Jiang distinguishes good from bad writers by ontological access: bad writers make things up, while good writers are chosen and have a stronger connection to the divine.
Topic brief
A Jiang Lens evidence brief for this topic, built from source tags, transcript matches, and linked source refs.
Bad writing
A transcript-matched topic anchored by excerpts such as "yeah but he could be a bad writer in which case he's making crap up okay but but how's the the"
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Topic Scope And Freshness
A transcript-matched topic anchored by excerpts such as "yeah but he could be a bad writer in which case he's making crap up okay but but how's the the"
Key Notes
The student synthesis keeps Jiang's framework intact by treating bad writing as the writer's own biases and experience clouding a deeper structure that might otherwise come through.
Jiang defines the New Yorker as bad writing because it can spend decades perfecting stylish language and theory while still signifying nothing.
Timestamped Evidence
"yeah but he could be a bad writer in which case he's making crap up okay but but how's the the"
"the writer has a different connection to the divine okay like no no no it's really simple okay if you choose to be a..."
"No. I think other than I have to agree with the filter point, but I just think I really agree with that. It's about..."
"...and theory. Okay. That's what the New Yorker is. That's what bad writing looks like. Okay. All right. And so, you're like, well, but,..."
"...okay? Okay, so this is what I wrote myself. Okay, it's bad writing, it's modern prose, but you're able to compare and contrast, okay?..."
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Related Topics
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