A Crucial Collaboration: Reader-Writer-Character-Book | Poets & Writers
The relationship between reader and writer is intertwined. Of course, a writer can write without a reader, but if their words remain unread and unexplored, then. New Writer-Reader Relationships in a Self-Publishing World by Mary Tod with many examples of self-published authors and how they are. Creative Writing and the Author/Reader Relationship. I intend to explore the bond, expectations, and interactions between an author and.
There is only the exchange, the meaning that you and I, in any given moment, make together, as your eyes scan these words and your mind makes sense of them. This is, more or less, how my new novel, A Tale for the Time Being, was born, but I imagine some variation of this scene happens every day to writers everywhere.
A character speaks—whispers, mutters, shouts—breaking the silence and, in so doing, calls the writer into being. And the writer responds.
A Crucial Collaboration: Reader-Writer-Character-Book
He cocks his head and listens. She hauls herself off the barroom floor or pulls her truck over to the side of the road. He sneaks into the washroom during a break from his barista job. She pulls a napkin from her pocket and scribbles down the words before they are lost. At least, this is what happens if the writer is paying attention. If she is not too busy answering e-mail, or surfing the web, or watching Game of Thrones.
So far, so good. The writer writes her book. It takes him a year, two years, six years, or ten. She struggles with her characters. He puts himself in his book, takes herself out, puts himself back in again in a hundred different ways and guises. She loses herself in her fictional world. He loses his faith and then finds it again. Eventually she finishes, and the book goes out into the world, where a reader finds it, picks it up, and reads: Well, if you give me a moment, I will tell you.
Character calls forth writer. Writer calls forth reader. It seems straightforward—but is it? What are the relationships between these players, the relationships embedded in every novel or work of fiction? Many people nonwriters imagine the novelist to be a lofty, godlike being who wields omniscient and absolute authority over his creations, manipulating characters like puppets and compelling them to enact his every whim, but nothing could be further from the truth.
Writers are at the mercy of their creations, as I suspect all gods, ultimately, must be. The character jumps on board and takes over the controls, and the writer—gratefully, abjectly, hopefully—hangs on for dear life. Interesting how Hell is an unmentionable. Perhaps a curse word. The language is tough to dissect here. This paragraph is all one long sentence.
Creative Writing and the Author/Reader Relationship - Wikiversity
It seems that these contradictions of the past went on forever without resolution. What is Dickens up to here? Is he using this novel to criticize the present state of affairs in England? Perhaps due to intermarriage, or more likely in their beliefs about the divine right to rule.
Some things never seem to change. Is Dickens saying the same about his current times and knocking the English monarchy? If the reader-response strategy, which I call Talking with the Author, worked as planned, you would notice that your understanding and retention of the reading passage were significantly better with the second reading, as compared to the first reading.
Notice that the window of meaning seemed to shift more toward the reader because of the universal themes and application to present times. You may have noticed that my comments in the conversation were of different types. I focused on what the author said and how the author said it; I also commented on what the author did not say and what the author may have meant. Additionally, I criticized and questioned. I also through in my own two cents as I might in a real one-on-one conversation.
Now, the Talking with the Author strategy takes practice to perfect. You can use this strategy with every genre and amount of reading.
Practice doing so with texts and Facebook posts, emails, novels, articles, and technical documents. Of course you noticed that I was making my comments out loud.
Creative Writing and the Author/Reader Relationship
I describe subvocalization as using a six-inch voice to talk to the author. Some of you may have reservations about implementing this strategy. Interrupting the flow of your reading by talking to the author may seem stilted or unnatural.
I certainly make used more reader-response in my example than I normally would to demonstrate the different types and breadth of comments. Not every sentence requires a comment. Instead of chunking the text into interrupted parts, you will begin to see a greater flow of ideas and you insert your comments.
At first, you may find it difficult to keep up your share of the author-reader conversation. This new way of reading, in which you, the reader, have a role in the conversation takes some getting used to. Resist this temptation and allot a bit more time for the subvocalizations for a while.
If you practice reading the old way for some things and the new way for others, you will never develop the automaticity that is necessary for effective reading-response.
I do want to assure you that your decreased reading speed will only be a temporary issue. As the reader-response becomes second nature to you, you will naturally begin to replace the oral comments with silent ones.
author-reader relationship | Pennington Publishing Blog
Gradually, the fully developed comments will become thought snippets. Much like milli-second dreams, these snippets can contain significant data. Our brains are simply amazing! The better we process information, the faster we do so. Replacing old habits with new habits is always challenging, especially when you have been practicing the old habit for years. Yes, young and old, alike, we all get set in our ways.
However, be encouraged that you can teach an old dog new tricks. The rewards of better comprehension and more enjoyment of what you read will outweigh the discomfort of replacing an old habit with a new habit.
Designed to significantly increase the reading abilities of students ages eight through adult within one year, the curriculum is decidedly un-canned, is adaptable to various instructional settings, and is simple to use—a perfect choice for Response to Intervention tiered instruction.