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“Mass Is Just Energy You Haven’t Met Yet”

Mass isn’t just “‘stuff’ that things can be made out of,” according to University of Copenhagen particle physicist, Matt von Hippel. Rather, mass is what “a high energy of interaction looks like.” 

Von Hippel has a provocative way with words. His claim that mass is energy you haven’t met yet refers to the surprise that, in particle physics, mass is less “stuff” and more a consequence of energy. A proton’s mass, for example, far exceeds the weight of its component quarks. It’s the energy of interaction, according to Von Hippel, that accounts for the extra weight.

His argument should certainly be isolated to its applied field, but it’s too provocative for detainment. When broadly considered against the relationship between parts and wholes, it offers interesting insights. Take, for instance, a book. Intense interactive energy is required to transmute letters, pixels, papers, and ink, glue, and binding into something as weighty as a story. The book in our hands barely compares to the narrative it provokes in our heads.

As in the relationship between a proton and its quarks, the relationship between words and story is not commensurate. Word count accounts for neither a book’s mass nor a story’s heft. Perhaps this is because a book is less a product of the stuff out of which it’s made than a product of the energetic interactions that result in its story.

Elsewhere, writing about the relationship between synchronization and the speed of light, von Hippel points out that our knowledge of the world depends entirely on the models we build to bridge perceptions and our memories. Another name for these models? Stories. Here again, insights from particle physics are relevant, but we already know how much the mass of such stories matters.

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Success as Self-Help

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(Image credit: ESA/Hubble & NASA)

Although the American myth of meritocracy continues to crumble to smithereens, some of its fragments are worthy of consideration.

For instance, what does it mean when people who cannot succeed by virtue of their demonstrated abilities and merit, nonetheless continue to achieve? In this context (which is ours), what does success—or failure—even mean?

Success is typically communicated by signifiers of wealth, respect, or fame. It denotes achievement—which itself connotes effort—both of which confer the legitimacy collectively extended to success.

But when wealth, respect, and fame are gained without effort’s exertion, success becomes a more fragile, fluid word. It no longer refers to a meaning relatively fixed by the collective, and depends instead on the relative interpretation of a powerful few.

Failure is, or maybe was, different. Failure, denoted by lack rather than plenitude has always been fluid. We see this in the concept of failing up, where failure must be modified and fixed by its direction. The collective agrees, relatively speaking, that failure is not fixed.

To whom does it really matter if success and failure are now both fluid, relative terms? Well, for the collective seeking to award success and punish failure, it’s a problem. When we become less capable of consensus on what constitutes effort and exertion, we can no longer agree on who has won, and what, or who has lost, and how.

For the individual, however—for you—the responsibility of relativity can be a gift. Determining success and failure according to your own criteria is harder than it sounds, but it allows you to set a standard that matters to you. This is self-help at its most autonomous. Rather than reaching for a collective sense of success that appears increasingly empty, we can extend our efforts toward the kind of success toward which we want to strive. Of course, we can still fail. But, then again, we always could.

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Writing Is Iterative

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After the Locking, instructs Vonnegut, comes winter.

Here in Minnesota, winter has—emphatically—returned. I marked the occasion with a frigid run, thinking about my slippery but well-worn route, the new-but-old year, and the old-but-new omicron variant.

As I ran, I listened to Slate’s Political Gabfest, in which David Plotz, Emily Bazelon, and John Dickerson discussed a provocative conundrum: When is it okay to critique a friend’s creative efforts?

The initial, unanimous response? Never! 

But as they talked over variations on the theme, their answers started to shift:

Well, probably never…if you want to retain your relationship.

Perhaps sometimes…if they’re  particularly successful or are particularly solicitous.

Probably yes…if you’re a partner responsible for heading off potential embarrassment.

Definitely yes…in fact, you’re obligated.

The move from “you can’t” to “you must” seems to depend on the creative effort and on the relationship between creator and critic: Ultimately, critique might be necessary when the effort is writing and the critic is an editor.

Writing, Plotz argued, requires a critical reader because writing is iterative. 

Iteration describes repetition, making iterative a felicitous adjective when applied to writing. Writing requires repetition on both abstract and practical levels. When we write, we not only reproduce what we know; we also engage in mechanical reproduction—writing, reading, rewriting, rereading, asking others to read, rewriting, rereading, asking others to reread, then rewriting again.

It’s challenging, sometimes agonizing work, but modern iteration differs from rote repetition by its invocation of forward momentum. Iteration isn’t only repetition; it’s repetition toward refinement, toward a “desired result.”

Iteration is consequently an apt word for the work of writing. It’s also, possibly, an appropriate word for the work ahead.

In 2022, we face the same virus, the same intractable government and community responses, the same political rigidity, the same individual and collective challenges to childcare, school, and work, not to mention healthcare and other basic needs. The repetition itself feels like an inescapable, isolating trap. 

The language of iteration might help us conceive of a way out.

The gentle onomatopoeia in iterative means the word requires repetition for its completion. Like winter, like running, like writing, iterative work is repetitious work. However—and also like winter, like running, like writing—the repetition can reach beyond equivalence. Though 2022 is already a repetitive year, it doesn’t have to be the same as what preceded it.

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Good Reasons to Take Good Notes

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Sometimes, the most mundane habits are the most useful. So it is with note-taking.

The note-taker spectrum is broad: You might be a distractible doodler, an ambivalent-but-obliged recorder, a hyper-efficient graphomaniac, or a steadfast abstainer. While the devoted declare themselves by proximity to a favorite notebook, the reluctant might log random dates in Notes.

(Almost) regardless of where you fall on the spectrum, note-taking is an important aid to comprehension and a surprising access point to power. You don’t have to adhere to the Cornell Method to gain these benefits. Even if your style is more jot-down-a-word-and-circle-it-three times, project-oriented note-taking serves important functions.

First, note-taking breaks down a subject into its parts, allowing a more intimate approach to analysis: When we take notes, we get a lot closer to our subject.

Second, and counterintuitively, note-taking forces us further from our subject: When we take notes, we insert ourselves between our subject and our sense of our subject. The resulting space offers—and sometimes forces—a broader perspective.

Although note-taking fosters both intimacy and distance, both close comprehension and prodigious perspective-taking, its most crucial function isn’t the taking but the notes. 

When we take notes, we accumulate records of the things that mattered enough to us to be retained. Our notebook or app becomes a storehouse of observations to be consulted, used as evidence,  or considered a provocation for current or future work. It doesn’t really matter if the notes are clear or confusing: The simple act of retention invests our fleeting observations with the potential for future meanings.

Consequently, taking and keeping notes is incredibly useful. It’s useful for everyone, but it’s especially useful for those of us working on big or complicated projects. The practice might be an aid to productivity, but it will also provide past evidence for future meanings.  

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Hard Conversations

Asking for feedback isn’t easy. It’s not easy for anybody, and it’s especially not easy for writers.

In our workaday professional lives, feedback is a necessary efficiency. It offers an opportunity to put in a targeted effort when it’s still useful to do so. We may grit our teeth and assume a protective position, but we ask for feedback anyway. Perhaps we’ll find our efforts have been sufficient and well-placed, but we know to prepare for the possibility that more, better effort is necessary.

In our writing lives, however, soliciting feedback and critique can feel a bit more impossible. Although writing is a professional pursuit, it often requires intensely personal inputs, not just the proverbial blood, sweat, tears, but also hours of time and muscular effort. When you have tried very hard for a very long time to express a very difficult idea that’s very important to you, it can feel almost dangerous to find out if those efforts have been well placed.

In addition, writers, whether part- or fulltime, nonfiction or fiction, often feel a deep sense of intimacy with their work. Passion projects, career capstones, or manuscripts that have been years in the making are frequently imbued with a writer’s hopes, dreams, and desires. Once a manuscript takes shape, you may feel it contains too much of your essential self to be offered up for critique.

Do it anyway.

We all know that feedback (almost) always makes its object stronger. This is particularly the case for writing, where feedback can help writers widen the gap between their experiences and their representation.

As previously discussed, this gap is necessary: We want the gap—we need the gap. Without it, our experiences are too insular and singularly referential to be meaningful to others. Feedback can let us know if our writing offers a real and useful guide through our interiority.  

Feedback’s value is ultimately universal: It’s (almost) always an aid to efficiency, enabling  that targeted, useful, and necessary effort. Writers may need to assume a protective position and armor themselves, but they should take every opportunity to solicit feedback, too.

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Vulnerability: By the Book

If it’s difficult to accept vulnerability as a precondition of strength, it’s even more difficult to express this acceptance. Few of us want to reveal our weaknesses, particularly weaknesses that have been (and maybe still are) difficult to overcome. For some, however, revelation is a requirement.

Among writers, memoirists face a singular burden of expression. Though their work frequently illustrates triumph in the face of adversity, their expression of vulnerability is often their most effective tool. 

For lessons in expression, memoirists can look to fiction writers. The best fiction writers are expert at endowing their characters with the kind of vulnerability that solicits readers’ care. That care fosters a connection–offering insight into weakness and strength that extends beyond the page.

Consider Jo March and her initial rejection of and later regret over Laurie, or Estha and the shame he hides after his encounter with the Orangedrink Lemondrink Man, or Harry Potter and the loneliness contingent on the private pain of his scar. We connect to these characters through their fragility. Their recognizable vulnerability enables us to examine our own.

Unlike fiction writers, however, memoirists don’t have the luxury of distance. The presumption of truth that defines their work ensures any tenderness expressed is their own. Although this provenance raises the stakes, it also raises vulnerability’s value.

Vulnerability is less Achilles Heel, more Athena’s aegis. Aspirational memoirists can and should coach themselves to embrace vulnerability’s inherent, etymological power. They should remind themselves that the example of their fragility will inform their depiction of strength, inspiring readers’ connections, motivating their reflection, and perhaps moving them to action.

By viewing their vulnerability as a mirror, a conduit, a facilitator, and a tool, memoirists can generate a power from which readers draw significant courage. The work is not easy, but it’s worth it: Like the very best fiction writers, the best memoirists transform vulnerability into a power so stable it can hold up others.

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Talking Books

The propinquity effect describes the likelihood that interpersonal relationships develop—and develop more deeply—according to proximity. We’re more likely to forge friendships and develop deep relationships with people who live near us or with people we frequently see.

This may be unsurprising, given that physical proximity provides so many opportunities for, and thus expands the time we spend in, conversation (an effect made abundantly clear during the pandemic). More surprising might be the propinquity effect’s relevance to book development.

In my last post, I advised authors with underbaked, underdeveloped manuscripts to take a break. A break aids consolidation, which in turn enables authors to return to work with newly accrued knowledge and a fresher perspective. (Also, sometimes it just feels good to take a break, even if we don’t want to or don’t feel like we deserve to.)

But a break doesn’t need to be passive. Authors can help themselves (and maybe extend their enjoyment) by activating the propinquity effect. By identifying and reading the books with which their work is in conversation, and by producing imagined responses, authors establish deeper connections between their work and the proximate books with which their work is in relation.

By making the most of propinquity, authors enlarge their perspective and view their work’s particular qualities and strengths more critically. This not only  benefits their manuscript, it also helps refine extratexual efforts such as query letters or marketing materials.

In fact, the propinquity effect should be considered an incentive for taking a break. Authors may benefit from a pause in their work, but their manuscripts benefit when authors develop the connections between their manuscript and proximate titles.

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Underbaked Manuscript? Take a Break.

Sometimes, authors seek editorial work for a manuscript that isn’t yet ready for the editing stage. (And oftentimes, authors are surprised to hear this feedback.) But what if your manuscript is underbaked (or unformed or underdeveloped)? What can you do to prepare your manuscript for eventual publication?

If your manuscript doesn’t qualify for developmental work, you’ve received good news and bad news. The good news is simply the fact of feedback. Manuscripts are many and editors are few: If an editor responds to your work—even to say it’s not yet ready—something in it caught their attention.

The bad news is the manuscript is underdone. It could be the argument lacks precision, illustration, or evidence. Or it may be the treatment of argument, illustration, or evidence lacks depth, detail, or distinction. Regardless of the cause, after the hyperintense effort of writing, you may feel frustrated or demoralized by the prospect of a return to drafting.

What should you do? You should take a break.

“Take a break” sounds like an ineffective or childish intervention, but findings from brain-based research are robust: When it comes to periods of acute skill acquisition, emotional engagement, work productivity, and of course muscle activity, taking a break is imperative for mental, emotional, or physical consolidation.

Taking a break from the work also clears brain congestion to enable more efficient neurological processing. This, in turn, might help you see your manuscript more clearly, and through the critical perspective required for self-revision.

So, if you’re an author with manuscript feedback that amounts to “not yet,” fully enact that assessment: Take a break.

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Two Become One

Oh, look at those young women up there! It’s hard to believe how much has changed since Jessica Knight and I began Modern Writing Services: Houses bought and sold; babies born and grown; and, of course, business growth and change. 

This year marks the first full year without Jess. In 2019, she transitioned from her role at Modern Writing Services to that of a full-time research writer and analyst at United Health Group. While she still consults at MWS, she does so in a bespoke capacity. Here, she talks about her move:

Q: What precipitated your decision?

A: There’s not really one why, though going in-house is something I’ve thought about for a while. I was interested to see what it would feel like to have a longer-term stake in my work than I was able to have as a consultant. It can be tough to pour your heart and soul into a project and then have very little control over what happens to it after you turn it over to a client! I was also ready to step back from the business-ownership side of…well, owning a business. And I knew Molly would continue to do great things with MWS. Plus, it gave me an excuse to buy a bunch of new clothes!

Q: What’s your new position like?

A: It’s really challenging, and really interesting. It’s been a huge learning curve, and I imagine that’s going to continue pretty much as long as I stay in this job, since developments happen so quickly in the healthcare and R&D worlds. My role involves very diverse work, from conducting literature reviews and writing white papers for our business and scientific leadership; to working with our data scientists, statisticians, and clinicians to help them develop research questions, analyze results, and create narratives of their research; to collaborating with our subject matter experts to refine conference presentations and papers for publication.

Q: How is it different from, or similar to, your MWS work?

A: It’s a ginormous company, which has benefits and drawbacks. To some degree, the R&D group feels like its own little island with an independent culture, but even within R&D I have a couple hundred coworkers. And the work I do is very collaborative across research teams and roles, so the day-to-day feels a lot different from what my day-to-day was like at MWS, when my projects were almost completely solo ventures.

However, the job draws on a surprisingly similar skill set to a lot of the work I did at MWS. While it’s obviously all healthcare focused, the research, writing, and editing that I do isn’t so different from the kinds of work that I did for nonprofits, universities, and presses with MWS.

Q: The best part?

A: The energy and intelligence of my coworkers—it’s really exciting to work with such smart people and to be tasked with trying to solve such challenging problems. I’m constantly learning—and I love that constant learning is a foundational part of my job. And the food. We have weirdly good food at our office!

Q: The worst part?

A: Hands down it’s the commute. I’ve gone from rolling out of bed and into my home office, to slogging through a 30–60 minute drive each way. I can work from home, but it’s often just easier to be in the office. I listen to a lot of books on tape, which, thank god for books on tape, or I’d be a totally rageful driver. I do my best to be zen about it, but it’s for sure a drag to spend so much time in the car.

Q: When will you work with Molly again?

A: In my head, I still work with Molly. We collaborated on everything we did for six years at MWS, so I think there will always be a little piece of my brain that operates on a WWMD (what would Molly do?) basis. And I jump on any chance to actually work together again–I’m always available to come on board for special MWS projects

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Writing 101

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I loved Elizabeth Gilbert’s Instagram post on the top-ten of effective writing.

Of her successful, audience-tested suggestions, a few merit special attention, especially #1: Tell your story TO someone; #4: Don’t worry if it’s good, just finish it; and #9: What gets you [to keep going on a writing project] is not pride but mercy.

Although Gilbert’s expertise is in memoir and memoir-adjacent genres, every writer I know (including me) can benefit from the reminder that a story is always for someone. If you haven’t yet determined their identity, it’s you. Sometimes it makes sense to tell yourself your story, but the choice of audience will rigorously shape your delivery, so don’t abrogate the power.

Of course, it’s easy for a bestselling author to tell us that we shouldn’t worry if our work is good. But Gilbert is right: Perfectionism is the enemy of good; the challenger of completion; the rival of fulfillment. Getting the words down on paper is often the hardest thing writers do, but words can be revised, refined, and rarefied. Simply put, if you can’t get the words out, you can’t make them good. End of story.

Because getting the words out is so hard, writers do well to show themselves and their work mercy. Writers often write in spite of the difficulty and weakness of words, in spite of their inevitably truncated expressions. But writers who learn to view their efforts as temporary rather than permanent failures are better prepared to view revision as a compulsory part of their work. Unlike the writer motivated by pride and tripped up by missteps, a compassionate writer already understands that their words will never be quite good enough: They aim instead to make the words as resonant and meaningful as possible.

Writing is hard, but as Gilbert intimates, it can also be easy: Just pick your story, your listener, and your words…and then keep going until you’ve reached the end.

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