Read this reading properly and create one valuable question after understanding this reading and also add personal example in this answer and also answer that question in brief after summarising. Case Study- All writers have more to learn

Many people assume that all writing abilities can be learned once and for always. However, although writing is learned, all writers always have more to learn about writing.

The ability to write is not an innate trait humans are born possessing.

Humans are "symbol-using (symbol-making, symbol-misusing) animals," and writing is symbolic action, as Kenneth Burke has explained (Burke 1966, 16). Yet learning to write requires conscious effort, and most writers working to improve their effectiveness find explicit instruction in writing to be more helpful than simple trial and error without the benefit of an attentive reader's response.Often, one of the first lesson writers learn,one that may be either frustrating or inspiring, is that lhey will never have learned all that can be known about writing and will never be able to demonstrate all they do know about writing.Writer; soon disco,er that writing strategies that are effective for them in one context arc often inappropriate and ineffective in another context in which the need or want to write; even when stragies work, writers till stmggle to figure out what they want to say and how to say it. They struggle because writing not just transcribing preformed ideas but also develop-ing new ones; This difficulty and imper-fection writing, and the fact that it is not a "natural" phenomenon is one reason formal instruction is typical of schooling in the United tactics at all levels. But learning about writing doesn't happen only in chool. For example, .Jame Gee (2004)showed how a teenage writer of fan fiction learned about writing outside school through the practice, advice, and modeling provided by her online community of other writers.

With experience, writers do that 'tome writing habits developed in one context can be helpful in another. For example, habits such as writ-ing multiple drafts frequent writing in a place free of distractions often prove effective writing regardless of text or context. Likewise, writing strategies useful in one context or using illustrations to develop ideas that will work well in many different writing contexts for many different purposes. The working knowledge lllat enables a writer to select the prac- tices and lrntegies appropriate for a particular writing context and taso learned over time through experience as a writer and as a reader of writing .Therefore, a demonstration of one's ability to write effectively in one context cannot constitute proof of one's ability to write in other contexts.

Writers-and teachers of writing-might sometimes wish all writing abilities could be learned once and for always, just as one can learn how to spell a particular word correctly or how to punctuate a quotation correctly once and for always. However, many writing abilities, such as choosing the most appropriate and precise word, and exercising good judgment in deciding whether to quote directly or to paraphrase in any given writing situation, cannot be learned just once. This imperfectability of writing ability is even more evident when a writer must learn how to choose and use evidence to make an effective argument in an unfamiliar situation.

This threshold concept can be difficult to understand because the content of most school subjects is divided into categories and levels of difficulty and sequenced in a way that assumes students must learn the content or skills of one level or stage before moving on to the next level.

Unlike these subjects, formal writing instruction is usually designed to repeat the same principles or lessons over and over as student writers encounter new situations for writing and learning. This is an important threhold concept for educators to understand it enables us to recognize that it i imposable to make a valid judgment of a tudent writer' ability by examining a single ample of his or her writing, particularly a sample of writing that doe not addre a specific rhetorical ituation (see 1.7, "Asse ing Writing hape Contexts and lmtntnion"). For these same reasons, one cannot assume that a student who has demonstrated the ability to write a literary critical analysis of as a senior in high school will also be able to write a paper outlining issues currently being discussed in response to new devel- opments in research on childhood diabetes for a college course.This threshold concept is helpful for all writers to understand because it will enable them to recognize that encountering difficulty in a writing situation is an indication that they are ready to learn something new about writing.

In the course of writing, whether preliminary notes, a sketch, or a full draft, a writer insCtibes signs that now exist on paper, digital display, or <;Orne other medium. While these ign may have their origin in meaning within the mind of the writer and the initial spontaneous choice of words, they now ha'e been externalized into an independent artifact that can be examined , revised, or othenvise worked on by the writer, collaborators, or other people.For writers, this extemalization decreases the amount of material they remember and attend to while compo ing (reducing cognitive load) and allows them to focus attention on limited issues. Externalization also allows writers to look at the text produced so far to ee how clearly it reads,what it convey , whether it can be improved in any way. This working on a text now external to the writer allows a more technical examination, distancing the writer from an idealized sense of meaning and what they feel internally in order to see what the words actually convey. The writer potentially can take the pan of the reader.