Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Saturday, March 16, 2013

3703 The demise of communication

Saturday, March 16, 2013

The major difference between a thing that might go wrong
and a thing that cannot possibly go wrong is that when
a thing that cannot possibly go wrong goes wrong 
it usually turns out to be impossible to get at or repair. 
-- Douglas Adams --

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There's a guy running around loose out there who has been advocating for decades (predating texting and tweeting) that we do away with "correct" spelling, that instead, all spelling should be phonetic, and furthermore that there be no "correct" phonetic spelling, but that everyone should spell a word exactly as they pronounce it.

Gah!  Despite his years of advocacy I don't think he has thought it through.  What about regional accents?   How would you look up the meaning of an unfamiliar word?   Assuming that you could figure out the word anyway?  Could a Bostonian understand a note from Arkansas?

I found the article by him a few weeks ago, and of course now I can't find it again.  When I searched for it today I found several articles about schools that no longer teach spelling.  The theory is that kids will naturally absorb spelling in their reading materials.

Yeah, sure.  Bull poopy.

Phonics is essential to learning to read and to pronunciation.  Often it helps with "correct" spelling.  But given the way people routinely mispronounce even simple words (library/liberry, athletics/altheletics/atletics, etc.) if you allow people to spell words the way they (themselves, individually) pronounce them (libry? liebree? lybree? libery?  lybreree?), we won't be able to fully understand anything anyone writes.  If the spelling of a word isn't standardized, it would be so much work to read the written word that eventually people would give up reading.

And yes, the guy really does mean individually invented spelling - no standard phonetic combination of letters for a particular phoneme, which would result in "correct" spelling of a word again, which he doesn't want..

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From Through the Looking Glass, by Lewis Carroll:
'But "glory" doesn't mean "a nice knock-down argument",' Alice objected.

'When I use a word,' Humpty Dumpty said, in rather a scornful tone, 'it means just what I choose it to mean — neither more nor less.'

'The question is,' said Alice, 'whether you can make words mean so many different things.'

'The question is,' said Humpty Dumpty, 'which is to be master — that's all.'

Alice was too much puzzled to say anything; so after a minute Humpty Dumpty began again. 'They've a temper, some of them — particularly verbs: they're the proudest — adjectives you can do anything with, but not verbs — however, I can manage the whole lot of them! Impenetrability! That's what I say!'

'Would you tell me please,' said Alice, 'what that means?'

'Now you talk like a reasonable child,' said Humpty Dumpty, looking very much pleased. 'I meant by "impenetrability" that we've had enough of that subject, and it would be just as well if you'd mention what you mean to do next, as I suppose you don't mean to stop here all the rest of your life.'

'That's a great deal to make one word mean,' Alice said in a thoughtful tone.

'When I make a word do a lot of work like that,' said Humpty Dumpty, 'I always pay it extra.' 
I am distressed by the large number of professional writers, educators, and presenters who seem to think Humpty had something there - that a word can mean whatever you mean it to mean.  Unfortunately, that leaves the folks who do know what the word is supposed to mean wondering what the user means.  If you know what I mean.

At this rate, no one will be able to understand what anyone else really means, ever.
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Monday, June 11, 2012

3545 Write

Monday, June 11, 2012

You can cope.  You can always cope, no matter what.  And then later,
you can be proud of having coped.

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I copied this directly from Roba at http://www.andfaraway.net/blog/2012/06/11/pixar-rules-for-narration/, because I knew if I simply linked to it, nobody would read it, and it's well worth reading. 

“Story basics” from Emma Coats, of Pixar:

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.

#3: Trying for theme is important, but you won’t see what the story is actually about until you’re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

#17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

[From Pixar Touchbook, http://www.pixartouchbook.com/blog/2011/5/15/pixar-story-rules-one-version.html]
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