Corinthian Columns and How to Read Like a Writer
Mike Bunn’s Writing Spaces article “How to Read Like a Writer” explains the importance of asking yourself questions when you read something in order to become a better, more effective writer. Instead of reading solely to obtain meaning, knowledge, or for entertainment, it is crucial to analyze the choices the author made to recognize ways you can make better choices in your writing. Bunn includes a quote from poet Allen Tate describing two different ways of reading:
“…They correspond to the two ways in which we may
be interested in a piece of architecture. If the building has Corinthian
columns, we can trace the origin and development of
Corinthian columns; we are interested as historians. But if we
are interested as architects, we may or may not know about
the history of the Corinthian style; we must, however, know
all about the construction of the building, down to the last
nail or peg in the beams. We have got to know this if we are
going to put up buildings ourselves.“
Serendipity cannot escape me since I started this class; I just learned about the different types of columns in Art History last week. I notice and classify columns everywhere now, when I had not given them a second thought before. Corinthian columns are the most ornate and evolved of columns, so it is appropriate that they are referenced in a context of reading like a writer. Writing is complex with many layers of construction you have to build upon. Details such as a single word choice can seem miniscule incipiently, but those small elements are what defines the work as a whole when it’s finished. What sets Corinthian columns apart from Doric, Ionic, Tuscan, and Composite columns are the decorative acanthus leaves on the capital (the top of the column), the elongation of the shaft (main body) of the column, and additional layers on the entablature (part of the roof). These features define the Corinthian column, just like the choices writers make define their work, and ultimately affect readers’ interpretations.
Some specific questions you should ask yourself when RLW are:
1) Regarding the context of the writing (and the assignment, if it’s an assigned reading) – What is the purpose of this writing? Who is the intended audience? Why did my teacher choose this piece for me to read? What am I supposed to learn from this?
Another moment of serendipity: I recently did a Google search to look into the safety of fair rides. [During last year's fair I was getting ready to ride the swing ride (the one with individual seats attached to the main pole by a chain, and they swing around), and saw on the back of the seat in front of me that there was a 200-pound weight limit. At the time I weighed about 230 pounds (the heaviest I've ever been - not my proudest moment - I'm only comfortable revealing this because I've lost weight since then) but it seemed that no one was preparing to warn me that I might exceed the weight limit! I promptly got out of the swing, of course. I probably would have lucked out and been fine, but it still scared me and made me question how safe those rides really are.] One of the search results I found was a link to a news clip claiming the rides were unquestionably safe, but I recognized the news channel as one of the fair’s sponsors! You’ve got to recognize the writer’s audience and try to debunk any agenda they may have. Once you recognize this, you can achieve an informed understanding and avoid any manipulation that may hinder your ability to observe how to RLW. (As a side note, NEVER read about amusement park accidents the night before you go to the fair.)
2) What kind of evidence does the author use to back up his or her claims? Are they effective for the intended purpose and audience?
If you’re writing fiction or another form of creatively-driven writing, evidence may be unnecessary and even detrimental towards your purpose. On the contrary, evidence is essential for an academic piece of writing, so you should carefully choose the evidence you want to include. When you pay close attention to the evidence you read in others’ writing, you can see what works and what you would change. The best way to be a good writer is to be a good audience that observes and builds upon past mistakes.
3) Is the language appropriate for the audience?
This ranges from using an extended vocabulary to appeal to an audience that would read scholarly articles or to impress your professor, to using colorful and humorous language if you’re a Cracked.com writer. Is anything confusing? If so, analyze how it confuses you to avoid it happening again, as well as making the same mistake when you write.
Overall, you have to identify everything you would do differently. Whether it’s technique, transitions, or changing the to a, noticing both unfavorable and preferable details allow you to see writing in a new light. Reading like a writer blurs the line between the writer and the audience. You have to be an attentive audience to see techniques you should use or disregard when you’re writing. In-depth observation allows you to write on a new, more informed level.
