How to become a better Reader and WriterBecoming a better reader and writer
Authors do all the work so that they don't have to. To put it briefly, all our readership has the same rights.
Just to read my fictions is one thing. However, it is a learning ability that demands some experiance and even devotion from the readers to read well. There are two important factors for authors to understand: Apart from the subjective nature of the work ( "art to some extent"), this will be a decisive element in identifying the right audiences for the kind of book you write (something we will talk about in a forthcoming post).
Nobody should have more experience in the field of fairy tales - in all their shapes - than a fictionalist. If you are better and more conscious as a readership, the better and more conscious you will communicate with your own people. Today we will explore how you can enhance your own literacy and then raise your consciousness of your own reading-experience.
Already early in my professional lifetime, before I knew many other authors, I distributed my novels for criticism to members of my extended families who were not seasoned novels. You questioned things I knew from my own readings, were popular fictional technique (one individual even refused to use a first-person storyteller and said they had never seen it before).
I quickly learnt that the level of feedbacks I got differed widely according to the reader's own experiences. It' hard to overlook - especially for those of us who began to read at a young age- that we had to understand the mantra. Authors often complain - with genuine puzzlement and disorientation - why so many "bad books" become best-sellers.
We all made it: we recorded the latest anger just to tremble our brains and promise that we could certainly make a better one. Many of these works are designed to reach the widest possible readership at all stages of our work. Top-quality writing is directed at a very selected and very restricted group.
Yet he is indisputably an experienced writer who is revered by those who have the devotion to him. He who writes clearly has a reader, he who writes obscurately has commenters. Our aim as authors should be to improve our literacy skills. This will not only give us the instruments to better writing, it will also help us to recognize that the weight of a good literacy is not entirely on us.
It is important to never lose sight of the fact that some of our works are poorly spelled; we should bear in mind that sometimes they are poorly used. A lot of us (*raise our hands*) would like to think that if someone doesn't like what we've been writing, it's only because we're too ingenious for their little minds to get it.
Only way to really know whether you become an expert author or not is to become an expert readership first - someone who has so many different types of book that he has the right perspective and the right objective to make precise judgements. Only a few become authors without being keen and without wanting to become better ones.
We can all get rotten. (Yes, I confess, sometimes I would rather roll myself together with quick and simple funky dunk than with Mann or Dostojewski.) These are four read-resolutions that you can make this year that will help you refine your literacy on the way to becoming better writer.
However, only one thing to always have to be said is as if you spent your whole lifetime in your hometown: the prospects are unavoidably tight. It' fun to be able to enjoy but not just to do so. Please do not use your convenience area. Browse each category. Browse the classic books. Allow me to say it again: please have a look at the classic books.
When I finished secondary education, I chose to study all the classical music in my own nearby libar. I' ve changed a classical for every modern writer I've ever seen. This is where I found my way through the script to Sir Walter Scott. When you think of "high-level books", what you really think is "high-level vocabulary".
Authors today are often emboldened (by web based semantics tools and search engine optimization widgets) to create "readable" literature - which means that it doesn't contain words that most folks don't know. You' re a novelist. You' re writing words. Would-be to keep a listing stowed in the back of my books, then look up all the words the next morning, point them out in my glossary and type out the Definitions.
I' m not doing that anymore (Insta-Wörterbuch on Kindle is a lifesaver), but it was an practice that influenced me as a author inerasably. Not the most complicated ones are the ones you will know or even appreciate in a lecture - especially if you read "to" a higher skill than your present one (which you should definitely be).
If you don't have an initial adventure with a textbook, it is often worth trying again. I read again both of them for various occasions (especially because Writer's Digest asked me to read and comment on Jane Eyre from a writer's point of view). With every read, my comprehension of these astonishing works of art became a little more clear.
They' re both my favourite titles now. Had I given it up after the first lesson, I would have failed something marvelous - and my own close abilities as a readership would never have had a shot at expanding. Unexperienced users can be very biased. That' double truth if these people are authors (ahem, my teenager review of the Brontë nuns, above?).
Try to be what I call a "forgiving critic" in your readings (and contemplations). "Don't turn off your mind, but try not to go into a prejudiced textbook that you know better than the text. Allow yourself the possibility to see the outside through your own vision and the fictional through your own technology.
Verlyn Klinkenborg recalled this in his award-winning work Several Short Sentences About Writing: On of the most difficult things about reading well is to believe that every set has been deliberately formed by the author. In the same way that you should not approach a textbook with a cynical approach, you should not abandon it with blank belief.
It' s possible that your abilities have not yet peaked at the point where you can appreciate what you do. Maybe the most frequently cited piece of writing is Stephen King's advices to authors about reading: When you don't have enough writing space, you don't have the writing space (or tools).
Authors should read much more than just sit down with a cosy textbook that needs as little intelligence as possible. We' all have the right to enjoy tasty junky foods from and about. However, we regularly need to feed our brain with a targeted and nourishing nutrition that will help us develop sound skills - as a reader and author.