It's the beginning of the semester, which means a fresh batch of writing assignments threateningly leering over our shoulders and breathing down our necks like paper trolls. As unpleasant of an image as it might appear, this is the common view after sitting down and taking a second glance at the instructor's syllabus, regardless of whether a student is just beginning his or her college experience or eagerly inching towards graduation day.
The first thought the student may have is how am I going to finish all of this? The harder question comes when the student actually begins his or her essay: Where to begin? Often, just starting an essay becomes the most strenuous part, regardless of the writer's level of preparedness. The thesis is a writer's argument, the genesis of his entire paper. Without it, the paper lacks focus and even purpose.
In the essay "What Tutoring Is: Models and Strategies" from Donald A. McAndrew and Thomas J. Reigstad's book Tutoring Writing: A Practical Guide for Conferences, the authors identify a few strategies for responding to "high-order concerns," or HOCs (42). Thesis development is considered a high-order concern particularly because of how much of the paper depends on the thesis. Without a thesis, a paper buckles and collapses.
One suggestion that McAndrew and Reigstad makes for combating the no-thesis blues is to "create a headline or bumper sticker." The authors argue that "either of these requires that the writer find one thing that is central to the piece and say something about it." Suggestions include a subject like "Causes of the Civil War" or even a bumper sticker-like phrase like "_______ Is Not a Family Value" (44).
One of the reasons why the headline/bumper sticker tactic would work is that it's such an "out-of-the-box" idea that the uniqueness itself might spark the critical thinking necessary for building a clear and concise thesis. Another reason (and why I find it so appealing) is that its background in journalism and creativity might lead those of other disciplines to feel more comfortable in crafting an essay that depends so much on a thesis.
McAndrew and Reigstad list numerous other thesis-generating strategies, but the headline/bumper sticker one seems so out there that students could benefit from discovering less-orthodox methods of combating the paper trolls that await writers from the beginning of the semester until the end of finals week.
Monday, August 29, 2011
Monday, August 8, 2011
For Faculty: Writing Center Information and Orientations
The EIU Writing Center (3110 Coleman Hall) will open on Wednesday, August 24. The Center’s hours are M-Th, 9 am – 3 pm & 6 – 9 pm; F, 9 am – 1 pm.
If you would like one of our staff members to provide a Writing Center Orientation (5-10 minutes) for your students this semester, please contact me at tntaylor@eiu.edu or call the Writing Center at 581-5929 to schedule an orientation.
In addition, if you would like to provide information about the EIU Writing Center in your course policies/syllabi, feel free to copy and paste the following two paragraphs, which can be found on the “For Faculty” page of the Writing Center’s Web page, into your course documents:
I encourage you to use EIU's Writing Center located at 3110 Coleman Hall. This free service provides one-to-one conferences with writing consultants who can help you with brainstorming, organizing, developing support, documenting, and revising your papers. The Writing Center is open to work with any student from any major at any stage of his or her writing process, and its system of one-to-one conferences demonstrates value and respect for individual writers, all of whom can benefit from feedback about their works in progress.
To schedule an appointment, you can drop by the Writing Center (3110 Coleman Hall), or you can call 581-5929. The Center is open Monday through Thursday, 9 a.m. to 3 p.m. and 6 p.m. to 9 p.m. On Friday hours of operation are 9 a.m. to 1 p.m.
One resource that can assist students in your classes is the helpful “Resources for Writers” page located on the Writing Center’s Web page. This link offers numerous portals to writing-related resources and downloadable handouts.
If you’re interested in how to integrate writing more effectively into your courses, the “Resources for Faculty” page on the Writing Across the Curriculum webpage is a strong resource for faculty since it provides links to handouts and Web pages about “Response to and Evaluation of Student Writing,” “Integrating Writing & Designing Writing Assignments,” and “Strategies for Critical Thinking and Discussion.”
Have a great fall semester, and we look forward to your students visiting the Writing Center.
If you would like one of our staff members to provide a Writing Center Orientation (5-10 minutes) for your students this semester, please contact me at tntaylor@eiu.edu or call the Writing Center at 581-5929 to schedule an orientation.
In addition, if you would like to provide information about the EIU Writing Center in your course policies/syllabi, feel free to copy and paste the following two paragraphs, which can be found on the “For Faculty” page of the Writing Center’s Web page, into your course documents:
I encourage you to use EIU's Writing Center located at 3110 Coleman Hall. This free service provides one-to-one conferences with writing consultants who can help you with brainstorming, organizing, developing support, documenting, and revising your papers. The Writing Center is open to work with any student from any major at any stage of his or her writing process, and its system of one-to-one conferences demonstrates value and respect for individual writers, all of whom can benefit from feedback about their works in progress.
To schedule an appointment, you can drop by the Writing Center (3110 Coleman Hall), or you can call 581-5929. The Center is open Monday through Thursday, 9 a.m. to 3 p.m. and 6 p.m. to 9 p.m. On Friday hours of operation are 9 a.m. to 1 p.m.
One resource that can assist students in your classes is the helpful “Resources for Writers” page located on the Writing Center’s Web page. This link offers numerous portals to writing-related resources and downloadable handouts.
If you’re interested in how to integrate writing more effectively into your courses, the “Resources for Faculty” page on the Writing Across the Curriculum webpage is a strong resource for faculty since it provides links to handouts and Web pages about “Response to and Evaluation of Student Writing,” “Integrating Writing & Designing Writing Assignments,” and “Strategies for Critical Thinking and Discussion.”
Have a great fall semester, and we look forward to your students visiting the Writing Center.
Wednesday, June 29, 2011
Discusion of Agency in Assessment and a Classroom Idea for Educators: "Text Discussion Demo"
In an article by Libby Garland and Kevin Kolkmeyer in the March 2011 issue (38.3) of Teaching English in the Two-Year College, the authors discuss their collaboration as part of Kingsborough Community College's Opening Doors Learning Communities Program.
The article, "A Culture of Conversation: Faculty Talk as Meaningful Assessment of Learning Communities," is a critique of assessment measures that are mainly quantitatively driven since they argue that exclusively data-focused assessments "fail to capture both important successes and failures and to model the kind of reflective, subjective assessment from a professorial perspective that we believe is vital for larger institutional decision making" (231).
In fact, as Garland and Kolkmeyer relate at the conclusion of their article, how their college touts the learning communities program does not take into account that professors have something to do with learning: "Naturally, we care about those things all the studies [of retention, of success, of graduation rates, et al.] track. But we see two related dangers in allowing such quantitative data to 'drive the bus,' as it were. First, much that desperately needs to be discussed, if we want to know how or why classes succeed or fail, gets lost. What we see and know and do, as professors, does not get factored in. We find it telling, for example, that the MDRC study of Kingsborough's learning communities explicitly says that the study's positive results in no way have anything to do with what professors teach. Rather, they say the data have only to do with the program's structure (Scrivener et al.)" (241)
For professors, that point has to be disconcerting if not enraging.
Their work connects to Christopher Gallagher's theoretical article in February issue (62.3) of College Composition and Communication. In "Being There: (Re)Making the Assessment Scene," Gallagher "propose[s] a rewriting of the assessment scene that asserts faculty and student agency and leadership for writing assessment" (450). For readers interested in writing assessment, whether a university professor or someone who plans to teach at the K-12 level, his article is a must read.
But in a more practical (and hopeful) vein, in Garland and Kolkmeyer's article, they concisely describe an activity they have used to model the type of discussion they want in their classrooms.
They call it a "text discussion demo." Early in the semester they show the type of wide-ranging and text-specific discussions they expect in their classes. They describe the activity in this way: "In other words, the two of us sat in front of class and talked with each other about a short article the whole class had read. We hashed out what the text was getting at; we pointed to specific places in the text that we found central and explained why; we made connections to class discussions; we posed questions about ideas we found dubious or interesting. Afterward we discussed our discussion with the students, asking them to talk about what they observed and how it was like or unlike other kinds of conversations they have had" (237).
If you're planning courses for the fall and you value strong discussion, the text discussion demo might be something that can work.
The article, "A Culture of Conversation: Faculty Talk as Meaningful Assessment of Learning Communities," is a critique of assessment measures that are mainly quantitatively driven since they argue that exclusively data-focused assessments "fail to capture both important successes and failures and to model the kind of reflective, subjective assessment from a professorial perspective that we believe is vital for larger institutional decision making" (231).
In fact, as Garland and Kolkmeyer relate at the conclusion of their article, how their college touts the learning communities program does not take into account that professors have something to do with learning: "Naturally, we care about those things all the studies [of retention, of success, of graduation rates, et al.] track. But we see two related dangers in allowing such quantitative data to 'drive the bus,' as it were. First, much that desperately needs to be discussed, if we want to know how or why classes succeed or fail, gets lost. What we see and know and do, as professors, does not get factored in. We find it telling, for example, that the MDRC study of Kingsborough's learning communities explicitly says that the study's positive results in no way have anything to do with what professors teach. Rather, they say the data have only to do with the program's structure (Scrivener et al.)" (241)
For professors, that point has to be disconcerting if not enraging.
Their work connects to Christopher Gallagher's theoretical article in February issue (62.3) of College Composition and Communication. In "Being There: (Re)Making the Assessment Scene," Gallagher "propose[s] a rewriting of the assessment scene that asserts faculty and student agency and leadership for writing assessment" (450). For readers interested in writing assessment, whether a university professor or someone who plans to teach at the K-12 level, his article is a must read.
But in a more practical (and hopeful) vein, in Garland and Kolkmeyer's article, they concisely describe an activity they have used to model the type of discussion they want in their classrooms.
They call it a "text discussion demo." Early in the semester they show the type of wide-ranging and text-specific discussions they expect in their classes. They describe the activity in this way: "In other words, the two of us sat in front of class and talked with each other about a short article the whole class had read. We hashed out what the text was getting at; we pointed to specific places in the text that we found central and explained why; we made connections to class discussions; we posed questions about ideas we found dubious or interesting. Afterward we discussed our discussion with the students, asking them to talk about what they observed and how it was like or unlike other kinds of conversations they have had" (237).
If you're planning courses for the fall and you value strong discussion, the text discussion demo might be something that can work.
Wednesday, May 4, 2011
Summer Hours of Operation for the Writing Center
If you’re taking or teaching a course this summer, please keep in mind that the EIU Writing Center, located at 3110 Coleman Hall, will be open from 9am to 3pm, Monday through Thursday, during the last two weeks of four-week session and the last five weeks of the six-week session:
- Four-Week Session: May 31-June 2; June 6-9
- Six-Week Session: June 20-23; June 27-30; July 5-7; July 11-14; July 18-21
In addition, if you're an instructor and you want to provide some information about the EIU Writing Center in your course policies/syllabi, feel free to copy and paste the next two paragraphs, which are modified from the two paragraphs available on the “For Faculty” page of the Writing Center’s Web page:
I encourage you to use EIU's Writing Center located at 3110 Coleman Hall. This free service provides one-to-one conferences with writing center consultants who can help you with brainstorming, organizing, developing support, documenting your papers, and working with sentence-level concerns. The writing center is open to help any student from any major at any stage of his or her writing process, and its system of one-to-one conferences demonstrates value and respect for individual writers, all of whom can benefit from feedback about their works in progress.
To schedule an appointment, you can drop by the center (3110 Coleman Hall), or you can call 581-5929. The writing center is open Monday through Thursday, 9 a.m. to 3 p.m., during the last two weeks of the four-week summer session and the last five weeks of the six-week summer session: May 30-June 2; June 6-9; June 20-23; June 27-30; July 5-7; July 11-14; July 18-21.
One resource that can assist you and your students is the helpful “Resources for Writers” page located on the Writing Center’s Web page. This resource offers numerous links to writing-related resources and downloadable handouts.
If you're a faculty member, the “Resources for Faculty” page on the Writing Across the Curriculum Web page is a strong resource since it provides links to handouts and Web pages about “Response to and Evaluation of Student Writing,” “Integrating Writing & Designing Writing Assignments,” and “Strategies for Critical Thinking and Discussion.”
Have a good summer. We look forward to you or your students visiting the Writing Center.
Friday, April 29, 2011
Do the Genre Swap
Well, summer is just a week away, and you all know what that means! Time to write! That’s right. Summer is the perfect time to write and try new things. Besides, it’s always good to write over the summer so you don’t get rusty. Writing is a skill that you need to keep practicing, and if you go all summer without writing, the fall semester will start a little rough. Now, I’m not saying go write a research paper or anything like that. I’m saying go have some fun with writing. So what I’m here to do is to suggest a writing exercise that is usually found in creative writing workshops. It’s called the Genre Swap and this is how it goes:
Take a genre you love. For me, I say the zombie genre. I love everything zombie. Then take that genre and list 3 reasons why you love it. Here’s my list:
1. The implications of a society/culture destroying itself.
2. The fact that the humans are typically the real villains/monsters of a zombie story.
3. The pattern of survivors found in almost every zombie story.
Now that you have the genre you love, name a genre you hate. For me, I would say the romance genre. Ughh, every time I see or hear “romance genre” I think Fever Pitch (what an awful movie). Okay, so once you name a genre you hate, go ahead and list 3 reasons why you hate it. Here’s my list for the romance genre:
1. The ridiculous back and forth: I love you. I hate you. I love you. Uhh, just decide already!
2. The minuscule reasons the couple will break up for: Oh you love the Red Sox? I’m leaving you.
3. The lack of deeper meaning within the majority of the genre.
Okay, so now is the time to do the genre swap. Write a story that falls under the genre you hate, but while doing that, swap your lists and write the genre you hate with the elements of the genre you love. I know what you’re thinking: “Chris, your example means a zombie romance story. That doesn’t make sense.” Oh really? I point you to Shaun of the Dead or Fido. It can be done and this exercise can be a lot of fun. This is just something to try and have fun with. So when you are looking for something to do this summer, pick up a pen and paper and write a little. You won’t regret it.
Monday, April 25, 2011
Essay Exam Writing Tips
Finals Week is coming up.
Chances are, some of you will have to do some in-class essay writing during your Final Exam periods. If so, these tips from a recent Writing Center Workshop might be useful:
Before The Exam
-Look over your notes/readings as thoroughly as you can in the time you have available.
-If you know the topics you will need to write about, make an outline to organize your thoughts in advance.
If you can, find out from your professors what they expect in a successful essay.
If your professors give you an opportunity this week to ask questions about the exam, take them up on it!
Some things to ask about or consider include: Will you need a formal introduction/conclusion?
Are you expected to cite resources such as a textbook or other assigned readings? What particular topics should you be prepared to write about?
Before You Start Writing
-Read through all the questions carefully. Get a picture of the exam as a whole.
-Budget your time and decide which questions to answer first.
-Underline the key words that tell you what to do for each question.
-Brainstorm and plan an outline on scratch paper or in the margins.
While You Are Writing
-Write your answers as quickly and legibly as you can.
-Refer back to your underlined keywords to make sure you have addressed each requirement.
-Write on every other line of your exam book to leave space in case you need to add things.
-Begin each answer with one or two thesis sentences that summarize your response.
-Support your thesis with specific evidence by making reference to material you have studied.
If You Have Extra Time
-Re-read your essay to make sure you answered each question sufficiently.
-Add supporting details if necessary.
-Proofread for errors in spelling/mechanics. (Save this for last).
Final words of advice...
Be Prepared. Get Plenty of Rest Before Your Exam. Take a Deep Breath, Relax, and Don't Panic!
[Thanks to Rashelle and Dr. Kory for putting together the "Essay Exam Tips" handout, which is available in the EIU Writing Center, 3110 Coleman Hall.]
Chances are, some of you will have to do some in-class essay writing during your Final Exam periods. If so, these tips from a recent Writing Center Workshop might be useful:
Before The Exam
-Look over your notes/readings as thoroughly as you can in the time you have available.
-If you know the topics you will need to write about, make an outline to organize your thoughts in advance.
If you can, find out from your professors what they expect in a successful essay.
If your professors give you an opportunity this week to ask questions about the exam, take them up on it!
Some things to ask about or consider include: Will you need a formal introduction/conclusion?
Are you expected to cite resources such as a textbook or other assigned readings? What particular topics should you be prepared to write about?
Before You Start Writing
-Read through all the questions carefully. Get a picture of the exam as a whole.
-Budget your time and decide which questions to answer first.
-Underline the key words that tell you what to do for each question.
-Brainstorm and plan an outline on scratch paper or in the margins.
While You Are Writing
-Write your answers as quickly and legibly as you can.
-Refer back to your underlined keywords to make sure you have addressed each requirement.
-Write on every other line of your exam book to leave space in case you need to add things.
-Begin each answer with one or two thesis sentences that summarize your response.
-Support your thesis with specific evidence by making reference to material you have studied.
If You Have Extra Time
-Re-read your essay to make sure you answered each question sufficiently.
-Add supporting details if necessary.
-Proofread for errors in spelling/mechanics. (Save this for last).
Final words of advice...
Be Prepared. Get Plenty of Rest Before Your Exam. Take a Deep Breath, Relax, and Don't Panic!
[Thanks to Rashelle and Dr. Kory for putting together the "Essay Exam Tips" handout, which is available in the EIU Writing Center, 3110 Coleman Hall.]
Monday, April 18, 2011
Collaborative Writing
Writing can be a difficult process—hence the existence of this blog. Even more challenging, at times, is writing in groups—sharing the creation of a paper or assignment with others.
In a perfect world, every single person in a collaborative writing assignment would share equal responsibility in the writing process. Everyone would do the same amount of research and write the same number of pages. But let's face it: this isn't a perfect world.
George Mason University's Online Writing Guide for Students (part of their New Century University program) has a nice section on Collaborative Writing. It offers definitions of various roles, some helpful tips, and even ethical points to keep in mind. I strongly recommend checking out this website. In addition, I've included a few suggestions of my own below:
1) Compromise. You'll have to. If there are three people working on a paper, that means there are three different personalities, schedules, ideas, etc. In a collaborative assignment, everyone is equal. Your peers' suggestions carry as much weight as your own.
2) Be firm. If your peers aren't doing their share of the work, discuss it with them. They may have reasons other than sheer laziness, though if that is the case, then discuss the issue with your other peers, or your instructor.
3) Divide the work as evenly as possible. Are you usually in charge? In a collaborative environment, you'll have to relinquish some control. Are you used to doing what you're told? In collaborative writing, you'll have to take your own initiative.
4) Listen. This goes right along with compromising, but I feel its worth reinforcing. Listen to your peers.
5) Don't stress out. Really. Collaborative writing is highly rewarding, and is a great skill (almost a requirement) when entering the workforce, or extending your education. That doesn't mean it's a bummer, though. It's a great way to get to know people, and to evaluate your own writing process.
The thing to remember is, collaborative writing is worth it. It really is. Two heads are better than one, as the saying goes. When you work closely with others, you gain new experience and new points of view—this is why so many instructors utilize group work in their classrooms. Collaborative writing is a great opportunity to learn from your peers, and for your peers to learn from you.
In a perfect world, every single person in a collaborative writing assignment would share equal responsibility in the writing process. Everyone would do the same amount of research and write the same number of pages. But let's face it: this isn't a perfect world.
George Mason University's Online Writing Guide for Students (part of their New Century University program) has a nice section on Collaborative Writing. It offers definitions of various roles, some helpful tips, and even ethical points to keep in mind. I strongly recommend checking out this website. In addition, I've included a few suggestions of my own below:
1) Compromise. You'll have to. If there are three people working on a paper, that means there are three different personalities, schedules, ideas, etc. In a collaborative assignment, everyone is equal. Your peers' suggestions carry as much weight as your own.
2) Be firm. If your peers aren't doing their share of the work, discuss it with them. They may have reasons other than sheer laziness, though if that is the case, then discuss the issue with your other peers, or your instructor.
3) Divide the work as evenly as possible. Are you usually in charge? In a collaborative environment, you'll have to relinquish some control. Are you used to doing what you're told? In collaborative writing, you'll have to take your own initiative.
4) Listen. This goes right along with compromising, but I feel its worth reinforcing. Listen to your peers.
5) Don't stress out. Really. Collaborative writing is highly rewarding, and is a great skill (almost a requirement) when entering the workforce, or extending your education. That doesn't mean it's a bummer, though. It's a great way to get to know people, and to evaluate your own writing process.
The thing to remember is, collaborative writing is worth it. It really is. Two heads are better than one, as the saying goes. When you work closely with others, you gain new experience and new points of view—this is why so many instructors utilize group work in their classrooms. Collaborative writing is a great opportunity to learn from your peers, and for your peers to learn from you.
Thursday, April 14, 2011
Part 4 of the Interview with President Perry: The Power of Words
"It's through writing, I believe, that you do start to understand yourself."
[Hebeler]
You’ve kind of addressed the next questions I was going to ask you about procrastination, and I really liked the way that you put of all that, so I think I’ll let Dan ask his questions.
[Davis]
Okay.
[Davis]
You’ve told us about different applications of writing, and you’ve told us about different steps in your writing process. Is there any one process or any one aspect of your writing that you particularly like, and conversely is there one aspect that you just absolutely dread?
[Perry]
Well, okay so let’s take the different kinds of writing—the part I like for the writing has to do with the job and all that. The part I like there is defining on the front end: Audience, message. Because that clarifies a lot for you right there.
And once I get that clear in my head and that’s not always clear because you’re meaning. Let’s say you’re going to be meeting with the Mattoon Rotary, and you’re going to be talking about something. The audience isn’t the Mattoon Rotary.
You’ve got to look at who’s all in there, the different segments of the community, and then you’ve got to think what are the common threads there, so you may end up knowing you’re going to be addressing, you know, one audience when you’re talking about the Renewable Energy Center, another audience when you’re talking about enrollment, and another audience when you’re talking about community service. And so I that’s the part I like, it’s getting that identified.
In terms of more personal, really personal writing, I like it when I find the right word.
In haiku, you know you’ve got these syllables, and I know of course if you in different languages of course the syllables change and meaning changes and all that, but I just do English okay? So, getting it right, at least what I think is right, is very satisfying because sometimes you’ll write it and you’ll have the write number of syllables and you’ll be getting almost the intent you want. But changing one of the words sometimes can really make things fall into place, kind of like a jigsaw puzzle, you know. You do a jigsaw puzzle, and you’re down to just a few spots left, and boy this looks like it goes right there, you know, it almost does, but it doesn’t quite. So it’s the same with words. So that’s very satisfying. I like that. A lot of enjoyment out of that.
[Davis]
Well splitting it up again into your professional and personal writing, what would you say have been your most successful or favorite writing experiences?
[Perry]
Well, I’d say maybe a couple of the mathematics papers I wrote. I felt like, you know, when it was all done, I felt very good about the way I had put together. A lot of the stuff that I wrote was in applied mathematics, so I was wanting to strike the right balance, you know, between theory and application, you know.
Proofs but also computational examples that show that the theorem not only is true because you proved it, but you actually can use it to compute solutions to certain kinds of equations. So that’s been very satisfying.
But I think my personal writing, I think students already know. They get to us and they’ve already gone through a lot in their life. And there’s going to be more of that to come, and I think to the extent that they can see writing as a way to deal with issues. It’s not like their writing for anybody else. They’re not going to publish it. Some people keep diaries. Some people just every now and then say I’ve got to write about this. Sometimes they tear it up. Sometimes they keep it in a book.
But, I think words have such power for us. That’s why we have to be careful, you know, in using speech with other people. I mean, yes, we have freedom of speech, but we can sure hurt people with our speech. But the power of words enables us to deal with our own emotions too and deal with the things that are happening to us in our lives. So it’s been satisfying when I’ve been able to face some of those things, deal with some of those things in that way.
[Kory]
Well, to take it back into maybe your professional writing, when you see other people doing the kind of writing you do, so you read a speech, or, you know, you see some of that, when do you think like “Oh, I wish I said that.”
[Perry]
I wish I’d said that.
[Kory]
What do you really admire in that you see people doing well in the kind of writing that you also do?
[Perry]
Well, I see brevity and imagery.
Someone will write something, and it will bring something to mind. I think that’s very valuable. You know, you think about examples: with malice toward none, charity for all, ask not what your country can do for you but what you, I know there are names for that kind of construction.
[Kory]
Right.
[Perry]
But wording that connects you to the speaker and to the speech.
I think one of the great things about Martin Luther King Jr.’s “I Have a Dream” speech is its, we all know the part about I have a dream, but you look at the whole speech, and you see imagery in many, many places, very powerful imagery and it’s not with a lot of words.
It’s just, you know, a few words you get this imagery towards you. Franklin Roosevelt, and of course a lot, you’re shaped, I’m shaped by what I studied, what I’ve heard. Those are the kind of things that get me: just short, powerful words with imagery and a call to action. You see this as something more than just some words sitting on the page. It’s something that’s reaching out to you, saying, you know, you need to do something.
[Kory]
So it’s about when you see writing that works, or sort of that sort of good writing that sort of you know it when you see it. Has anyone ever, to take a sort of more intellectualized version of that, is there, has anyone said anything to you about writing that you said like “Yes!”? Have you gotten good advice about writing?
[Perry]
Oh well, the best advice I ever had, got was “Know your audience.”
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