Moffett's system definitely works because it helps you get in touch with the voice that is cut off from everyday life. The voice that is hard to acknowledge. The voice that lives inside, dying to come out, but comes out, for me, in the wrong ways. Practicing Moffett's "tutorials" can help you get so acquainted with your own voice inside, you can help discover and create new voices and practice them in her dialogue and monologue "tutorials."
     I have always liked to write, but my problem is how to write. I never knew how to get in touch with myself in order to produce a real piece of writing. Since I've practiced Moffett's 15 minute stream of consciousness writing, I feel I have started to stir something up within me. As difficult and uncomfortable it was at times, I feel as if I have finally got in touch with something that can be used on paper to share with someone.
     There are some great activities that Moffett suggests trying such as, my personal favorite, the composed spontaneous memory activity. I constantly have flashes of very vivid memories and I wish I could share them with someone but I never do because I feel they are uninteresting. Tapping into memories can reveal a lot about ourselves and our lives. Composing a memory piece would be a great thing to do because everyone in a class has something different to being to the table.
     The one activity that I did not particularly think was so effective was the One-Act play. I think this activity could be beneficial to someone who is interested in writing a lot of dialogue and who would like to perform it themselves or have someone else perform it. This to me is a form of advanced form of situational writing. I think writing with the purpose of performance might not be the best type of assignment to give to someone who is a beginner at writing or to a group of children because it could be overwhelming. Screenplay writers and actors could really benefit from this type of activity since this is what they love to do.
    Overall, I feel that Moffett's ideas for becoming a true writer are great and they are worthwhile activities to try. Any or all of the suggested assignments can help people move away from writing being an unpleasant task to an introspective, highly fulfilling thing to do. I believe that practicing Moffett's ideas can strengthen one's desire to write, as well as the craft itself.

Tutoring Do's and Don'ts

Tutoring Do's

• Introduce yourself and make short, friendly conversation if possible.
• Have tutee's work in the center, to make it accessible and easy to read.
• Be mindful of mood, gestures, and tone of voice. Make sure they are all calm.
• Be inviting, supportive, and receptive to the tutee.
• Ask questions and give suggestions to tuee and the piece being worked on.
• Use resources available such as dictionaries and thesauruses.
• Ask questions to an authority figure if unsure about anything.
• Express what the tuee is doing well in the piece and what you see needs work on.
• Read or ask what the writing assignment was and make sure tutee understands it fully.
• Concentrate on higher order of concerns first, then lower order concerns.
• Let tutee read work aloud - they might catch their own errors.
• Repeat tutee suggestions to clarify meaning and interpretation.
• Signal for the tutee to return to the writing center to continue working on piece.
• Take notes if possible.
• Give mini-lesson if tutee continues to have issue with a particular area in writing.
• Have a conversation about the piece or topic of interest with the tutee.
• Provide probing questions to the tutee to make them think about their piece.
• Ask for tutee's opinion on topic.
• Suggest outside resources such as books, websites, videos, etc. if you feel it can help tutee with their writing or ideas.
• Be mindful of time in order not to waste it on one aspect of the tutee's work.
• Encourage tutee to contribute to their work in front of you.

Tutoring Don'ts

• Be rude, mean, obnoxious, or judgmental of tutee or their work.
• Talk about your personal life.
• Write or correct anything on tutee's work.
• Eat or have clutter in tutoring space.
• Give criticism about tutee's professor.
• Overtly express your opinion on tutee's work or topic.
• Have your phone out.
• Be distracted in any way.
• Hover over tutee or make them feel unwelcome.
• Insist your ideas or suggestions are better.
• Act as if you have all the answers or solutions.
• Talk the entire time.
• Claim the tutee's work as your own.
• Sugarcoat the truth about tuee's work or say that piece is perfect.
• Insist the problem is one thing, when tutee is expressing something different.
• Be informal or unprofessional with tutee.
• Rush the tutee out of the session.
• Make conversation with tutee the entire length of session.
• Argue or fight with tutee.
• Step away from session for long periods of time.
• Focus on grammer and spelling first.

      The most important aspect of Sondra Perl's essay to me was when she expressed how projective structuring is important but how many view it as the the essential part of writing. I myself have fallen into this trap. I have been in the process of writing and thinking the whole time if this is "what the professor wants me to say" rather than writing what I really feel. I thought it was important for Perl to say this because she is informing writers that there is something deeper inside of all of us that wants to get on the paper but can't because we're not letting it. Projective structuring is there to be mindful of the reader, not become the reader.