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Writing Styles



"The first time I read an excellent work, it is to me just as if I gained a new friend; and when I read over a book I have perused before, it resembles the meeting of an old one."

Assuming and Predicting


Some reading situations require that you figure out what the writer is trying to say by understanding the cause (the person or thing that makes something happen) and the resulting effect (the thing that happens as a result of the cause.) This reading approach is similar to inference in that you really are working to understand what the author is communicating, without actually coming out and saying it.

Admittedly, this makes reading a little more challenging. When you are no longer being told exactly what the author means, it entails more work on your part. However, this is exactly what happens when you read more and more challenging materials, as happens when you advance in classes in school, especially when you plan to enter graduate school, law school, or medical school. And it doesn't stop there. Many occupations are on the cutting edge of technology and for you to retain your job, you have to stay abreast of all new information and technologies.

I have a secret for you, however. You can improve your ability to assume and predict, by reading fiction and really paying attention to what the author is saying. Here is a selection with which to do some assuming and predicting:

Ours was the marsh country, down by the river, within, as the river wound, 20 miles of the sea. My first, most vivid and broad impression of the identity of things, seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain that this bleak place, overgrown with nettles, was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana, wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark flat wilderness beyond the churchyard, intersected with dikes and mounds and gates, with scattered cattle feeding on it, was the marshes; and that the low leaden line beyond, was the river; and that the distant savage lair from which the wind was rushing was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip.

"Hold your noise!" cried a terrible voice, as a man started up from among the graves at the side of the church porch. "Keep still, you little devil, or I'll cut your throat!"

A fearful man, all in coarse gray, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared, and growled; and whose teeth chattered in his head as he seized me by the chin.

"Oh! Don't cut my throat, sir," I pleaded in terror. "Pray don't do it, sir."

"Tell us your name!" said the man. "Quick!"

"Pip, sir."

"Once more," said the man, staring at me. "Give it mouth!"

"Pip. Pip, sir."

"Show us where you live," said the man. "Pint out the place!"

I pointed to where our village lay, on the flat in-shore among the alder-trees and pollards, a mile or more from the church.

The man, after looking at me for a moment, turned me upside down, and emptied my pockets. There was nothing in them but a piece of bread. When the church came to itself -- for he was so sudden and strong that he made it go head over heels before me, and I saw the steeple under my feet -- when the church came to itself, I say, I was seated on a high tombstone, trembling while he ate the bread ravenously.

"You young dog," said the man, licking his lips, "What fat cheeks you ha' got."

I believe they were fat, though I was at that time undersized for my years, and not strong.

"Darn me if I couldn't eat em," said the man, with a threatening shake of his head, "and if I han't half a mind to't!"

I earnestly expressed my hope that he wouldn't, and held tighter to the tombstone on which he had put me; partly, to keep myself upon it; partly, to keep myself from crying.

"Now lookee here!" said the man. "Where's your mother?"

"There, sir!" said I.

He started, made a short run, and stopped and looked over his shoulder.

"There, sir!" I timidly explained. "Also Georgiana. That's my mother."

"Oh!" said he, coming back. "And is that your father alonger your mother?"

"Yes, sir," said I; "Him too; late of this parish."

"Ha!" he muttered then, considering. "Who d'ye live with -- supposin' you're kindly let to live, which I han't made up my mind about?"

"My sister, sir --Mrs. Joe Gargery,-- wife of Joe Gargery, the blacksmith, sir."

"Blacksmith, eh?" said he. And looked down at his leg.

After darkly looking at his leg and me several times, he came closer to my tombstone, took me by both arms, and tilted me back as far as he could hold me; so that his eyes looked most powerfully down into mine, and mine looked most helplessly up into his.

"Now lookee here," he said, "the question being whether you're to be let to live. You know what a file is?"

"Yes, sir."

"And you know what wittles is?"

"Yes, sir."

After each question he tilted me over a little more, so as to give me a greater sense of helplessness and danger.

"You get me a file." He tilted me again. "And you get me wittles." He tilted me again. "You bring 'em both to me." He tilted me again. "Or I'll have your heart and liver out." He tilted me again.

I was dreadfully frightened, and so giddy that I clung to him with both hands, and said, "If you would kindly please to let me keep upright, sir, perhaps I shouldn't be sick, and perhaps I could attend more."

He gave me a most tremendous dip and roll, so that the church jumped over its own weathercock. Then, he held me by the arms, in an upright position on the top of the stone, and went on in these fearful terms:

"You bring me, to-morrow morning early, that file and them wittles. You bring the lot to me, at that old Battery over yonder. You do it, and you never dare to say a word, or dare to make a sign concerning your having seen such a person as me, or any person sumever, and you shall be let to live. You fail, or you go from my words in any partickler, no matter how small it is, and your heart and your liver shall be tore out, roasted, and ate. Now, I ain't alone, as you may think I am. There's a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his door, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep and creep his way to him and tear him open. I am a keeping that young man from harming of you at the present moment, with great difficulty. I find it wery hard to hold that young man off of your inside. Now, what do you say?"

I said that I would get him the file, and I would get him what broken bits of food I could, and I would come to him at the Battery, early in the morning.

"Say Lord strike you dead if you don't!" said the man.

I said so, and he took me down.

"Now," he pursued, "you remember what you've undertook, and you remember that young man, and you get home!"

"Goo-good night, sir," I faltered.

"Much of that!" said he, glancing about him over the cold wet flat. "I wish I was a frog. Or a eel!"

At the same time, he hugged his shuddering body in both his arms -- clasping himself, as if to hold himself together -- and limped towards the low church wall. As I saw him go, picking his way among the nettles, and among the brambles that bound the green mounds, he looked in my young eyes as if he were eluding the hands of the dead people, stretching up cautiously out of their graves, to get a twist upon his ankle and pull him in.

When he came to the low church wall, he got over it, like a man whose legs were numbed and stiff, and then turned round to look for me. When I saw him turning, I set my face towards home, and made the best use of my legs. But presently I looked over my shoulder, and saw him going on again towards the river, still hugging himself in both arms, and picking his way with his sore feet among the great stones dropped into the marshes here and there, for stepping-places when the rains were heavy or the tide was in.

The marshes were just a long black horizontal line then, as I stopped to look after him; and the river was just another horizontal line, not nearly so broad nor yet so black; and the sky was just a row of long angry red lines and dense black lines intermixed. On the edge of the river I could faintly make out the only two black things in all the prospect that seemed to be standing upright; one of these was the beacon by which the sailors steered -- like an unhooped cask upon a pole -- an ugly thing when you were near it; the other, a gibbet, with some chains hanging to it which had once held a pirate. The man was limping on towards this latter, as if he were the pirate come to life, and come down, and going back to hook himself up again. It gave me a terrible turn when I thought so; and as I saw the cattle lifting their heads to gaze after him, I wondered whether they thought so too. I looked all round for the horrible young man, and could see no signs of him. But now I was frightened again, and ran home without stopping.

Remember to do your annotating whenever possible. As you do that, what do you notice? Who are the characters? What is their relationship to one another?

Do we know why the man is hiding out in the graveyard? Can we infer that his intentions are less than pure and above board? Of course we can, because he later threatens Pip that even in his bed he is not safe from the man.

What do you think Pip will do? It does seem to be pretty obvious doesn't it? This is the beauty of fiction. While we may not know the entire story, and in this case we won't, because it is Chapter 1 of a 59-chapter book. What we can predict is that in the short-term, Pip will do as the vagrant asks and will bring him a file and food.

What else can we surmise from this passage?

Using only assuming and predicting we can also tell that this is not a comedy, based on the desolation of the setting and Pip's apparent unhappiness, as well as the convict's need for food and a file. We can surmise that the convict escaped by water, because he was wet and shivering. We do surmise that Pip is an orphan and that he was visiting the graves of his mother and father.

There is immediate drama and stress that develops quickly due to the behavior of the convict and Pip's apparent timidity and helplessness at the hands of the dark, frightening stranger. There is a certain sense of sympathy for the vagrant, especially as he was so hungry, that the reader feels an emotional tug.

Remember to notice specific details. Why did Dickens open with Pip at the graves of his parents? We can't surmise this, but you know it has to be important, so as a specific detail, it moves the story forward, and must be noticed.

Do you notice how much more you are asking questions now as you read? This is excellent. By learning how to approach your more challenging reading assignments, you will enjoy literature and your studies much more than ever before.



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