I think it’s fascinating to see all the different ways that techfolk who write fiction set up their writing pipelines. Some people go with a bare-bones coding editor like Vim; others use “pro” tools Scrivener. And then there’s the typesetting pipeline. Using troff is pretty out there.
When I started writing fiction, here’s what I came up with. I write in Google Docs because it’s lightweight, works everywhere, and can easily export to Markdown format. From there, I manage the Markdown source in Git and Emacs. For typesetting—I cannot abide crappy word-processor output—I used to use Pandoc to generate LaTeX markup and run LuaLaTeX to produce PDFs. But that took several seconds. Now, I use Typst to go straight from Markdown to PDF files. It’s pretty much instant.
If you want to see what the output looks like, here’s the first chapter of my current project:
(Notice: This is a typesetting sample, not a writing sample. It’s my W40k-adjacent fanfic, so you have been warned.)
It’s set in 12pt Erewhon, which is an enhanced version of Andrey V. Panov’s Heuristica font family, which extends Robert Slimbach’s Utopia font family. Slimbach is a sublime type designer—he created Minion—and Utopia is one of his early works that is especially spirited.
One writer recently wrote his own program for the job, but at least he eventually finished some books: https://hughhowey.com/neo/
Me, I just write in Emacs, set up a makefile, and export to PDF with Pandoc. But I admire the work to make a comfortable yet undistracting writing environment.
Indeed. One irresistible temptation for coders who go into writing is to bikeshed their pipeline. I know I have spent many hours tweaking my writing pipeline when I should have been writing. I mean, why just write when you can create a Containerfile to build a hermetically sealed image that houses your typesetting system and a dozen carefully chosen fonts, and then you can write scripts managed by a Makefile to launch containers from the image and inject into them your source text and extract from them the typeset PDFs? I mean, surely all of that is essential work on the critical path to getting your writing done. Right?
Agreed, it seems writers that also code have all kinds of different workflows. I end up using (x)html and doing print stylesheets and rendering pdf for print using weasyprint (works really well, and they have sample stylesheets on their website that are a good starting point).
I typeset some university work in troff in 1994. The professor I submitted it to was impressed but questioned my sanity in front of half of the class. Not wrong to do so.
Might still have the source code to that work somewhere. And it probably still parses.
Can't remember why I did it but on reflection it might simply have been that LaTeX was not going to fit on my extremely space-constrained Linux machine but troff was already there.
ETA: this sentence made me chuckle. "It's much easier to read without the inline comments:" Oh yes, much ;-)
I was glad to see this page about groff, which is much underrated as a publishing system. The perl script for replacing some markdown markup with chosen groff macros is very interesting. I was however wondering about why the OA chose to write their own macro set rather than simply using the mom macros? Was it simply the need for German markup (and I take the point that languages other than English is an issue)?
I think 9front (Plan 9 fork) dev, cartoonist and fiction writer Stanley Lieber also formats a good part of his stuff with troff, e.g: https://massivefictions.com/2024/06/24/0/
"This book was typeset (troff -ms|lp -dstdout|ps2pdf) in URW Garamond No.
8 by the author, using an MNT Reform laptop running the 9front operating system."
One thing I have noticed about S-tier writers is that most of them have an established routine and stick to it. Why risk breaking something that works? With an established routine, you settle into it, and muscle memory puts you into writing mode. Start mucking with the routine, and that is how you get writer’s block.
While he only did it, to my knowledge, for one book: Stephen King is the only major writer I have heard of to write a full novel with pen and paper (the novel in question was _Dreamcatcher_), which is really interesting to me.
Quick search shows George R R Martin wrote 3 to 4 million published words. ASOIAF is ~1.8 million. That's enough to focus on in my opinion.
Honestly, the amount of writing doesn't even seem that useful of a metric. Stephen king only wrote ~3x more than George, and about 6x more than someone like Nabakov (1.5 to 2 million words across two languages). The real takeaway IMO is to just write regardless of the technology you use
At my dayjob, our legacy customer communication generation (for letters and such) has a runoff syntax. It's z/os, so not groff, but something of that lineage. People are still working with those documents to this day, generating millions of them a year. They all look at me funny when I identify it as runoff, everybody else thinks it's something custom in-house.
>Building a world with its own set of rules and history and what not turns out to be very fascinating. ... The length of the stories make proof-reading ridiculously hard.
Sometimes I wonder if writing more short stories would be like playing 9x9 Go games for new authors. It won't exercise the big structural challenges, and it comes with its own challenges, but it does practice a lot of this in a much more digestable size.
As far as world building goes, I think GRRM/Rothfuss/Sanderson style "world building through epic scales of structures and systems kept consistent" is overrated and maybe even Considered Harmful if you look at what it's done to my first two examples. By contrast, Borges does more world building with the ontological tricks in his <20 page short stories than it feels like Rothfuss ever did, in much the same way Tolkien did it with similar tricks. For example, treating himself as a mere translator and even doing some philologist tricks like telling you he's simplifying some names into English (Sam's real name? "Banazîr"), and withholding more information rather than dumping it on you, means that his stories feel like recovered translated works from a world just as real as ours and that's why people still devour The Silmarillion just to get more of a look into it.
Borges would do similar in his short stories, even embracing a little bit of inaccuracies in the (fictional) narrator's account of some events, then hitting you with a surprise endnote at the end of the story with scholia about the provenance of the story given that narrator's mistakes.
Wolfe was famous for it too. Embrace some of the challenge of getting the details right and if you frame it right, it makes it more human and more "real".
I think it’s fascinating to see all the different ways that techfolk who write fiction set up their writing pipelines. Some people go with a bare-bones coding editor like Vim; others use “pro” tools Scrivener. And then there’s the typesetting pipeline. Using troff is pretty out there.
When I started writing fiction, here’s what I came up with. I write in Google Docs because it’s lightweight, works everywhere, and can easily export to Markdown format. From there, I manage the Markdown source in Git and Emacs. For typesetting—I cannot abide crappy word-processor output—I used to use Pandoc to generate LaTeX markup and run LuaLaTeX to produce PDFs. But that took several seconds. Now, I use Typst to go straight from Markdown to PDF files. It’s pretty much instant.
If you want to see what the output looks like, here’s the first chapter of my current project:
https://drive.google.com/file/d/1Wl4k_rdYGFZp-r5nq864r5CNzD1...
(Notice: This is a typesetting sample, not a writing sample. It’s my W40k-adjacent fanfic, so you have been warned.)
It’s set in 12pt Erewhon, which is an enhanced version of Andrey V. Panov’s Heuristica font family, which extends Robert Slimbach’s Utopia font family. Slimbach is a sublime type designer—he created Minion—and Utopia is one of his early works that is especially spirited.
> techfolk who write fiction set up their writing pipelines
And perhaps infinitely procrastinating on the actual writing itself...
One writer recently wrote his own program for the job, but at least he eventually finished some books: https://hughhowey.com/neo/
Me, I just write in Emacs, set up a makefile, and export to PDF with Pandoc. But I admire the work to make a comfortable yet undistracting writing environment.
Indeed. One irresistible temptation for coders who go into writing is to bikeshed their pipeline. I know I have spent many hours tweaking my writing pipeline when I should have been writing. I mean, why just write when you can create a Containerfile to build a hermetically sealed image that houses your typesetting system and a dozen carefully chosen fonts, and then you can write scripts managed by a Makefile to launch containers from the image and inject into them your source text and extract from them the typeset PDFs? I mean, surely all of that is essential work on the critical path to getting your writing done. Right?
Agreed, it seems writers that also code have all kinds of different workflows. I end up using (x)html and doing print stylesheets and rendering pdf for print using weasyprint (works really well, and they have sample stylesheets on their website that are a good starting point).
I like Erewhon. Nice font.
I typeset some university work in troff in 1994. The professor I submitted it to was impressed but questioned my sanity in front of half of the class. Not wrong to do so.
Might still have the source code to that work somewhere. And it probably still parses.
Can't remember why I did it but on reflection it might simply have been that LaTeX was not going to fit on my extremely space-constrained Linux machine but troff was already there.
ETA: this sentence made me chuckle. "It's much easier to read without the inline comments:" Oh yes, much ;-)
I was glad to see this page about groff, which is much underrated as a publishing system. The perl script for replacing some markdown markup with chosen groff macros is very interesting. I was however wondering about why the OA chose to write their own macro set rather than simply using the mom macros? Was it simply the need for German markup (and I take the point that languages other than English is an issue)?
I think 9front (Plan 9 fork) dev, cartoonist and fiction writer Stanley Lieber also formats a good part of his stuff with troff, e.g: https://massivefictions.com/2024/06/24/0/
"This book was typeset (troff -ms|lp -dstdout|ps2pdf) in URW Garamond No. 8 by the author, using an MNT Reform laptop running the 9front operating system."
Game of Thrones author George RR Martin writes all his novels on an old MS-DOS machine, not connected to the internet, and he uses WordStar 4.0. [1]
[1] https://www.bbc.com/news/technology-27407502
One thing I have noticed about S-tier writers is that most of them have an established routine and stick to it. Why risk breaking something that works? With an established routine, you settle into it, and muscle memory puts you into writing mode. Start mucking with the routine, and that is how you get writer’s block.
You're right, but I feel compelled to point out the irony of this comment being re: GRRM, the world's most famous case of writer's block.
Maybe should focus on someone like Stephen King or Brandon Sanderson who actually pump out writing.
While he only did it, to my knowledge, for one book: Stephen King is the only major writer I have heard of to write a full novel with pen and paper (the novel in question was _Dreamcatcher_), which is really interesting to me.
Quick search shows George R R Martin wrote 3 to 4 million published words. ASOIAF is ~1.8 million. That's enough to focus on in my opinion.
Honestly, the amount of writing doesn't even seem that useful of a metric. Stephen king only wrote ~3x more than George, and about 6x more than someone like Nabakov (1.5 to 2 million words across two languages). The real takeaway IMO is to just write regardless of the technology you use
But what does he use to not write them?
O'Reilly used to typeset their books using troff/groff: http://www.lemis.com/grog/Documentation/PUS/tmac.Gbignuts.G (“O'Reilly & Associates book macros by Steve Talbott, Lenny Muellner”)
IIRC the Go book by Donovan and Kernighan was also written in groff.
I applaud all human-based writing tools. 10 days for 40k words is very impressive!
I suspect many people will prefer HTML for markup. That's why I built EPublish, which is related but for an HTML -> EPub workflow:
https://frequal.com/epublish/
Isn't the HTML->ePub workflow called zip?
At my dayjob, our legacy customer communication generation (for letters and such) has a runoff syntax. It's z/os, so not groff, but something of that lineage. People are still working with those documents to this day, generating millions of them a year. They all look at me funny when I identify it as runoff, everybody else thinks it's something custom in-house.
Looks like z/os has troff. Probably has a bunch of other BSD utility ports?
>Building a world with its own set of rules and history and what not turns out to be very fascinating. ... The length of the stories make proof-reading ridiculously hard.
Sometimes I wonder if writing more short stories would be like playing 9x9 Go games for new authors. It won't exercise the big structural challenges, and it comes with its own challenges, but it does practice a lot of this in a much more digestable size.
As far as world building goes, I think GRRM/Rothfuss/Sanderson style "world building through epic scales of structures and systems kept consistent" is overrated and maybe even Considered Harmful if you look at what it's done to my first two examples. By contrast, Borges does more world building with the ontological tricks in his <20 page short stories than it feels like Rothfuss ever did, in much the same way Tolkien did it with similar tricks. For example, treating himself as a mere translator and even doing some philologist tricks like telling you he's simplifying some names into English (Sam's real name? "Banazîr"), and withholding more information rather than dumping it on you, means that his stories feel like recovered translated works from a world just as real as ours and that's why people still devour The Silmarillion just to get more of a look into it.
Borges would do similar in his short stories, even embracing a little bit of inaccuracies in the (fictional) narrator's account of some events, then hitting you with a surprise endnote at the end of the story with scholia about the provenance of the story given that narrator's mistakes.
Wolfe was famous for it too. Embrace some of the challenge of getting the details right and if you frame it right, it makes it more human and more "real".
FWIW, to use ^H for bold print, set this:
or depending upon your shell. Useful for old printers like I have :)