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Alexis Madrigal

Alexis Madrigal - Alexis Madrigal is a senior editor at The Atlantic. He's the author of Powering the Dream: The History and Promise of Green Technology.
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The New York Observer calls him, "for all intents and purposes, the perfect modern reporter." Madrigal co-founded Longshot magazine, a high-speed media experiment that garnered attention from The New York Times, The Wall Street Journal, and the BBC. While at Wired.com, he built Wired Science into one of the most popular blogs in the world. The site was nominated for best magazine blog by the MPA and best science Web site in the 2009 Webby Awards. He also co-founded Haiti ReWired, a groundbreaking community dedicated to the discussion of technology, infrastructure, and the future of Haiti.

He's spoken at Stanford, CalTech, Berkeley, SXSW, E3, and the National Renewable Energy Laboratory, and his writing was anthologized in Best Technology Writing 2010 (Yale University Press).

Madrigal is a visiting scholar at the University of California at Berkeley's Office for the History of Science and Technology. Born in Mexico City, he grew up in the exurbs north of Portland, Oregon, and now lives in Oakland.

What Was Lost in the Switch From Typewriters to Computers

By Alexis Madrigal
Apr 15 2011, 10:28 AM ET Comment

T. C. Boyle, lover of a good writing machine and never a longhand writer, reflects on the technology of his craft

1st-draft-boyle.jpg

T. C. Boyle loves a good writing machine. He's never been a longhand writer, he reveals in our special package, How Genius Works, and switched from an Olivetti typewriter to a computer in the 1990s. Which makes his nostalgic reflection on what he lost in that change all the more interesting: "The sort of corrections you see here are now made moment to moment in the process of composition -- and, of course, evidence of those corrections now vanishes with a keystroke, lost in the synaptical fire of the brain/computer matrix," he writes.

As James Somers noted here on The Atlantic, one can actually capture all that synaptical fire, but more in letter than in spirit. A revision process that would have taken a month on a long novel has become a three- or four-day task. Gone are the slow days of puzzling out the meaning of a page like the one above, and with them, the little bonuses of the slog.

Still, there was a pleasant rhythm to those hard-typing times, during which I would neatly stack up 10 to 12 finished pages daily, the whole business accumulating in a very satisfying way before I headed off to stroll through the woods or quaff a drink or two at the local bar. It was restful. Contemplative. Deeply satisfying. And let me tell you--and this is no small consideration--back then, I had the strongest fingers in the world.

I contemplate the differences between writing tools -- Scrivener vs. Microsoft Word vs. this little Moveable Type box -- because I do notice a difference in what come out of them. Scrivener, a James Fallows favorite, makes it easy to break up your writing into tidy compartments that sit in a sidebar on the left side of your screen. In the first few months I tried it out. But I found it made my writing too choppy, as I refined each section without reference to the whole. There is something about the never-ending scroll of the Word document that I like, and not just because I bought into the Kerouac mythology. (OK, it is because I bought into the Kerouac mythology.)



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