How to Read Like a Writer

How to Read Like a Writer PDF

Author: Mike Bunn

Publisher: The Saylor Foundation

Published:

Total Pages: 17

ISBN-13:

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When you Read Like a Writer (RLW) you work to identify some of the choices the author made so that you can better understand how such choices might arise in your own writing. The idea is to carefully examine the things you read, looking at the writerly techniques in the text in order to decide if you might want to adopt similar (or the same) techniques in your writing. You are reading to learn about writing. Instead of reading for content or to better understand the ideas in the writing (which you will automatically do to some degree anyway), you are trying to understand how the piece of writing was put together by the author and what you can learn about writing by reading a particular text. As you read in this way, you think about how the choices the author made and the techniques that he/she used are influencing your own responses as a reader. What is it about the way this text is written that makes you feel and respond the way you do?

Reading Like a Writer

Reading Like a Writer PDF

Author: Francine Prose

Publisher: Union Books

Published: 2012-04-01

Total Pages: 263

ISBN-13: 1908526149

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In her entertaining and edifying New York Times bestseller, acclaimed author Francine Prose invites you to sit by her side and take a guided tour of the tools and tricks of the masters to discover why their work has endured. Written with passion, humour and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart – to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; to look to John le Carré for a lesson in how to advance plot through dialogue and to Flannery O’ Connor for the cunning use of the telling detail; to be inspired by Emily Brontë ’ s structural nuance and Charles Dickens’ s deceptively simple narrative techniques. Most importantly, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted, and reminds us that good writing comes out of good reading.

The Write to Read

The Write to Read PDF

Author: Lesley Roessing

Publisher: Corwin Press

Published: 2009-07-30

Total Pages: 201

ISBN-13: 1452273731

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Use reader response strategies to achieve Common Core goals in reading and in writing! Response journals—brief, personal writing in response to reading—can significantly improve reading comprehension. What′s more, when scaffolded over the year, reader response strategies promote engagement, build understanding of complex literary and informational text, and even help students provide supporting evidence in their writing—all goals of the Common Core. For educators eager to use reader response strategies, veteran teacher Lesley Roessing presents a unique, step-by-step approach that inspires thoughtful reading and skillful writing in Grades 5–12. Based on research and her own classroom experience, Roessing′s innovative writing exercises encourage students to read more deeply, develop questions, and participate actively in class. Beginning with simple response tasks and moving toward more complex assignments, the book provides a scaffolded curriculum for the full academic year. Developed for language arts and content area teachers, as well as literacy specialists, this resource includes: Examples of response journals for a wide range of genres, including fiction, nonfiction, poetry, and students′ personal reading Strategies for using reader response to guide classroom discussions, group work, book clubs, and journal writing at home Adaptations for students with diverse abilities Numerous classroom-ready templates and samples of student work Discover a well-structured writing curriculum that promotes confident learning and the joy of reading.

Why I Write

Why I Write PDF

Author: George Orwell

Publisher: Renard Press Ltd

Published: 2021-01-01

Total Pages: 15

ISBN-13: 1913724263

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George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Show Your Work!

Show Your Work! PDF

Author: Austin Kleon

Publisher: Workman Publishing Company

Published: 2014-03-06

Total Pages: 225

ISBN-13: 0761181369

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In his New York Times bestseller Steal Like an Artist, Austin Kleon showed readers how to unlock their creativity by “stealing” from the community of other movers and shakers. Now, in an even more forward-thinking and necessary book, he shows how to take that critical next step on a creative journey—getting known. Show Your Work! is about why generosity trumps genius. It’s about getting findable, about using the network instead of wasting time “networking.” It’s not self-promotion, it’s self-discovery—let others into your process, then let them steal from you. Filled with illustrations, quotes, stories, and examples, Show Your Work! offers ten transformative rules for being open, generous, brave, productive. In chapters such as You Don’t Have to Be a Genius; Share Something Small Every Day; and Stick Around, Kleon creates a user’s manual for embracing the communal nature of creativity— what he calls the “ecology of talent.” From broader life lessons about work (you can’t find your voice if you don’t use it) to the etiquette of sharing—and the dangers of oversharing—to the practicalities of Internet life (build a good domain name; give credit when credit is due), it’s an inspiring manifesto for succeeding as any kind of artist or entrepreneur in the digital age.

Against the Academicians and The Teacher

Against the Academicians and The Teacher PDF

Author: Augustine

Publisher: Hackett Publishing

Published: 1995-01-01

Total Pages: 214

ISBN-13: 9780872202122

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These new translations of two treatises dealing with the possibility and nature of knowledge in the face of skeptical challenges are the first to be rendered from the Latin critical edition, the first to be made specifically with a philosophical audience in mind, and the first to be translated by a scholar with expertise in both modern epistemology and philosophy of language.

The Writer's Digest Handbook of Novel Writing

The Writer's Digest Handbook of Novel Writing PDF

Author:

Publisher:

Published: 1998

Total Pages: 0

ISBN-13: 9780898798319

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Contains thirty-seven articles drawn from the pages of "Writer's Digest" magazine, in which authors, editors, agents, and teachers offer advice on various aspects of novel-writing, discussing topics such as building plot skeletons, writing good dialogue, creating a book outline, and negotiating a contract.

When I Stop Talking, You'll Know I'm Dead

When I Stop Talking, You'll Know I'm Dead PDF

Author: Jerry Weintraub

Publisher: Twelve

Published: 2010-04-07

Total Pages: 220

ISBN-13: 0446568937

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Here is the story of Jerry Weintraub: the self-made, Brooklyn-born, Bronx-raised impresario, Hollywood producer, legendary deal maker, and friend of politicians and stars. No matter where nature has placed him--the club rooms of Brooklyn, the Mafia dives of New York's Lower East Side, the wilds of Alaska, or the hills of Hollywood--he has found a way to put on a show and sell tickets at the door. "All life was a theater and I wanted to put it up on a stage," he writes. "I wanted to set the world under a marquee that read: 'Jerry Weintraub Presents.'" In When I Stop Talking, You'll Know I'm Dead, we follow Weintraub from his first great success at age twenty-six with Elvis Presley, whom he took on the road with the help of Colonel Tom Parker; to the immortal days with Sinatra and Rat Pack glory; to his crowning hits as a movie producer, starting with Robert Altman and Nashville, continuing with Oh, God!, The Karate Kid movies, and Diner, among others, and summiting with Steven Soderbergh and Ocean's Eleven, Twelve, and Thirteen. Along the way, we'll watch as Jerry moves from the poker tables of Palm Springs (the games went on for days), to the power rooms of Hollywood, to the halls of the White House, to Red Square in Moscow and the Great Palace in Beijing-all the while counseling potentates, poets, and kings, with clients and confidants like George Clooney, Bruce Willis, George H. W. Bush, Armand Hammer, Brad Pitt, Matt Damon, Bob Dylan, Led Zeppelin, John Denver, Bobby Fischer . . .well, the list goes on forever. And of course, the story is not yet over . . .as the old-timers say, "The best is yet to come." As Weintraub says, "When I stop talking, you'll know I'm dead." With wit, wisdom, and the cool confidence that has colored his remarkable career, Jerry chronicles a quintessentially American journey, one marked by luck, love, and improvisation. The stories he tells and the lessons we learn are essential, not just for those who love movies and music, but for businessmen, entrepreneurs, artists . . . everyone.

First We Read, Then We Write

First We Read, Then We Write PDF

Author: Robert D. Richardson

Publisher: University of Iowa Press

Published: 2015-04

Total Pages: 118

ISBN-13: 1609383478

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Writing was the central passion of Emerson’s life. While his thoughts on the craft are well developed in “The Poet,” “The American Scholar,” Nature, “Goethe,” and “Persian Poetry,” less well known are the many pages in his private journals devoted to the relationship between writing and reading. Here, for the first time, is the Concord Sage’s energetic, exuberant, and unconventional advice on the idea of writing, focused and distilled by the preeminent Emerson biographer at work today. Emerson advised that “the way to write is to throw your body at the mark when your arrows are spent.” First We Read, Then We Write contains numerous such surprises—from “every word we speak is million-faced” to “talent alone cannot make a writer”—but it is no mere collection of aphorisms and exhortations. Instead, in Robert Richardson’s hands, the biographical and historical context in which Emerson worked becomes clear. Emerson’s advice grew from his personal experience; in practically every moment of his adult life he was either preparing to write, trying to write, or writing. Richardson shows us an Emerson who is no granite bust but instead is a fully fleshed, creative person disarmingly willing to confront his own failures. Emerson urges his readers to try anything—strategies, tricks, makeshifts—speaking not only of the nuts and bolts of writing but also of the grain and sinew of his determination. Whether a writer by trade or a novice, every reader will find something to treasure in this volume. Fearlessly wrestling with “the birthing stage of art,” Emerson’s counsel on being a reader and writer will be read and reread for years to come.

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