e speaker."31 Ifocus too much attention on writing for an audience-whether conceived"target receiver," a "needy reader," or a "constructive participant"-wenarrow our view of composing, forgetting that writing is also an explorof ideas, a quest for purpose, and a projection
Audience is important but not ALL important in writing. Audience afftects writing but shouldn't control it.
Advocates of the social perspective on audience argue that novice writersneed to experience the satisfactions and the conflicts of reader response-both the satisfaction that comes from having successfully shaped the reader'sWriting for Readers 181understanding and experiencewhich seemed clear to the wrheld special meaning for the wdetail--clear enough in the wThro
I agree that writers should experience the disconnect between readers. When I think something is nice and clear it can make no sense to someone else.
on. One of these key processfocus on one's own perspectivto impute t
Getting outside ones self in writing can help connect you with your audience.
ntent from a text. In Dillonmeaning of the text is not on the page to be extractewhat results when they engage ... texts for whatevhave and with whatever knowledge, values, and preoit" (p
Sometimes audience creates meaning when they read something with their own perspectives blended in.
at writersshould observe those principles which help readers achieve semantic closure,thereby facilitating an effective flow of information through the short-termmemory "bottleneck." Two of the most important principles are to omitneedless words and to keep related words togethe
Keeping writing concise and coherent is important.
a message toterms, the writer aims to get information into the rlem, of course, is that filling a reader's head with informsimple as filling a glass with water. Readers "process"linguistic input into a conceptual code that must be intion already stored
Kind of like a computer. The informational perspective relies on being clear and coherent for ease of audience absorption.
In written communication, however, thewriter often has only a vague and quite general conception of who thereaders of a piece of writing will be. T
goes with previous note
A second limitation is the assumption-implicit in the rhetoricalperspective-that in fact the writer either knows, or can find out, a good dealabout the audience. T
This is an important note about the fact that writers dont always know their audience. It makes it harder to write with an aim.
The arguments against trapping wild animals for their fur, here in Iowa,are all based on emotions. Anti-trappers are convinced animals suffer in-tolerable and unjustified pain while in traps. I believe that, with theirunsound reasoning, they cause all humans intolerable and unjustifiedpains. Let me tell you why their arguments are unsou
good example of bad audience analysis, clearly doesn't consider his possible audiences perspective.
According to thianalyze the audience's beliefs,be adapted to the par
Writers must analyze their audience to tailor their message effectively. This annotation appears weird. sry
"rhetorical," the "informational," and the "social" perspectives
use these
." However, it is becoming clear that the term "au-dience" has multiple meanings in contemporary work on composition: theterm no longer means the same thing to all theorists who talk about theprocess of writing for readers, and various pedagogical techniques-all pur-portedly aimed at teaching students about audience-are based on quite dif-ferent theoretical perspectiv
Audience is not just one simple thing. It is a multifaceted concept with many different perspectives.
order, sheshowed me (as did my other subjects) that the internal representation ormental sketch a writer makes of the audience is an essential part of the writ-ing proces
Good writers can imagine their audience and their needs in order to shape and revise their work. this works well with my subject of highlighting the role of audience in writing.
So what do they want to hear about? These are seniors in high schoolwho I think want to become English majors ... probably not . . but theywant to hear about what English teach
Even when writing a narrative Toby F. Starts with considering his audience and what they would want to hear.
y the end of the protocol, thisrepresentation has become specific: future missionaries, engineers, and busi-ness people traveling to other countries. As
This shows how writers learn more about their audience as they develop their ideas. Understanding audience on a deeper level can influence tone, examples used and goals for writing.
nse. They don't careabout my representing a particular theoretical school. I want to interestthese kids in anthropolo
This is a good example
the contrary, subjects frequently recon-ceived their task as they thought about their relationship to their audience.And as they did, they developed new goals which changed the nature of theirdiscourse
A piece can completely change when audience is considered.
hese are 1) how the writer perceived the composing task (whatFlower and Hayes call a writer's "problem representation"), which deter-mined the kind of discourse he or she produced, and 2) whether the audi-ence was explicitly stated or was implied by the kind of discourse the subjectchose.
Audience is part of the thought process from the very beginning.
analyzing and/or constructing a hypothetical audiencesetting goals and naming plans aimed at a specific audienceevaluating content and style (persona) with regard to anticipated audi-ence response*reviewing, editing, and revising for a specific audience
There are many ways to consider audience when writing. It isn't that simple.
ns. A protocolis, therefore, a rich source for information about some of what the writer isthinking as she is writing. At this time, it is the best research tool for teasingout the cognitive processes that reveal themselves in what we call audienceawareness
This study uses protocols to illustrate thought processes of writers. This is how Berkenkotter shows WHEN writers consider audience.
one characteristic of cognitive maturation is the ability of thewriter to "decenter" from his or her own perception
Writers become stronger the more they think outside of themselves and about the reader.
The purpose of my study was to investigate whether experienced writerswho have formal training in rhetorical theory think about their audiencemore actively than writers who
audience awareness can vary by skill level.
Main question: How and when should skilled writers consider their audience when writing?