Serving Ideas With Finesse By Adam Vanegdom

Immediately after we are born, we start picking up sounds; the sound of our mother’s voice, the music playing in the elevator on the way to the car, and the happy cheers from a small child seeing their new sibling for the first time. We are always listening–picking up on conversations not meant for our ears, eavesdropping on the gossip of the adult world, and finding the meaning in the portentous silence. From all these auditory stimuli, we piece together the world around us to better understand what is happening to us, around us, and the secret happenings that were not for us to know. Great writers are the ones who listen and say nothing–who take it all in and save their classified information for a day when all the right words flow and form one epic story of the wondrous world we live in.

Every word written or read is a chance to better yourself or someone else. Our words carry an enormous significance with them. Even if a person doesn’t enjoy reading or writing, they can not deny that fact. I bring this up because reading and writing has shaped me into the person I am today. So it is no surprise that I am willing to rant about how great reading and writing can be.

Writing is a powerful tool for communication and connection. As an extension and expression of the mind, writing is as much about the mental processes of the author as it is about the final marks laid to paper. As we write, we hold in mind our own thoughts on the work, anticipate the reader’s thoughts, and think both in concrete and abstract ways in order to accomplish the task at hand. Whether an academic research paper, a novel, or text message to friends, writing seeks to engage, persuade, or impress concepts upon an audience. Like language and other art forms in general, the practice of writing is ever-evolving and is subject to cultural and contextual influence, expectations, and conventions. Each writer holds a theory

In her article “I Stand Here Writing”, Nancy Sommers examines the writing process and formulating ideas for writing in a more empirical manner. She states that before she found her creative zeal/ niche her writing was often undisciplined, unmethodical, and sloppy. Sommers reveals that in college she was less known for her writing and more for her long hair and misapplication of phrases. She found her true inspiration while writing her Senior Thesis on Emerson’s “Eloquence.” Throughout the entire essay, Sommers provides the reader with advice about writing. A key point that she mentions is, “If I could teach my students about writing it would be to see themselves as sources, as places from which ideas originate, to see themselves as Emerson’s transparent eyeball, all that they have read and experienced-the-dictionaries of their lives circulating through them.”

The article “The Writing Revolution” by Peg Tyre is a piece which aims to address the problems in school systems often associated with the way in which writing is taught to students. Tyre’s article conveys the different arguments presented in the course of teaching writing to students, which have been shown to be on opposite sides of the creative and analytical spectrum. These different perspectives of how to build the foundation of writing for the children of America as well as other countries are backed similarly on both sides, though the debate still continues. “The Writing Revolution” instead of focusing on all aspects of writing, highlights the effectiveness of analytical fundamentals over that of creative writing in helping to

The standard impression most people have of writers is that they can sit down and just let a perfect composition flow from their heads onto paper. In her writing career, Lamott has observed how “writing is not rapturous. In

A story is only as good as the way it is told. The way a writer uses his or her words to say something is just as important as what they don’t say. Charles Baxter, author of plethora of books and university teacher, writes a craft book that goes deeper than the surface of writing and deeper than the words written down. In Charles Baxter’s The Art of Subtext, he discusses how authors can use the words they do write just as much to express what they don’t write.

Every writer has a particular way to describe their writing. Whether they describe it as a form of telepathy like the distinguished author, Stephen King, or as a painting like the renowned author, Annie Dillard, an abundance of writers can compare their process of writing to something. Even I have some way to describe my writing, I believe it is like being an architect creating marvelous building and cities made of words. This paper is meant to explain the writing process of the two aforementioned authors as well as outlining my own writing process. By comparing and contrasting the different metaphors used by each author one can see how similar every writer is to some extent.

The article The Writing Revolution by Peg Tyre is a piece which aims to address the problems in school systems often associated with the way in which writing is taught to students. Tyre’s article conveys the different arguments presented in the course of teaching writing to students, which have shown to be on opposite sides of the creative and analytical spectrum. These different perspectives of how to build the foundation of writing for the children of America as well as other countries are backed similarly by many sides, though the debate still continues. The Writing Revolution instead of focusing on all aspects of writing, highlights the effectiveness of analytical fundamentals over that of creative writing in helping to revolutionize schools and school systems.

Writing may be an enthralling experience for one and a clever way to decompress for another. In general, however, writing has different purposes for a variety of people. “Why I Write,” written in the late 20th century by Terry Tempest Williams, describes various reasons for writing narrated from a female’s perspective. The short essay begins in the middle of the night with a woman engulfed in her own thoughts. She abruptly goes forth by reciting the multiple reasons why she continues to write in her life. Through a variety of rhetorical devices such as repetition, imagery, analogies, and symbolism, Terry Tempest Williams produces an elegant piece of writing that offers the audience insight into the narrator’s life and forces the audience to have empathy for the narrator with the situation she is incurring.

In his essay, “Thought,” Louis H. Sullivan illustrates the importance of real thinking and creative thinking. He asserts that words are not really necessary to use to express our thoughts. He presents other wordless forms of communication to translate our thoughts into loud expressions. Music, painting, images and other wordless forms are the solution the author suggest, as better forms of communication. “Real thinking is better done without words” Sullivan argues. “Words” cut off the inspiration of creative thinking, and disturbs the imagination when someone tries to translate their thoughts into spoken language. According to the author, images are the best way to translate our creative thoughts without the interruption of finding the perfect word to describe an idea. Sullivan attempts to persuade his audience to avoid reading because it deprives them from real thinking: asserting that it must be only done in the present. He discusses that writing is a slow process: many thoughts dissipates as one struggles to put their thoughts into words. Another point that Sullivan argues is that one should only think in the present, and focus in the present alone because the present is the only thing that matters. Sullivan explains, “You cannot think in the past, you can only think of the past… you cannot think in the future, you can only think of the future” … “One is dead and the other is yet to be born.” The author argues that it is not good idea to expand our imagination onward and

Marian Evans Lewes relates to aspiring writers by subtly elucidating her own anticipation in order to draw attention to the common misconceptions young people possess about writing. Lewes quickly states how “exultation is a dream before achievement and rarely comes after” (Lewes 8-9). By creating a short and concise sentence, Lewes quickly informs the reader of how in one’s youth, triumph and elation are expected results of one’s work. Yet the reality is that these are attributes that scarcely accompany one’s achievement. Lewes immediately juxtaposes her previously succinct point what that of a lengthy conclusion she has developed. She determines how after one has completed a piece of writing they feel as though their bodies became the system in which writing “develop[s] and grow[s] by some force of which one’s own life has only served as a vehicle and that what is left of oneself is only a poor husk” (11-13). Lewes contrast in

Both essays focus on children's ability to blend visual drawings and writing and how they interact with one another. In some classrooms young children are being urged to see drawing and writing separately rather than as a unified system of meaning making. Thomas Newkirk makes us think about how pictures relate to language in written texts, and Alexie Sherman explains how he had the help from comic books (graphic novels) and watching his dad's passion for reading help (sponsor) him want to learn how to read. They both believe that visual images communicate meaning. Its not just about the design and creativity but also about how culture and meaning are reflected, communicated and altered by images. This is visual literacy, it involves all the

Lau, E. (2013). “An Insatiable Emptiness”. Reinking, Von Der Osten, Cairns & Flemings (Eds.), Strategies for Successful Writing. Toronto: Pearson.

This essay begins by discussing and exploring the premises of an analysis of creativity at text level following a textual approach to literacy and creativity; assessing the extent to which it is effective in identify creativity in literacy practices such as diaries, letters and graffiti. However, I would like to continue by presenting the