy of completion.
As the idea rolls around in your mind, you might have new thoughts/ideas to add. Let it marinate.
Want more tips like these? Get them in your inbox: https://t.co/8mIDaah3eO
More from Writing
In 2013, I woke up and said, "I want to write a book about Pokémon."
In 2017, I finally wrote it.
In 2019, thanks to the fine folks at @DelReyBooks, you'll all get to read it.
I'm pleased to announce my epic fantasy debut. Formerly: "Fullmetal Pokémist." Now:
STEEL CROW SAGA.
Seriously, everyone, I can't tell you how thrilled I am to share this one with you. The world is far-flung and weird, and the characters live lives so far removed from mine, but STEEL CROW SAGA is honestly the most personal and autobiographical thing I've ever written
Yeah, I guess I should address that early. STEEL CROW SAGA is not a trilogy. This is a standalone book. I left doors open for someday, but my plan right now is for each of these three books to be its own
Last thing I'll say here: I couldn't have asked for a better team than @DelReyBooks to work with--particularly @tnarwani, who just Gets this book. In our call, she casually cited a semi-obscure Korean movie from ten years ago, unaware it'd been a key influence. That's when I knew
Anyway. Plenty more to tease in the coming year. Thanks again to my friends who got me through it, and especially to @dongwon who saw this weird Toonami regurgitation and immediately believed in it. Today is my triumph, but it's also theirs.
In 2017, I finally wrote it.
In 2019, thanks to the fine folks at @DelReyBooks, you'll all get to read it.
I'm pleased to announce my epic fantasy debut. Formerly: "Fullmetal Pokémist." Now:
STEEL CROW SAGA.
Seriously, everyone, I can't tell you how thrilled I am to share this one with you. The world is far-flung and weird, and the characters live lives so far removed from mine, but STEEL CROW SAGA is honestly the most personal and autobiographical thing I've ever written
Yeah, I guess I should address that early. STEEL CROW SAGA is not a trilogy. This is a standalone book. I left doors open for someday, but my plan right now is for each of these three books to be its own
holy crappppppp i see A THREE BOOK DEAL hidden in there too!!!!!!!!
— do i dare to eat a \U0001f351 (@NicasioSilang) October 31, 2018
Last thing I'll say here: I couldn't have asked for a better team than @DelReyBooks to work with--particularly @tnarwani, who just Gets this book. In our call, she casually cited a semi-obscure Korean movie from ten years ago, unaware it'd been a key influence. That's when I knew
Anyway. Plenty more to tease in the coming year. Thanks again to my friends who got me through it, and especially to @dongwon who saw this weird Toonami regurgitation and immediately believed in it. Today is my triumph, but it's also theirs.
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MDZS is laden with buddhist references. As a South Asian person, and history buff, it is so interesting to see how Buddhism, which originated from India, migrated, flourished & changed in the context of China. Here's some research (🙏🏼 @starkjeon for CN insight + citations)
1. LWJ’s sword Bichen ‘is likely an abbreviation for the term 躲避红尘 (duǒ bì hóng chén), which can be translated as such: 躲避: shunning or hiding away from 红尘 (worldly affairs; which is a buddhist teaching.) (https://t.co/zF65W3roJe) (abbrev. TWX)
2. Sandu (三 毒), Jiang Cheng’s sword, refers to the three poisons (triviṣa) in Buddhism; desire (kāma-taṇhā), delusion (bhava-taṇhā) and hatred (vibhava-taṇhā).
These 3 poisons represent the roots of craving (tanha) and are the cause of Dukkha (suffering, pain) and thus result in rebirth.
Interesting that MXTX used this name for one of the characters who suffers, arguably, the worst of these three emotions.
3. The Qian kun purse “乾坤袋 (qián kūn dài) – can be called “Heaven and Earth” Pouch. In Buddhism, Maitreya (मैत्रेय) owns this to store items. It was believed that there was a mythical space inside the bag that could absorb the world.” (TWX)
1. LWJ’s sword Bichen ‘is likely an abbreviation for the term 躲避红尘 (duǒ bì hóng chén), which can be translated as such: 躲避: shunning or hiding away from 红尘 (worldly affairs; which is a buddhist teaching.) (https://t.co/zF65W3roJe) (abbrev. TWX)
2. Sandu (三 毒), Jiang Cheng’s sword, refers to the three poisons (triviṣa) in Buddhism; desire (kāma-taṇhā), delusion (bhava-taṇhā) and hatred (vibhava-taṇhā).
These 3 poisons represent the roots of craving (tanha) and are the cause of Dukkha (suffering, pain) and thus result in rebirth.
Interesting that MXTX used this name for one of the characters who suffers, arguably, the worst of these three emotions.
3. The Qian kun purse “乾坤袋 (qián kūn dài) – can be called “Heaven and Earth” Pouch. In Buddhism, Maitreya (मैत्रेय) owns this to store items. It was believed that there was a mythical space inside the bag that could absorb the world.” (TWX)
I just finished Eric Adler's The Battle of the Classics, and wanted to say something about Joel Christiansen's review linked below. I am not sure what motivates the review (I speculate a bit below), but it gives a very misleading impression of the book. 1/x
The meat of the criticism is that the history Adler gives is insufficiently critical. Adler describes a few figures who had a great influence on how the modern US university was formed. It's certainly critical: it focuses on the social Darwinism of these figures. 2/x
Other insinuations and suggestions in the review seem wildly off the mark, distorted, or inappropriate-- for example, that the book is clickbaity (it is scholarly) or conservative (hardly) or connected to the events at the Capitol (give me a break). 3/x
The core question: in what sense is classics inherently racist? Classics is old. On Adler's account, it begins in ancient Rome and is revived in the Renaissance. Slavery (Christiansen's primary concern) is also very old. Let's say classics is an education for slaveowners. 4/x
It's worth remembering that literacy itself is elite throughout most of this history. Literacy is, then, also the education of slaveowners. We can honor oral and musical traditions without denying that literacy is, generally, good. 5/x
As someone\u2019s who\u2019s read the book, this review strikes me as tremendously unfair. It mostly faults Adler for not writing the book the reviewer wishes he had! https://t.co/pqpt5Ziivj
— Teresa M. Bejan (@tmbejan) January 12, 2021
The meat of the criticism is that the history Adler gives is insufficiently critical. Adler describes a few figures who had a great influence on how the modern US university was formed. It's certainly critical: it focuses on the social Darwinism of these figures. 2/x
Other insinuations and suggestions in the review seem wildly off the mark, distorted, or inappropriate-- for example, that the book is clickbaity (it is scholarly) or conservative (hardly) or connected to the events at the Capitol (give me a break). 3/x
The core question: in what sense is classics inherently racist? Classics is old. On Adler's account, it begins in ancient Rome and is revived in the Renaissance. Slavery (Christiansen's primary concern) is also very old. Let's say classics is an education for slaveowners. 4/x
It's worth remembering that literacy itself is elite throughout most of this history. Literacy is, then, also the education of slaveowners. We can honor oral and musical traditions without denying that literacy is, generally, good. 5/x