Recently, I read two posts within a few days that both resonated a lot with me. The topic of both pieces was the same: Writing. Or more specifically, writing on your own site. The first piece, “Just write.”, is by Sara Soueidan and if you haven’t read the article, I highly encourage you to do so. Besides the general advice that you should just write, no matter if people read it or not, what stuck in my mind the most were those two short sentences:Once I got over my own obstacles, I stopped feeling like I was obligated to meet other people’s expectations. I started enjoying writing again.
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And then there are the mornings when I can spend two hours trying to untangle the logic in a single paragraph. I’ll grant that the thing I’m trying to say isn’t, and shouldn’t be, simple. And the paragraph is one of the keys to explaining why this chapter is in the book at all, so it’s important to get it right. But I didn’t expect it to be quite that hard to say. And the difficulty makes me wonder whether I’ve really gotten it straightened out at all.
Leaving this here, in any case, to remind me to be a bit humble in this process. I have found few things quite as difficult as writing with clarity.
Yesterday morning, I closed comments on the open review of Generous Thinking. I’m enormously grateful to everyone who took the time to read and give me feedback on the project: 30 commenters left a total of 354 comments (and prompted 56 responses of my own). I have a good bit of insight into what’s working well and what needs improvement in the manuscript, and I’m excited about the possibilities ahead as I embark on the revision process.
A wonderful mentor recently advised me to write for the job that I wanted. I liked this advice a bit more than the classic “dress for the position you want”, but wasn’t quite sure where to start. Writing anything began to feel like an intense endeavor that would map out the path my life would follow singularly, no wandering adventures. A tad dramatic, right? My previous writing had touched on a number of things: graffiti and street art, women’s history, 3D modeling, and workshops. But lately I have felt stuck and I have made all of the excuses: I’m too busy. There’s other tasks that need to be completed first. I’m tired of staring at a computer screen. I’m not a very good writer. When I finally logged into my blog, I found a hacked mess. Another excuse not to write as I focused on rebuilding.
I too spend an inordinate amount of time monkeying around with my website/writing platform, but I also find that by using it as a regular commonplace book, I’m rarely at a loss for something to write about…
An inside look at the inner workings of a technology you may take for granted
A topic which is tremendously overlooked in the CMS world, but which can provide a lot of power.
h/t Jorge Spinoza
I noticed a few days ago that professor and writer John Naughton not only has his own website but that he’s posting both his own content to it as well as (excerpted) content he’s writing for other journalistic outlets, lately in his case for The Guardian. This is awesome for so many reasons. The primary reason is that I can follow him via his own site and get not only his personally posted content, which informs his longer pieces, but I don’t need to follow him in multiple locations to get the “firehose” of everything he’s writing and thinking about. While The Guardian and The Observer are great, perhaps I don’t want to filter through multiple hundreds of articles to find his particular content or potentially risk missing it? What if he was writing for 5 or more other outlets? Then I’d need to delve in deeper still and carry a multitude of subscriptions and their attendant notifications to get something that should rightly emanate from one location–him! While he may not be posting his status updates or Tweets to his own website first–as I do–I’m at least able to get the best and richest of his content in one place. Additionally, the way he’s got things set up, The Guardian and others are still getting the clicks (for advertising sake) while I still get the simple notifications I’d like to have so I’m not missing what he writes.
His site certainly provides an interesting example of either POSSE or PESOS in the wild, particularly from an IndieWeb for Journalism or even an IndieWeb for Education perspective. I suspect his article posts occur on the particular outlet first and he’s excerpting them with a link to that “original”. (Example: A post on his site with a link to a copy on The Guardian.) I’m not sure whether he’s (ideally) physically archiving the full post there on his site (and hiding it privately as both a personal and professional portfolio of sorts) or if they’re all there on the respective pages, but just hidden behind the “read more” button he’s providing. I will note that his WordPress install is giving a rel=”canonical“ link to itself rather than the version at The Guardian, which also has a rel=”canonical” link on it. I’m curious to take a look at how Google indexes and ranks the two pages as a result.
In any case, this is a generally brilliant set up for any researcher, professor, journalist, or other stripe of writer for providing online content, particularly when they may be writing for a multitude of outlets.
I’ll also note that I appreciate the ways in which it seems he’s using his website almost as a commonplace book. This provides further depth into his ideas and thoughts to see what sources are informing and underlying his other writing.
Alas, if only the rest of the world used the web this way…
Similar to several other mantras I’ve seen recently by various bloggers. Most of them have essentially said that they write to test out ideas, to stretch their thinking, to try to find additional clarity in what they’re contemplating. This takes a slightly different tack, but is roughly the same thesis.Syndicated copies to:
The growing prominence of The Atlantic's national correspondent Ta-Nehisi Coates means that he's often asked to comment on matters on which he lacks expertise, but he demurs. In a conversation with The Atlantic's editor in chief Jeffrey Goldberg, recorded in front of an audience at South by Southwest in Austin, Coates explains why he isn't interested in interviewing Donald Trump, why he cannot use Twitter ever again, and how his complicated feelings about America inflect his writing for Captain America.
As ever, an interesting conversation on The Atlantic Interview.Syndicated copies to:
Using WordPress makes me feel like that boy at the Type-In. I feel like the words are going right onto the paper. Sure, the metaphor is a little thin, but the point is that when writing with WordPress (or any CMS, really), the distance between what I’m typing and what I’m publishing is very short. The only thing closer is editing HTML directly on a live page, but that’s something only crazy people do. On the other hand, publishing a static site is like sending a document to a printer. I have to make sure everything is connected, that there’s paper in the machine, and then wait for the job to finish before seeing the output. If something needs editing, and something always needs editing, the whole process starts over.
I’ve never thought of it in these terms, but there is a nice immediacy and satisfaction to WordPress for this reason. (Though naturally one shouldn’t compose in their CMS in any case.)
I might submit that his issue is a deeper one about on which platform and where to publish though given that he’s got almost as many personal websites as I do social silos. The tougher part for him is making a decision where to publish and why in addition to all the overhead of maintaining so many sites. However, I’m not one to point fingers here since I’ve got enough sites of my own, so I know his affliction.Syndicated copies to:
For a quite a while I’ve been thinking about writing a book about the IndieWeb to provide a broader overview of what it is philosophically, how it works, how its community functions, and most specifically how the average person can more easily become a part of it.
Back in January Timo Reitnauer wrote Let’s Make 2017 The Year of the Indie Web. I agree wholehearted with the sentiment of his title and have been personally wanting to do something specific to make it a reality. With the changes I’ve seen in the internet over the past 22 years, and changes specifically in the last year, we certainly need it now more than ever.
In large part, I’ve been inspired by the huge number of diverse and big-hearted developers who are an active part of the growing community, but specifically today I came across a note by Doc Searls, an email about the upcoming NaNoWriMo (National Novel Writing Month), and then a reminder about the 100 Days of IndieWeb project. This confluence of events is clearly my tipping point.
As a result, I’m making my 2018 IndieWeb resolution early. For the month of November, as part of NaNoWriMo, I’m going to endeavor to lovingly craft together a string of about 2,000 words a day on the topic of the IndieWeb to create a book geared toward helping non-developers (ie. Generation 2 and Generation 3 people) more easily own their online identities and content.
Over the past year, surely I’ve read, written about, or interacted with the IndieWeb community concretely in one way or another on at least 70 days. This sprint of 30 days should round out a 100 days project. To be honest, I haven’t necessarily posted about each of these interactions on my own site nor are they necessarily visible changes to my site, so it may not follow the exact requirements of the 100 Days of IndieWeb, but it follows the spirit of the creator idea with the hopes that the publicly visible result is ever more people adopting the principles of the movement for themselves.
I’ll focus the book primarily on how the average person can utilize the wealth of off-the-shelf tools of the WordPress content management system and its community–naturally with mentions of other easy-to-use platforms like Known and Micro.blog sprinkled throughout–to own their own domain, own their content, and better and more freely communicate with others online.
If you haven’t heard about the movement before, I’ll direct you to my article An Introduction to the IndieWeb, portions of which will surely inform the introduction of the book.
If you’ve recently joined the IndieWeb, I’d certainly love to hear your thoughts and stories about how you came to it, why you joined, and what the most troublesome parts have been so I can help direct people through them more easily–at least until there are a plurality of one-click solutions to let everyone IndieWeb-ify themselves online.
As a publisher who realizes the value of starting a PR campaign to support the resultant book, I’m also curious to hear thoughts about potentially launching a crowdfunding campaign to support the modest costs of the book, with profits (if any) going toward supporting the IndieWeb community.
I’m happy to entertain any other thoughts or considerations people have, so feel free to reply in the comments below, or better yet, reply on your own site and send me a webmention.Syndicated copies to:
If you write clearly, then your readers may understand your mathematics and conclude that it isn't profound. Worse, a referee may find your errors. Here are some tips for avoiding these awful possibilities.
I want to come back and read this referenced article by Milne. The comments on this are pretty interesting as well.
Syndicated copies to:
The journalist moved into a house of meth addicts to investigate the drug. Within a month, he was using, too.
“I got a story, a very good story,” writes the young Australian journalist Luke Williams in the first chapter of his new book, The Ice Age. “Only it wasn’t the one I was expecting.” For three months in 2014, he lived in a house of crystal meth addicts in a suburb of Melbourne, Australia, to investigate the drug. Within a month, he had forgotten why he was there. He had become addicted himself. Continue reading “He went in to report on crystal meth – before long, Luke Williams was hooked | New Statesman”
I’ve been officially participating in the IndieWeb movement for almost two years–though from a philosophical standpoint it’s much closer to twenty. While I can see lots of value in the IndieWeb for even the average person on the internet, I’ve always felt that there’s also a tremendous amount of specific value for journalists and web-based publishers.
I suspect that a lot of the value of the IndieWeb philosophy is that it encompasses how many people inherently wish the internet worked. As a result I’ve seen a growing number of people discovering the concept de novo either on their own or by borrowing bits and pieces from their friends and colleagues who are practicing parts of it as well. This harkens back to the early days of the web when bloggers incrementally improved their websites based on what they saw others doing and sharing ideas more directly and immediately with their audiences.
An(other) unwitting example in the wild
Recently I came across the personal website of journalist Marina Gerner which is one of the few, but growing number, I’ve come across that is unknowingly practicing some of the primary tenets of the IndieWeb movement that I suspect more journalists will eventually come to embrace to better reach and engage with their audiences.
Another brief example I’ll mention having seen recently that almost explicitly rewrote the IndieWeb philosophy verbatim was on the the website redesign launch of PressThink, the blog of Jay Rosen, a journalism professor at NYU. It’s a great read individually as is the majority of what Mr. Rosen writes.
Though I read many of the publications for which Ms. Gerner is writing and might see most of what she’s writing organically, having all of her work in one primary location is a spectacular convenience! I can quickly and easily subscribe to all her work by email or RSS. For a working journalist, this is a boon, because like musicians in the evolving music business a lot of the value that they bring to the table (and to the venues in which they play) is a result of their individual fan bases.
While her personal website probably doesn’t drive even a tiny fraction of exposure for her work as when it appears in The Economist or the Financial Times, for example, it does allow her fans to easily keep up with what she’s writing and thinking about. Ideally in the future, outlets will make links to writer’s bylines direct to the writer’s own website rather than to archive pages within their own publications (or perhaps both if necessary).
Journalistic Brand & the Sad Case of Leon Wieseltier: The Counter-example
Here I’m reminded of the seemingly sad case of Leon Wieseltier, the long time literary editor of The New Republic, who was ousted by its editor-in-chief and publisher Chris Hughes, a former Facebook executive. Wieseltier’s brand was almost all-too-wrapped up in The New Republic, where he had worked for decades, and when he was pushed out (ostensibly for the puerile desire to get more clicks and eyeballs), his output and influence seemingly disappeared overnight. Suddenly there just wasn’t as much of him to read. While he still has some output, as a fan who enjoyed reading his work, the problematic hurdles of finding his new work were the equivalent of using a cheese grater to file down one’s knee cap. I suspect that if he had his own website or even a semblance of a Twitter presence, he could easily have taken a huge portion of his fans and readership built up over decades along with him almost anywhere.
While there are some major brand names in journalism (examples like James Fallows, Walt Mossberg, or Steven Levy spring to mind), who are either so wrapped up in their outlet’s identities or who can leave major outlets and take massive readerships with them, this isn’t the case for the majority of writers in the game. Slowly building one’s own personal journalistic brand isn’t easy, but having a central repository that also doubles as additional distribution can certainly be beneficial. It can also be an even bigger help when one decides to move from one outlet to another, bridge the gap between outlets, or even strike out entirely on one’s own.
From a work/business perspective, Ms. Gerner’s site naturally acts as a portfolio of her work for perspective editors or outlets who may want to see samples of what she’s written.
Sadly, however, she doesn’t seem to be utilizing the WordPress category or tag functions which she could use to help delineate her work by broad categories or tags to help find specific types of her writing. She appears to have a “featured” category/tag for some of her bigger pieces to appear at the top of her front page, but I can see the benefit of having a “portfolio” or similar tag to give to prospective outlets to encourage them to read her “best of” work. This would also be helpful to new readers and future fans of her work.
Categories/tags could also be beneficial to readers who may want to follow only her book reviews and not her economics related work, or vice-versa. With a bit of massaging, she could easily have an economics-only RSS feed for those who wanted such a thing. I spent a bit of time in December writing about how I customized my own RSS feeds and helping to make them more discoverable.
An IndieWeb mini-case study of Ms. Gerner’s website
Because it might take some a bit of time to delve into and uncover a lot of the spectacular and inherent value in the the massive and growing wiki behind IndieWeb.org, I thought I’d take a minute or two to point out some of the subtle IndieWeb-esque things that Ms. Gerner’s site does well and point out a few places she (or others) could quickly and easily add a lot of additional value.
IndieWeb-forward things that she is doing
She has her own domain name.
If you’re looking for all things Marina Gerner on the web, where better to start than http://www.marinagerner.com?
She owns her own data.
Technically, it looks like her site is hosted on WordPress.com, so they own, backup, and maintain it for her, but there is a very robust export path, so she can easily export it, back it up, or move it if she chooses.
She’s posting her own content on her own site.
I’m not sure if she’s posting on her site first using the concept of Post on your Own Site, Syndicate Elsewhere (POSSE), but even if she’s posting it secondarily (known as PESOS), she’s still managing to capture it on her site and thereby own a full copy of her output. If any of the publications for which she’s published should go out of business or disappear from the internet, she will still own a copy of her work. (See and compare also the commentary at Anywhere but Medium.)
She’s even got a syndication link (or attribution) at the bottom of each article to indicate alternate locations where the content lives on the internet. Since she’s not using Webmentions to back-port the resulting commentary (see below for more), this is highly useful for finding/reading the potential ensuing commentary on her posts or interacting with it in the communities in which it was originally intended.
Missing IndieWeb pieces that could provide additional value
Syndication Links to Social Media
There are no syndication links to where her content may be living on Twitter, Facebook, LinkedIn, or other social media spaces to give an idea of the conversations that are taking place around her work. In addition to the value that these conversations add to her work, they also give an idea of the breadth of the reach of her work, which could be useful not only to her, but to future outlets/employers.
Webmention and back-feed from Brid.gy
She’s clearly not using Webmention (now a W3C Recommendation) or services like Brid.gy which would allow her to have the comments and conversation about her articles from other sites or social media silos come back to live with the original articles on her own site. Given the quality of what she’s writing, I’m sure there are some interesting threads of thought stemming from her work which she’s not capturing back on her own site, but certainly could. As it stands, it’s highly unlikely (and perhaps nearly impossible) that I would go trolling around the thousands or hundreds of thousands of links to try to uncover even a fraction of it myself, but it wouldn’t take much for her to be able to capture all that data and make it easy to consume.
Webmention is a simple protocol that allows one website to indicate to another that it has been mentioned elsewhere on the web–it’s akin to Twitter @mentions, but is something that works internet-wide and not just within Twitter. Brid.gy is a service that bootstraps services like Facebook, Twitter, Instagram, Google+, and Flickr via API to make them support webmention until they choose to implement it directly themselves.
Given the schedules of many journalists, they may not always have time to pay attention to the commentary on past articles, but if she were aggregating them back to her own site, she could occasionally check back in on them and interact as necessary or appropriate. Even better she could do this herself without necessarily needing to spend the additional time and energy to go to multiple other social websites to do so. I suspect that a lot of the value that journalists get out of Twitter could be better had by aggregating some of it within their own websites instead.
As an example, the reader will note that I also have syndication links (by means of icons) at the bottom of this post, but I’ve enabled Webmentions and have most of the replies and commentary from these social silos coming back to this original post to aggregate as much of the conversation back to this original post. In the event that any of these social media sites are acquired or go out of business for any reason, all of this commentary will be archived here on the site. As an experiment, if you’d like, click on the Twitter icon at the bottom of this post and reply to that post on Twitter, your reply will be sent to me via webmention through Brid.gy and I can choose to display it as a comment under this post.
Owning her replies to others
Naturally if she does interact with her pieces via other social channels (Twitter, for example), she could post those replies on her own site and automatically syndicate them to Twitter. This would also allow her to own all of that subsidiary content and conversation as well.
Search and SEO
Once she owns all of her own writing and subsidiary data, her platform of choice (WordPress along with many others) also provides her with some good internal search tools (for both public-facing and private posts), so that her online hub becomes an online commonplace book of sorts for not only searching her past work, but potentially for creating future work. Naturally this search also extends to the broader web as her online presence gives her some reasonable search engine optimization for making it more discoverable to future fans/followers.
And much more…
Naturally the IndieWeb encompasses far more than what I’ve written above, but for journalists, some of these highlighted pieces are likely the most immediately valuable.
I’ll refer those interested in learning more to browse the wiki available at IndieWeb or join the incredibly helpful community of developers who are almost always in the online chatroom which is accessible via multiple methods (online chat, Slack, IRC, etc.) Major portions of the IndieWeb have become easily attainable to the average person, particularly on ubiquitous platforms like WordPress which have simple configurable plugins to add a lot of this simple functionality quickly and easily.
Another IndieWeb Journalism Example
While I was writing this piece, I heard Mathew Ingram, who currently writes for Fortune, say on This Week in Google that he’s been posting his work to his own website for several years and “syndicating” copies to his employers’ sites. This means he’s got a great archive of all of his own work, though I suspect, based on his website, that much of is posted privately, which is also an option, though it doesn’t help me much as a fan.
I’d love to hear thoughts, comments, or questions journalists have about any of the above. Are there other online tools or features journalists would like to see on their own websites for improved workflow?
Please post them below, on your own website along with a permalink back to the original article (see “Ping Me” below), via webmention, or even by responding/replying on/to one of the social media silos listed just below in the syndication links, or natively on the social platform on which you’re currently reading.Syndicated copies to:
E.B. White’s backstory
Elwyn Brooks “E. B.” White (July 11, 1899 – October 1, 1985) was an acclaimed American writer who contributed to The New Yorker magazine and co-authored the quintessential English language style guide The Elements of Style, which is commonly known as “Strunk & White” ostensibly making him the writer’s writer.
While re-reading Charlotte’s Web and then watching the movie version of Charlotte’s Web (Paramount, 2006) while thinking about the struggling writer in White (and all of us really), I’ve found a completely different theme in the piece as an adult that I certainly didn’t consider as a child when I viewed it simply as a maudlin, coming-of-age, commentary on the cycle of life.
An Alternate Theme
One can think of the characters Charlotte, the heroine spider, and Templeton, the despicable rat, as the two polar opposite personalities of almost any (good) writer. Charlotte represents the fastidious, creative, thinking, and erudite writer that writers aspire to be–which White espouses in The Elements of Style.
Templeton is a grubbing, greedy, and not-so-discerning writer who takes almost any word to get the story written so he can feast on his next meal of left-over slop.
Wilbur, the runt Spring pig desperately wanting to live to see the first snow, represents the nascent story. It too starts out stunted and scrawny, and it’s not really quite clear that it will live long enough to get published.
And so the struggle begins between the “Templeton” in the writer, and the “Charlotte” that the writer wants to become.
Charlotte represents care, devotion, creation, and even life (she not only desperately tries to creatively save Wilbur’s life, but dies to give birth to hundreds), while Templeton is a scavenger, doing the least he can to get by and generally taking advantage of others. Charlotte is crafting art while Templeton represents the writer churning out dreck in hopes of making a buck.
Alas, once the written work emerges to finally see its first “Spring”, one finds that Charlotte has died the death we knew was coming, while Templeton remains–as selfish and dreadful as before–ready to gorge himself once more.
There’s also the bleak and looming fact that Charlotte is now gone and only the vague hope that one of her few progeny will survive to live up to even a fraction of her good name. (Will my next book be as good as the first??)
The Writer takes on the Editor
The other two voices a writer often hears in her head are those represented by the characters of Fern, the doe-eyed youngster, and John Arable, the pragmatic farmer whose sir name is literally defined as “suitable for farming”, but not too coincidentally similar to parable, but without the ‘p.’ The sensible farmer (editor) says kill the runt pig (read: story) before you fall in love with it, while Fern (the creative writer) advocates to let it live a while longer–naively perhaps–wanting to know what results.
Who will you be?
So as you work on your own writing process, who will you be? Templeton, Charlotte, Fern, or John Arable? Whichever you choose for the moment, remember that all of them are ultimately necessary for the best story seeing the proverbial Spring.
Though your story may not win the “blue ribbon at the fair”, the fact that it has a life that extends the winter is a special prize all on its own to the team that created it.
On Why E.B. White Actually Wrote Charlotte’s Web
Now that I’ve sketched out the argument, I suspect that most writers will now know, as I do, why E.B. White wrote Charlotte’s Web.