Ten Ways to Think About Writing

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    Ten Ways To Think About Writing:

    Metaphoric Musings for College

    Writing Studentby E. Shelley Reid

    This essay is a chapter inWriting Spaces: Readings on Writing,Volume 2, a

    peer-reviewed open textbook series for the writing classroom.

    Download the full volume and individual chapters from:Writing Spaces:http://writingspaces.org/essays

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    Press and through other booksellers.

    This essay is available under a Creative Commons License subject to the Writing Spaces'

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    2011 by the respective author(s). For reprint rights and other permissions, contact the

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    Library of Congress Cataloging-in-Publication Data

    Writing spaces : readings on writing. Volume 1 / edited by Charles Lowe and Pavel

    Zemliansky.

    p. cm.

    Includes bibliographical references and index.

    ISBN 978-1-60235-184-4 (pbk. : alk. paper) -- ISBN 978-1-60235-185-1 (adobe ebook)

    1. College readers. 2. English language--Rhetoric. I. Lowe, Charles, 1965- II. Zemliansky,

    Pavel.

    PE1417.W735 2010

    808.0427--dc22

    2010019487

    http://writingspaces.org/essayshttp://writingspaces.org/essayshttp://parlorpress.com/writingspaceshttp://parlorpress.com/writingspaceshttp://wac.colostate.edu/books/http://wac.colostate.edu/books/http://parlorpress.com/writingspaceshttp://wac.colostate.edu/books/http://writingspaces.org/essays
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    3

    Ten Ways Toink About Writing:

    Metaphoric Musings for College

    Writing Students

    E. Shelley Reid

    . A T R T P

    Writing is hard.*

    Im a writer and a writing professor, the daughter and granddaugh-

    ter of writers and writing professors, and I still sit down at my key-board every week and think, writing is hard.

    I also think, though, that writing is made harder than it has to bewhen we try to follow too many rules for writing. Which rules haveyou heard? Here are some I was taught:

    Always have a thesis. Ibefore Eexcept after C. No one-sen-tence paragraphs. Use concrete nouns. A semi-colon joins twocomplete sentences. A conclusion restates the thesis and thetopic sentences. Dont use I, check your spelling, make threemain points, and dont repeat yourself. Dont use contrac-tions. Cite at least three sources, capitalize proper nouns, anddont use you. Dont start a sentence with And or But,dont end a sentence with a preposition, give two examples in

    * This work is licensed under the Creative Commons Attribution-Noncommercial-ShareAlike 3.0 United States License and is subject to the

    Writing Spaces Terms of Use. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/us/ or send a letter to CreativeCommons, 171 Second Street, Suite 300, San Francisco, California, 94105,USA. To view the Writing Spaces Terms of Use, visit http://writingspaces.org/terms-of-use.

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    E. Shelley Reid4

    every paragraph, and use transition words. Dont use transi-tion words too much.

    When we write to the rules, writing seems more like a chore thana living process that connects people and moves the world forward. Ifind it particularly hard to cope with all those Donts. Its no wonder

    we get writers block, hands poised above the keyboard, worried aboutall the ways we could go wrong, suddenly wondering if we have newmessages or whether theres another soda in the fridge.

    We can start to unblock the live, negotiated process of writing forreal people by cutting the thousand rules down to three broader prin-ciples:

    1. Write about what you know about, are curious about, are pas-sionate about (or what you canfind a wayto be curious aboutor interested in).

    2. Show, dont just tell.3. Adapt to the audience and purpose youre writing for.

    When we write this way, we write rhetorically: that is, we pay attention

    to the needs of the authorand the needs of the readerrather than theneeds of the teacheror the rules in the textbook.

    Everything that matters from the preceding list of rules can be con-nected to one of those three rhetorical principles, and the principlesaddress lots of aspects of writing that arent on the list but that arecentral to why humans struggle to express themselves through writtenlanguage. Write about what you know about so that you can show not

    just tell in order to adapt to your audiences needs and accomplish your

    goals. (Unless you do a good job showing what you mean, your audi-ence will not understand your message. You will not meet their expec-tations or accomplish your goals.) Make clear points earlyso thatyouraudience can spot your expertise or passion right from the start. Writemulti-sentence paragraphs in which you show key ideas in enough de-tail that your audience doesnt have to guess what you mean. Use asemi-colon correctlyin order to show how your carefully thought outideas relate to one anotherand to win your readers confidence.

    Writing will still be hard because these are some of the hardestprinciples in college; they may be some of the hardest principles inthe galaxy. But if you write from those three principles, and use someof the strategies listed below, your writing will finally have a fighting

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    chance of beingreal, not just rules. And thats when writing gets inter-esting and rewarding enough that we do it even though its hard.

    . S T

    What does that show, dont just tell idea really mean? Lets try sometime travel to get a better idea. Can you remember being in kindergar-ten on show-and-tell day? Imagine that a student gets up in front ofyou and your fellow five-year-olds, empty-handed, and says, I have abaseball signed by Hank Aaron thats in perfect condition, but I cantbring it to school. Youre only five years old, but you know that shes

    got two problems, right? Not only can you not seethe ball to knowexactly what perfect condition looks like, to eyeball the signatureand smell the leather and count the stitches, but you have no reasonto believethis kid even if she describes it perfectly. If you tell withoutshowing, your reader might not only be confused but might entirelydisbelieve you. So youre two strikes down.

    Another way to explain show vs. tell is with a story. There is a very,very short science fiction story in a collection of very short science fic-

    tion stories entitled Science Fiction for Telepaths.This is the entire story, just six words: Aw, you know what I mean

    (Blake 235).Wah-ha-ha! go the telepaths, what a great story! I really liked

    the part about the Martian with three heads trying to use the gammablaster to get the chartreuse kitchen sink to fly out the window andland on the six-armed Venusian thief! Good one! Since the telepathscan read the storytellers mind, they dont need any other written de-

    tails: they know the whole story instantly.This story is a little like when you say to your best friend from justabout forever, you know what I mean, and sometimes she even does,because she can almostread your mind. Sometimes, though, even yourbest buddy from way back gives you that look. You know that look:the one that says he thinks youve finally cracked. He cant read yourmind, and youve lost him.

    If you can confuse your best friend in the whole world, even when

    hes standing right there in front of you, think how easy it could be toconfuse some stranger whos reading your writing days or months oryears from now. If we could read each others minds, writing wouldntbe hard at all, because we would always know what everyone meant,

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    E. Shelley Reid6

    and wed never doubt each other. If you figure out how to read mindsthis semester, I hope youll tell us how it works! In the meantime,though, you have to showwhat you mean.

    . T L G B

    S P: D D R

    Now we know: I can read my own mind, and you can read your ownmind, and this self-mind-reading is even easier to do than breathingin and out on a lovely April morning. When I write something like Ihave a little green ball on the whiteboard, I read my mind as I read

    the board, so I understand itand Im positive, therefore, that youunderstand it. Meanwhile, you read my sentence and your own mindtogether and the meaning is so perfectly clear to you that its nearlyimpossible to imagine that youre not understanding exactly what Iintended.

    I have a little green ball. Even a five-year-old could read this sen-tence and know what I mean, right?

    Try something. Bring both hands up in front of your face, and use

    each one to showonepossible size of this little ball. (You can trythis with friends: have everyone close their eyes and show the size of alittle ball with their hands, then open their eyes, and look around.)Hmm. Already theres some possible disagreement, even though itseemed so clear what little meant.

    Maybe green is easier: you know what green is, right? Of course.But now, can you think of two different versions of green? three ver-sions? five? In the twenty-five minds in a classroom, say, we might haveat least twenty kinds of little, and maybe a hundred kinds of green,and we havent even discussed what kind of ball we might be talkingabout. Those of you who are math whizzes can see the permutationsthat come from all those variables. If I sent you to Mega Toyland withthe basic instructions, Buy me a little green ball, the chances are slimthat you would come home with the ball I had in mind.

    If I dont care about the exact ballI just need something ball-likeand not too huge and somewhat greenishthen it doesnt matter. Ican leave it up to you to decide. (Occasionally, its effective to avoid

    details: if I were writing a pop song about my broken heart, Id be de-liberately vague so that youd think the song was aboutyourheart, andthen youd decide to download or even buy my song.) But the more

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    Ten Ways To Think About Writing 7

    I care that you know exactly what Im thinking, the more the detailsmatter to me, then the more information I need to give you.

    What information would you need to write down so that someone

    would buy the exact little green ball that youre thinking of while he orshe is shopping at Mega Toyland?

    If youre going to showme, or each other, what youre thinking,using only language, it will take several sentences, perhaps a wholeparagraphfilled with facts and statistics, comparisons, sensory de-scription, expert testimony, examples, personal experiencesto besure that whats in your mind is whats in my mind. After my studentsand I finish examining my ball and choosing rich language to show it,

    the whiteboard often reads something like this: I have a little greenball about an inch in diameter, small enough to hide in your hand.Its light neon green like highlighter ink and made of smooth shinyrubber with a slightly rough line running around its equator as if twohalves were joined together. When I drop it on the tile floor, it bouncesback nearly as high as my hand; when I throw it down the hallway, itcareens unpredictably off the walls and floor. Now the ball in yourmind matches the ball in my hand much more closely.

    Showing is harder than just telling, and takes longer, and is depen-dent on your remembering that nobody reads your mind like you do.Can you think of other little green ball words or phrases that youmight need to showmore clearly? How do you describe a good movieor a bad meal? How would you describe your mother, your hometown,your car? Try it on a blank page or in an open document: write oneyou know what I mean sentence, then write every detail and exampleyou can think of to make sure that a reader doesknow what you mean.Then you can choose the most vivid three or four, the ones that bestshow your readers what you want them to understand.

    Theres another kind of description that requires mind reading. If Iwrite on the board that some people need to learn to mind their ownbusiness sometimes, would you agree with me? (By now, you shouldbe gaining some skepticism about being able to read my mind.) In myhead, Im filling in some people and their business and some-times with very specific, one-time-only examples. Its like I have a

    YouTube clip playing in my head, or a whole seasons worth of a reality

    TV show, and you dont have access to it yet. (I might as well be say-ing I have cookies! but not offering to share any of them with you.)

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    E. Shelley Reid8

    If I give you a snapshot from that film, if I use language to pro-vide a one-time-only example, I showyou: My ninety-year-old grand-mother needs to stop calling up my younger cousin Celia like she did

    last night and telling her to persuade me to move back home to Lara-mie so my mom wont get lonely and take up extreme snowboarding

    just to go meet some nice people. Does that help you see how the one-time-only example you were thinking of, when you read my boringsentence along with your own mind, is different from what I wantedyou to think? As writers, we need to watch out for the some-peopleexample and the plural example: Sometimes things bother me orFrederick Douglass had lots of tricks for learning things he needed to

    know. If an idea is important, give an exact one-time snapshot withas much detail as possible.

    In a writing class, you also have to learn to be greedy as a reader, toask for the good stuff from someone elses head if they dont give it toyou, to demand that they share their cookies: you have to be brave andsay, I cant see what you mean. This is one of the roles teachers takeup as we read your writing. (One time during my first year teaching,one of my students snorted in exasperation upon receiving his essay

    back from me. So, like, what do you do, he asked, just go throughthe essay and write Why? How so? Why? How so? Why? How so?randomly all over the margins and then slap that B on there? Igrinned and said, Yep, thats about it.)

    Its also your job as a peer reader to read skeptically and let yourfellow writer know when he or she is assuming the presence of a mindreaderbecause none of us knows for sure if were doing that when

    we write, not until we encounter a readers Hunh? or Wha-a-a-?You can learn a lot about writing from books and essays like this one,but in order to learn hownotto depend on reading your own mind,you need feedback from a real, live reader to help you gauge how youraudience will respond.

    . L M T- N:

    W A

    Writing teachers are always going on and on about audience, as ifyou didnt already know all about this concept. You can do a simplethought-experiment to prove to them, and to yourself, that you already

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    fully understand that when the audience changes, your message has t...