In 2019, Restaurant Business named Sweetgreen “Tech Accelerator of the Year,” a distinction it had bestowed the previous

Peter Ginna, a former assistant of hers, confirmed the details in this thread. He was working for her while she was writing Loitering With Intent, a favorite of mine. It was a bit of a relief to find my old new process remarkably like Muriel Spark’s, though I am my own typist, and I suspect I always will be. But perhaps, when I can afford it, that is the next old-school frontier.

Once this was done, I began using another old school method for any eventual further drafts: printing a manuscript, marking it up and retyping it, with corrections, into a new file. It reproduces the same mix of energy, continuity and decision making.

I first openly fought with this weirdly doubled illusion — that the text was permanent but also permanently revisable, during the summer of 1998 when it felt like I kept revising — and ruining — the first 30 pages of my first novel’s manuscript. Three years into my work on my second novel, The Queen of the Night, I took to using a vintage Olympia typewriter, like the one Patricia Highsmith preferred, because the paradoxical feeling of “writing” a book onto a surface that already looked like a book, but could also be revised forever, paralyzed me. When I named these different files this sad, horrible way, using “final,” it was an aspirational gesture. “The boy who cried ‘novel,’ as I put it. Or really, “the boy who cried ‘I finished my novel.’”

I am a writer who began on a typewriter in 1984, and by 1986, first began using a computer owned by my only friend who could afford one. The rest of us otherwise used the computers in the computer center.

His computer was the size of a small suitcase, and cost more than I dared ask. The screen looked like a paragraph or two, the screen black with letters glowing in a yellow-green light. We call it dark mode now but it was the default. Courier was the only typeface, and as you typed, a glowing cursor waited on the screen, like a glowing door from which anything could emerge. I liked it.

But then the cursor went away, and the door was gone. And Microsoft Word gave us all of these fonts. Soon it seemed that as you wrote, you were typing into an electronic version of the book on a white page, a book that already existed somehow. This strange illusory version of first try best try, good at one go, contradicted the fact of a software program that made the text permanently revisable.

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de and a half later, we can see just how well Anderson’s thesis has played out. He was absolutely right about the benefits to what he called “aggregators,” particularly the e-commerce platforms selling digital entertainment: He accurately saw that, unburdened from the costs and risks of carrying physical inventory, a platform like Amazon or iTunes was suddenly free to offer an unlimited assortment of ebooks, songs, and other digital goods. Even platforms that sell physical products through many third-party sellers — like eBay and the Amazon Marketplace — could and did easily offer an endless assortment of products. Collectively, therefore, this tail of niche offerings in each platform’s infinite catalog added up to an enormous sales total.

Peter Ginna, a former assistant of hers, confirmed the details in this thread. He was working for her while she was writing Loitering With Intent, a favorite of mine. It was a bit of a relief to find my old new process remarkably like Muriel Spark’s, though I am my own typist, and I suspect I always will be. But perhaps, when I can afford it, that is the next old-school frontier.

That 2017 NaNoWriMo month draft turned into 127 pages, and I enjoyed writing it, all of it. I didn’t obsess endlessly over the minutiae in the same way as the previous. I was able to make decisions and move on. And while I didn’t end up going forward with that novel, I learned something about what I needed as a writer in the age of the computer: a finite process that makes use of the best of computers and paper notebooks.

In 2017, a year after I published that second novel, The Queen of the Night, I discovered a solution for myself. I participated in Nanowrimo as I waited for proofs on my third book, How To Write An Autobiographical Novel (which is not a how to book, but not not a how to book). I wrote in a notebook for an hour each day, and at the end of the month I began typing the handwritten pages up. It was one of the most satisfying writing experiences I’ve ever had — to just write for an hour, by hand, and then to type it up and revise it later. This was a process I had used back during the writing of my first novel, and had learned it from Janet Frame, when she described her process — to write longhand, for a first draft, and to type it up to create a second draft — in her autobiography. I wasn’t ever distracted by font when writing by hand. I wasn’t distracted at all. A paper notebook communicates only with your ideas. And after the pages were handwritten, the pages I was typing up had all my attention. It was easy to ignore social media and email, and the printed pages have no notifications on them. Long ago, I had switched to typing drafts directly into my computer to ‘save time’ but no time is saved if you can’t settle on a decision, or if your screen is constantly flickering with the horrible possibility of connection.

If you want to see the change to Microsoft Word that I’m speaking of at high speed, please click through to the Version Museum, where you can scroll down a series of screens that shows you what it has looked like to log into Microsoft Word over the years.

By 2017, the founders were running out of the $165 million they had raised — just as foot traffic was beginning to level off in its stores. So they made a bold decision: They doubled down on the “restaurant chain as tech company” narrative and promised to turn the company into a “disruptive innovation machine.” They plowed cash into their online ordering app, halted new store openings in favor of opening delivery-only “ghost kitchens,” and raised an additional $200 million to build what Inc. described as “a food platform that is as dialed into each customer’s micro­biome and barre routine — and perhaps 23andMe profile — as it is tracking its farmers’ crops through the blockchain for peak freshness and taste.”

Many of us loved the Word fonts when they first appeared, but this was at least part of the problem, at first. The neat-looking page that looks like the book you want to write is actually an obstacle to producing the messy first draft you need to make. As a writing teacher, I know well that most student writers are trying to overcome the illusion that the works they love best come from some orderly process that is beyond them, and not the chaotic one they see in their own drafts. And it was too easy to undo what had been done, for all it seemed permanent. I needed a revision process that ended, more than I needed a device I could go to at any time, where I could accidentally delete something at 3AM that represented days, even months of work.

Any doubts I had about this approach vanished when I watched a short charming interview clip also going around this weekend, showing the legendary novelist Muriel Spark at her desk, describing her writing and revision process: She handwrites a draft in a notebook, sends it off to a typist, gets it back and revises it, and that’s that.

The writer Haruki Murakami talks about why he follows the same routine every day. “The repetition itself becomes the important thing,” he says. “It’s a form of mesmerism. I mesmerize myself to reach a deeper state of mind.” Procrastination feeds on our uncertainty. Routine eliminates that uncertainty. We know what we do and when we do it.