Closing My Eyes as I Speak by Peter Elbow

The writer begins to cypher in addition much some what the reader lead think, what the reader go forth approve of, and what the reader might disapprove of in the work. The hairsplitting result may depend on the sense of hearing. Some listenings ar inviting or enabling--they serve the writer by offering a reason to be better. Such an audience brings out the lift out in the writer. Other audiences are inhibiting, and this can be so powerful a force that the writer is blocked from composition at all.

The norm, though, is somewhere between these extremes so that the awareness of the audience disturbs or disrupts the constitution serve well without completely blocking it. We curb all experienced this feeling. When we have to write to someone we beat intimidating--such as when students write for teachers--we start thinking defensively. This creates a un conscious process in which we monitor our thoughts. Our thoughts are no longer let loose and no longer as govern as they would be without this inhibiting factor. We begin to think the representation we believe the audience will think. We start to find objections to our own work and change it accordingly. We delimit or s a good deal what we write and get so heterogeneous in k nons that we are no longer sure what we think at all.

When we see that an audience is confusing or inhibiting us, we mustiness ignore the audience altogether during the early stages of writing and direct

1. How do the theories of cognitive increment and the models of discourse relate two to child development and the process of writing?

5. Is there ever any way to fragment the audience completely from the writing process, and if so, what would be the result in terms of the quality of what was incurd?

Elbow makes a claim he admits is ambitious--ignoring the audience can lead to better writing immediately. This applies both to novice writers and to many competent and even professional writers who produce mediocre work because they think too much about how their readers will receive what they write.

An examination of really good writing shows that the goodness comes from the writer's having gotten sufficiently wrapped up in the consequence and the language as to forget about audience ask completely. This is precisely so attraction for the reader. the reader does not ask the writer caught up in his or her world exclusively rather wants to be caught up in the world of the writer. If this is to happen, then the writer must be caught up in his or her own world, the world being created in the prose. This is what happens when the writer calls in his or her own voice, and indeed this is how the writer is able to speak in that voice at all. Elbow shows how the effect of audience awareness on voice is often paradoxical. We achieve a voice by speaking out to the audience, but often we cannot do this until we ignore the audience and understand what we have to say in the way that suits us best, not in the way we think the audience would like to hear. We please by not trying to please. In Elbow's conception, the charge that this approach might be called romanticism--"just warbling one's woodnotes wild," as he says (252)--is tempered by the uncorrupted view that the writer must revise with a conscious awareness of the audience.

6. What sorts of past events or past audiences would inhibit the writer in the present?

In spite of the fact that the surmise of social discourse cou
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