Joe Keohane

@JoeKeohane

Writer/editor: , , , , , etc. Working on a book for Random House about talking to strangers

Vrijeme pridruživanja: lipanj 2009.

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  1. Prikvačeni tweet
    6. stu 2019.

    When you near the end of a book project and you look back at your early notes it's like meeting a much younger version of yourself. "You had a lot of energy, kid; you burned with hope and weighed 10 pounds less, but you were dumb as a crab and I'm glad you're gone."

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  2. 30. sij

    Again and again and again, 's newsletter proves to be an absolute goldmine for artists, aspiring artists, and humans in general. I still can't believe we have access to this guy's inner life after decades of really only getting the persona.

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  3. 24. sij

    21/ But you can’t separate the quality of the work being done from the economic conditions it’s happening under. And I'm not going to expect young writers to go broke just so I can have something good to read on the train.

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  4. 24. sij

    20/ And I know that writing has always paid badly for most people (even if there was at least the chance of advancement, which is a pipe-dream for most today). And I know that I, too, often bitch about a scarcity of bold and interesting work out there.

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  5. 24. sij

    19/ I know I’m generalizing, and I know that some writers are sincerely playing to their allies, as many writers always have. Everyone writes for different reasons, some good, some bad, often several at the same time, in the same piece.

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  6. 24. sij

    18/ “Internalizing the thought police” is also a pretty good description of “having a conscience.” So instead of writing off a whole generation for being lazy or fearful herd fauna, let’s at least allow for the possibility that some of them are in fact trying to be moral.

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  7. 24. sij

    17/ Third, Packer imagines young writers always asking themselves, “Can I say this? Do I have a right? Is my terminology correct?” And yes in one light that internal voice seems like self-censorship and an unwillingness to speak truth—internalizing the “thought police." But...

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  8. 24. sij

    16/ ...the writer can expect to be piously and publicly excommunicated, even though the piece was edited, approved, and published by the publication. Again, that means less income for the writer. So why bother stirring the pot at all?

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  9. 24. sij

    15/ The “shit” in this case can be legal—a legit or nuisance defamation suit—but it can be a Twitter mob. In the latter case, publications want to stir the pot, but not so much that it gets all over them. When it does, as it did with my friend Luke O’Neil and the Boston Globe...

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  10. 24. sij

    14/ Second, unlike previous generations, writers today can expect little or no support, legal or otherwise, from the publications that run their work—as evidenced by standard contracts that all but explicitly say: If the Shit Goes Down, You, Writer, Are On Your Own.

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  11. 24. sij

    13/ You play by the collective rules, and they protect you. A hundred thousand years ago, they protected you from animal predators. Today, they protect you from the panicked whims of publishers and owners, and the cruelty and stupidity of the content economy.

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  12. 24. sij

    12/ And while I personally have no patience for groupthink or ideological thinking, I’m pretty well-situated in my career. For a young writer today, membership in an ideological community works the way membership in any community has always worked:

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  13. 24. sij

    11/ Packer writes, “The fear [of incorrectness] is more subtle and, in a way, more crippling [then fear of being killed]. It’s the fear of moral judgment, public shaming, social ridicule, and ostracism. It’s the fear of landing on the wrong side of whatever group matters to you.”

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  14. 24. sij

    10/ “I can’t be out here taking weird/aggressive stands because I don’t have…any institutional backing…health insurance…savings…a strong desire to do something else for a living…confidence...[or] editors who want aggressive shit. So yeah, writing gets hard.”

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  15. 24. sij

    9/ Maybe so, but today if your pieces don't land—i.e., you are “ignored”—you're also going to be punished by an inability to make rent, and be considered insolvent. As a young freelancer wrote me this morning:

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  16. 24. sij

    8/ Packer argues that having made their deal with the devil, today’s writers are “always vulnerable to being punished for your independence by one group or another, or, even worse, ignored,” and that “standing on your own… [is] no longer considered honorable or desirable.”

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  17. 24. sij

    7/ (We have yet to fully reckon with the damage that the ability to quantify the success of a story has done to the crafts of writing and editing, but that’s a topic for another time.)

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  18. 24. sij

    6/ The easiest way to avoid loss of income for both parties is to write and run stories that will land—which are stories that can be mainlined straight into the ideological lizard brain.

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  19. 24. sij

    5/ This is because the success of the editor assigning these stories is also being judged by clicks, and the editor doesn't want to get fired, like thousands and thousands of their peers already have.

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  20. 24. sij

    4/ Most freelancers live hand to mouth, story by story, one shitty paycheck at a time. If a piece for a publication doesn’t “land”—which is to say, doesn’t find an audience—their chances of getting another shitty paycheck will fall right through the floor.

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  21. 24. sij

    3/ Yes, some writers write what they write out of solidarity to their group, or out of a desire to “belong,” as Packer writes. But for many, it’s not merely the desire to be liked at play behind this supposed surrender to the “thought police.” It’s the desire to not go broke.

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