Sondra Perl

1. Sondra Perl “Understanding Composition”

2. “What basic patterns seem to occur during composing?”

3. Recursiveness “In recent years, many researchers including myself have questioned the traditional notion that writing is a linear process with a strict plan-write-revise sequence.”

4. Recursiveness “In recent years, many researchers including myself have questioned the traditional notion that writing is a linear process with a strict plan-write-revise sequence.” “. . .recursiveness in writing implies that there is a forward-moving action that exists by virtue of a backward-moving motion.”

5. “Felt Sense” “The move is not to any words on the page nor to the topic but to feelings or non-verbalized perceptions that surround the words, or to what the words already present evoke in the writer. . .the move occurs inside the writer, to what is physically felt.”

6. “Two Parts of the Same Process” • Retrospective Structuring • Projective Structuring

7. “Two Parts of the Same Process” • Retrospective Structuring “the process of attending, of calling up a felt sense, and of writing out of that place” “begins with what is already there” “What is "right" or "wrong" corresponds to our sense of our intention. We intend to write something, words come, and now we assess if those words adequately capture our intended meaning.” • Projective Structuring

8. “Two Parts of the Same Process” • Retrospective Structuring “the process of attending, of calling up a felt sense, and of writing out of that place” “begins with what is already there” “What is "right" or "wrong" corresponds to our sense of our intention. We intend to write something, words come, and now we assess if those words adequately capture our intended meaning.” • Projective Structuring “the ability to craft what one intends to say so that it is intelligible to others” “asks writers to attempt to become readers and to imagine what someone other than themselves will need before the writer's particular piece of writing can become intelligible and compelling.”

9. Kristie Fleckenstein “Appetite for Coherence”

10. To judge the success or failure of a particular passage requires the writer to step out of his or her shoes as a writer and examine the passage as a reader. Writers need to perceive the desires or expectations their texts arouse in their projected readers and then check to see if those desires are satisfied.

11. Coherence “coherence is not ‘in the text,’ but something that readers create with the aid of cues provided by the writer” (82)

12. Coherence These observations serve as a basis for the discovery that coherent meaning results from the relationships we as readers build between ideas—if we can't build relationships by bridging the gaps between ideas-ideas such as crab grass and fans, we create no coherent sense of the text.

13. Coherence So what does this teach us?

14. Coherence So what does this teach us? • the importance of reading in writing

15. Coherence So what does this teach us? • the importance of reading in writing • a productive way to introduce transitions and cohesive ties as linguistic cues

16. Coherence So what does this teach us? • the importance of reading in writing • a productive way to introduce transitions and cohesive ties as linguistic cues • we can examine the texts of professional writers, noting how they ensure smooth bridges between ideas