Guide to buying your first typewriter

You caught a glimpse of one in a vision. You woke up sweating. Suddenly, a new desire has been awakened in you.

You need a writing machine.

I’ve spent twenty five years fumbling with a lot of typewriters. I’ve wasted time and money learning to discern what works best for writing.

Some machines will lure you in with their visual appeal, and leave you dry just when that masterpiece is on the tip of your tongue (or, in this case, your fingers).

For instance, the old machines from the 20's and 30's, with those iconic ‘glass keys’ (they’re actually a sort of plastic) are gorgeous. I started there. I bought probably 10 of those, back when they costed a pittance.

Many of them sort of worked, and each had its little idiosyncrasy, which basically rendered it useless for what I wanted to do.

A Smith Corona Silent I found during this time stayed with me, and it gradually became one of my favorites. I've written 3 novels on this machine, and a few non-fiction books.

While it is still more bare-bones than some more contemporary models, it already incorporates a basket shift, which really makes it a pleasure to type on, at almost any speed. Still, because of its age, there are a few minor issues that more modern designs have remedied. Occasionally, a letter or a space will skip as I break into a gallop.

You won’t generally don't get this on more modern machines, like an Olympia SMs, a Hermes 2000 or 3000, or an Olivetti Lettera.

So just to I leapt over a few decades, into the 60’s, onto an Olympia SM9, at the recommendation of a dealer. It was beautifully engineered, and did any job I could throw at it with aplomb, but it lacked something of the sensuality I craved. It eventually wound up under another writers’ fingers in San Francisco.

A machine has to be practical. It is, in the end, a writing tool.

But to be inspiring, it also needs to possess some of the quintessential design elements of a vintage manual typewriter.

If you actually want to write on it, you need more than just a glass-keyed, well-engineered doorstop.

So, while I appreciate the beauty of older machines, the machines I’ve gathered here balance the aesthetic with the usability. A lot of considerations have gone into me choosing these particular machines for your writing pleasure. Sometimes, the rubber components like platens or the rubber feet on certain machines wear out, and some of these parts cannot be replaced. Sometimes, a machine is just too clunky to really rival its smaller brethren (an Olivetti Studio 44, for instance), so I don’t really recommend it.

What you want is something beautiful and inspiring that will also write thousands or hundreds of thousands or even millions of words for you over the years, even after some abuse. Something reliable that can become a true companion in your writing life.

There are some features that we may have become accustomed to in your digital typing career that you’ve taken for granted. For instance, vintage typewriters often don’t have a 1 key… one is meant to use the lower case L as a 1. Similarly, the upper-case O often stands in for the 0, which doesn’t exist on some keyboards. Most of the typewriters I’m referring to here do have options for single, double, or sometimes triple or half-line spacing. With a duo-tone ribbon, some machines have the ability to switch between red and black at the flick of a switch. You can also use this with a fully black ribbon if you use up one half, and want to switch to the other half.

Ribbons, by the way, can be found everywhere. They usually come on cheap plastic spools, and I like to wind them onto the original metal spools that often come with the typewriter, because it just feels more sturdy and is more true to the spirit of the time.

Some typewriters, like Olivetti the Lettera 22 / 32, have little threaded caps that hold the ribbon into place (though a few are spring held). Without these idiosyncratic pieces, the typewriter can’t be used, which is something of a design flaw in my opinion, in a world where most ribbons just sit in place and you’re good to go.

It’s not just easy on the eyes.

Here are a few critical considerations…

The Shift.

This is something that we mostly take for granted in the digital age.

On a manual typewriter, a ‘shift’ actually requires a change of position of the carriage or the type bars; a LITERAL shift.

In the world of manual typewriters, there are…

3 ways to shift to capital letters.

1. The ‘Carriage Shift’. The carriage shift was fairly standard on most designs until the 60’s (though the Smith Corona ‘Floating Shift’ models (which I include on this site) are a rare exception. This means that pressing the shift key lifts the carriage with the platen and rollers that holds the paper, so that the lower-case letter strikes the platen. In this case, shifting is a rather cumbersome task, as the pinky, usually assisted by some spring mechanism, needs to put some effort in to lift a 1 lb carriage.

   It's an important consideration if you'll be typing quickly, because shifting takes a lot of key pressure to life the x, and sometimes, if you don't do it all the way, you'll get a letter that is lower than the others. It’s a skill, and also a design flaw.

   For plodding out poetry, or for correspondence and shorter works, the carriage shift may make little difference to you. I love the Olympia SM 3 and SM 4 for style and usability, however, it wasn’t until the SM9, which doesn't look quite as cool, finally incorporated the carriage shift. (SM5 through SM8, by the way, are generally considered to be lesser Olympias, cutting back on some of the exciting features that made the SM3 and SM4 so wonderful).

2. The ‘tilt’ shift. This is a term I made up. It is technically a carriage shift, but the carriage merely tilts instead of moving, so that the front of the carriage moves up to compensate for the capital letters, while the rear is static, on a hinge. This is only found in smaller machines, notably the Hermes Baby Type Writer.

3. The ‘basket’ or Segment Shift. Most people refer to it as a basket shift, though typewriter aficionados have consistently told me that ‘segment shift’ is the way they learned it. The point is, instead of the whole carriage moving, just the type bars move. This makes for a very fluid and fast shift. Again, Smith Coronas were the earliest models to incorporate this feature in the 30’s. The rest caught up in the 60’s.

Tabs

More modern machines have pretty reliable tabulators, meaning you can set the tabs and margins wherever they are needed. Some don’t have any at all, like the stunning Groma Kolibri. For poetry, you may not care, but for most of the world this becomes a fatal flaw.

Some machines, like the Smith Corona Sterling Silent, need the tabs set from the rear, which is fine for most (though these pieces often get lost over the years and many machines come without them).

Those that need to adjust the tabs regularly may prefer an Olivetti Lettera 32, which has buttons on the keyboard which set and clear tabs.

Keys

Of course, all of the typewriters I’m referring to here have keys available in the standard Querty layout. Some are comfortable for repeated use, and some are not. The SM3 and SM4 have springs beneath each key to soften the repeated impact. Other machines don’t, though various engineering practices make them more comfortable to touch. Some are flat and some concave, to accommodate the fingertips. Some, like the Olivetti Studio 44, have keys that can feel far apart.

We chose machines that were more ergonomic and more familiar to those accustomed to contemporary digital keyboards.

The Materials

During the golden era of typewriters, the machines were built to last a lifetime. In most cases, these machines have outlived their original owners and will continue to do so.

However, in the 80’s and 90’s, the throwaway mentality was born. People turned to computers, and it seemed that technology only needed to last until it was obsolete, and then it would be relegated to the landfill. A lot of otherwise useful typewriters from these time frames I tend to shy away from, because they are full of plastic. Not that there is anything wrong with plastic… but if I can get the same elegant, precision chassis with a metal frame, I’ll choose that. They are more durable, more reliable, and more beautiful. It just feels more visceral somehow to prop a solid object onto the table for a writing session. So while some decent machines were being manufactured in the 80’s, the Golden Era had already passed.

The Cost

You can get a completely refurbished machine for $600 to $1200. These machines are completely taken apart, cleaned, and put back together. And then you can get machines for less that work, sort of, and that are in complete disarray. Most people have no idea what they have or what they’re selling. They don’t actually know if the machine works, because they don’t know what it’s supposed to do (other than make letters).

At Classic Typewriter, we strive to balance usability and cost. We don’t disassemble the whole damn thing or polish every part. We spend a few hours cleaning and readying the machine; making it write worthy. And I’ve written quite a few books on an old Smith Corona, without a hitch. Cormac Mcarthy wrote millions of words on an old Olivetti Lettera 32. We have our repairmen, with decades of experience, work out the more difficult kinks.

When you need a working machine now, I believe we’re one of the best choices.

Some people fall into the trap of shopping for the perfect machines, and they never actually write. This is their prerogative, but I hope this doesn’t happen to you!

Portability

Some machines fit in a small suitcase (ultraportables). Others fit on a desk and are portable in a case, but not exactly light, weighing in at over 20 pounds. Still others weigh 50 pounds are are not meant to be removed from the desk. These are all viable options.

Generally, I suggest the general ‘portables’. The middle size. These balance reliability and portability in a beautiful way. If you’re mostly traveling, I’d suggest an ultra portable. They aren’t quite as joyous to type on, in my opinion, but they can be wonderful and inspiring. The Hermes Baby and the Groma Kolibri comes to mind.

Sources of Typewriters

You can find lower cost typewriters in various places, including flea markets, online auctions, goodwill, antique stores, etc. I recommend it! But they’ll all come with challenges when it comes to actually using them.

If you want to get to writing SOONER, order one here or from another reputable dealer.

What Sets us Apart

Here, at Classic Typewriter, we makes sure to have our team rigorously test and adjust each machine, so that you can rest easy knowing that you're getting a machine that will be ready when the deluge of inspiration hits.

We also include a working guarantee, which means that the machine will work when it arrives.

We offer a lifetime trade-in policy, which means that you can return us your machine, and we’ll apply the amount you paid for it to a new machine of your choice (minus shipping). If it needs repairs or is damaged, we’ll factor that in as well.

How to Choose

• Think about the features you require (You probably won’t require most of those 95% of the time).

• Find a few machines that sport those features.

• Buy one from a reputable dealer (one that you’re sure will work).

• Buy with your eyes, your mind, and your heart. There’s some magic that’s about to happen.

Listen, that's the clack of the typewriter you can't get out of your head. Invite it into your life already, and become what you were meant to be.

Order your new mechanical companion today.

Steven Budden Jr.

Classic Typewriter Co.

Chapel Hill, NC