What does Richard Lowe’s writing setup look like?
I’ve been writing on machines since the IBM Selectric. I ran a college computer lab. I’ve watched writing technology evolve from typewriters to word processors to laptops to whatever we’re calling the current era. Through all of it, one thing hasn’t changed: the space you write in determines how much you write.
The space you write in determines how much you write. That hasn’t changed since the typewriter.Share on X
After ghostwriting 54+ books and writing dozens of novels and 45+ handbooks, I’ve landed on a setup that supports marathon sessions of 2,000 to 12,000 words per day. Nothing in it is fancy, and every piece is there for a reason. I get impatient with writers who spend months shopping for the perfect desk before they’ve written a chapter, because the room exists to serve the work, and the work comes first.
I converted my dining room into an office, lining the wall behind me with books and, yes, butterflies.
The Room
The dining room became the office because it was the largest unused room in the house with the best natural light. Dining rooms are designed for gathering. That means they tend to be spacious, open, and positioned where light comes in. All of those qualities work for writing.
The wall behind my chair is lined with books and framed butterfly specimens. The books are reference material, client copies, my own novels, and the handbooks I’ve written for fiction writers, the ones that use AI prompts to help a writer build a better protagonist and plot and then leave the writing to the writer. Having them within arm’s reach means I can pull a reference in seconds.
The butterflies are just mine. A writer’s space should have something in it that exists purely because it makes the writer want to be there.
Why use multiple monitors for writing?
Writing a book involves juggling multiple streams of information at the same time. The manuscript. The client interview notes. Research material. The outline. Email. A reference document from a previous chapter. On a single monitor, you’re constantly switching between windows. That breaks concentration and wastes time.
Multiple monitors eliminate that problem. The manuscript stays on the primary screen at all times. Research and notes live on the second screen. The third handles communication, reference documents, or whatever the current project requires. The point is never losing your place in the manuscript because you had to check a fact or reread an interview transcript.
When you’re producing 5,000 or 10,000 words in a day, every interruption costs more than the time it takes. It costs the mental state you were in when the interruption happened. Multiple monitors reduce those interruptions to near zero.
Multiple monitors eliminate that problem. The manuscript stays on the primary screen at all times. Research and notes live on the second screen. The third handles communication, reference documents, or whatever the current project requires. What matters is never losing your place in the manuscript because you had to check a fact or reread an interview transcript.
A computer that freezes, lags, or takes 30 seconds to switch between applications is a computer that breaks your flow dozens of times per day. Over a 12,000-word session, those micro-interruptions add up to significant lost productivity and accumulated frustration. I think skimping on the machine is the worst false economy a working writer can make, because the bill shows up daily in sentences you never got to write.
The machine needs to be fast enough that it never makes you wait. Fast processor, enough RAM that every application runs at the same time without lag, solid-state storage so files open instantly. Writing software isn’t resource-intensive, but running a word processor, a browser with 15 research tabs, email, cloud sync, and a music player all at once requires a machine that can handle the load without hesitation.
I started on an IBM Selectric. I’ve written on every generation of technology since. The principle is the same regardless of era: the tool should disappear so you’re thinking about the words. If the machine makes you aware of its existence, it’s slowing you down.
The Chair
When you sit for eight or ten hours writing, the chair is equipment. A bad chair creates back pain, neck strain, and fatigue that cuts your session short. A good chair lets you forget you’re sitting. That’s the standard: you shouldn’t be thinking about the chair at all.
Adjustable seat height, lumbar support, and armrests that don’t interfere with your keyboard position are the minimum requirements. Beyond that, it’s personal preference. Some writers swear by ergonomic chairs with mesh backs. Others prefer something more traditional. The test is whether you can sit for six hours without discomfort pulling your attention away from the manuscript.
The Desk
The desk needs to be wide enough to hold multiple monitors, a keyboard, and whatever physical reference materials the current project requires, without feeling cluttered.
Clutter is a visual distraction that signals unfinished tasks to your brain. I can’t write at a messy desk, and I’ve stopped pretending I can. A clean, spacious desk signals that the only task right now is writing.
Depth matters as much as width. If the monitors are too close, you’re straining your eyes. If there’s no room between the keyboard and the edge of the desk, your wrists have nowhere to rest. The desk should give you physical space that translates into mental space.
Environment
The room needs to be quiet, or at least controllable. Writing requires sustained concentration, and sustained concentration requires an environment that doesn’t interrupt it. Some writers work well with background music. Some need silence. The point is that you control the sound environment instead of the sound environment controlling you.
Lighting counts for more than most writers realize. Poor lighting causes eye strain. That causes fatigue. That cuts sessions short. Natural light from the dining room windows handles daytime. For evening sessions, a desk lamp that doesn’t create glare on the monitors keeps the workspace functional without strain.
Temperature is simple: if you’re thinking about being too hot or too cold, you’re not thinking about writing. Set it and forget it.
Isolation on Demand
The converted dining room has a door. When the door is closed, I’m working. That boundary is the most important feature of the space. A closed door tells me, and everyone else in the house, that the next few hours belong to the manuscript. I’d rather lose a little goodwill over a shut door than lose a session’s work to a string of polite interruptions.
Not every session requires isolation. Some writing days are casual, interruptible, low-pressure. But when a deadline is tight or the manuscript is at a critical point, the ability to close a door and disappear into the work is non-negotiable. If your writing space doesn’t have a physical boundary between you and the rest of your life, you’ll spend your writing time managing interruptions instead of producing pages.
What Tax Benefit Do Most Writers Miss?
If your writing is a business, and if you’ve converted a space in your home exclusively for that business, the home office deduction exists for exactly your situation.
In the United States, the IRS allows people who use part of their home exclusively and regularly for business to deduct expenses related to that space.
The key word is “exclusively.” The converted dining room works because it’s no longer a dining room. It’s an office. If you’re writing at the kitchen table that also serves dinner, the deduction doesn’t apply.
Two calculation methods are available. The simplified method allows $5 per square foot of dedicated business space, up to 300 square feet ($1,500 maximum deduction). The regular method calculates the percentage of your home dedicated to business use and applies that percentage to eligible expenses: mortgage interest or rent, insurance, utilities, repairs, and depreciation.
The rules are detailed and the implications are real. Talk to a tax professional before claiming the deduction. But if you’ve invested in creating a dedicated writing space, this is a benefit worth understanding. It can offset some of the cost of the chair, the monitors, the desk, and the machine that make the space functional.
The Setup That Produces the Work
The perfect writing setup is about removing every obstacle between you and the finished manuscript. The monitors eliminate window-switching. The fast machine eliminates lag. The chair eliminates pain. The desk eliminates clutter. The door eliminates interruptions. The books on the wall eliminate research delays. The butterflies just make me happy.
113+ books have come out of this converted dining room.
The space evolved over time, each addition solving a problem I encountered during the work. Your setup will evolve too. Start with what you have, identify what’s slowing you down, and fix it. The magazine-spread offices writers post online are a dumb goal, because a room built to be photographed does nothing for the manuscript. Build one that lets you write 2,000 words before you notice you’ve started.
For more on building productive writing habits and eliminating the obstacles that stop writers from finishing books, see the AI-Enhanced Writer’s Productivity Handbook.
