Charlie Munger has died. Mr. Munger was ninety-nine and lived a long, brilliant life. He was highly successful in many fields. Making money, for sure, but he accumulated and distributed vastly more valuable assets of wealth such as life long learning and influencing others to think by writing.

Charles T. Munger was the multi-billionaire vice president of Berkshire Hathaway, one of the world’s leading financial institutes. He was the man who taught Warren Buffett how to invest and stood giant as a role model for many thought leaders. That includes writers—past and present—who used Munger mental models to help understand and articulate their thoughts.

Shane Parrish is one of those thinkers and writers. Shane hosts the Farnam Street website. It’s named after the lane in Omaha, Nebraska where Charlie Munger lived his entire life.

Farnam Street is a thought-provoking site and publishes every Sunday morning. Last week’s edition included a piece titled Writing To Think. Shane, being a Munger disciple and promoter of works like Poor Charlie’s Almanack and The Psychology of Human Misjudgement, encourages his followers to freely share his material. With that invitation, I’m going to repost Shane Parrish’s article, Writing To Think.

Writing to Think by Shane Parrish

A few weeks ago, my 13-year-old son asked me why writing was so important. He wasn’t happy. One of his teachers had asked him to write an essay and he would rather use AI to generate it for him and be done with it.

The question seemed as natural to him as using a dishwasher is to us. If there is a better, more convenient way to do this, why not use it?

Today’s kids are growing up in a world where they can generate essays in seconds. Many employees are already using AI for a lot of simple tasks like email, catching up after vacation, summarizing meetings, and drafting PowerPoints. While some of these tasks might be accomplished more efficiently by ChatGPT than by human effort, I’d argue there are times when inefficiency is the point.

The reason they teach writing to kids in school is not to generate endless essays on history or books but to create a space to practice reasoning. By delegating writing to AI, my son might be reducing his time spent doing homework. But he’s missing the chance to think more clearly about the topic at hand.

Writing forces you to slow down, focus your attention, and think deeply. In a world where attention is fragmented in seconds, thinking becomes more reactive than reasoned. Only when we have time to play with a problem can we hope to think about it substantially. Writing requires sticking with something a little longer and developing a deeper understanding.

Mortimer Adler once said, “The person who says he knows what he thinks but cannot express it usually does not know what he thinks.” We all know someone with this surface level of understanding. They read an article or two and have the confidence of an expert. It’s as if you are having a conversation with someone who tells you they are a hockey player, only to find out they’ve never skated.

Writing is the process by which you realize that you do not understand what you are talking about. Of course, you can learn a lot about something without writing about it. However, writing about something complicated and hard to pin down acts as a test to see how well you understand it. When we approach our work as a stranger, we often discover how something that seems so simple in our heads is explained entirely wrong.

Most organizations see PowerPoint and writing as interchangeable. They are not. Powerpoint masks poor thinking. Just because presentations are easy to create doesn’t mean the person creating them understands what they are talking about. If my experience is any indication, about 30-40% of people giving presentations lack more than a surface-level knowledge of what they are presenting.  All the time spent making the presentation look good comes at the expense of wrestling with the problem and developing unique insights.

Pretty graphics don’t only drug the presenter, they also intoxicate the audience. When dressed up, even poor thinking can come off as well thought out. Writing avoids this because it strips away the fancy graphics. Poor thinking has nowhere to hide.

Other than reading them yourself, one way to test your ideas is to let others read them. Strangers reading your writing can’t see all the thoughts in your head, only the ones you put into words and share. It’s easy to assume the people who disagree with you are wrong. Sharing your understanding with the world allows you to not only test your thinking but gain the perspective of others (as the comments here will no doubt do). Writing forces you to step on the ice and skate.

Anyone who’s ever revised a piece of writing and done it well knows the pain of having to kill their darlings. But deleting, in writing and life, is a valuable tool. When you write, you develop an attachment to the text you produced only because you produced it. Choosing to discard writing forces you to reconcile between what is true and what you wrote, which can lead to tremendous personal growth both in writing and in life.

AI-generated text, on the other hand, is disposable by nature. It doesn’t force you to practice attachment and letting go. The most important key on the keyboard and in life is often the one that deletes.

Deciding what to pay attention to and, more importantly, what to overlook and remove, is one of the most critical skills. Breaking a problem down into its essential elements and reassembling it from the ground up helps you to discern fact from opinion. Wisdom is as much about knowing what to ignore as it is about what to pay attention to.

Perhaps the best reason to write is that it offers a vehicle for discovering deeper insights.

Practically speaking, writing forces you to take a complicated and ill-defined problem and compress it into something more manageable. This ‘compression’ is useful. Not only does it help you remember your ideas, but it helps you develop new ones. Paul Graham put it this way: “A good writer doesn’t just think, and then write down what he thought, as a sort of transcript. A good writer will almost always discover new things in the process of writing.”

The insights you discover are not limited to the subject you write about. You also learn about yourself. Writing doesn’t just convey your ideas; it conveys a part of you. Your personality and worldview become part of the work itself. While the reader remembers the story, the writer is forever changed.

Many things can be done by tools that write for you, but they won’t help you learn to think, understand deeper, or solve hard problems.

When it comes to my kids, I told them, “One of the ways we learn to think for ourselves is to write out our thoughts.” When your invisible thoughts become visible, you are forced to wrestle with them in reality and not your imagination. “But Dad,” they protested as they continued to write in their summer journals, “It is so much easier to outsource to AI.”

They’re right. But they aren’t yet smart enough to see that in a world where intellectual labor is increasingly outsourced to tools, the human aptitude for clear thinking and unique insights will become all the more valuable.

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Kill Zoners — Does this piece resonate with you? Please share your thoughts on writing to think—and thinking to write—with our group.

By John Gilstrap

As I read Reavis Wortham’s excellent post regarding titles and covers last Saturday, my first thought was, Hey, I’ve got a different squint on such matters. I think that’s what my post will be about on Wednesday!

My second thought was, Wait. I already wrote that post.

And, as luck would have it, on the day when I should be writing new material for this post, I’m swamped with Life Stuff and don’t have time to pen a whole new post. So, here we go with a post that first appeared on TKZ on November 4, 2020:

Whoever coined the trope that you can’t judge a book by its cover had to have been an academic. Certainly, the trope-coiner was not a reader of novels. Yes, it is true that some great novels come encased in ugly wrappers, but few of them find a broad readership.

What follows is based on zero research and even less science, but it reflects quite a few decades of personal observation.

People buy books in steps.

First, they have to know to look for it. This is the unicorn hair in the mix. I don’t know what drives me to look for a book. Certainly, there’s word of mouth, and I read a lot of books for blurbs, but I don’t remember the last time I went into a bookstore blind–without a target I was looking for–and scoured the shelves, hoping to be attracted to a cover. I don’t think I’ve ever done that in the virtual world, where online bookstores are not, in my opinion, very browsable.

Next, there has to be an instant attraction. Perhaps it’s the author’s name—which highlights the importance of “branding”. But that instant attraction is just that—instant. It’s fleeting. There and gone. This is where the cover comes in, highlighting the reason that genres exist in the first place. The title is important here, too. A thriller has to look and sound like a thriller. Ditto a romance or horror novel. In that brief second of instant attraction, the artwork makes a connection and causes the reader to move to the next step . . .

They read the plot description. In just a few words, the pressure is on to pull the reader into the story. To make them gamble their hard-earned money that the ride you’re going to provide is worth the money. How do they make their final decision?

They read the first pages. Yesterday, PJ Parrish posted a terrific primer on the elements of a good opening. Here’s where that pays off. Boom! Decision made, one way or the other. There’s neither the time nor the real estate to flub the opening and make it better later.

So, where is the cynicism?

Okay, here it is: The covers and titles needn’t have much to do with the actual plot of the book. They work together to accomplish their jobs in a glance, and then they are forgotten. They work in tandem to convince a potential reader to take a chance, and if you, as the writer, do your job to entertain, no one will notice. Some examples from my own work:

Hellfire is the Jonathan Grave book that hit the stands back in July. What does Hellfire even mean? The story is about two kids who are kidnapped to keep their mom from revealing a terrorist plot after she has been arrested. The word itself–Hellfire–is an oblique reference to an air-to-surface missile system. And it sounds cool. It positions the book properly in the minds of readers who generally enjoy the types of books I write.

The red cover makes it distinctive on the shelf–unless or until red becomes the cover du jour for the current crop of cover designers. It also lends itself well as a Facebook cover image. But if you really look at the image and its various elements, it could be for a reprint of All’s Quiet On The Western Front, or it could be a story about Satan.

Other examples from my oeuvre (today is Pretend-I-Know-French Day): The second book in my Jonathan Grave series is Hostage Zero. It’s the title that broke the series out, and the phrase means nothing. None of the hostages are numbered, and none of them launch a plague, as in “patient zero”. It just sounded cool, and that’s why we went with it. The cover of Friendly Fire features the White House, yet neither the president nor his team are involved in the story. What we wanted to do is establish the book and its author as being “inside Washington”.

My point here is that storytelling and marketing are entirely different skillsets, with only distantly related goals. As an author, my job is to entertain my readers by giving them a helluva ride. To get that chance, I need to convince them (trick them?) into picking out my book from among all the others on the shelf.

Your turn, TKZers. Do you have any tricks you’re willing to share about how you convince readers to take the plunge?

“It is easy to be wise after the event.” — Arthur Conan Doyle, The Complete Sherlock Holmes

By PJ Parrish

I’ve been doing a lot of reading of my old stuff lately. It’s all in prep to get the last of our backlist titles re-packaged and up for download. What a chore — and eye-opener — this has turned out to be.

First, it’s a lot of grunt work. Some of our books are so old they hail from the dark ages of Word Perfect. (For the record, the BEST word processing system ever designed). There is no manuscript that I can feed into the Amazon maw. So here’s the primitive process:

1. Dig around in the dusty bins of the house to find an old paper copy of the book
2. Send it to our book scanner (Blue Leaf in Ballwin, Mo). Our guy Brad then rips the book apart, scans it, and sends us a Word document.
3. The manuscript comes back surprisingly clean. But it has quirks. The spacing is off at times, “t” often comes out “st” and Louis’s name is sometimes Louie. So I have to CAREFULLY read every single line. This is hard to do because:

• I am a bad copy editor.
• Reading for typos is like taking three Ambiens.
• I get caught up in the story and miss the typos. This is sometimes a good thing because I hit a passage and think, “Damn, I’m good!” This is sometimes a bad thing because I hit another passage and it’s, “What the hell was I thinking?”

Once I have a clean manuscript, I ship it off to my sister Kelly who has mastered the art of formatting. (If you don’t know how to do this, hire someone who does. Please. If you are self-pubbing, one of the biggest turn-offs to readers is shoddy formatting. It screams amateur.) So, Kelly makes it pretty with perfect chapter breaks, drop-caps, correct page numbering and a table of contents. We write new backcopy and design a new cover  (you can’t use your original publisher’s).

Covers, as we’ve talked about here, are important. Again, hire a pro! If you have series, it’s best to brand them with linking graphic devices, type faces and colors. We chose black backgrounds and an odd type face. Here a sample of the covers, original and new, for book we’ve just finished.

The left one, from our publisher Kensington, was adequate. But it looks dated now (design trends mutate!). I always disliked it because the only image is a nondescript (purple?) house that had no relation to the story. In our re-branding new covers, we’ve used a human figure on every book because we think it gives the reader a person to begin to bond with, be it a victim, protag or villain. (Also the necklace the dead girl wears turnss out to be a big clue).

So Thicker Than Water is available in ebook and very pretty trade paperback. Click here.  Now we take you back to our regular programming.

I’d like to return to my first point, way back in the first paragraph. Because this is what I really want to stress for you guys out there who are struggling with getting your first book out there in the world.

Eye-opening.

That is my biggest take-away from this experience of getting our old stuff back out there. Because no matter where you are in your writing, rewriting or editing process, you have to be willing to have your eyes opened. And your ego closed.

You really have to be ruthless in rewriting. You have to make hard choices, sometimes about passages or whole chapters that need to be cut. You have to recognize that your plot foundation might be shaky. Or that your characters are cardboardy. I always tell folks one thing, going into a new story:

Write the first draft with your heart. Then write the second, third, tenth or twentieth draft with your head. We’ve now re-published ten of our old books. Yes, we did some rewriting on all of them. The first one, Dark of the Moon, we have yet to re-publish because we believe it has fundamental problems that need more than a normal rewrite can solve. Here’s some of the things we learned in this process with our freshman effort book:

We got preachy. Our protag, Louis Kincaid, is biracial. The issue of race is, at times, important in the plot but more often than not is tangential to the story. Still, a couple times we allowed Louis to sound pedantic. Here’s the thing about themes: The more dramatic your theme, the more you need to underwrite. Go at your theme — be it bigotry, spouse abuse, environment, gay rights — obliquely, and always through the lens of your characters, not through your writerly narrator. You can make your point but you can’t be didactic.

We fell prey to stereotypes. Dark of the Moon is set in a small southern town in 1983. Our dialogue was too dialect-dependent. Our characters came across as one-dimensional. And we managed to have nothing positive to say about the town itself. Remember: your setting is a character. Treat it with respect.

We lost track of “book” time. This was an issue in our first two books, wherein we didn’t account for lapses in time. We neglected to tell readers that X-days had passed or we didn’t account for holidays like Christmas. (Hey, readers notice that little stuff). The sequence of events must be clear in the reader’s mind. We now use timeline boards and chronologies.

We didn’t know what we wanted to say. I’m going out on limb here and say all good books have themes. I don’t think we understood this until about book 4. Yes, you want to entertain readers. But beneath the grinding gears of plot, even light books can have something to say about the human condition. A romance might be “about” how love is doomed without trust. A courtroom drama might be “about” the morality of the death penalty.

We missed the theme in Dark of the Moon. Only now, as we rewrite it, are we understanding that the theme is every person’s search for home. For Louis, it was literally going back to the southern town where he was born and then understanding that it wasn’t “home” at all. The entire series now has a theme — Louis, a man who has walked uneasily in two racial worlds — trying to find his spiritual home.

I know you’re tempted to dismiss theme as mere enhancement. Le cerise sur la gateau, as the French say. But it’s essential. Try this experiment: Write the back copy for your work in progress — three paragraphs at most. Ha! Can’t do it? Well, you might not have a grip on what your story is about at its heart. Now often your theme doesn’t show itself until you’re well into your plot. Well, that’s okay. But when it begins to whisper, listen hard. Good fiction, Stephen King says, “always begins with story and progresses to theme.”

Eyes open, crime dogs.

I was signing with Don Bently (bestselling author of the tom Clancy, Jack Ryan Jr, the Vince Flynn Mitch Rapp series, as well as his Matt Drake novels) in Alpine, Texas the weekend before Thanksgiving. During a lull, we settled back at our tables and visited with the owners of Front Street Books about all things writing.

We decided that next year we needed to add a couple of other authors to the mix and expand the signing into a mini-conference held during their art walk, complete with a panel. Names came up, and a plan began to gel. The conversation then turned to what we were reading, and someone handed me a new novel by an author I’ve never read.

The cover immediately caught my attention, and that skewed our topics to That Thing that causes authors to gnash their teeth.

The Cover.

Yep, That Thing which should attract buyers’ attention, but it often lost in interpretation. We all have “cover stories” to share. Many are filled with frustration, angst, and downright anger. As Don and I traded war stories, patrons collected around us and the discussion widened. We all agreed a cover should reach out and grab readers by the shirt, yanking them close to the shelves so they can pick up what authors worked so hard to produce.

“I often buy books by the covers,” one lady commented.

“That’s how my Bride sometimes buys wine,” I added.

Someone shouted huzzah, and a glass of wine appeared in my hand. The signing was definitely on the upswing and we settled in to swap ideas and our favorite book jackets.

As a new author well over a decade ago, I didn’t realize there would be so much to argue about, and that I’d have so little input. The original cover for The Rock Hole is still out there for some reason, because as you all know, nothing ever vanishes from the internet. They floated this one out there and I found unspeakably odd.

Standing up on my hind legs and argued with them. “I don’t know what that is.”

“It’s your cover.”

“It looks like someone skinned a flamingo’s head and neck. I don’t remember including flamingos in my novel.”

“It’s a blood smear.”

“From a flamingo?”

“No, from…something.”

“No.”

“Well, first time authors don’t usually have a lot of say in what our artists produce.”

“Then I won’t say a lot. Different art would be nice.”

We volleyed for quite a while until they came up with something more suitable and I kinda liked the bloody shoelaces.

Other covers came and went for that series, though none of them excited me. It wasn’t until Laying Bones came out that I thought they understood what I was doing. They finally got it right on the re-release for The Rock Hole.

I’ve heard authors say the covers of their books had nothing to do with the contents, and they had to push back also. And I should have known the importance and argued even more in those earlyyears, because my first job was shelving books in a public library and I knew what caught my attention even back then. They called us pages, funny on several different levels, but I always noticed covers as they came through and still recall several novels I read, because the art was so good.

Then there were those earlier years, when I bought books off the spinning rack in the drugstore, or at a tiny independent bookstore near my house for sixty cents. It was always the cover that caught my attention, then I’d read the back.

It’s the same today, and due to reduced shelf space, many times only the spine is exposed. Whenever a book is placed outward, the dust jacket will either catch someone’s attention, or fade into the background.

I didn’t buy the first edition of Lonesome Dove, by Larry McMurtry, when it released in 1985, because I didn’t like the jacket. People told me how great that novel was, and I finally bought it, despite my original revulsion at the depiction of a cattle drive.

When Florida Roadkill, by Tim Dorsey, released in 1999, I snatched it off the shelf and have been a fan of his work ever since.

Which leads me to another important part of marketing. The title. There’s always a lively discussion at my house whenever I’m coming up with what to call the latest work in progress. With the help of my Bride, we hit upon something that works for us, but doesn’t always tap the button at the publishing house.

More discussions ensue. For example, my first traditional western will release on April 23, 2024 under the title of The Journey South. The working title was Hostile Territory, which I loved. However, my editor called to say they’d already assigned that one to another author.

“Blankety Blank already has that title.”

“But I like it. My book takes place in the Indian territories. It’s perfect.”

“You’re right. It was perfect, for Blank’s book.”“

But I want it.”

“Your character’s taking a prisoner south from the territories to Texas.”

“Going South?”

“A movie that starred Jack Nicholson.”

“Dammit!”

We cussed and discussed ideas until settling on the new one. Then they sent their concept and I agreed.

The Only Saloon in Town is in the can and I’m waiting on the cover art. It’s kinda nail biting, because I already have an image in my head that won’t be anything like their art department comes up with,but that’s half the fun of this job.

I wouldn’t have it any other way.