He bought the prefab shack, he says, from a place in Riverhead for $2,300, after a contractor quoted him a comically overstuffed Hamptons price to build one. “Thirty years, and it’s never leaked,” he says. This particular shed was a floor sample, bought because he wanted it delivered right away. The business’s owner demurred. “So I said the following thing, which is always the magic words with people who work: ‘I can’t lose the days.’ She gets up, sort of pads back around the corner, and I hear her calling someone … and she comes back and she says, ‘You can have it tomorrow.’”

Caro first composes in longhand, then types up everything triple-spaced, with a carbon copy, in the old newspaper manner. He insists on cotton rather than synthetic typewriter ribbons, because the letters come out inkier and darker, but they’re no longer in regular production. “Ina found somebody out in either Pittsburgh or Cleveland who said that he’d make the cotton ribbons for me if I ordered, I think, a dozen gross, which — I have enough typewriter ribbons to support the entire …” He laughs, breaking off the thought.

That Caro’s work is still done on paper, with no digital backup to speak of, marks him as one of the last of his kind. (He had never seen a Google doc until I offered to show him one. He was mildly startled to discover that, in a shared document, the person on the other end can be seen typing in real time: “That’s amazing. What’s it called? A doc?”) 

I can’t start writing a book until I’ve thought it through and can see it whole in my mind. So before I start writing, I boil the book down to three paragraphs, or two, or one—that’s when it comes into view. That process might take weeks. And then I turn those paragraphs into an outline of the whole book. That’s what you see up here on my wall now—twenty-seven typewritten pages. That’s the fifth volume. Then, with the whole book in mind, I go chapter by chapter. I sit down at the typewriter and type an outline of that chapter, let’s say if it’s a long chapter, seven pages—it’s really the chapter in brief, without any of the supporting evidence. Then, each chapter gets a notebook, which I fill with all the materials I want to use—quotations and facts pulled from all of the research I’ve done.

Charles M. Schulz: The Art and Life of the Peanuts Creator in 100 Objects It’s hard to believe, but I had a book come out on November 1st! You can get it anywhere good books are sold, but if you buy it from the Charles M. Schulz Museum, it will be signed by none other than Jean Schulz! Working with Jeannie on the book was a very special experience. I get to work with her quite a bit developing…