In Writing, Be Regal
A timely matter of discord in writing courses is, by preponderance of evidence, revealing the ideal method for conflagrance of words worthy of perusal by the readership at large. By a long list of leading educators, in hindsight, the virtues of several indispensable devices are henceforth extolled.
Name the source and function of each implement relied upon by practitioners of literature. The most common ones are listed within this segment, you are hereby commissioned to discover the rest.
First and foremost, the novice and seasoned writer have no doubt been formally exposed to or have adequately applied the standard outline along the path from creativity phase to drafting phase to revision phase, adroitly toward the final refinement stage of the writing process. At the very least, the outline provides a starting point, a midsection (or two or three or more), and closure. Among them, several, if not, orders upon layers of discarded or probable clusters of notation for consideration, contemplation, or contrivance. As the proverbial square one that the outline ought to represent, it is the home base, the dirigible for the stormy voyage that awaits every author. Without it, all editing complications will inevitably exacerbate the deadline, causing even minor setbacks to appear insurmountable; in the strictest sense, incomprehensible. The peerage would concur, any counterpart to literature recognizes it as none other than the checklist; in pilot nomenclature, in business protocol, countless other professions.
Any point in the drafting process can benefit from variations, whether indirect or formal, of outlining. Most professional writers can perform all the necessary portions of drafting, admittedly, within the confines of their mind. Nonetheless, it goes without saying that even the writer that adheres to his own talents, can often be swayed by the need to make annotations, on paper, with pen, by keyboard. Their willingness and devotion to do so is only overshadowed by those who bypass that procedure with the modern writing tablet—the word processor; only to be outdone by the writer who carves his craft with a myriad of Post-It paper. The question remains, once having committed to usage of the outline, of where to find the words, the meaning, the correlations, and the categories of expression that govern language as pretense to conventional communication.
Begin by securing a reputable version of any standard dictionary and an exhaustive brand of thesaurus. As a reference, each text alone serves to enrich the context thereby making light of seemingly obscure concepts, in the process; endearing the writer and the reader, alike. Both texts work in unison to blossom the literary impulse; in concert with an outline, the artistic end product truly and vibrantly blooms. By employing them, as a starting point, as a propellant of thought, you stand to lose nothing—to gain everything.
About The Author
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