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Steinman recently suffered a  number of severe health problems and  is now working on new
                projects.  But both wrote extensively during these times which shows a great dedication to

               their art.  It also shows us that the best writers do not go through a  major life event to make

               something worthwhile  but those who write  regardless.
                Risks are common-place, as are the rewards a writer can gain,  but one of the biggest risks a

                person can take is in the very act of putting pen to paper.  That is the moment at which

               decisions are made and chances are taken.  We will discuss these chances further shortly

                but the decision we make is to commit.  Writers who are writing frantically to meet

               deadlines and  publishing dates may commit more to actually finishing their work than
               anyone without that kind of restriction.  These people commit to research,  lending part of

               their lives to it and to producing the very best end  piece they can.









                                     'The Architect strategy is the Plan, Compose,

                                     Revise method traditionally taught in schools.

                                             Architects make detailed  plans and set down
                                     headings to guide the composing.'

                                                           (Sharples,  p115,  1998)



               These types of writer are  no more committed than any other type but they do have

               characteristics such as extensive planning that demand  more discipline than, say, a  non-stop

               writer who plan and  revise much less but lend just as much time and  effort to the end

                product.
                In  much the same way, we trust that whichever style we have adopted to write is going to

                be good enough for the reader.  Communication is a  keyword  here.  How does a  person feel

               sure enough that their audience is going to understand  his story the way it was intended?

               Should we be trying to tell  people what a story is or,  having done our job of making it,
               should we let the  public do their job of deciding what they want it to mean?  Like in all

               questions in this area there are more problems than answers.  It all circles around to

               confidence, self-belief, some may even say arrogance.  It is impossible to even scratch one

               decent sentence out if one does not  believe in their own ability to do so.  We  be would  live
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