Elias Garcia

Econ 210

Economical Writing Summaries: Chapters 1-10

Chapter 1:

For the field of economics, and for any profession seeking serious consideration, writing well

matters. McCloskey emphasizes this fact by outlining how those who can write well are those who are

paid well, while conversely, those who write poorly are paid poorly. In chapter 1, McCloskey sets the

foundation of her argument that for students, especially those in economics; the importance of writing

eclipses almost all other aspects of a profession. McCloskey also makes clear the sheer disregard many

colleges and professors have for emphasizing writing as a necessary tool. A proper metaphor would be

that of the baker hiring a new apprentice, but never showing them how to actually bake. Only the

bakers who bake well can obviously succeed, just as only economists who can write well will be read

and understood.

Chapter 2:

The argument that only the 'intention' or 'idea' of a piece of writing matters differentiates a poor

thinker from an intellectual, McCloskey argues. Writing and ideas are two sides of the same coin, and

by lacking one you surely lack the other. Additionally, writing well means you write critically,

something necessary for any serious economist. You can fully explore your arguments and realize the

faults and strength of them, adding and taking away as necessary. Like a flashlight without a light

bulb, you cannot illuminate your thoughts without projection, but without batteries, there is no use to

the bulb either (writing).

Chapter 3:

While you will probably never be known for an economic theorem or work, you can definitely

learn basic economic principles and apply. The same goes for writing, because while you may never

write your own book, you can definitely learn the basics and improve your ability. However, even

though there are many rules to follow, that does not mean all rules matter equally. Learning to write

includes not following the rules that are not actually helpful. McCloskey alludes to elementary school

and our early English teachers who taught us the shortcuts of grammar. While contextually, the rules

may have helped, they now do more harm than good for most people. Just like in T-Ball or soccer for

toddlers, you may have been introduced to tactics, that in the short run, worked; however, if you were

caught using an 11 man defense in a modern game of soccer, you would not only be laughed at, but

also lose terribly.

Chapter 4:

As an author, writing clear is mandatory. You, as the writer, do not decide clarity. The reader

decides the clarity of work. Thus, making concise pieces of writing matters most. McCloskey argues

that anything that sidetracks an argument should not be included, like this sentence almost, or the

numerous dependent clauses added, such as this, or that one. Equally important, however, make sure to

have fun and experiment. Put down your writing and come back again later, experiment with it.

Tweak at it. Just make sure the writing is clear. Clear. On point.

Chapter 5:

Michael Sandel, Peter Singer, Alain Badiou, Slavoj Zizek, Daniel Dennett, and Nigel

Warburton are some of the philosophers considered exceptional writers in their field today. The way

these individuals write determines the style of writing in the field of philosophy. If you want to be a

good philosopher one day, or at least a good philosophical writer, you would be wise to imitate their

style. In the greater context, the leading literaries of our era determine what society considers good

writing style. Good writing does not come from logical proofs, but from social conceptions and norms.

Breaking these norms typically marks you as a bad writer in the eyes of a reader, and will associate and

highlight your other mistakes. Not caring for the stylistic choices of your writing also probably means

you are dumb, or at least, that is what McCloskey suggests.

Chapter 6:

While writing has rules for different phases of a piece, the rules of rhetoric are universal. Not

the rhetoric of heated political debate, McCloskey advocates for the classical rhetoric of the Greek

philosophers and speakers. Rhetoric has three main components comprising of invention, arrangement,

and style. Think of the musical composer who creates orchestral pieces. When creating the actual

melodies and motifs of the piece (invention), composers also write the music itself in a set way

(arrangement). While rigidity in method may not be good, one should definitely frame their writing

around these three concepts.

Chapter 7:

The final aspect of classical rhetoric is obviously style. Luckily, for all of us, anyone can learn

style. According to McCloskey, it is simply a matter of rigorous, sometimes painful, practice. When

you might otherwise not want to, it is pivotal that you attempt to write. Be ruthless in your approach,

trap yourself in a corner, and force the pen to paper. Just like the child who hates their veggies, you

must write for your own good. You may despite yourself and your content, but once you finish, you

can begin to improve the piece.

Chapter 8:

Coincidentally, the most important thing for a writer to do...involves writing. Wherever you

are, you ought to keep some form of journal with you, tracking any new ideas or additions to what you

are currently working on. McCloskey makes clear that to be successful at writing, you can never afford

not to write, and should start as soon as possible. Organize your thoughts as you would library,

separating major categories from each other, and then further organizing minor branches of each group.

From this library of thought, you can then stitch together a story from the necessary works whenever

themes appear between different 'works' of yours. Whatever you do, always make sure to keep track of

everything you write. Be a librarian to your writing, track every change, every note, and every scrap.

By doing all of the above, you make sure that you have material to work with. Any research you do is

applied, as good writing is a method of thinking, and vice versa.

Chapter 9:

McCloskey's inclusion of this chapter is to help the new 'professional' surround themselves with

the tools necessary to be successful. To be skillful at what you do, you need the proper tools.

McCloskey suggests a laundry list of different items that ensure that you maximize your efficiency as a

writer, including dictionaries, pens, thesauruses, and quotation books. Put yourself in an environment

that is conducive to what you are focusing on. Set up your desk to make writing comfortable, but do

not distract yourself. If a phone distracts you, put it away for the time being. Keep close any notes you

have been gathering, and make sure to keep up with your journal entries. Have coffee ready if that

helps you write. Whatever it is, make sure to have it. Simultaneously, you should also make sure not

to distract yourself. Be creative and be flexible when it comes to writing.

Chapter 10:

There's only so much advise someone can give, and that includes McCloskey. Writing is not a

task that anyone can do, and even the most skilled writers have their bad days. That is why when you

have a 'lightbulb moment,' you need to make the best of it. Be creative and passionate when you find

the energy and inspiration to do so. When you do not feel like you can add anything, look over what

you do have. Edit your works, cut away the excess, and synthesize your ideas until they cannot be

reduced anymore. Show your work to your mom, what does she think? Your professor? Your peers?

If they find something confusing, break it down again and rewrite it. Read your work aloud, does it

sound right? If not, you are 'doing it wrong' and can improve your writing even more. Do not constrict

yourself to any presumed notions of what your writing will be. If you notice that you theme is

changing, go with it. If you deviate from your outline, change the outline to fit your work. Always be

moving towards your target, and always be keeping track of where that takes you.