Jason Fried, Founder of 37 Signals on Editing Your Big Idea

I never thought much about the power of editing on any level until a few days ago when I heard Jason Fried, founder of 37 Signals talk about it on Mixergy.

Me and Jason Fried at SxSWi 2010

 

If you’ve never heard of Mixergy, I strongly urge you to watch the most NON-BORING interviews on business and startups.  You will learn A LOT!  The interviews are time sensitive and are not accessible indefinitely unless you are a member.

Here is a transcribed segment of the interview of Jason describing an edit methodology that can be applied to anything such as a book, a presentation, an album, or a film, etc. I hope you find it as useful as I did:

“… there’s this class I’ve wanted
to teach for a long time. If I ever taught a class, like a writing class or
something, I would love to teach it this way. Every writing assignment
would involve multiple deliverables. You could pick any topic you want. I
don’t care what it is. There’d be a ten page version of that paper. There’d
be a five page version. There’d be a one page version. There’d be a three
paragraph version, a one paragraph version, a one sentence version and a
one word version. All on the same topic. You start with the ten page
version and then you keep trying to cut it back and cut it back and cut it
back until you can just get to the one word that represents the whole
thing, as best you can.

I think the one sentence or the one paragraph version of that is the most
interesting to me because that’s where you take this big idea and you
constantly pare it down and pare it down and see how close you can get to
saying the whole thing in one paragraph. That’s the kind of challenge I
think it’s really interesting when you’re working with products. It could
be on the design side, if you have a bunch of elements, how can you get it
down to fewer elements? If it’s on the [??] side, how can you break it down
into fewer sentences or fewer words, or even fewer ideas and just say one
thing at a time? Maybe bullet points make more sense than a paragraph. All
those things are [??] design problems and I think if you have people who
are really interested in solving those problems, then they’re really
excited to take on that challenge.

Andrew: First of all, I would take that class. I don’t know why you haven’t
started teaching it because then you’d have to read ten pages from 20-50
people, at least.

Jason: It’d be such a blast, though. I love editing, so for me it’d be a
real [??].

Andrew: You do?

Jason: I think editing is something that should be taught in school more.
To me, everything you do is about editing. I don’t know how many people you
want to interview but you’ve got to edit that down. What’s the process for
that? Whatever you write, you could write a really long email or a really
short email. What’s the process for that? If you’re designing something,
what do you want to include on the page? The process of reevaluating
everything as an individual element and as part of a whole is really a good
skill to have, no matter what it is that you do. I don’t remember ever
learning that in school. You would take writing classes, you would take
design class but you would never take editing classes. I think that’d be really cool just to edit stuff, to make that more of the curriculum.

Andrew: I can see that. I can see, too, that my work gets better when I
edit it down, but I don’t put the effort into it because I forget how
important it is.

Jason: Everything that you see out there that’s good, was edited. The album
you buy with 12 tracks, started probably with 32 tracks. The movie you
watch that’s an hour and 45 minutes, 300 hours of footage was shot and then
it was narrowed down to 100 hours, then it was down to four hours, then
probably three hours, then probably two hours and that last 15 minutes they
had to cut was probably the most important 15 minutes. What made it and
what didn’t? Music, movies, books. Books start out way longer than they end
up. It’s all about editing. That’s what makes things great. I think the
more comfortable you get with the idea of the editing process, and the more
you realize how valuable it is, the more you’ll actually enjoy it.”

How do you go about editing your work? Do you have any tips that have worked well for you? Please share your comments below.

 

About Brenda Horton

Brenda Horton is the co-creator of Actionplanr.com (goal planning software tool) and the President of Hware (HumanityWare) a software company that designs productivity tools and products for small businesses, entrepreneurs, and non-profits. You can find more of her articles at actionplanr.com where she writes about life hacks, productivity, work/life balance, and values-based entrepreneurship. Connect with her on Twitter @BrendaHorton and Google+.

  • Mark Wilson

    As an editor and writer, I share Jason’s love of editing. Whether
    I’m working with one person or a group of authors, it’s a thrill to help them focus
    their communications vision for different audiences and purposes. I sometimes think
    of editing as sculpting—purposefully chipping away from this angle and that
    until the essence of the piece emerges. That final piece always emerges stronger
    and more alive than the first or second draft.

    The editing process forces us to reevaluate whether our
    words convey our ideas clearly and effectively, and how others less familiar
    with the subject might view the work. Particularly if the draft has undergone
    multiple rewrites, it’s easy for us to gloss over errors in logic or grammar.
    The editor is the practice audience; questioning a purported fact or stumbling
    over a misspelling and working with the author to revise the piece before it reaches
    the public eye.

    Since the author doesn’t accompany the piece out into the
    world, it has to stand on its own.  It
    must inform, or convince, or persuade, or entertain solely on its own merits.
    So when we edit our own material, it’s crucial to set aside our fondness for
    the piece we’ve created and become the skeptical reader. While it’s not always
    easy to discard that finely tuned phrase that we’ve crafted, if it serves the
    mission of the piece, we need to ditch our ego and let it go.

    I love the idea of a class where the students
    choose one subject and then edit down an initial 10‑page paper to one word. None
    of my writing or editing classes ever approached the subject of editing that
    way, but in the working world, this happens all the time. You write a 15-page white
    paper describing an innovative technology’s application. Then a 2-page technical
    brief. Then a half-page news release. Then some web copy. Then a 8-page brochure.
    All on the same subject, but for different audiences, and using different media,
    and at different lengths. As an entrepreneur, it’s an excellent skill to
    develop early on.

  • http://www.hware.com Brenda Horton

    Great insight Mark. What is your website? Would love to learn more about your services. 

    • Mark Wilson

      Thanks,
      Brenda. I’m at Drewmark Communications (www.drewmarkcom.com).
      In addition to the types of materials mentioned there, I like to mix it up a
      bit. Last year’s fun project was working with Duncan Phillips to edit and
      update Starlight on the Rails, the Utah
      Phillips songbook.  The challenge was to transcribe
      and edit recordings of Utah’s stories in a way that would be readable, while retaining
      his unique cadence of speech. When he was telling stories, it seemed like he barely
      took a breath, so his stories just carried you away like a leaf bobbing along on a river! 

      • http://www.hware.com Brenda Horton

        Wow! I loved Utah. What a gift he was to our world. 

  • Susan

    Great article. Thank you, Brenda!

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