A hundred years ago, Flaubert in a letter to his mistress made the following remark: There is nothing wrong about the moonshine of generalization when it comes after the sunny trifles of the book have been lovingly collected. If one begins with a ready-made generalization, one begins at the wrong end and travels away from the book before one has started to understand it.
The Nabokov piece is a seminal one in our study of reading and writing. You will come back to it again and again over the course of the year.
Read it first to get an overall impression of its argument; then, read it with the following questions in mind. Your extensive Journal notes should house the answers to these questions: Where does the introduction end? Identify the method s of introduction.
What is the thesis? Is it explicit or implicit? Where and how does it change? What rhetorical devices does Nabokov use? What passages capture your attention, arouse a reaction? These can be ideas or elements of language. What, according to Nabokov, is a good reader.
How does Nabokov organize his piece? Connect the different parts? What characterizes the conclusion? Where does Nabokov use humor? What authority does Nabokov have as a writer? What is your reaction to the essay?
Is it an emotional one or a logical one? Good Readers and Good Writers My course, among other things, is a kind of detective investigation of the mystery of literary structures. A hundred years ago, Flaubert in a letter to his mistress made the following remark: There is nothing wrong about the moonshine of generalization when it comes after the sunny trifles of the book have been lovingly collected.
If one begins with a readymade generalization, one begins at the wrong end and travels away from the book before one has started to understand it. Nothing is more boring or more unfair to the author than starting to read, say, Madame Bovary, with the preconceived notion that it is a denunciation of the bourgeoisie.
We should always remember that the work of art is invariably the creation of a new world, so that the first thing we should do is to study that new world as closely as possible, approaching it as something brand new, having no obvious connection with the worlds we already know.
When this new world has been closely studied, then and only then let us examine its links with other worlds, other branches of knowledge. Can we expect to glean information about places and times from a novel?
Can anybody be so naive as to think he or she can learn anything about the past from those buxom best-sellers that are hawked around by book clubs under the heading of historical novels?
But what about the masterpieces? And Bleak House, that fantastic romance within a fantastic London, can we call it a study of London a hundred years ago? And the same holds for other such novels in this series.
Time and space, the colors of the seasons, the movements of muscles and minds, all these are for writers of genius as far as we can guess and I trust we guess right not traditional notions which may be borrowed from the circulating library of public truths but a series of unique surprises which master artists have learned to express in their own unique way.
To minor authors is left the ornamentation of the commonplace: The various combinations these minor authors are able to produce within these set limits may be quite amusing in a mild ephemeral way because minor readers like to recognize their own ideas in a pleasing disguise.
The art of writing is a very futile business if it does not imply first of all the art of seeing the world as the potentiality of fiction. The material of this world may be real enough as far as reality goes but does not exist at all as an accepted entirety: It is now recombined in its very atoms, not merely in its visible and superficial parts.
The writer is the first man to mop it and to form the natural objects it contains. Those berries there are edible. That speckled creature that bolted across my path might be tamed.Fanfiction is among one of the most hotly debated subjects in the world of books, with just as many readers and writers praising it as condemning it.
Aug 21, · The thesis in "Good Readers and Good Writers" by Vladimir Nabokov is "My course among other things is a kind of detective investigation" (1). This thesis is . Sep 10, · Vladimir Nabokov talks about how to be effective readers and convincing writers in his essay “Good readers and good writers.” In order to capture all the ideas and messages from the writers, readers should pay close attention to details, reread the book for a several times and find out its meaning, and create a connection with the writer which is enough to understand and enjoy the writer.
10 Ways To Hook Your Reader (and Reel Them in for Good) But it isn’t the first sentences that made these books best sellers it was the author’s ability to hook readers and keep them hooked.
If a writer wants a writing career we need to practice the craft of both hooking and keeping; it’s not about the one night stand, it’s about the. The writing context requires writers to have a sense of the reader’s expectations and an awareness of conventions for a particular piece of writing.
The context of the piece further determines the appropriate tone, level of vocabulary, kind and placement of evidence, genre, and sometimes even punctuation. These examples of good writing are from a collection of essays from professional writers.
The best way to improve your writing skills is to learn how published writers write is to study good writing.. Good writers are “particular.”.