Mao might have his criticisms of useless scholarship and writing, but he also has some suggestions as to how one might write:
Articles should store up forces within. Emerging from Longmen, the Yellow River rushes all the way down to Tongguan. As it turns eastwards, it again rushes to Tongwa. Again it turns northeastwards and rushes to the sea. Once it comes out of hiding and changes its course, it goes for a thousand li without stopping. This is called a big turn. So it is with composition. (The Writings of Mao Zedong, vol. 1, p. 18)
To compose (zuo wen) well, we need to be skilfull, hence the use of the word ‘do’ (zuo); to write (xie), we need to wield the brush furiously, hence the use of the word ‘sketch’ (xie). (p. 19)
Marx, for one, would pace up and down the room. Paul Lafargue notes that Marx would rest by doing so, while Henry Hyndman observes: ‘Marx had a habit when at all interested in the discussion of walking actively up and down the room, as if he were pacing the deck of a schooner for exercise’. Engels had the same habit. Imagine the scene, especially after Engels managed to escape the ‘huckstering’ of the family firm in Manchester: Marx would pace in one direction, puffing on a cigarette, Engels would pace parallel to Marx but in the opposite direction, puffing on a pipe, while both would engage in animated discussion.
As for Lenin, Krupskaya notes: ‘When writing, he would usually pace swiftly up and down the room, whispering what he was going to write’. Then he would leap into the seat at his desk and rapidly write down what he had just whispered to himself. 45 volumes of Collected Works – that’s a lot of whispering.