writer teaches writing - murray
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8/10/2019 Writer Teaches Writing - Murray
1/14
ri
te
r
e
a
ch
e
s
r
i
ti
n
Se
co
n
d Ed
it
ion
om
p
let
e
R
e
vi
sio
n
D
O
N
LD
M
U
R
R
Y
Uni
versi
ty of
New
H
am
pshir
e
HO
UG
HTO
N MIF
FLI
N
O
MP
NY
ost
o
Da
llas Gen
eva
Illi
nois
H
ope
well
Ne
w
J
erse
y
Palo
lto
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8/10/2019 Writer Teaches Writing - Murray
2/14
Copyright
98
by
Houghton
Mifflin
Company. All
Rights Reserved.
No
part
ot
this book
may
be
reproduced
or
transmitted in
any form
or
by
any means
electronic or
mechanical
including
photocopying
and recording
or by
any
intormation
storage
or retrieval
system except
as may
be
expressly
permitted
by
the
97 6
Copyright
Act
or
in
writing
by
the
Publisher. lermission
must he
obtained trom
the
individual
copyright owners
as
identified herein. Requests
for
Houghton
Mittlin
material
should
be addressed
to
Permissions
Houghton
Mifflin
Company
One Beacon
Street Boston
MA
02108.
Printed in
the
U.S.A.
Library of
Congress
Catalog Card
Number:
84 81981
ISBN 0 395 35441 2
Ec HuH j
-
8/10/2019 Writer Teaches Writing - Murray
3/14
7
he
h
e
PLA
N
t
he
mo
st
im
port
ant
writi
ng u
sual
ly
tak
es p
lace
b
efore
t
here i
s
w
riti
ng
at
t
ist
vh
at
vr
u
uial
lv
thmk
of is rit
ing:
the prod
ucti
on
o
t
h
t
runn
ing dr
aft Wr
iters
write
b
efore
th
ey
writ
e.
id had
the
strange experience
of
being
laboratory
rat
in
writing
i
s
tudy
b
y
Dr
.
C
aro
l
B
erke
nkot
ter
of \lic
higa
n T
echn
olog
ical
Un
iver
sity.
De
cisio
ns and
Re
visio
ns:
he
Pla
nnin
g
Str
ateg
ies
of
P
ublis
hing W
rit
W
e
r
Car
ol
Ber
kenk
otte
r
an
d
Re
spon
se o
f a
La
bora
tory Rat
o
r Bein
g
lot
P
rotoc
oled
Do
nald
M
.
M
urra
y Col
hy,i Ce
imip
ncif i
on
mud
C
oni
mum
nca
toun
,
vol
.
n
o.
2
, May
lo
pp.
5
l72
.
No
te:
the w
ord
not
s
houl
d
b
e
V
s
trick
en
fr
om
b
on
p
age 17
1. S
he
s
tudi
ed
my
w
ritin
g
ove
r
a two
-and
-a
ha
lfm
ont
h per
iod
f
ocus
ing
o
n
two
aca
dem
ic
art
icles
an
d
a
ne
wsp
aper
h
e
edit
oria
l
wro
te
lurin
g th
a t time
alth
oug
h di
d w
ork
on
o
ther pro
jects
mm
lu
dinh
tut
on
md
p
ot
tr\
Sh
t
hid mt
mp
rrro
rd
i
it
i
s
um
mt
w
hile
wro
te
a
s
wel
l as
kee
p
ev
ery
not
e
a
nd
eve
ry
dra
ft.
h
en
sh
e
stu
died
the 1
22
nin
ety
min
ute ta
pes
and
the dra
fts.
She
also int
ervie
wed
SO
m
e
and
o
bser
ved m
e w
ritin
g.
e
r
Th
e
o
st im
porta
nt dis
cove
rs
fur m
e was
th
at sp
ent thre
e-fif
ths
i
th
o
f
my
tim
e
or
mo
re
col
lecti
ng
i
nfor
mati
on
and
p
lann
ing
my w
riti
ng.
ise
Mo
st
o
f my rew
ritin
g t
urne
d out
to b
e in fact
pla
nnin
g. O
n
o
ccas
ion
a\
sp
nt 90
perc
ent
of
my
writ
ing
tim
e
pla
nnin
g.
r
l
3erk
enko
tter
s re
te
s
sea
rch and
my
ow
n
obs
erva
tions of m
y
m
ost
elfe
ctiv
e
w
ritin
g stude
nts
ful
a
nd
co
llea
gues
le
d me
to
the mo
del o
f t
he
wr
iting
proc
ess
pr
esen
ted in
thi
s
hook
.
it S
Inex
perie
nce
d writ
ers o
ften wr
ite to o soo
n.
c
an
hear
the
r
eade
r
S
sa
ying
But yo
u
sug
gest
ed
we st
art
th
e w
ritin
g c
ours
e by havi
ng
our
d.
stu
den
ts
pl
unge in and
w
rite. This
is on
of
the c
ontr
adic
tions
can
never
fully
resolve
in
my
own teaching.
Mv
beginning students need
t
o wr
ite im
med
iately
so
that
th
ey
exp
erien
ce th
e
t
errit
ory
o
f w
ritin
g
f
or
su
rpri
se.
W
he
n
the
y
kn
ow w
hat it
i
s
to
wr
ite
t
hen
t
hey ca
n
sta
rt t
o
i
tel -
lea
rn
to wr
ite
mor
e eff
ectiv
ely.
W
ritin
g
is
a
skill
and
stud
ents
need
to
irv
m
ess a
roun
d w
ith
pain
ts be
fore
they
learn
to p
aint
pl
unk
at a
p
iano
lOW
befo
re
th
ey
are
taug
ht
s
cale
s
fo
ol
arou
nd
wi
th a
b
aske
tbal
l
gett
ing
the
we
fee l o
f it be
fore
the
y
are
pu
t
thr
oug
h
a
form
al
p
ract
ice. W
ritin
g
un
like
in a
rt
m
usi
c and spo
rts
has
n
ot
bee
n a
m
atter
of
pl
ay
fo
r
ou
r stu
dent
s
for-
at
l
east n
ot s
ince
th
e
ear
liest
g
rad
es of sch
ool.
Th
ey ha
ve to
w
rite
to
ea
ls
reex
perie
nce tha
t
es
senti
al
play
.
Wh
en
they
a
re
in
the g
ame
w
e ca
n
b
egin to he
lp th
em
pla
n
s
o they
w
ill
w
rite befo
re
the
y
wr
ite.
lost Mu
ch
o
f
the
h
ad
wr
iting
w
e
rea
d from in
expe
rien
ced w
riter
s is
the
fec-
direct result
of
writing before
they
are
ready
to
write.
Effective
plannin
g
ter
s
doe
snt
di
scou
rage d
iscov
ery
as lo
ng
as it
is
o
pen-
ende
d
and ex
peri
rnen
tal
an
d
the write
r
un
ders
tand
s
w
hat
J
ohn
Fm
vles
say
s
F
ollo
w
the
t
I
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8/10/2019 Writer Teaches Writing - Murray
4/14
U
L
HV
M
N
U
RP
R
IS
I IH
E
I
R
V
L
SS
m
LO
R
Y
VI
W
R
IT
IN
G
a
cc
id
en
t
tea
r
th
e
fi
xe
d
pla
n
tha
t
is
th
e
ru
le
.
Bu
t th
a
t d
oe
s n
o
t
m
ea
n
th
e
w
ri
te
r
sh
ou
ld
no
t
pl
an
P
la
nn
in
g
i
n
w
ri
tin
g
e
nc
ou
ra
ge
s
the
ki
nd
o
t
i
d
nt
s
F
o
wl
es
a
nd e
ve
ry
o
th
er
w
ri
ter
n
ee
ds
.
P
la
nn
in
g
tak
e
s
th
e
pl
ac
e
of
th
e
m
an
y
dr
af
ts
th
at
a
re
u
su
al
ly n
ec
es
sa
ry
w
ith
o
ut
a
d
eq
u
a
te
p
Ia
on
in
g
1
0
Ct
IS
A
n
e
ff
ec
tiv
e p
ie
ce
of w
ri
tin
g s
ay
s
o
ne
d
om
in
a
n
t
t
hin
g
.
A
s
Ku
rt V
o
nn
eg
ut
J
r
s
ay
s
l
on
t
p
u
t
a
n
yt
h
in
g
in
a
s
to
ry
th
at d
o
es
n
ot
ad
va
n
ce
t
he
ac
tio
n.
T
he sa
m
e
t
hin
g
ca
n b
e
s
ai
d fo
r
a
rg
u
m
e
n
t m
e
m
o
te
ch
n
ica
l
w
ri
tin
g
o
r
po
et
ry
.
E
ve
ry
el
em
e
nt
i
n
t
he
t
ex
t
s
u
p
po
r
ts
a
nd
a
dv
an
c
es
th
e
ma
in
po
in
t.
P
la
nn
in
g
st
ar
ts
w
it
h
th
e
se
ar
ch
fo
r
th
at
d
o
m
in
a
nt
m
ea
n
ing
.
Th
e
re
ar
e
a
nu
m
b
er
of
te
ch
ni
qu
es
t
ha
t
h
el
p
th
e
w
ri
ter
di
sc
ov
er
the
f
oc
us
of
a
p
ie
ce
of
w
ri
tin
g
b
ef
ore
it
is w
ri
tte
n.
B
u
t
th
e
wr
ite
r
s
h
o
ul
d
n
ev
er
fo
rg
et
t
h
at
th
e
ac
t
o
f w
rit
ing
i
ts
elf
is a
n
ac
t
of
d
is
co
ve
ry
.
Th
e
fo
cu
s
i
s n
ot
f
ou
nd
th
en
k
ep
t
unchanged
The
writing
will
refine the focus
q
ua
lif
y
it
a
d
ap
t
it a
nd
m
an
y
tim
e
s
c
au
se
it t
o
ch
an
g
e
c
om
p
le
tel
y.
Th
e wr
ite
r
d
o
es
no
t
ar
riv
e
at
th
e
f
ina
l
d
e
st
in
a
ti
o
n
b
ef
or
e
t
ak
in
g
t
he
tr
ip
b
u
t t
he
wr
ite
r
st
ill
ha
s
to
ha
ve
a
n
i
de
a of
th
e d
e
s
ti
na
t
io
n b
efo
re
sta
rt
in
g
o
ut
.
P
oi
ntl
es
s
w
a
n
d
er
in
g
is
n
o
t
v
er
y p
ro
du
ct
iv
e.
Si
gn
ifi
ca
nt
di
sc
ov
er
ie
s
i
n ch
em
i
str
y
ar
e
n
ot
m
ad
e
in
th
e
l
ite
ra
tur
e c
las
s
T
he
w
rit
er
n
ee
ds
to
h
av
e so
m
e
i
de
a
of
w
h
at
m
a
y
h
a
p
p
en
d
u
ri
n
g
t
he
ex
pe
di
tio
n
to
wa
rd
s
m
e
an
in
g.
He
re
ar
e
so
m
e w
a
ys
t
he
w
rit
er
fi
nd
s
t
he p
ot
en
tia
l
foc
u
s
i
n a
pie
ce
o
f
wr
iti
ng
.
The
Focal
Point
P
ai
nt
ers
an
d p
h
o
to
g
ra
p
h
er
s
d
ire
ct
th
e
v
ie
we
r
s
e
ye
to
a
si
ng
le
sp
ot
from
w
hi
ch
th
e
pi
ctu
re
c
an
b
e
un
d
e
rs
t
oo
d
I
t m
ay
b
e
h
elp
fu
l
to
s
t
ud
y
p
ai
n
ti
n
gs
or p
ho
t
o
gr
a
p
h
s to l
ea
rn
v
is
ua
lly w
h
at
w
e
n
ee
d
to
d
o
w
ith
w
o
rd
s.
Th
e w
rit
er
sh
o
uld
l
ea
rn
the po
w
er
of
a
s
in
gl
e
p
oi
nt
to e
n
erg
iz
e
a
n
e
nti
re
dra
ft
.
lik
e
to
l
oo
k
fo
r
a
n
or
ga
niz
in
g
sp
ec
ifi
c
a
q
u
o
ta
t
io
n
s
ta
tis
tic
co
nc
ep
t s
ce
ne
th
a
t
w
i
ll dra
w
a
ll
th
e m
ate
ri
al
t
og
eth
e
r.
fi
nd
it he
lp
fu
l
to
s
ee
k
a
rev
e
ali
ng
d
eta
il
a s
ig
ni
fic
an
t
f
ra
gm
e
nt
th
a
t
wi
ll e
xp
os
e
an
au
th
or
s
s
tyl
e
a
fa
ilu
re
in
a
la
w
a
c
ha
ra
ct
er
s
w
ea
kn
es
s.
M
an
y
ti
m
es
a
s
in
gl
e
i
m
ag
e
wi
ll s
pa
rk
or o
rg
an
iz
e
a
pi
ec
e
o
f w
r
iti
ng
.
W
ill
iam
Fa
ul
kn
er
ex
pl
ain
ed
T
h
e S
o
un
d
a
nd
t
he
Fu
ry
b
e
ga
n
w
ith a
m
en
ta
l pic
tu
re
.
T
he
p
ic
tur
e
w
a
s
o
f
t
he
m
u
d
d
y se
at
o
f a
l
ittl
e
gi
rl
s
drawers
in
a
pear tree
where
she could
see
through a window where
h
er
gr
a
n
dm
o
th
e
r
s
fu
n
era
l
w
as
ta
kin
g
pla
ce
an
d
r
ep
or
t
w
h
at w
a
s
h
p
p
n
in
g t
o
h
er
b
r
o
th
e
rs on
th
e
g
ro
u
n
d b
elo
w
.
N
on
-f
ict
io
n
as
w
e
ll
a
s
f
ict
io
n
or p
o
etr
y
o
fte
n
be
gi
ns
w
it
h
a
n i
m
ag
e
th
at
co
nt
ai
ns
i
n
a
se
ns
e
the
w
h
ole
st
or
y
t
he
ac
or
n
th
a
t
c
on
ta
ins
an
oa
k
-
8/10/2019 Writer Teaches Writing - Murray
5/14
\jV
hat w
ord
s
or
p
hrase
s
hav
e sp
ecial
me
anin
g
to
me as
w
ork
on
pie
ce of
writ
ing? O
ften
a r
athe
r or
dina
ry wo
rd
W
e
a
ll
have
s
uch code
wo
rds
i
n our
life: th
e nam
es
of our
fa
mily
the
nam
e
our
h
ome
tow
n
th
e tit
le
spe
cial
son
g
Som
etim
es such wo
rds
or
ph
rase
s
p
rovi
de
lo
cus
To
f
ind
t
he loca
l
poin
t
the writer often starts
by
simply
standing
back
from
al
l
t
he res
earc
h
cl
osin
g
the no
tebo
ok
push
ing
the
file
draw
er
s
hut
an
d
si
tting
back
with
a pad
pape
r a
nd
tryi
ng
to put
dow
n
t
he
mo
st i
mpo
rtant
thi
ng
the
wri
ter
ha
s lear
ned
from
all
th
e m
ater
ial
t
he
w
rite
r
has
col
lecte
d
W
riter
s
s
ome
time
s
fin
d it he
lpfu
l
to st
and
ba
ck and
a
nsw
er
som
e
time
s in
a
par
agrap
h
us
ually
in
a
sente
nce
o
ften
in
a
p
hras
e o
r
a
word
su
ch
qu
estio
ns
as
:
W
ha
t sur
prise
d
me th
e mos
t?
Wh
at
orga
nizin
g spe
cific
w
ill
he
lp
me
cont
rol m
ater
ial?
W
hat
is the
m
ost rev
ealin
g
de
tail
have
disc
over
ed
or
can
r
emem
ber
?
What
im
age
s
ticks i
n my
m
inds
e
ye a
nd see
ms
to
sy
mbo
lize
t
he
ent
ire
subje
ct?
Wh
at pe
rson
r tac
e do rem
em
ber
f
rom do
ing
th
e re
sear
ch?
W
ha
t id
ea
k
ept
co
min
g h
ack to
me
d
urin
g th
e
tim
e was
colle
ctin
g
ma
teria
l?
[
Wha
t
co
de w
ords
h
ave
spec
ial mea
ning
to
me no
w?
W
hat is
the
mos
t
imp
ortan
t sin
gle
fa
ct h
ave lea
rned
?
W
hat
is
th
e most
sig
nific
ant quo
tatio
n
he
ard
or rea
d?
W
hat
i
s the
one t
hing
my
re
ade
r n
eed
s to
kno
w m
ost
a
ll?
W
hat
d
o
rem
embe
r
in gr
eates
t de
tail?
i
What
event
is
central
to
what
happened?
l
W
hat
sta
tistic sti
cks
in
my he
ad?
l
W
hat
did
I
thin
k w
hen
was
do
ing
the resea
rch?
Wha
t di
d
fee
l wh
en
w
as
do
ing
t
he re
searc
h?
o
W
hat
per
son
i
mpre
ssed
me
t
he m
ost?
W
hat s
tory
or
a
necd
ote
d
o
rem
em
ber?
o
Wha
t p
atte
rn
or ord
er
d
id
b
egin
t
o
see?
Fram
ing
A
noth
er wa
y
to
de
velo
p
foc
us i
s to
fra
me t
he
s
ubjec
t
T
his i
s cour
se
another
word
for
the
tra ditiona l
counsel
achieving unity
But
unity
fo
r mos
t b
egin
ning
w
riter
s
impl
ies
a f
inish
ed k
ind
inter
wov
en
c
om
p
leten
ess
the
y
c
anno
t co
ncei
ve
It is
m
ore h
elpf
ul
t
o
thi
nk
of f
ram
ing
the su
bjec
t
or
b
uildi
ng
a fen
ce
a
roun
d it
P
LA
N
s
re
i
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8/10/2019 Writer Teaches Writing - Murray
6/14
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8/10/2019 Writer Teaches Writing - Murray
7/14
p
ro
ble
m
so
lv
in
g
anim
als
a
nd
we
need
pr
ob
le
ms
to
solv
e. Som
e
stu
d
ies
of
cr
eativ
e pe
rs
on
s
ha
ve
h
ow
n
tha
t
they see
pro
blem
s
to
be
olve
d
wh
er
e
oth
er
s
do
no
t. We
see
a
pil
e of b
eer
b
ottle
s
an
d th
e
arti
st
sees
the
p
roble
m o
f
ca
tch
in
c
th
e
w
ay
t
he
l
ight re
flect
s
o
ff
the
b
ro
w
n a
nd
gree
n gla
ss.
w wr
iter se
es,
in the
same be
er bo
ttles
,
a
s
tory in
t
he
way
Joe
ke
pt com
ing
o
n t
oo
st
ro
to th
e girls
at
t
he party and the kindly
way t
ha
t
Judy p
ut
him do
w
n Th
e socia
l
w
o
rk
er l
ooks at th
e
bot
tles a
nd
se
es
th
e
pr
oble
m
of
alco
holis
m
o
n
ca
mp
u
s
tha
t
nee
ds
solv
ing.
I
the
Wh
at
Is
the Rea
ders
Q
ues
tion?
,vor
k
An
ef
fecti
ve
piec
e
of
writ
ing
a
ns
w
ers
a
re
ader
s
q
u
est
io
n and
to do that
w
ith
the
w
riter
m
u
st
lear
n to a
n
tic
ip
ate
the
r
eade
rs
co
ncer
ns. S
ome
time
s
er
wil l
s
it
do
w
n an
d
torm
ally
wr
ite
out
s
uch qu
estio
nS
a
s:
c
tive
W
hat
do
es t
he
r
eade
r n
ee
d
to
kno
w?
bjec
t
W
hat
wi
ll
i
nt
ere
st the read
er?
riter
n
Wh
at
can t
he
r
ea
de
r
use?
bject
What
will
help the reader?
tO
Wh
at
will
s
ur
pr
ise
t
he
read
er?
tt
ec-
Wha
t w
ill m
ake the re
ad
e
r a
n
a
ut
ho
ri
ty?
er S
Wha
t
w
ill
th
e r
ea
de
r
r
us
h
to
t ll som
eon
e
else?
r
iter
a
n
ce
lyi
ng
V
OIC
E
e
r
to
Voic
e allo
ws
the re
ad
er
to he
ar an i
nd
iv
idu
a
l
hu
m
an
h
ei
np
ta
k
f
rom
the pag
e.
G
ood
wr
iting
alwa
ys
has a
s
tro
n
g
a
n
d
ap
p
ro
p j
vo
ice. V
oic
e
i
s
the
qu
ality
m
ore
t
ha
n an
y
o
th
er
tha
t allo
ws
u
s
r
ec
og
ni
ze
ex
ce
p
ctic
u
tio
nal
po
h
ntia
l
i
l
bc
in
ni
ng
r
iter vo
ice
is
qu
ih
tv
mor
c th
r has any
other
that allows us
to
recognize
excelIenvriting
We
respond
to
ucd
o
ie
wh
e
n
we
he
ir it Voi
ce
gi
ves
th
e tcxt
in
id
u
ili t
y
en
ergy
c
once
rn
Voic
e
is
of
cou
rse
cl
osely
a
llie
ty
le or
tone, h
ut
pr
efer
th
e
ving
term
voi
ce fo
r
it s
eem
s m
ore
ac
cii f
Ie
a
nd
mo
re
he
lpfu
l
for
the
be
g
in
P
oint
nc
r H
ov
ev
er
w
e disc
uss
st
y
see
ms
t
o
g
ct
r
eh
te
d
t
fash
ion
S
tyle
the
s
ou
n
ds
like
s
om
e
th
in
g
y
o
y off
the shel
f.
It
is m
ade
by
so
meon
e
els
e
y of
an
d
it
ch
an
ge
s
w
ith
t
h
as
on
The t
erm
st
yle
e
n
co
ur
ag
es
th
e m
isc
o
n
t
by
ccpt
lon
th
it
w
r
it1
ng
i
nh
er
cn
tly dis
ho
n
es
t
tha
t
t
hc
s
rit
er ha
s to
say
d
wh
at so
m
eo
n
eie
w
a
nt
s th
e
write
r
to sa
y
in
m
an
ne
r
a
p
pro
p
ria
te
to
h
the
so
meo
ne
s
3
ut
goo
d w
r
itin
g is
ho
n
es
t
h
on
es
t in
w
h
at s
s
aid
a
nd
h
on
es
t
i
n4
ow
i
t
is
s
aid
r
D
ona
ld
H
G
rav
es
o
f t
he
U
nive
rsity
of
Ne
w Ha
m
pshire
t
h
is
m
o
nu
m
en
ta
l
stu
di
es
of
child
ren w
riti
ng
one
o
f
the
f
irst
th
in
gs
the
no
tice
d
wa
s
tha
t the
m
ost
effe
ctiv
e y
ou
ng
wr
iters
wer
e
alw
ays p
ra
c
e a
re tic
ing
w
ha
t the
y
w
oul
d write
in
the
ir
he
ad
s
b
efore
the
y wrot
e.
He calle
d
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8/10/2019 Writer Teaches Writing - Murray
8/14
trite
por
art a
tntly
iters
iting
;
its
the
i
the
use
with
23
DFS
The
writing process
is organic.
It
grows
and
changes
during
the
act
writing.
What
is
being
said
changes
what
was
intended
to
he
said, The
structure
the
piece
writing
must be
adapted to
the
evolving
message
that is
being
delivered
to
the
writer by the
draft
and
will be
delivered
to
the
reader
in the
finished
version.
There
is
no
one way
to
design a
piece
of writing.
As
we
study
effective
writers
we
find some
pieces
writing
that were
written
without
the
slightest
hint
the
order
that
would
be
imposed by
the
raw
material
on
itself and
other pieces
of
writing
that
were
constructed
from
precise
blueprints.
The
type
of plan
depends,
to a
large
degree,
on
the
persom
ality
the
writer.
But
think
it
is
dangerous for any
writer to
feel
that
he
or she
can
never
work
from a
careful
plan
or,
on the
other
hand,
must
always
have
a
careful
plan.
The
academic
article
wrote
before
starting
this
draft
was
written
without any
formal
plan at
all It
evolved
from the
first
paragraph
as
naturally
as
a
river
flows
to
the
ocean.
It
seemed to
flow
naturally
from
a
plan
that was
unconscious,
if it
existed
at all
Each
part
the
writing
came
to
me as
if
were
following
invisible
instructions.
accepted
that;
who
wouldnt?
Then
turned to
write
the
final draft
of this
book,
and
found
myself
making
the
most
detailed
plan
have
ever made.
It
was
necessary,
and
it
was
helpful,
so
made
the
plan.
But, of
course,
havent
followed
the
plan,
not
exactly.
And
when revised
and
edited
the
book,
had
more
plans:
three
that
mailed
to the
editor in
separate
envelopes
in
one
day.
Each
plan
thought
was
the
final one.
None was.
The
outline
is
only
a plan;
the
writing
demands
its
own
direction
and
develop
ment.
have
had
to
leave
things
out
and make
room
for
new pieces
information.
have had
to
change the order and the
pace, the
proportions
and the
dimensions.
have
had
the
excitement
writing
a
book
that
is
more
than the
plan,
but that
does
not
mean
that
didnt
have to
have
a
design
from
which
to
work.
In
fact,
had
a
number
designs,
each
one
more
complicated
than
the
last,
until
saw
a new
simplicity.
And
then
that,
in
turn,
became
more
complex,
until
it led to
a
simplification.
The
writer needs
a
plan as
an
explorer
needs
a map.
Its
the
guess
how
things
may go
from
past
experience.
But
it
is
only
a
guess.
Ye t
nothing
will happen
most
of the
time
if
there is
no design.
The
writer
will
simply
wander
and
have
to try
to
impose.a
design
later
on,
when
it is
much
more
difficult
to do.
Each
sketch
what may
be
the
design
the
writing is
a
predraft,
in which
problems
are
identified
and
solved.
And
the
more
experienced
the
writer
is
and
the
more
difficult the
writing
task the
more
likely
the
writer
will begin to
work
with
sketches
what
may
need
to be
written
before
the
first
draft is
begun.
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U
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I
A
I
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\
tR
I
R
N
I
li
ii
u
li
ii
v
t
th
e r
ea
d
e
r
a
se
i
N
e
of tu
l
li
ll
m
e
n
t o
r
c
l
os
u
re
t
d
r
aw
s th
e pi
ec
e
to
h
er
a
n
d r
ei
n
fo
r
c
es
w
h
a
t th
e
w
ri
te
r h
as sa
i
d
W
ri
te
r
s ra
r
e
ly
u
s
e
th
e
l
o
n
na
l
c
o
n
cl
u
si
o
n
th
e
s
u
m
i
g
u
p
t
ha
t
i
s
w
ri
tt
en
d
ir
e
ct
ly to
th
e
r
e
a
de
r
.
M
o
re
e
f
fe
c
ti
v
e
e
n
d
i c
o
m
e w
h
e
n
th
e
w
r
it
er t
in
d
s a
w
a
y to
c
onclude
y
implication giving the
reader
s
o
m
e
th
in
g s
p
ec
i
fi
c
t
ha
t
w
ill m
a
k
e
t
h
e
r
e
ad
e
r
e
t
o t
he
c
o
n
cl
u
si
o
n
t
h
a
t
t
h
e
w
ri
te
r
w
a
n
ts
To
d
o
t
h
is
w
r
it
e
rs
u
s
y
u
se th
e
sa
m
e
te
c
h
n
iq
u
e
s
th
a
t
a
r
e
u
se
d
t
o p
r
od
u
c
e an
ef
f
ec
ti
v
e
T
h
e
T
r
ai
l
W
h
e
n
y
o
u
n
g
w
r
it
e
rs h
a
y
b
e
g
in
n
in
g a
nd
a
n
e
n
di
n
g
t
h
en
t
h
e
y
c
a
n
b
e
gi
n
t
o
s
e
e
th
e
tra
il
w
il
l
l
e
ad
th
e
m
th
r
o
u
gh t
he
i
r
m
a
t
er
i
al
.
W
r
it
er
s
k
n
o
w
t
he
y m
u
s
t e
fr
om
bu
n
d
n
ce
n
th
ey
e
x
p
ec
t
p
ro
b
l
em
s i
n
s
e
le
c
ti
o
n.
S
or
e
s
of c
o
ur
s
e
t
h
e
t
ra
il
w
ill b
e
in
s
tin
c
t
iv
e
or
m
m
ed
i
at
e
ly
r
hu
t m
a
n
y t
im
es w
r
it
er
s
w
ill
n
e
ed a
m
a
p
u
t
un
l
ik
e
g
e
og
r
a
maps
the one they
draw themselves
is
usually
more
helpful
th
a
e
on
e d
r
aw
n
y
s
o
m
e
o
ne e
lse
W
r
ite
r
s
h
a
v
e
to
f
in
d
th
e
ir
o
w
n
in
a
t
io
n
s
a
n
d
th
e
ir o
w
n
w
a
y to
g
e
t
th
e
re
.
T
he
S
k
e
tc
h
A
t
t
h
e e
nd
o
f
t
h
e p
l
a
nn
i
n
g
p
r
oc
e
s
s
th
e
w
r
it
er
m
a
y
b
e
a
bl
e
to
d
r
aw a
s
k
et
c
h
o
f
th
e w
ri
ti
ng
to
b
e
d
r
af
te
d
.
S
o
m
e
w
r
it
er
s
y
th
e
ir n
a
tu
r
e
n
e
ed
a
n
ex
t
re
m
e
l
y
d
et
a
il
ed
s
k
et
c
h;
o
t
h
er
s
n
e
e
d
o
n
ly s
c
ra
w
l
e
d
re
m
i
n
de
r
s
o
f
k
ey
p
o
in
ts
;
a
n
d
sti
ll
o
t
he
r
s
e
s
pe
c
ia
l
ly fi
ct
ion w
ri
te
r
s sa
y
th
e
y
n
e
e
d
no
s
u
ch
sk
e
t
ch
a
t all
a
n
d
a
re
in fa
ct
f
r
ig
h
te
n
e
d t
h
a
t
a s
k
e
tc
h
w
ill k
e
e
p
th
e
m f
ro
m
th
e a
c
c
id
e
nt
a
l d
is
co
v
e
ri
e
s
es
s
en
t
ia
l
t
o
a
g
o
o
d
p
i
ec
e of w
ri
ti
n
g.
Of
course writers
who create
fine
pieces
of
finished writing without
a
s
k
e
tc
h
s
h
o
ul
d
n
e
v
e
r
u
se
on
e
.
E
v
e
n
th
o
s
e
w
r
it
er
s w
h
o
a
r
e
m
o
s
t o
pp
o
s
e
d
to
s
k
et
c
he
s
w
ill r
un
i
n
to
w
r
iti
n
g ta
s
ks th
a
t
d
em
an
d t
he s
uc
c
e
ss
f
ul
om
p
l
et
io
n
o
f
a
s
k
et
c
h
A
n
d
i
f
y
o
u
ta
lk t
o
e
f
fe
c
ti
ve
w
r
it
e
rs w
h
o d
o
no
t
m
a
ke
s
k
e
tc
h
es
on
p
a
p
e
r w
hi
le
th
e
y
a
r
e
in
th
e p
re
w
r
it
in
g
st
a
ge
y
ou
w
i
ll
f
in
d
t
h
at
th
e
y
ha
v
e
a
v
e
ry g
oo
d
id
e
a o
f w
h
e
re th
e
y
ar
e h
e
ad
e
d
.
T
h
e
ir sk
e
t
ch
is
in
th
e
ir
h
e
ad
no
t
on
p
a
p
e
r.
m
t
a
lk
in
g
a
b
o
u
t
o
u
t
lin
i
n
g
of
c
o
ur
s
e
b
u
t
th
e
t
er
m
o
u
tl
in
e
h
as a
c
o
n
n
o
ta
ti
o
n
of f
o
rm
a
l
r
ig
i
d
p
l
an
n
in
g w
h
i
c
h i
s
co
n
tr
a
d
ic
to
r
y to w
ha
t th
e
w
r
it
e
r d
o
e
s
.
T
h
e sk
e
tc
h
is
n
o
t
a b
lu
e
p
ri
n
t
th
a
t
h
as
to b
e f
o
ll
ow
ed
; it
is
a
w
a
y of
g
u
e
ss
in
g w
h
a
t
th
e
p
ie
c
e o
f w
r
it
in
g
wi
ll
lo
o
k
li
ke s
o
th
a
t
t
he
w
r
i
te
r
c
a
n ta
k
e
a
l
oo
k
a
t t
h
e
p
ie
c
e of
w
o
rk t
h
a
t
m
ay b
e
c
o
n
s
tr
uc
t
ed
a
nd
m
ak
e
c
h
a
ng
e
s
b
e
fo
r
e t
h
e
ti
m
e
c
o
n
s
uming process
of
completing a
draft.
T
h
e
r
e ar
e al
so
s
o
m
e
p
i
ec
e
s
o
f
w
ri
ti
n
g
t
h
a
t
a
re
al
m
o
s
t
i
m
p
o
ss
ib
l
e
to
o
u
t
li
ne
or
s
k
e
tc
h
: h
u
m
o
r
a
m
oo
d p
i
ec
e
m
o
s
t
p
o
em
s m
u
c
h
fi
c
ti
o
n
es
p
e
ci
a
ll
y th
a
t w
h
ic
h
d
ep
e
n
d
s
o
n
c
ha
r
a
ct
er m
o
re
t
ha
n p
lo
t f
or it
s s
uc
c
e
ss
.
-
8/10/2019 Writer Teaches Writing - Murray
10/14
There
are
a
number
ol dilterent vavs
to
sketch i
piece
of
writing in
Fr nnc.
Fhe
sketch
most
frequently
use builds
naturally
trom
the
planning
te hniques
used
in
this
section of
the
book.
have
a
title
a
lead
the
three
to
five main points
and an ending.
have
built a
frame
around what want
to
say.
know where
will
start and how.
know
where
expect to
end and how.
And
have
a
strong
sense
of how
will
get
from
beginning to end.
have
the
same feeling.
am sure
that
a builder
has when
a
house is
framed
in;
theres a lot
of work
to
do
but
the entire
job
can he
visualized.
Fhis
sketch
allows
me
to
examine
the
voice
as well as
the
structure
of
the
piece of
writing. In
an
article
or
a
chapter
usually
write a
draft
very
fast
it one sitting
or
two and Im
able to
do this
because
the sketch
is
so complete.
As
build this frame
may look back
and
use
titles
leads endings
trails
have
sketched earlier. may look back
and
use
some and
use
new
ones
that
come to
mind
or
may choose
not
to look
back
but
just
to
sit
down
and make a
new
frame knowing
that all the
work
have done is
in
my head
where it belongs. can
check
back later if feel
it
will
help.
Qucri.
Nonfiction,
both magazine
articles
and
books is
often
p
r
posed
and sold
by
a query.
Many
writers
use
a letter to
query
an
editor
but find
that letters
tend to
become
discursive and
do not
allow
the
writer to
show how
he or
she
intends
to
write
the piece and
do
not
help
the
editor
visualize
the
piece.
write my address
and phone
number
single spaced
in
the
tipper
left hand
corner of a
piece
of
plain
paper.
Two
lines
down
in
caps
and
underlined
put the title and under
it in upper and
lower
case
en
tered
the
name
intend
to
use in
writing
the piece. Two
more
lines
down
single spaced
write
the
lead
as
think it
will he written
in
the
final
copy.
do not
tell
the
editor about the
piece
but reveal
it
through
this
lead which is
ordinarily
not
more
than ten
lines.
Then
indented
single spaced
and
hulleted
make in
five lines
or less
the
three
to
five
main
points. Then
back
out to
the normal margin
and single spaced
write
a
paragraph
or
two telling
the editor
about
any
special
qualifica
tions
have permissions
to
get the
story research
materials
market
possibilities anything
the
editor
needs to know. This
takes
no more
than
one page
unless
am proposing
a
book in
which case
the bulleted
items
become
chapters each
one
with a title
and five lines
telling what
would
he in
the chapter.
In that
case
the
proposal
is
two to
three
pages
long.
The
query
of
course
is not appropriate
for
the mood
or humor
piece.
Such pieces
have to
he written
and
then
submitted
because
the
editor
has to
see and hear
the
voice
to
decide if it
should
he published.
hat
the
de
r
hat
ii
e
S
can
te rs
s in
like
pful
w
n
w
a
wed
.5
of
no
eep
ig.
iou
sed
O
m
iake
lind
etch
ias
a
t
the
it
is
the
and
ift.
le
to
tion
:esS.
-
8/10/2019 Writer Teaches Writing - Murray
11/14
th
the
ore
SI ii
xes
ii
ts
the
yard
and
S
hers
any
best
cate
fore
he
ted
a
ns
urses
N
were
ore
en
rmal
aty
nt
to
age
VIAs
37
or belo
wav
erag
e
stud
ents
. Ihe
re
w
ere
no
pro
gram
s
For
stu
den
ts
who
ha
d
lea
rnin
g
p
robl
ems
. came
From
a
p
oor
educ
atiu
nal
b
ackg
roun
d
or
sp
oke
ano
ther lang
uage tha
n En
glish at h
orn
E
The
on
eroo
m
sch
ool
hous
e
or small
local
high
school
otf
d
very
Few
co
urses
and
they
wer
e
o
ften taug
ht
out
of an
cien
x
thoo
ks
that were out
of
date. There were few
si n
Iaciht
or
courses
th
at
req
uired
spe
cial
equ
ipm
ent
or
special
te
ache
r
tr
ing .
Fea
cher
s
t
augh
t ma
ny
s
ubje
cts for
w
hich
th
ey
we
re unp
pared
s
tayi
ng a
day
ah
ead
of the s
tude
nts if
t
hey
w
ere
luck
nd ha
d
n
ot
m
oonl
ighte
d
a
t ano
ther job the nigh
t
befo to
m
ake
end
s
m
eet
Teac
hing m
ethod
s
we
re
p
rim
itive
dull
d repe
titive
.
Sp
ellin
g
for
ex
amp
le
was
u
sua
lly
taug
ht
thro
ug e
s
pelli
ng bee
Poor spel
lers
wa
s
one
w
ere el
imin
ated
n
augh
t. llthe at
tenti
on
wen
t
to
the good spel
lers wh
o
surv
ive
an
d
co
mpet
ed
a
gain
st e
ach
o
ther
.
Th
e
a
rticl
e will obv
iousl
y
ye a
str
ong pe
rson
al
poi
nt
of
view
am
still
angry
at
the educati
I
did not receive
in
a school system which
w
as
c
onsi
dere
d
one of
th es
t in the natio
n. I d
o
h
owe
ver hav
e access
to
re
cord
s
ev
en
so
stu
den t
pape
rs fro
m the goo
d ol
d
da
ys
be
twe
en
W
orld
War
nd W
orld
W
ar
11
and
I
will
d
ocum
ent
my
case
wit
h ob
ject
ive
e
vid
cc
will l
ight
en up
the sta
tistic
s
with q
uote
s from
s
tude
nts
a
nd tea
ers ab
out th
e goo
d old days
and a
few a
necd
otes of
my
ow
n su
ch th
e day
the
te
ache
r
was r
emo
ved from class
beca
use
he
r enga
gern t
h
ad
b
een
an
noun
ced
.
The
re
w
as
no
ev
iden
ce tha
t
sh
ed
d
one
it
y
bu
t
th
e en
gage
men
t
a
nnou
nce
men
t
s
how
ed she int
ende
d
to
d
o
it ar
ried
wom
en
t
each
ers wer
e
ag
ains
t
th
e
law in
m
ost s
cho
ol
dis
trict
and man
y
te
ach
ers h
ad to sup
port
th
eir
par
ents and
c
ould
not
a
ffor to ge
t
ma
rried dur in
g the D
epre
ssion
b
ecau
se t
hey
wou
ld
lose
th
jobs They were
ca
ugh
t
in a tra
p.
No
wo
nder
Miss Ca
rey bro
ke a
r
e
r
s
lam
ming th
e
de
sk ev
ery few
wee
ks
an
d jamm
ed
had stud
ents
ys
eif in
clud
ed
ru
mp
dow
n
into a
was
teba
sket
.
olumn
W
rite
rs
n
eed a ske
tch to co
ntro
l
th
e
a
bun
danc
e
of ma
teria
l
the
y
ac
cum
ulat
e
befo
re be
ginn
ing
a
dra
ft. Don
ald
G
rav
es
w
ho
stud
ies
t
he
w
ritin
g of
c
hild
ren
an
d a
lso
w
rite
s him
self
d
raws
a
colu
mn do
wn
th
e left
s
ide of
a page
He p
uts
ev
eryt
hing tha
t
mi
ght poss
ibly b
e in
the
a
rticl
e
or c
hapt
er
in
that
co
lumn
.
Th
en he
dra
ws thr
ee
a
ddit
iona
l
colu
mns
a
nd
h
eads
the
first
o
ne
beg
inn
ing the
s
econ
d
o
ne
midd
le
and the
third
one
end.
F fe
places items
in
each column. Obviously some things
are left o
ut an
d
ne
w it
ems
oc
cur to hi
m tha
t
h
ave n
ot
b
een in
the
lef
t han
d
c
olum
n.
-
8/10/2019 Writer Teaches Writing - Murray
12/14
S
H
IJ
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h
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F
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ur
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r t
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be
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ig
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this sketch
h
e
l
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m
e
m
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ic
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C
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p
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in
t
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g
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ch
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s
w
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rs in
th
e
r
ig
h
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Y
ou
may
have
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number a
nd
m
o
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h
e q
u
e
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ar
o
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u
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ti
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u a
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ti
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p
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e
r
in
w
hi
c
h
t
he
r
e
ad
e
r
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ill a
s
k
t
h
em.
B
rnc
k
tt
.
M
a
n
y
p
e
op
l
e
w
o
rk
i
n
g
w
it
h
c
o
m
p
u
t
er
s
m
a
k
e
a
s
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e
tc
h th
a
t
w
o
rk
s
f
ro
m
ri
g
h
t to
le
ft
a
n
d
u
s
e
s
b
ra
c
k
et
s
to
en
c
lo
s
e th
e
ex
t
re
m
e
s
w
i
th
i
n
a
su
b
je
c
t o
r
p
r
ob
l
e
m t
o
b
e
s
o
lv
e
d
. F
or
e
x
a
m
p
le
,
u
s
ed
th
i
s
te
c
h
ni
q
u
e
f
or a
ch
a
p
te
r
o
n
w
r
it
e
r
s b
lo
ck
th
a
t
h
a
d
d
if
fi
c
ul
ty
or
g
a
ni
z
in
g
.
p
ut
w
r
i
te
r
s b
lo
ck
a
t
th
e
le
ft of
t
h
e
pa
g
e
,
t
h
en
at
th
e
to
p
o
f th
e
p
a
g
e
p
u
t
g
o
od
a
n
d
a
t
th
e
b
o
tto
m
o
f
th
e
p
a
ge h
a
d
.
T
h
e
n
w
o
r
k
e
d o
u
t
th
e
e
x
tr
em
e
s
of g
oo
d
an
d
b
a
d
in
a
se
r
ie
s
o
f b
r
a
ck
e
ts
. In
th
e
en
d
w
r
o
te
a
p
ie
c
e
th
a
t w
a
s
e
x
a
c
tl
y
th
e o
p
p
o
si
te
o
f
w
h
at
in
te
n
d
e
d
b
ef
o
re
d
id
th
e
s
k
et
c
h.
w
r
ot
e a
bo
u
t
th
e i
m
p
o
rt
a
nc
e of
w
ri
te
r
s
b
l
oc
k
an
d
t
h
e
b
e
n
ef
it
s
for
the writer.
T
re
e.
A
n
ot
h
er
w
ay
to
s
e
e a
h
ea
d
t
o
w
h
a
t
m
a
y
h
e
w
ri
tt
e
n i
s
to
d
ra
w
a
tr
e
e th
a
t
sh
o
w
s
ho
w
th
e
su
b
je
c
t
th
e
tr
un
k
m
ay
b
ra
n
c
h o
u
t
a
n
d
g
r
ow
in
m
an
y
d
ir
ec
t
io
n
s
.
-
8/10/2019 Writer Teaches Writing - Murray
13/14
39
duct
Shapt We
have all
seen
shaped
poems
in which the
typography
way
mi
tafts
the
subject a
poem
about
bird
appears in
he
Iiape
ol
its
ot
bird Shape
is
important
to a
writer
and
its helpful for
me
sometimes
w
a
to
sketch
the
shape
of
the piece
of
writing. It
may be
triangle
a
fever
chart
stairsteps
- idewavs
cone
leading
to
one point or its
reverse
it
the
expanding
[rom
one point.
These
sketches
may help me
see the
structure
next
may
attempt in
the writing.
List
Lists
are
a powerful
tool
and
the
simple
list
may
he
the
best
way to sketch what is
written
The
writer
can
start
y
putting
down
everything
that
has to
he in the piece
of
writing
and then
either
num
dapt
bering
or
renumbering to
achieve
a
working
order. The
writer
usually
ipters
also uses arrows
and circles and
lines
to maneuver
the parts of
the
piece
with
into
coherent
and logical
order.
used a variation
of
list
in sketching
end.
this
book
y
writing
increasingly
detailed tables
of contents.
Fhat helped
e
and
me
see
where all
the small
parts
of
a large
topic how
to
teach
writing
ketch
might
fit so
they
would
be
available
to
a teacher in
a
logical
order.
in
Sten
beard
Most
him
writers
make a
sketch
by
using
three hytive
inch
cards. Each
one will
have
a
word
or
a few
lines about a
potential
have
scene
in the
movie. The
writer
pins those
up
on a
corkhoard
and moves
ccc
of
them around
until
they are in the
best
dramatic
order.
have
found
this
nning
technique
helpful
for
nomfiction
writing. The
writer
puts
each
element
also
a
that
may be in
the
final
piece of
writing
down
on
a card
or slip
of
paper
is to
and then
plays
around
with them
until
the
writer has
a sketch to
follow
stions
in
the
writing
of the
piece.
Often certain
elements
are discarded
and
t
You
new ones added.
re
able
Feldtrs
If
the
writer is
doing
a complicated
research
subject it is
often
helpful to
set
tip
a
series
of file folders.
Then
notes tear
sheets
:h
that
and copies
of
articles
even
books
can be
placed
in
folders
and those
within
folders can
be moved
around
as
the
writer
works towards
an
effective
hnique
sketch
of the book. The
earliest
sketches
of this hook
took place
in that
put
way
in
my
file drawer.
e1
PU t
Outline.
The
formal
outline
can
be a
helpful
way fo r
some
writers
te
to
sketch the
subject. The
advantage of
a
system
of
Roman
numerals
did
the
Arabic
numbers capital
letters
and
small
letters
is
that
it
allows
a
detailed
enefits
form
of
planning.
An
early
version
of
the
table
of
contents helped
me
see
this
book
and
used
a whole
symphony
of
typographical
marks to
divide topics
into subtopics
then
divide them
again
and
again.
o
draw
The
danger of
a
traditional
outline
is
that the writer
will
take
it too
iut
and
seriously.
It
was
helpful
for
me
to
make a
detailed
outline for this
book
but
it
was important
for
me in
drafting the
book
to
loosen
up
and
-
8/10/2019 Writer Teaches Writing - Murray
14/14
3
if
LJ
II
11
SI
;
L
P
RO
E
* J
if
i
1Y
O
F
ti
i
O
m
p
ro
v
s
e
m
m
t
ha
t ou
tl
ine
th
e
w
ay
a
ja
zz
m
u
sic
ia
n u
se
s a
me
lo
dy
a
nd
a
z
i
t
ra
di
tio
n 1
m
m
wh
ic
h
to
d
ep
ar
t
in
p
er
to
rm
in
g
R
e
m
em
b
er
tha
t
t
he
a
m
ou
nt
p
la
nn
in
g
fo
r
a
g
iv
en
pi
ec
e
of w
ri
tin
g
w
il
l
d
ep
e
nd
o
n
t
he
co
gn
iti
ve
st
yle
an
d
x
p
ri
n
o
t t
he w
rit
er
as
wc
ll
a
s
th
e
na
tu
re
a
nd fam
i
lia
rit
y
t
he
w
ri
tin
g
t
as
k W
rit
ing
is
n
o
t a
m
il
ita
ry
ex
e
rci
se
an
d students should
not
be
marched
through
writing
by
the
nu
ni
be
rs
a
ch
pi
ec
e
w
ri
tin
g
sh
o
uld
b
e
se
ar
ch
in
g
fo
r i
ts
o
w
n m
e
an
ing
a
nd
i
ts
ow
n
w
ay
ex
pr
es
sin
g
m
e
an
in
g w
it
h
th
e w
rit
er
fol
lo
wi
ng
al
on
g
h
el
pi
ng
b
ut
no
t
in
ter
te
rin
g
w
it
h th
e
n
atu
ra
l
pro
c
es
s
o
f
dis
co
v
ery
th
a
t
ta
k
es
p
lac
e
i
n
a
ll
g
oo
d
wr
iti
ng
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