Problem: Article: When you're looking at the basic form and structure of a piece of writing, consider how that affects the telling of the story. Ask yourself if the story could have been told in another format and how it could have been told from a different perspective.  For example, you may be close reading an epic poem. The poem tells a story, but the fact that it's written in poetry rather than prose may detract from the story rather than enhance it. You might also consider whether that particular form or structure is unpopular or uncommon. If the text is written in some rare form, that may make it less accessible and detract from the story or the message the author is trying to convey. Consider also any disruptions or differences between the author's use of the form and the traditional form. Any deviations from the standard may be intended to set a particular tone, or they may serve a purpose within the writing itself. If you notice this deviations, think about whether they help or hurt the piece. Great authors have a distinct personal style that they bring to their work. Beyond that, a particular style may lend itself more to one type of story than another. Punctuation, sentence length, and paragraph structure are all part of the writer's style.  For example, Ernest Hemingway wrote direct, concise sentences. His writing style lent itself well to the action-packed stories that he wrote. However, that sort of writing style might not work very well in a romance novel. Assume that every aspect of the author's writing style was carefully and deliberately chosen to serve the story as a whole. Ask yourself how the style works with the subject matter and theme of the work itself. Poets and fictional prose writers are more likely to use patterns and repetition to reinforce themes in the work or make particular details stand out. Patterns can also be used to evoke a particular mood in the reader.  When you identify patterns, ask yourself why the author employed that particular pattern. Judge whether it actually serves the purpose the author intended, or whether it's distracting. You may also notice patterns in non-fiction writing, in terms of a particular item or event that keeps coming up over and over again. Out of all the tools in a writer's toolbox, word choice can be the most powerful. Particularly if the author has used an unusual or archaic term, think about why that particular word was chosen over any other.  For example, suppose you're close reading a passage in which the protagonist has entered a library. The author refers to the volumes on the shelves as "tomes" rather than "books." This word evokes an entirely different image in most readers' heads. Ask yourself if that image is in keeping with the overall feel of the book itself. Word choice and language in dialogue is used to create characters and tell you something about their personality. In a good piece of writing, the characters won't all talk in the same way. They'll each have their own rhythm and verbal tics, just as real people do. Think about how the language of the characters helps build those characters into individuals, and if the characters are dynamic or flat. Syntax is, generally, the way a piece of writing is arranged using grammar and punctuation. You'll notice this more when you read aloud than when you're reading silently. Reading a passage aloud gives you a better sense of the rhythm and flow of the words. Just be sure to pay attention to the punctuation so you know when to pause.  If you notice any unusual sentence structures, think about what effect this is meant to have on the reader. You might also notice an abrupt change in sentence structure, such as a one-word sentence. Typically the change is intended to emphasize or draw your attention to something. Think about what your attention is drawn to and why that might be important. Particularly if you're reading poetry or fiction, someone is telling you a story. Who is telling that story, and why, and what their limitations are, can impact the story itself.  If you're reading a story written in first person, think about the narrator and their reasons for telling this story. Separate aspects of the story they would know from other parts of the story that are merely speculation or conjecture on the narrator's part. Ask yourself whether the narrator is reliable, and why or why not. If you're reading something written in third person, determine whether the narrator is limited or omniscient. If you have an omniscient third-person narrator, consider whether knowing the inner thoughts and motivations of all the characters helps or hinders the story. It can also help your analysis to imagine the story being told from a different point of view. For example, how would the story of "The Great Gatsby" be different if it was told from Daisy's point of view? Questions that start with how and why are some of your most valuable questions as you explore a text more deeply with close reading. Don't take anything as assumed, or trust it just because that's what you were told by the author (or the narrator).  Don't worry about getting the "right" answer to these questions. While there may be an interpretation of a text that is commonly (or even universally) accepted, that doesn't make it the only correct interpretation, as long as you can support your interpretation with information from the text. You may have access to the author's interpretation, and what they intended when they wrote the text you've read. However, the author's interpretation is not the only interpretation. It's perfectly legitimate for you to get something different out of the text than what the author intended.
Summary: Evaluate the form and structure of the text. Describe the author's writing style. Look for patterns in the text. Assess the effect of the author's word choice. Read aloud to highlight syntax. Consider the point of view from which the passage is told. Ask questions to uncover deeper meaning.

In one sentence, describe what the following article is about: Point a box fan so that it pushes air out of your apartment. This will remove the dust from inside of your house. Turn the fan to high and let the dust in the air escape the room. As you continue to clean the dust, keep the fan on so that the drywall dust that you sweep up can be blown out of your house. Before you start disrupting the dust in the room, it's important that you empty the space of furniture. If you don't, the abrasive dust can settle on your furniture and hurt the finish on your belongings. Remove what you can out of the room and put it in another, dust-free room. Lay dropcloths or plastic tarps over furniture that's too large to move in order to protect them. Gently walk a push broom around the perimeter of the room and work your way into the middle. Make sure to be gentle and avoid pushing the dust up into the air. Use long stroking motions when pushing the dust around and try to create one pile in the center of your room. A Shop Vac or wet and dry vacuum cleaner has a larger carrying capacity and can pick up more dust than a traditional household vacuum cleaner. Start by vacuuming up all the dust that you managed to gather in the center of the room. After the initial dust is cleaned, continue to go over the entirety of the floor to suck up the remainder of the drywall dust.  Go over the floor again if you notice that your Shop Vac didn't get all the dust on the first vacuuming. If you don't have a Shop Vac than you can rent one from a department store. Make sure to use a HEPA filter to trap all of the drywall dust when using the Shop Vac.
Summary:
Place a box fan in the window. Remove and cover the furniture. Sweep the dust to the center of the room. Suck up the dust with a Shop Vac.