Last week I spoke at the Puget Sound SIGCHI meeting. Since it’s a group of designers and user researchers, I let them participate in picking the topic, and top mistakes won by a wide-margin.
Rather than talk about tactical mistakes, such as in prototyping and running studies, I focused on the ones we overlook the most, about attitude and culture.
Here’s the list I used during the talk:
Good Project Managers empower the people in their team. But good project managers are rare.
How do we educate our co-workers of our value?
People want data (observation from audience member)
Pay attention to how decisions get made:
Another Mistake: Never Make It Easy
Film analogy and design decisions
When there are smart, confident people working on things they are passionate about, there’s going to be unavoidable messiness. There is no ideal team where everything goes smoothly and every decision is contention free.
Inspire people to do things they wouldn’t otherwise do. Have vision (observation brought up by audience member)
What do you think we missed? Leave a comment.
I get many emails asking about writing, in response to the popular posts I’ve written about writing. Recently Shawnee M. Deck wrote in asking about writing ones life story.
I was immediately appalled by my lack of ability to put down on paper the words that seem to make everyone laugh whenever I tell my stories.
This is common. Spoken language and written language work differently. The skills needed to tell a good story in one do not necessarily transfer to the other. Our ears are more forgiving than our eyes. When listening, we can use people’s tone, pace and volume to get more information about what they are saying. When reading, we get none of that information. The words have to stand alone. It takes more skill to keep people’s attention in writing than in speaking.
Some writers do voice to text transcriptions, talking into a microphone and having software convert it to text. Give it a try. If that works for you as a way to get a draft down, go with it. But know that it will need heavy revising to appear like good writing to a reader.
Should I leave a lot of the grammar errors to my editor? What should I expect from my editor in general?
The more you know the better, but yes, any copyeditor should be your grammar expert. Editors come in two flavors: copyeditors and development editors. The former will correct your grammar and give you feedback on sentences, paragraphs and low level writing. The later, which is harder to find, is someone who can give you guidance on the overall direction, approach and voice of the book. Sometimes you can find one person who does both. Publishers sometimes have a third kind called acquisitions editors who find and negotiate with authors to sign book deals, but are often less involved in the process afterwards.
What format would you most suggest? Organized by subjects categorically? Organized chronologically? For now, I’m just getting the chapters down based on my outline.
There’s no right answer. A good book can use any of these methods, provided the writer uses the one they choose well. For now, I’d agree – it doesn’t matter. Just get your stories down. When you have a complete first draft, you can come back and change your mind about how it’s organized. If you plan for a second and third draft, which you should, you can happily postpone sorting out questions of form or structure. An outline helps get the first draft down, but there’s no law requiring your second draft uses the same outline.
Should I buy a lot of books (other than yours) and spend a lot of time researching how to write “memoirs” or should I spend a lot more time just writing.
The answer is both. You need to write and get feedback, and read and take notes (What worked in a book? What didn’t? Why?). You can also read many more hours a day than you can write (even pro writers don’t spent more than a handful of hours a day creating new work). If you read books related to what you are writing about, or in the same style, it will inform you of what you want to aim for, as well as avoid. As far as memoirs, check out Joan Didion, Ted Conover, Annie Dillard, Loren Eisley or any book in the Best American Essays series (there’s one for each year for at least the last decade). Most of the essays are memoirs or non-fiction, giving you a sampler pack of writers you might want to study.
A good friend mentioned he’d write more often if he dealt with his insecurities about writing.
I look at this differently.
All writers are insecure: they have doubts and fears that never go away. Kafka didn’t want any of his books published, and lived with perennial doubts about his talents. Fitzgerald and Hemingway both despaired about the quality of their current projects, whatever they were, afraid their new works wouldn’t measure up to their last (despite feeling this way about their previous works too). Talk to any creator while they are creating and insecurity is everywhere. Will this work? Is this the right choice? Should I cut this or make it bigger? It’s part of the deal, as making something means you have to find your way as you go.
Anyone who creates anything has an endless game of ping pong between confidence and fear going on in their minds. And although one might score an ace or a slam, neither ever wins, it’s an endless game. Complete confidence creates shitty work, and complete insecurity ends work altogether. Both confidence and fear are needed and must be lived with, not eliminated. Experience with creativity means familiarity with this process, not an avoidance of it. Fear is an asset if you use it as fuel for your fire, rather than a way to smoother it, or as an excuse for never starting it in the first place.
Writing is hard. Painting is hard. Competing at sports is hard. Everything interesting is hard. The risk of failure is what makes the challenge interesting. Take away any chance for failure, which you’d need in order to feel completely secure, and you take away motivation.
I say choose to do it anyway. So what if it’s bad? So what if no one likes it? So what if you read it and don’t like it yourself? So what so what so what so what. SO WHAT. At least you will have done it and can decide not to do it again. But to spend hour after hour just thinking and talking and torturing yourself about something you don’t do, while pretending, based on zero study of the craft, that there is a magic way to avoid all the hard parts no other productive maker has ever avoided, is beyond arrogant – it’s insane.
It’s okay to be insecure. Just be insecure about something you are actively making, instead of being insecure about some imagined reality that will never exist if you don’t sit down, shut up and get to work.
The quote of the day:
“All power corrupts, and absolute power corrupts absolutely. The more I’ve learned, the less I believe it. Power doesn’t always corrupt. What power always does is reveal. When a guy gets into a position where he doesn’t have to worry anymore, then you see what he wanted to do all along.”
-Robert Caro, Interviewed in Esquire, 12/16/09
I’m speaking this month at the Puget Sound SIG-CHI meeting (1/26, 6:30pm, location TBD) , a cool group of designers, researchers and UX-minded folks.
Since it’d be daft to pick a topic without some form of user-research, I’m asking you, here and now, what you’d most like to have me talk about. Here are some suggestions:
If anything in the list resonates, leave a comment. Or offer a suggestion please. Thanks.
I met Joe Wikert, GM at O’Reilly Media, in 2008, while negotiating terms for Confessions of a Public Speaker. I’ve talked to many editors and executives at publishing companies, but he quickly charmed me with his genuine intelligence and honest good nature. Like my editor at O’Reilly, Mary Tressler, he’s one of my favorite people at O’Reilly Media.
When I decided to self-publish my newest book, Mindfire: Big Ideas for Curious Minds, many people assumed there was some bad blood between O’Reilly Media and myself. It was one of the most common questions I heard, despite it not being the case.
When Joe asked to interview me about self-publishing, I imediately said Yes, as this is exactly the kind of good natured curiosity, and interest in providing a level playing field, that made me happy to work with Joe and O’Reilly Media in the first place.
We talked about the choices I’ve made, what I learned, advice I have for authors and publishers, and more (here’s Wikerts summary).
Some folks at Pixar, like their President Ed Catmul, offer great and true insight into the creative process. Here’s Lasseter with an excellent quote:
“I will never let a story reel go into production without it being great… I can show you early versions of the Pixar films when they are terrible. Every Pixar film was the worst motion picture made at one time or another. People don’t believe that but it’s true. We don’t give up on the films… we work, and re-work these story reels and [only] then we go into production. We then do the staging with the camera work. We go and record the dialogue with the actors. We’ll do the animation. Meanwhile, all the things that have been modeled that’s in the set and the characters has to be colored, with texture, and then it’s brought together, and lit, and we do the final rendering… it’s a lengthy process. It’s hand made… it takes 4 years.”
John Lasseter, Chief Creative Officer at Pixar, on Charlie Rose, 12/5/11
“I don’t write to get something through to somebody. I write for various reasons. Some songs I write for the pleasure of writing the song. It doesn’t have any great meaning, it’s just a song. Songs are nice. Kids sing songs all the time for the pleasure of the singing. The pleasure of the rhythm. London bridge is falling down… There’s a pleasure in singing the songs, there is a pleasure in writing the songs. Some songs you try and express yourself emotionally. Those are different songs for me. And they express what I feel and they relieve tensions that I feel when I express them. But I don’t think about getting through to somebody.”
– Paul Simon (From “Songs of America” documentary)
Some of you know, in addition to my writing and speaking work, I work as a team lead for WordPress.com, managing a team of developers and designers. It’s an amazing place to work, and I’ve given a few talks about how we make design and engineering decisions.
You can read a popular post I wrote called How WordPress.com is made, which focuses on how our 100 person company works, even though we are distributed around the globe, all the time. You can also read Automattic CEO Toni Schnieder’s post In praise of Continuous Deployment, about how we deploy new features and code.
I gave a short lecture on how wp.com is made at WordCamp Seattle (an informal series of events around the world for people interested in WordPress) which you can watch below. When I gave this talk again in Portugal, someone from Corefactor made a sketchnote, documenting the core points I made.
Here’s the talk from Wordcamp Seattle:
If you get bored, skip to 18:30, where i talk about how we almost never use email. I talk about Jetpack at 23:00, and Q&A begins at about 31:00. If you have trouble with the embedded version, go here.
Here’s the quote of the day. I wish more stars in all workplaces felt this way (Although Kobe has plenty of history of being less than coachable):
“[Brown] was not afraid to criticize the star guard [Kobe Bryant] after the exhibition opener Monday against the Clippers, pointing out to reporters that Bryant was one of many Lakers whose defense was subpar.
Brown called a timeout less than a minute into the third quarter that night after Bryant left Clippers guard Chauncey Billups open for a three-point attempt. ”That’s his job,” Bryant said. “I’d be upset if he was letting me skate through things. If you make mistakes, it’s a coach’s responsibility to point those out. If he can’t point that out to me, he has no chance in pointing that out to anybody else.”