writing

Reflections at the crossroads

PNRJ critique of neoclassical economics, experimental economics, inequality, personal, science and academia , , , , , , , , , , , , , , , , , ,

Jan 21 JDN 2460332

When this post goes live, I will have just passed my 36th birthday. (That means I’ve lived for about 1.1 billion seconds, so in order to be as rich as Elon Musk, I’d need to have made, on average, since birth, $200 per second—$720,000 per hour.)

I certainly feel a lot better turning 36 than I did 35. I don’t have any particular additional accomplishments to point to, but my life has already changed quite a bit, in just that one year: Most importantly, I quit my job at the University of Edinburgh, and I am currently in the process of moving out of the UK and back home to Michigan. (We moved the cat over Christmas, and the movers have already come and taken most of our things away; it’s really just us and our luggage now.)

But I still don’t know how to field the question that people have been asking me since I announced my decision to do this months ago:

“What’s next?”

I’m at a crossroads now, trying to determine which path to take. Actually maybe it’s more like a roundabout; it has a whole bunch of different paths, surely not just two or three. The road straight ahead is labeled “stay in academia”; the others at the roundabout are things like “freelance writing”, “software programming”, “consulting”, and “tabletop game publishing”. There’s one well-paved and superficially enticing road that I’m fairly sure I don’t want to take, labeled “corporate finance”.

Right now, I’m just kind of driving around in circles.

Most people don’t seem to quit their jobs without a clear plan for where they will go next. Often they wait until they have another offer in hand that they intend to take. But when I realized just how miserable that job was making me, I made the—perhaps bold, perhaps courageous, perhaps foolish—decision to get out as soon as I possibly could.

It’s still hard for me to fully understand why working at Edinburgh made me so miserable. Many features of an academic career are very appealing to me. I love teaching, I like doing research; I like the relatively flexible hours (and kinda need them, because of my migraines).

I often construct formal decision models to help me make big choices—generally it’s a linear model, where I simply rate each option by its relative quality in a particular dimension, then try different weightings of all the different dimensions. I’ve used this successfully to pick out cars, laptops, even universities. I’m not entrusting my decisions to an algorithm; I often find myself tweaking the parameters to try to get a particular result—but that in itself tells me what I really want, deep down. (Don’t do that in research—people do, and it’s bad—but if the goal is to make yourself happy, your gut feelings are important too.)

My decision models consistently rank university teaching quite high. It generally only gets beaten by freelance writing—which means that maybe I should give freelance writing another try after all.

And yet, my actual experience at Edinburgh was miserable.

What went wrong?

Well, first of all, I should acknowledge that when I separate out the job “university professor” into teaching and research as separate jobs in my decision model, and include all that goes into both jobs—not just the actual teaching, but the grading and administrative tasks; not just doing the research, but also trying to fund and publish it—they both drop lower on the list, and research drops down a lot.

Also, I would rate them both even lower now, having more direct experience of just how awful the exam-grading, grant-writing and journal-submitting can be.

Designing and then grading an exam was tremendously stressful: I knew that many of my students’ futures rested on how they did on exams like this (especially in the UK system, where exams are absurdly overweighted! In most of my classes, the final exam was at least 60% of the grade!). I struggled mightily to make the exam as fair as I could, all the while knowing that it would never really feel fair and I didn’t even have the time to make it the best it could be. You really can’t assess how well someone understands an entire subject in a multiple-choice exam designed to take 90 minutes. It’s impossible.

The worst part of research for me was the rejection.

I mentioned in a previous post how I am hypersensitive to rejection; applying for grants and submitting to journals was clearly the worst feelings of rejection I’ve felt in any job. It felt like they were evaluting not only the value of my work, but my worth as a scientist. Failure felt like being told that my entire career was a waste of time.

It was even worse than the feeling of rejection in freelance writing (which is one of the few things that my model tells me is bad about freelancing as a career for me, along with relatively low and uncertain income). I think the difference is that a book publisher is saying “We don’t think we can sell it.”—’we’ and ‘sell’ being vital. They aren’t saying “this is a bad book; it shouldn’t exist; writing it was a waste of time.”; they’re just saying “It’s not a subgenre we generally work with.” or “We don’t think it’s what the market wants right now.” or even “I personally don’t care for it.”. They acknowledge their own subjective perspective and the fact that it’s ultimately dependent on forecasting the whims of an extremely fickle marketplace. They aren’t really judging my book, and they certainly aren’t judging me.

But in research publishing, it was different. Yes, it’s all in very polite language, thoroughly spiced with sophisticated jargon (though some reviewers are more tactful than others). But when your grant application gets rejected by a funding agency or your paper gets rejected by a journal, the sense really basically is “This project is not worth doing.”; “This isn’t good science.”; “It was/would be a waste of time and money.”; “This (theory or experiment you’ve spent years working on) isn’t interesting or important.” Nobody ever came out and said those things, nor did they come out and say “You’re a bad economist and you should feel bad.”; but honestly a couple of the reviews did kinda read to me like they wanted to say that. They thought that the whole idea that human beings care about each other is fundamentally stupid and naive and not worth talking about, much less running experiments on.

It isn’t so much that I believed them that my work was bad science. I did make some mistakes along the way (but nothing vital; I’ve seen far worse errors by Nobel Laureates). I didn’t have very large samples (because every person I add to the experiment is money I have to pay, and therefore funding I have to come up with). But overall I do believe that my work is sufficiently rigorous to be worth publishing in scientific journals.

It’s more that I came to feel that my work is considered bad, that the kind of work I wanted to do would forever be an uphill battle against an implacable enemy. I already feel exhausted by that battle, and it had only barely begun. I had thought that behavioral economics was a more successful paradigm by now, that it had largely displaced the neoclassical assumptions that came before it; but I was wrong. Except specifically in journals dedicated to experimental and behavioral economics (of which prestigious journals are few—I quickly exhausted them), it really felt like a lot of the feedback I was getting amounted to, “I refuse to believe your paradigm.”.

Part of the problem, also, was that there simply aren’t that many prestigious journals, and they don’t take that many papers. The top 5 journals—which, for whatever reason, command far more respect than any other journals among economists—each accept only about 5-10% of their submissions. Surely more than that are worth publishing; and, to be fair, much of what they reject probably gets published later somewhere else. But it makes a shockingly large difference in your career how many “top 5s” you have; other publications almost don’t matter at all. So once you don’t get into any of those (which of course I didn’t), should you even bother trying to publish somewhere else?

And what else almost doesn’t matter? Your teaching. As long as you show up to class and grade your exams on time (and don’t, like, break the law or something), research universities basically don’t seem to care how good a teacher you are. That was certainly my experience at Edinburgh. (Honestly even their responses to professors sexually abusing their students are pretty unimpressive.)

Some of the other faculty cared, I could tell; there were even some attempts to build a community of colleagues to support each other in improving teaching. But the administration seemed almost actively opposed to it; they didn’t offer any funding to support the program—they wouldn’t even buy us pizza at the meetings, the sort of thing I had as an undergrad for my activist groups—and they wanted to take the time we spent in such pedagogy meetings out of our grading time (probably because if they didn’t, they’d either have to give us less grading, or some of us would be over our allotted hours and they’d owe us compensation).

And honestly, it is teaching that I consider the higher calling.

The difference between 0 people knowing something and 1 knowing it is called research; the difference between 1 person knowing it and 8 billion knowing it is called education.

Yes, of course, research is important. But if all the research suddenly stopped, our civilization would stagnate at its current level of technology, but otherwise continue unimpaired. (Frankly it might spare us the cyberpunk dystopia/AI apocalypse we seem to be hurtling rapidly toward.) Whereas if all education suddenly stopped, our civilization would slowly decline until it ultimately collapsed into the Stone Age. (Actually it might even be worse than that; even Stone Age cultures pass on knowledge to their children, just not through formal teaching. If you include all the ways parents teach their children, it may be literally true that humans cannot survive without education.)

Yet research universities seem to get all of their prestige from their research, not their teaching, and prestige is the thing they absolutely value above all else, so they devote the vast majority of their energy toward valuing and supporting research rather than teaching. In many ways, the administrators seem to see teaching as an obligation, as something they have to do in order to make money that they can spend on what they really care about, which is research.

As such, they are always making classes bigger and bigger, trying to squeeze out more tuition dollars (well, in this case, pounds) from the same number of faculty contact hours. It becomes impossible to get to know all of your students, much less give them all sufficient individual attention. At Edinburgh they even had the gall to refer to their seminars as “tutorials” when they typically had 20+ students. (That is not tutoring!)And then of course there were the lectures, which often had over 200 students.

I suppose it could be worse: It could be athletics they spend all their money on, like most Big Ten universities. (The University of Michigan actually seems to strike a pretty good balance: they are certainly not hurting for athletic funding, but they also devote sizeable chunks of their budget to research, medicine, and yes, even teaching. And unlike virtually all other varsity athletic programs, University of Michigan athletics turns a profit!)

If all the varsity athletics in the world suddenly disappeared… I’m not convinced we’d be any worse off, actually. We’d lose a source of entertainment, but it could probably be easily replaced by, say, Netflix. And universities could re-focus their efforts on academics, instead of acting like a free training and selection system for the pro leagues. The University of California, Irvine certainly seemed no worse off for its lack of varsity football. (Though I admit it felt a bit strange, even to a consummate nerd like me, to have a varsity League of Legends team.)

They keep making the experience of teaching worse and worse, even as they cut faculty salaries and make our jobs more and more precarious.

That might be what really made me most miserable, knowing how expendable I was to the university. If I hadn’t quit when I did, I would have been out after another semester anyway, and going through this same process a bit later. It wasn’t even that I was denied tenure; it was never on the table in the first place. And perhaps because they knew I wouldn’t stay anyway, they didn’t invest anything in mentoring or supporting me. Ostensibly I was supposed to be assigned a faculty mentor immediately; I know the first semester was crazy because of COVID, but after two and a half years I still didn’t have one. (I had a small research budget, which they reduced in the second year; that was about all the support I got. I used it—once.)

So if I do continue on that “academia” road, I’m going to need to do a lot of things differently. I’m not going to put up with a lot of things that I did. I’ll demand a long-term position—if not tenure-track, at least renewable indefinitely, like a lecturer position (as it is in the US, where the tenure-track position is called “assistant professor” and “lecturer” is permanent but not tenured; in the UK, “lecturers” are tenure-track—except at Oxford, and as of 2021, Cambridge—just to confuse you). Above all, I’ll only be applying to schools that actually have some track record for valuing teaching and supporting their faculty.

And if I can’t find any such positions? Then I just won’t apply at all. I’m not going in with the “I’ll take what I can get” mentality I had last time. Our household finances are stable enough that I can afford to wait awhile.

But maybe I won’t even do that. Maybe I’ll take a different path entirely.

For now, I just don’t know.

I finally have a published paper.

PNRJ personal, science and academia , , , , , , , , , , , , , , , ,

Jun 12 JDN 2459773

Here it is, my first peer-reviewed publication: “Imperfect Tactic Collusion and Asymmetric Price Transmission”, in the Journal of Economic Behavior and Organization.

Due to the convention in economics that authors are displayed alphabetically, I am listed third of four, and will be typically collapsed into “Bulutay et. al.”. I don’t actually think it should be “Julius et. al.”; I think Dave Hales did the most important work, and I wanted it to be “Hales et. al.”; but anything non-alphabetical is unusual in economics, and it would have taken a strong justification to convince the others to go along with it. This is a very stupid norm (and I attribute approximately 20% of Daron Acemoglu’s superstar status to it), but like any norm, it is difficult to dislodge.

I thought I would feel different when this day finally came. I thought I would feel joy, or at least satisfaction. I had been hoping that satisfaction would finally spur me forward in resubmitting my single-author paper, “Experimental Public Goods Games with Progressive Taxation”, so I could finally get a publication that actually does have “Julius (2022)” (or, at this rate, 2023, 2024…?). But that motivating satisfaction never came.

I did feel some vague sense of relief: Thank goodness, this ordeal is finally over and I can move on. But that doesn’t have the same motivating force; it doesn’t make me want to go back to the other papers I can now hardly bear to look at.

This reaction (or lack thereof?) could be attributed to circumstances: I have been through a lot lately. I was already overwhelmed by finishing my dissertation and going on the job market, and then there was the pandemic, and I had to postpone my wedding, and then when I finally got a job we had to suddenly move abroad, and then it was awful finding a place to live, and then we actually got married (which was lovely, but still stressful), and it took months to get my medications sorted with the NHS, and then I had a sudden resurgence of migraines which kept me from doing most of my work for weeks, and then I actually caught COVID and had to deal with that for a few weeks too. So it really isn’t too surprising that I’d be exhausted and depressed after all that.

Then again, it could be something deeper. I didn’t feel this way about my wedding. That genuinely gave me the joy and satisfaction that I had been expecting; I think it really was the best day of my life so far. So it isn’t as if I’m incapable of these feelings under my current state.

Rather, I fear that I am becoming more permanently disillusioned with academia. Now that I see how the sausage is made, I am no longer so sure I want to be one of the people making it. Publishing that paper didn’t feel like I had accomplished something, or even made some significant contribution to human knowledge. In fact, the actual work of publication was mostly done by my co-authors, because I was too overwhelmed by the job market at the time. But what I did have to do—and what I’ve tried to do with my own paper—felt like a miserable, exhausting ordeal.

More and more, I’m becoming convinced that a single experiment tells us very little, and we are being asked to present each one as if it were a major achievement when it’s more like a single brick in a wall.

But whatever new knowledge our experiments may have gleaned, that part was done years ago. We could have simply posted the draft as a working paper on the web and moved on, and the world would know just as much and our lives would have been a lot easier.

Oh, but then it would not have the imprimatur of peer review! And for our careers, that means absolutely everything. (Literally, when they’re deciding tenure, nothing else seems to matter.) But for human knowledge, does it really mean much? The more referee reports I’ve read, the more arbitrary they feel to me. This isn’t an objective assessment of scientific merit; it’s the half-baked opinion of a single randomly chosen researcher who may know next to nothing about the topic—or worse, have a vested interest in defending a contrary paradigm.

Yes, of course, what gets through peer review is of considerably higher quality than any randomly-selected content on the Internet. (The latter can be horrifically bad.) But is this not also true of what gets submitted for peer review? In fact, aren’t many blogs written by esteemed economists (say, Krugman? Romer? Nate Silver?) of considerably higher quality as well, despite having virtually none of the gatekeepers? I think Krugman’s blog is nominally edited by the New York Times, and Silver has a whole staff at FiveThirtyEight (they’re hiring, in fact!), but I’m fairly certain Romer just posts whatever he wants like I do. Of course, they had to establish their reputations (Krugman and Romer each won a Nobel). But still, it seems like maybe peer-review isn’t doing the most important work here.

Even blogs by far less famous economists (e.g. Miles Kimball, Brad DeLong) are also very good, and probably contribute more to advancing the knowledge of the average person than any given peer-reviewed paper, simply because they are more readable and more widely read. What we call “research” means going from zero people knowing a thing to maybe a dozen people knowing it; “publishing” means going from a dozen to at most a thousand; to go from a thousand to a billion, we call that “education”.

They all matter, of course; but I think we tend to overvalue research relative to education. A world where a few people know something is really not much better than a world where nobody does, while a world where almost everyone knows something can be radically superior. And the more I see just how far behind the cutting edge of research most economists are—let alone most average people—the more apparent it becomes to me that we are investing far too much in expanding that cutting edge (and far, far too much in gatekeeping who gets to do that!) and not nearly enough in disseminating that knowledge to humanity.

I think maybe that’s why finally publishing a paper felt so anticlimactic for me. I know that hardly anyone will ever actually read the damn thing. Just getting to this point took far more effort than it should have; dozens if not hundreds of hours of work, months of stress and frustration, all to satisfy whatever arbitrary criteria the particular reviewers happened to use so that we could all clear this stupid hurdle and finally get that line on our CVs. (And we wonder why academics are so depressed?) Far from being inspired to do the whole process again, I feel as if I have finally emerged from the torture chamber and may at last get some chance for my wounds to heal.

Even publishing fiction was not this miserable. Don’t get me wrong; it was miserable, especially for me, as I hate and fear rejection to the very core of my being in a way most people do not seem to understand. But there at least the subjectivity and arbitrariness of the process is almost universally acknowledged. Agents and editors don’t speak of your work being “flawed” or “wrong”; they don’t even say it’s “unimportant” or “uninteresting”. They say it’s “not a good fit” or “not what we’re looking for right now”. (Journal editors sometimes make noises like that too, but there’s always a subtext of “If this were better science, we’d have taken it.”) Unlike peer reviewers, they don’t come back with suggestions for “improvements” that are often pointless or utterly infeasible.

And unlike peer reviewers, fiction publishers acknowledge their own subjectivity and that of the market they serve. Nobody really thinks that Fifty Shades of Grey was good in any deep sense; but it was popular and successful, and that’s all the publisher really cares about. As a result, failing to be the next Fifty Shades of Grey ends up stinging a lot less than failing to be the next article in American Economic Review. Indeed, I’ve never had any illusions that my work would be popular among mainstream economists. But I once labored under the belief that it would be more important that it is true; and I guess I now consider that an illusion.

Moreover, fiction writers understand that rejection hurts; I’ve been shocked how few academics actually seem to. Nearly every writing conference I’ve ever been to has at least one seminar on dealing with rejection, often several; at academic conferences, I’ve literally never seen one. There seems to be a completely different mindset among academics—at least, the successful, tenured ones—about the process of peer review, what it means, even how it feels. When I try to talk with my mentors about the pain of getting rejected, they just… don’t get it. They offer me guidance on how to deal with anger at rejection, when that is not at all what I feel—what I feel is utter, hopeless, crushing despair.

There is a type of person who reacts to rejection with anger: Narcissists. (Look no further than the textbook example, Donald Trump.) I am coming to fear that I’m just not narcissistic enough to be a successful academic. I’m not even utterly lacking in narcissism: I am almost exactly average for a Millennial on the Narcissistic Personality Inventory. I score fairly high on Authority and Superiority (I consider myself a good leader and a highly competent individual) but very low on Exploitativeness and Self-Sufficiency (I don’t like hurting people and I know no man is an island). Then again, maybe I’m just narcissistic in the wrong way: I score quite low on “grandiose narcissism”, but relatively high on “vulnerable narcissism”. I hate to promote myself, but I find rejection devastating. This combination seems to be exactly what doesn’t work in academia. But it seems to be par for the course among writers and poets. Perhaps I have the mind of a scientist, but I have the soul of a poet. (Send me through the wormhole! Please? Please!?)

How to be a good writer

PNRJ personal , , , , , ,

Oct 25 JDN 2459148

“A writer is someone for whom writing is more difficult than it is for other people.”
~ Thomas Mann

“You simply sit down at the typewriter, open your veins, and bleed.”

~ Red Smith

Why is it so difficult to write well? Why is it that those of us who write the most often find it the most agonizing?

My guess is that many other art forms are similar, but writing is what I know best.

I have come to realize that there are four major factors which determine the quality of someone’s writing, and the pain and challenge of writing comes from the fact that they are not very compatible with one another.

The first is talent. To a certain degree, one can be born a better or worse writer, or become so through forces not of one’s own making. This one costs nothing to get if you already have it, but if you don’t have it, you can’t really acquire it. If you do lack talent, that doesn’t mean you can’t write; but it does limit how successful you are likely to be at writing. (Then again, some very poorly-written books have made some very large sums of money!) It’s also very difficult to know whether you really have talent; people tell me I do, so I suppose I believe them.

The second is practice. You must write and keep on writing. You must write many things in many contexts, and continue to write despite various pressures and obstacles trying to stop you from writing. Reading is also part of this process, as we learn new ways to use words by seeing how others have used them. In fact, you should read more words than you write.

The third is devotion. If you are to truly write well, you must pour your heart and soul into what you write. I can tell fairly quickly whether someone is serious about writing or not by seeing how they react to the metaphor I like to use: “I carve off shards of my soul and assemble them into robots that I release into the world; and when the robots fail, I wonder whether I have assembled them incorrectly, or if there is something fundamentally wrong with my soul itself.” Most people react with confusion. Serious writers nod along in agreement.

The fourth is criticism. You must seek out criticism from a variety of sources, you must accept that criticism, and you must apply it in improving your work in the future. You must avoid becoming defensive, but you must also recognize that disagreement will always exist. You will never satisfy everyone with what you write. The challenge is to satisfy as much of your target audience as possible.

And therein lies the paradox: For when you have devoted your heart and soul into a work, receiving criticism on it can make you want to shut down, wanting to avoid that pain. And thus, you stop practicing, and you stop improving.

What can be done about this?

I am told that it helps to “get a thick skin”, but seeing as I’ve spent the better part of my life trying to do that and failed completely, this may not be the most useful advice. Indeed, even if it can be done it may not be worth it: The most thick-skinned people I know of are generally quite incompetent at whatever they do, because they ignore criticism. There are two ways to be a narcissist: One is to be so sensitive to criticism that you refuse to hear it; the other is to be so immune to criticism that it has no effect on you. (The former is “covert narcissism”, the latter is “overt narcissism”.)

One thing that does seem to help is learning to develop some measure of detachment frrom your work, so that you can take criticism of your work as applying to that work and not to yourself. Usually the robots really are just misassembled, and there’s nothing wrong with your soul.

But this can be dangerous as well: If you detach yourself too much from your work, you lose your devotion to it, and it becomes mechanically polished but emotionally hollow. If you optimize over and over to what other people want, it eventually stops being the work that had meaning for you.

Perhaps what ultimately separates good writers from everyone else is not what they can do, but what they feel they must do: Serious writers feel a kind of compulsion to write, an addiction to transferring thoughts into words. Often they don’t even particularly enjoy it; they don’t “want” to write in the ordinary sense of the word. They simply must write, feeling as though they die or go mad if they ever were forced to stop. It is this compulsion that gets them to persevere in the face of failure and rejection—and the self-doubt that rejection drives.

And if you don’t feel that compulsion? Honestly, maybe you’re better off than those of us who do.

Creativity and mental illness

PNRJ cognitive science , , , , , , , , , , , , ,

Dec 1 JDN 2458819

There is some truth to the stereotype that artistic people are crazy. Mental illnesses, particularly bipolar disorder, are overrepresented among artists, writers, and musicians. Creative people score highly on literally all five of the Big Five personality traits: They are higher in Openness, higher in Conscientiousness, higher in Extraversion (that one actually surprised me), higher in Agreeableness, and higher in Neuroticism. Creative people just have more personality, it seems.

But in fact mental illness is not as overrepresented among creative people as most people think, and the highest probability of being a successful artist occurs when you have close relatives with mental illness, but are not yourself mentally ill. Those with mental illness actually tend to be most creative when their symptoms are in remission. This suggests that the apparent link between creativity and mental illness may actually increase over time, as treatments improve and remission becomes easier.

One possible source of the link is that artistic expression may be a form of self-medication: Art therapy does seem to have some promise in treating a variety of mental disorders (though it is not nearly as effective as therapy and medication). And that wouldn’t explain why family history of mental illness is actually a better predictor of creativity than mental illness itself.

My guess is that in order to be creative, you need to think differently than other people. You need to see the world in a way that others do not see it. Mental illness is surely not the only way to do that, but it’s definitely one way.

But creativity also requires basic functioning: If you are totally crippled by a mental illness, you’re not going to be very creative. So the people who are most creative have just enough craziness to think differently, but not so much that it takes over their lives.

This might even help explain how mental illness persisted in our population, despite its obvious survival disadvantages. It could be some form of heterozygote advantage.

The classic example of heterozygote advantage is sickle-cell anemia: If you have no copies of the sickle-cell gene, you’re normal. If you have two copies, you have sickle-cell anemia, which is very bad. But if you have only one copy, you’re healthy—and you’re resistant to malaria. Thus, high risk of malaria—as we certainly had, living in central Africa—creates a selection pressure that keeps sickle-cell genes in the population, even though having two copies is much worse than having none at all.

Mental illness might function something like this. I suspect it’s far more complicated than sickle-cell anemia, which is literally just two alleles of a single gene; but the overall process may be similar. If having just a little bit of bipolar disorder or schizophrenia makes you see the world differently than other people and makes you more creative, there are lots of reasons why that might improve the survival of your genes: There are the obvious problem-solving benefits, but also the simple fact that artists are sexy.

The downside of such “weird-thinking” genes is that they can go too far and make you mentally ill, perhaps if you have too many copies of them, or if you face an environmental trigger that sets them off. Sometimes the reason you see the world differently than everyone else is that you’re just seeing it wrong. But if the benefits of creativity are high enough—and they surely are—this could offset the risks, in an evolutionary sense.

But one thing is quite clear: If you are mentally ill, don’t avoid treatment for fear it will damage your creativity. Quite the opposite: A mental illness that is well treated and in remission is the optimal state for creativity. Go seek treatment, so that your creativity may blossom.