1.1: Reading and Writing Connection
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)This chapter covers why we read and how we read to write better. By the end of the chapter, you will be able to read like a writer, asking writer’s questions and listening to a story through the writer’s mind.
Most good writing starts with being a good reader. If we want to write the next great American Novel, we need to have learned the last great American Novel. We need to understand what made that novel great. We need to read those novels that aren’t deemed ‘great’ and decide why. What didn’t work as well?
We need to read with a writer’s mind—a writer’s eye—a writer’s ear. How? By asking questions. Lot’s of questions. Usually the reporters’ questions. Why did the writer use that word? Why did the writer use that punctuation? Why did the writer break the story here? What impact does this choice have on the reader? What impact does this choice have on the character? These are the kinds of questions readers often ask. Consider, for a moment, what questions you ask when you read. Do you read with a pen in hand—writing the questions? Highlighting word choices, stylistic choices, literary techniques?
As a reminder, some reading tools are:
Annotation—reading with a pen/highlighter in hand. Highlighting or marking in some way the text and writing why in the margin of the text.
Know/Want to Know /Learn (KWL) chart—divide your paper into thirds. At the top of the first third write Know. At the top of the second third write Want to Know. At the top of the third third write Learn. Before you start reading, try to fill out the chart. Look at the title and author. Do you know anything about them? In the Know column write what you know. Then, in the second column write what you want to know. In the third column write what you learn as you read. Continue to fill out this chart as you read!
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Journal—there a lot of ways to journal. You might do a read/stop/ respond method. This is useful for difficult readings that cause your mind to wander. Before your mind wanders, stop to write about what you just read. Writing about what we read helps provide clarity. It gives us time to think and process and helps us make meaning. You could also just write about your feelings and thoughts after you have completed the reading. However, to read like a writer, your thoughts should focus on the writers’ choices and observations you have about the piece and how it unfolds. It is useful to start with your reaction to the piece first. If we get this out of the way, then we can look at the piece through a more critical lens.
Here is an example of reading strategies (annotation, K/W/L, and Journaling) using Emily Dickinson’s poem “Wild Nights”:
Wild nights — Wild nights! Why a dash? Why is "wild" capitalized?
Were I with thee So they aren’t together—who is they?
Wild nights should be
Our luxury! Why are wild nights a luxury?
Futile — the winds — And now we have the dashes wonder what this means
To a Heart in port — Is she using caps to draw our attention to heart?
Done with the Compass —
Done with the Chart!
Rowing in Eden — Interesting reference to Eden
Ah — the Sea!
Might I but moor — tonight —
In thee!
| Know | Want to Know | Learn |
|---|---|---|
| Dickinson loved dashes | Why does she use dashes? | Dashes create emphasis |
| She never married | Is this about a real person? | words have power |
| Maybe was in love | why capitalize | capitalization draws my eyes |
Journal
This poem seems strange at first. Readers aren’t given much to go on. We don’t know if this is a man and a woman. Is it their wedding night? I don’t think so because it starts with “wild nights”. The use of the word wild implies that that this is passionate and primal. It is natural and not what is expected by society. It is her imagination, though, because it says, “were I with thee”, which tells the reader that the couple is not together. Thus, she is imagining. Such a simple phrase yet it tells us so much. The power of the word were. Then we get the word luxury. The Oxford English Dictionary says it means, “the enjoyment of special and expensive things”. So, their being together means that this is special. A wild night that is special. This means it doesn’t happen often, if ever. Not only that, but nothing can tear them apart. The winds, which she has set off by dashes, signifies that they are separate and special. Thus, alerting the reader to the idea that these two people can not be separated. Further, they don’t want to be, or at least she doesn’t. They are done with all the navigation systems. All the things required to get somewhere. They don’t need them anymore because they are never going again. This whole poem is a metaphor for being in love, finding your true partner. Once you find them, you will have wild nights. You won’t need anyone else. You can be together in the Biblical sense. She uses sailing to help move her metaphor forward. This is brilliant way to say you are in love forever. Pity, though, as the couple isn’t together. Can they not be together? Is it forbidden? Her poem doesn’t answer this but leaves it up to our imagination to figure it out. I appreciate that she lets the reader imagine instead of telling us exactly what is what. This is the beauty of a poem. I also appreciate that each word is chosen to impart a powerful punch. It is a good reminder that we must be so conscious of the words we choose when we choose to rhyme.
Notice how the journal builds off both the annotation and the K/W/L to chart and moves us to meaning. The journal deals with making meaning of the poem and working to understand how the poem is written, and how that can translate to the writer of poetry.
Now it’s your turn!
Discuss what tools you use to read—
Let’s practice reading like writers—read with an analytical eye. Be sure to use tools like annotation, Know/Want to Know/Learn (KWL) Charts, reading journals etc.
Then use some of the tools to discuss an assigned short story.
What did you learn about the story while reading like a writer—looking at things from as small as the language to the big things like the theme or lesson.
Some more questions you might ask:
What is the purpose of the story?
The main point?
What questions do you have?
What was your initial response?
Let's discuss the author's choices...
Does the author spend time describing the setting?
How does this choice impact the story?
How does the author introduce and develop characters?
How does the author handle dialogue?
What literary devices are used, if any?
You should now be able to read like a writer. Employ these tools each time you read. The more often you do, the better of a writer you will become!