I have been writing, but if you follow me online there’s no way you could have seen it. In December, as part of my quest to cultivate one habit per month, I journaled every day: quietly, consistently, prolifically. I didn’t mean for it to be a secret, but the deeper I got the further I drifted from the Internet. My tumblr went stale. Old articles of mine resurfaced on Medium, but I didn’t pick up the conversation. I disengaged from industry conversations I normally would have participated in. I didn’t tweet once in three whole weeks. Online, it looked like I didn’t exist. (Or perhaps was on vacation.)
To the Internet, Something Was Up! And I confess?—?something was up. The truth is, I was writing: I was writing by hand. Writing with ink, pen and paper (not the app). And it felt?—?and “felt” is precisely the right word here?—?it felt great.
Beautiful read. And it’s not just about the joys and benefits of writing on paper but also reading as well. This part especially resonated with me:
Writing?—?by hand?—?makes me a better writer. And reading?—?on paper— that makes me a better reader, too.
At the end of December, I ordered a large single page per day Moleskine diary in bright yellow, and couldn’t wait to start the process of logging my days on January 1st.
I’ve never been one to do well keeping a regular diary in the traditional sense. When I’ve tried in the past, I’d start hot and fade after a few weeks of writing diary entries.
Digital tools haven’t solved this issue either. I love Day One, but have been off track for over a month in that app.
Yet, despite my issues keeping a traditional diary, it isn’t dampening my enthusiasm for keeping a logbook. This alternative approach to documentation fits me. It remains something I look forward to every day.
The difference? My logbook is a living document. I add to it as the day progresses, rather than trying to recall past activities and thoughts at the end of the day, in narrative form. I’ve shifted to capturing atomic bits of the day as they happen, rather than working to create a narrative of the day from memory.
I track my tasks with hand-drawn checklists, add icons with notes and comments about what I’m doing or should do, and if I have time or the inclination, I can add a short narrative from the day’s activities. But recall narratives are completely optional to the logbook pages.
I’ve made use of empty pages to sketch out concepts and ideas. On one occasion, I sketchnoted a TV documentary as an experiment for the book I’m working on called The Sketchnote Workbook.
I’ve also jumped back to past days, adding detailed narratives and notes to the pages to fill them in. Oddly enough, because my daily log is already on the pages somehow encourages me to fill in the details on memorable days.
Overall, the active nature of a logbook fits me much better than a traditional diary. I can verify it scientifically by the 4 months of entries in my yellow logbook. Now I feel incomplete if my logbook isn’t in my briefcase, and the desk seems empty if my logbook isn’t on top of it.
Exploring, experimenting and pushing my logbook has been an enjoyable and valuable experience. Why not consider starting a logbook of your own? It doesn’t have to start at the beginning of the year, nor be captured in a fancy logbook.
In notebooks, I’ve found it a unique way to see the ink of my life spill together on the pages. Mundane lists, sketches you can’t decipher anymore, phone numbers you can never call again because of the pain on the other end of the line, meeting notes from an hour of your life you won’t ever get back. They flow together on paper in a way that matches our bleeding lives.
Beautiful post by Nick Wynja on why he prefers notetaking and journaling on paper.
From Virginia Woolf’s heart-breaking suicide letter, to Queen Elizabeth II’s recipe for drop scones sent to President Eisenhower; from the first recorded use of the expression ‘OMG’ in a letter to Winston Churchill, to Gandhi’s appeal for calm to Hitler; and from Iggy Pop’s beautiful letter of advice to a troubled young fan, to Leonardo da Vinci’s remarkable job application letter, Letters of Note is a celebration of the power of written correspondence which captures the humour, seriousness, sadness and brilliance that make up all of our lives.
Using a typewriter has challenged me to think, and write, in an entirely new way. Over time, I’ve learned that the defining trait of a typewriter lies in its sole use as a writing tool and that its most valuable qualities are what it lacks. Without the luxuries of seamless editing and a quick spell check, I am forced to slow down and place a heightened importance on each thought and word; a typewriter demands conviction in one’s thoughts. Typewriters have earned a permanent place in my heart, and using them nearly every day has allowed my love of words to extend to the machines that makes them permanent.
I’ve been looking for quite some time for the right typewriter for me. This gives me some hope that it remains out there.
Immediately after every lecture, meeting, or any significant experience, take 30 seconds?—?no more, no less?—?to write down the most important points. If you always do just this, said his grandfather, and even if you only do this, with no other revision, you will be okay.
Computers, texting, IM, Twitter, Facebook—all great technologies that have all but made the concept of “by hand” obsolete. Why write a letter when you can shoot off an email? Why pass notes in class when you can text them (showing my age, I know)? As a result of our migration away from writing by hand, it feels as though we’ve lost sight of an art form. Efficiency has usurped legibility.
In no way is this a missive against computing or using computers to complete tasks once done exclusively on paper. Neil Gaiman may write first drafts of his novels with a pen, but many writers just want the words out of their heads and on the page as fast as possible and for that, one cannot beat a full laptop battery and a blank screen in Scrivener. Instead, this is an acknowledgement of a deficiency I realized later in life regarding a, for lack of a better pun, signature part of my identity—my penmanship.
My handwriting has never been horrible, but I’ve never been happy with it. I’m not giving any doctors a run for their money. However, I’ve always envied those who could jot on a Post-It with the caligraphic elegance of someone writing out table numbers on wedding placecards.
My father’s all-caps penmanship was the first I studied, with its clean, sharp angles and deliberate strokes, like Rockefeller Center in words. I wrote my name, I transcribed passages from books, and took notes all in capital letters in an effort to mimic my father’s style. As a result, I developed a slower, but much clearer way of writing.
After that, I took special note of the way he wrote the letter “R”, which is perhaps the only “flowing” letter in his alphabet. One stroke. He doesn’t go down and double back up the stem, then complete the large horseshoe and kickstand like a normal R. He goes up, swings left with what looks like a backwards “P”, then crosses over the stem and travels down.
I watched him form that letter over and over again, which was easy since it’s the first letter of his first name, and practiced it myself any time something I wrote called for a capital R. It wasn’t enough for me to draw the letter by itself repeatedly on a page. I needed to work it under my fingers, to become familiar with the shape and comfortable enough to compose it along with the letters that preceded and followed it in a school handout or essay.
Once I’d mastered it, I did the same with the cursive lower-case S he weaves into the hybrid print/script style he uses when writing quickly.
And that’s the best piece of advice I can give to anyone looking to improve his or her handwriting. It’s what any music teacher or coach will tell a student who wants to hone a skill: study the greats. J.R.R. Tolkien, John Adams, and Thomas Jefferson all had incredible handwriting, most likely due to an early educational focus on legibility and years of refining their styles. In addition, they no doubt utilized tools and techniques to keep their hands and wrists in check.
Remembering the joys of nature—the wild flowers, the smooth pebbles, the beams of sunlight, the flight of birds across a sky traced with wispyclouds—he mingled round and angular, light and dark, trailing vines and curling stems, slender upstrokes and shaded downstrokes, swooping capitals and judicious flourishes.
An example of Spencerian script can be seen here. 
Spencerian script also incorporated the “whole-arm technique,” which relied on the writer’s entire arm to create each letter, as opposed to utilizing mainly (or only) the wrist. These days we let our wrists do the writing, which can result in choppy “chicken scratch” when rushed.
For those interested in trying their hands (another pun!) at the whole-arm method, the easiest way to start is with a chalkboard. With chalk in hand, compose each letter of the alphabet using the shoulder to do the heavy lifting—not the wrist. Go slowly and make broad strokes. As this gets more comfortable and you’re able to increase speed without a loss in quality, make the letters slightly smaller. Only when the letters are small enough is it time to move to pen and paper. This is not an easy thing to master, but the results are a prettier, more fluid script.
Of course, not everyone in the 1800s had the time to devote to the flourishes and swoops of standard Spencerian. As a result, variations on the script were developed, including a “business” Spencerian that “could be markedly faster and less ornate than the script one might use to copy out a poem or write a love letter.” This came about after individuals such as Charles N. Hall worked to improve their penmanship using the original Spencerian techniques.
Put another way, by studying the handwriting of others, one person was able to develop a style uniquely his own. This has been my goal for roughly 10 years and I like to think I’ve made some progress during that time. I’m always working at it. I’ve been trying my hand at more ornate capital letters and have a particular fondness for John Adams’s capitals, as written in his many letters to his wife, Abigail. They’re fancy without being too ostentatious.
The key to my success thus far has been emulation and constant practice. I start slowly, rendering each new letter one stroke at a time, then build up speed until my S-es and Fs flow effortlessly from my pen. Once they’re under my fingers, my natural style mutates the original letters so they no longer belong to Adams or Jefferson, but to me. That’s my capital M in “Marks.” That’s my R in “Rat.”
The journey from scratch to script can be arduous. You will have plenty of moments where you’ll want to jam your pen into the table and walk away, but to me, the benefits of better penmanship make the frustrations worthwhile. My notes are clearer and more pleasing to read. The first draft of my current novel could be in a museum and I wouldn’t feel ashamed at the handwriting, just the choice of words on the page.
The Cramped is a love letter to the analog. It celebrates the art of doing things the long way and I can’t think of a better way to leave you, dear reader, than with a quote by William Morris that kicks off Script & Scribble and inspires us to appreciate that art:
A true source of human happiness lies in taking a genuine interest in all the details of daily life and elevating them by art.