The reader is inferring and coming up and meeting the writer here.
Now these are of course, not fixed points in any sense.
Sometimes the writer is playing very close to this edge, and
sometimes the writer is maybe playing very close to an edge over here.
The reason I'm bringing this up, however, during this
particular segment is just because we've been talking about no ideas but in things.
And fiction is, of course, a very, fiction and non-fiction stories,
are a particular kind of writing where we're trying to dramatize things.
We're trying to communicate through drama, through story.
And we might have a bold vision,
we might have an idea that we're really trying to get across.
But then we might find ourselves sometimes going all the way
over here because we want the reader to get our interpretation of things and
not just our version of the story.
So work that fits right in here is work I think
that is dramatic,
has clear, vivid surfaces where you describe
what things look like, what things not like, what things sound like and so on.
Right, you lead it up here, and you let the reader know what all the sense data
is, because the reader can't make that kind of stuff up on her own,
she can't know that that the woman's dress was brown for example.
The writer has a responsibility to tell those things.
But the writer doesn't have a responsibility always to say
this is what it means.
This is how to interpret it.
That's the work for the reader to do.
So, one of the things that you might be thinking about in this exercise for
this class, when you're doing your peer review,
is where you find some certain moments on this arch.
Sometimes you might encounter