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Weekend Roundup: Oct 11-13, 2022 | EN 112
On Tuesday, Oct. 11th we were online, drafting your cause & effect essays,
which ... some of you turned in???? (If you didn’t do that, you should do that; if you had questions about how to do that, and you have not asked them, you should really email me; if you have already emailed me, and I have not answered you yet, I’m coming!)
On Thursday, Oct. 13th, we were back in the classroom for our post-game analysis.
We began with my observation that submission rates for the C&E essay were lower than they had been for the proposal essays. I have two theories, not mutually exclusive, about the causes (ha) of that differential, but we did not dig into my theories on Thursday; we just set about reviewing all the moving parts and how they fit together. PRIORITIES, amirite??
We took a look at how writing the Cause & Effect essay required you to figure out the underlying problem you would solve in the research essay (this step is often harder than people expect it to be), and also to find at least your first two sources for that research project. In drafting your body paragraphs for the cause & effect essay, you (hopefully) began putting evidence on the page to explain how you knew the things you said were causes (of the problem) or consequences (if we didn’t do something about the problem) were actually happening and contributing to the problem or actually likely to occur if we didn’t resolve the problem (depending on whether you went pre-tuna or post-tuna on the C&E prompt).
Considering integration of evidence leads us to considering citation, since much of the evidence you’ll be using in your research paper will come in the form of data or commentary you have found through your research, and which you will of course wish to cite appropriately.
You may remember from our how-to-avoid-plagiarism lessons at the beginning of the semester that the twin goals of citation are
(a) to give credit where it is due
&
(b) to give the reader the information they would need to find your source for themselves
Hopefully you will ALSO remember that even without a formal citation, we can accomplish (a) by stating directly, in our sentence, who said the phrase we are quoting or came up with the idea we are using. Formal citations provide a structured means of putting all of that (b) information together and organizing it so that readers can backtrack your research with minimal hassle. There are many citation styles, including some that are unique to specific journals or organizations; your WR textbook contains guides for three of the most common ones: MLA, APA, and CMS (often referred to as simply “Chicago style”).
Back in the day, I used to require all my students to use MLA, regardless of research topic or declared major. MLA stands for “Modern Language Association” and MLA style has been the standard in language and literature fields for many years; you may also see MLA style used in the documentation for projects in some other humanities fields, like History or Philosophy. In the past few years, however, I have seen some organizations shifting away from a strict MLA-only approach to their formatting requirements, and while I think there is still a lot to be said for the cognitive benefits of cultivating the flexibility needed to adapt to the arbitrary arrangements of whichever citation style happens to be assigned, this semester I am attempting to “keep up with the times” by allowing students to choose the citation style they wish to follow, with THREE important caveats:
1) the citation style must be one of the three provided in your WR
2) you must TELL ME which style you are using (in the submission comments on each essay)
3) you must be consistent throughout your essay (I don’t mind if you want to change styles between essays, although I’m not sure why you’d want to; the key point is that you cannot mix and match styles within an essay, and the works cited or references list must be in the same style you use for in-text citations in that essay)
The main thing to know about citation styles (as opposed to about citation as a practice) is that you aren’t really expected to memorize the format for citing any particular type of material; you’re just supposed to get comfortable with using the style manual so that you can look up and apply the guidelines for citing the type of material you have on any given occasion without developing 47 headaches.
Your weekend homework is to find two peer-reviewed articles for your research essay, read the abstracts so you know what the articles are about, and look up the authors so you can explain their source of authority.
If you missed class on Thursday, your makeup work is to summarize this document and then to look up citation formats commonly used in your field of study and report back with a summary of what you’ve found.
Good luck!
Weekend Roundup | EN 112 | 09/20 - 09/22 | Fall 2022
Busy week! Let’s dive right in.
On Tuesday, 09/20/2022 ...
... we started clas with a quick recap of the past few weeks to make sure everybody was on the same page. THEN ...
We walked through an overview of cause and effect arguments in preparation for writing our next set of essays (C&E, currently on the agenda for Week 8).
Cause-and-effect arguments come in two basic configurations:
What if?
and
How’d we get here?
In a what-if C&E, you are considering a course of action and speculating about its likely outcomes. The effects haven’t happened yet; rather, you are thinking about doing X and trying to predict what effects you will cause if indeed you do X (thinking ahead; usually a good idea!).
In a how’d-we-get-here, you are trying to identify the factors that led to an existing situation. In other words, you are experiencing effects and attempting to figure out their likely causes.
Both what-if and how’d-we-get-here C&Es can be structured in either of two ways:
- causal chain
or
- confluence of variables (or factors)
A causal chain is a sequence of events in which each new action directly triggers the next effect, which in turn prompts another action, which causes an effect, which prompts an action, which ... you get the idea. The children’s book If You Give a Mouse a Cookie is a good example of a what-if argument structured as a causal chain.
In a confluence of variables or confluence of factors scenario, more than one underlying cause contributes to the effect(s). Often no single factor would be sufficient to trigger a given outcome on its own, but multiple variables working together create the conditions under which that outcome is likely, or even (eventually) inevitable. Climate change is one example of a how’d-we-get-here confluence of variables: automobile exhaust fumes play a role, but so does factory farming and so does industrial pollution.
In addition to taking a “first look” at cause and effect arguments, we also spent a few moments examining the relationship between assertions and evidence.
Depending on how your EN 111 course was organized, you may or may not have been introduced to “assertion” and “evidence” as formal terms of rhetoric last semester. Because not everybody covers these terms and their rhetorical uses in 111, I like to give a quick overview of the basic concepts before we start giving them a workout in EN 112.
The (very) short version:
assertion = any claim you make in an essay (really anywhere, but we are only interested in essays)
evidence = information provided in support of an assertion (quotes, examples, statistics, etc)
VERY IMPORTANT:
- Your own feelings & preferences are not “information” for the purposes of evidence in a formal argument.
- A restatement of the assertion is ALSO not a form of evidence.
For example:
Let’s say your assertion is that the number of essays required in EN 112 should be reduced. “I feel like I could learn more if I had fewer assignments,” is not evidence; even though you may very well feel that way, this information about your feelings does not prove that you will actually learn more if you write fewer essays, much less that what you learn more of will be among the core learning outcomes for EN 112. “The number of essays in EN 112 should be reduced because the current number is too high” is ALSO not evidence; it’s just restating the original assertion in slightly altered terms (if you are saying the number should be reduced, we can pretty much guess that you think it’s “too high” ... you haven’t told us anything new).
TL;DR - there is nothing inherently wrong with assertions, and in fact any essay is probably going to need at least a few of them. The important point is that you need to support those assertions with carefully-selected –– and carefully explained –– evidence.
ALSO on Tuesday (Tuesday was a busy day!) we did a quick check-in on research essay topics & questions, helping everybody to prepare for submitting their planned topics this past Friday (if you haven’t submitted them, review the notes on research essay questions and submit!).
On Thursday, 09/22/2022 ...
... we moved through a short workshop on comma splices and how to avoid them. Comma splices are one of those “major errors” listed in the Learning Outcomes section in your Writer’s Reference, and of the items in that list comma splices are among the ones I see most often –– so it’s worth taking a moment to review some basic punctuation guidelines and check your comma usage before hitting “submit” on the final version of your essay!
The very short version:
A comma splice is a comma used between two independent clauses, instead of a semi-colon (a semi-colon in that context is fine) or a period (also fine).
An independent clause contains a subject and a verb and no “subordinators”:
“I love you” = independent clause
“Because I love you” = dependent clause; “because” is a subordinator which indicates that we need to be looking for the rest of the sentence.
“It rained hard” = independent clause
“After it rained” = dependent clause, “after” is a subordinator indicating that the phrase immediately following is supposed to be understood in temporal relation to some other event
ALSO on Thursday, we began our discussion of Stephen King’s essay, “Why We Crave Horror Movies,” which begins on page 341 of your SMG text.
We will continue discussing King’s essay on Tuesday; be sure to read carefully for how he argues causal factors of our horror movie cravings!
If you missed either day in Week Six, your job is to summarize this document, get notes from any classmate, AND (if you want some participation points) comment on the most recent announcement post in Canvas telling me a possible reason why we crave horror movies that King does NOT use in his essay.
Weekend Roundup | EN 112 | 09/13-/09/15 | 2022
On Tuesday, 09.13.2022
I walked the class through an extensive lesson on how to identify a potential research topic, formulate a research question, and then refine the research question so that it can drive the research process effectively. I also gave you the brief version of requirements for the research essay so that you will know what to aim for as you consider topics and questions to ask about them.
We will talk about the individual elements in greater detail as we work on them, but for now:
6-8 pages
(typed, double-spaced, 12pt font, Times New Roman or similar)
argumentative (not strictly informative but no, “argumentative” does not mean “opinion based” –– it means persuasive, using a reasoned presentation of evidence)
proposal essay structure
topics must be approved in advance (see below)
TOPICS are the piece of the puzzle we want to focus on for now, but it’s not a bad idea to keep in mind the overall length requirement and the need to build an argument as you think about potential topics to choose.
In this course, you choose your own topic within a set of parameters set up to ensure that the topic you choose (and the research question you pursue) will meet the ultimate course goals.
You have a list of topics you may NOT use:
abortion
gun control
euthanasia
the death penalty
animal testing
legalization of any controlled substance
(most of these are just drastically over-used; let’s think outside the list of topics everybody already knows offhand, hm?)
arguments based on literary or religious texts (there is actually a whole other kind of argument that applies to these, and the English Dept. teaches it in the Literature courses ... so let’s leave something to look forward to!)
Actually fitting all my notes on research questions into this post is proving to look EXTREMELY WEIRD and hard to read; I think I’m just going to scan the actual lecture notes I used, put them into a Google Drive folder, and post the link. STAY TUNED (yes, I’ll post an Announcement in Canvas).
_____
On Thursday, 09.15.2022
we spent the entire class period on a revision workshop; the first essay of the semester is of course the one we are revising, but the revision guidance itself is meant to be a tool you can use to revise not just this essay and not just your work for the course, but all the writing ou do in your life from here on out. For that reason, I encourage you to review your classmates’ notes (see Canvas discussion thread) as well as reading this recap.
The (very) short version:
1. Identify uses of 1st or 2nd person. In general, you should revise these sentences to use the third person (remember that the third person tends to place emphasis on the subject matter and evidence and that emphasis is what we normally want in academic essays).
2. Put a noun on it! This, that, and it all get overused to stand in for whole sets of ideas either spread out along previous paragraphs or not actually stated explicitly in the essay; either way, the use of any of these listed pronouns to refer to anything other than a single noun in the previous clause or sentence makes your essay less clear and therefore harder to follow. You don’t want that!
Common “red flag” phrases that often indicate a vague pronoun/antecedent relationship (especially when found at the beginning of a paragraph) are: “Because of this...”; “...get it done...” “This means that...”
My favorite method for fixing all of these structures is to replace the pronoun with a paraphrase of the concept or set of concepts to which that pronoun is meant to refer. So, for instance, if a writer has been discussing low visibility at the intersection of Pine and Irvine, “Because of this” becomes “Because the height of vehicles parked on Pine Street limits sight distance for traffic heading westbound on Irvine ...” Or, if the preceding paragraph has established that employees who stay home sick are often expected to check email and respond to messages, “This means that ...” becomes “The expectation that workers who ‘call in sick’ will still respond to work-related communications results in...”
3. Finish the thought! Sentence fragments are a major error, per English Department guidelines. They also tend to look like “clutter” on the page –– a whole bunch of partial sentences with half-finished ideas. Give us the whole shebang! The easiest way to fix these is to look for “subordinators” (usually but not exclusively conjunctions) and then check whether the clauses they introduce are actually connected to an independent clause elsewhere in the sentence (more on that in the week ahead!).
IF YOU MISSED CLASS on either of these days, your task is to:
brainstorm a research topic
watch for research question handouts (in Canvas)
follow the Thursday steps to MARK (not yet revise) your essays
Post a summary of THIS ENTIRE DOCUMENT to the comments on the MOST RECENT Canvas Announcement.
Weekend Roundup: EN 112 | Week 4 | 09/06 & 09/08, 2022
Tuesday, 6 Sept. 2022
We examined Patrick O’Malley’s essay “More Testing, More Learning,” once again, this time with an eye toward the way O’Malley builds his proposal argument.
As a reminder, a proposal argument
identifies a problem
demonstrates that the problem is a real problem and that the reader should care about the problem
proposes a solution to the problem
demonstrates that the proposed solution is
feasible
functional
... and usually includes some suggestion of “bonus” benefits to the proposed solution, or reasons why this solution will work where others have failed; this last element is more flexible than any of the other ones but is generally aimed at showing why readers should embrace this specific solution instead of trying something else
In preparation for drafting your own proposal essays, we spent considerable time discussing how O’Malley organizes his argument. The key thing to know here is that all the elements of a proposal argument have to be present, but they do not have to come in any set order. I tend to list the elements in the same order every time I review them with a class because that way I can have them memorized (the way you would memorize a poem or a set of lyrics) and I can focus my attention on explaining how the elements work instead of remembering what they are ... but that’s a checklist for what needs to be in the essay more than it’s an organizational strategy for where the items should show up on the page.
Common sense is an underrated tool for organizing essays. You probably want to identify the problem and demonstrate that the problem is a real problem and that the reader should care about the problem pretty early in the essay, because otherwise your readers won’t know what you are talking about or why they should keep reading. You can’t explain why or how any particular step in your proposed solution will work until you’ve introduced at least that step. But you don’t necessarily have to enumerate all the steps in your solution and then back up and explain how each one will work; you could provide those explanations for each step as you go. Similarly, you don’t have to wait until the last body paragraph(s) before explaining why the solution you are proposing is better than the alternatives; in explaining how each step of your solution will work, you might want to explain how the approach you are proposing will address an issue that has kept previous solutions from fixing the problem. The evidence you provide in this explanation might also serve to remind readers of why the problem is a real problem ... and so on.
Thinking about what readers will need to already know in order to understand the point you are making –– and whether you have in fact already provided that information –– will take you a long way in improving your organizational strategies.
Thursday, 8 Sept. 2022
We did not meet for class, and instead you had the entire class period to draft and submit your essays (in Canvas). Most people did in fact submit their essays, which is usually a good sign. I have been reading my way through them, but it usually takes me at least a week to complete the feedback process on a set of essays, so I will hold off on making any more general observations for now.
If you missed class on Tuesday, your “catch up” assignment is to summarize this document, then post a comment on the most recent Announcements post in Canvas listing the elements of a proposal argument and providing at least one quote from O’Malley’s essay that corresponds to each element (explain which part of a proposal essay you think each quote addresses!).
Weekend Roundup - EN 099 - Fall 2022 - Week 3
Tuesday, 08/30/2022
Students had the entire class period to complete their diagnostic essays. If you submitted an essay during the class period, and you had already turned in your plagiarism awareness form, then you got the point for doing the assignment.
A few people were feeling so unwell that they were unable to write their essays, even from home –– and I know this because I’ve heard from some of you.
I think the amount of time lots of people have spent working from home under quarantine during the past couple of years may have muddied the waters a bit, so let me very clear on this point:
Working from home is still working.
I am a strong proponent of encouraging people to stay home when they think they may have been exposed to something contagious (not just Covid; there are lots of other pathogens out there that won’t improve anybody’s day). Sometimes, if you are staying home “just to be safe,” you won’t actually feel all that bad, and in those cases, if you want to complete your work from your living room or your dorm room or whatever, I am happy to support you in doing that. HOWEVER, just because submitting your work from home is an option does not mean that you never get to take an actual sick day and actually rest, not because you are quarantined but because you feel bad.
That we as a society have collectively arrived at a point where this needs to be said is pretty discouraging ... but here we are.
If you missed submitting your essay last Tuesday, please do complete the assignment before you move ahead in our grammar lessons, as the point of the diagnostic essay is to get an idea of your writing before you begin the semester’s in-depth instruction.
Thursday, 09/01/2022
We reviewed some highlights from the diagnostic essays. Organization of ideas stood out as a particular strength for this group; problem areas, unsurprisingly, tended to cluster around the intricacies of English grammar, especially verb tenses and the finer points of descriptive modifiers.
We then discussed the “Success Strategies” study plan in your Waymaker/Canvas text, and put some strategies on the board for the group to consider. We connected this discussion to the concept of a “growth mindset” we introduced last Thursday; I pointed out that a consistently useful strategy for success is to recognize the importance of the little word yet, as in “I can’t do this task well ... YET.”
We walked through some practice exercises on distinguishing between definite and indefinite articles, based on context.
We concluded the class period by working with grammatical persons and point of view, using your own diagnostic essays as the basis for examining how a change in point of view can shift the emphasis of a paragraph.
You had a discussion post to complete over the weekend, as well as the quiz on your Canvas/Waymaker success strategies guide.
If you missed the diagnostic essay OR Thursday’s class, your job is to summarize this entire document and post your summary PLUS one piece of (good, not bad) advice for achieving success that you have received to the most recent Announcement in Canvas.
EN 112 - Weekend Roundup - Week 3
Tuesday, 08/30/2022
We led off with a discussion of common problems students face in reading for EN 112. Broadly speaking, I see most of these challenges fall into two main camps:
1) students apply the strategies they’d use to skim passages and answer comprehension questions on a timed test
Those strategies are good for getting the main idea of a short piece of writing quickly; by their nature, however, they aren’t very effective at developing a detailed understanding of the text at a sentence level, or at preparing you to dissect its argumentative structure.
2) students apply the strategies they’d use to read a history text before an exam
In this case, the strategies (typically some combination of underlining/highlighting, note-taking, and maybe reverse-outlining) are a bit closer to what you’ll need for EN 112 ... but if you are used to employing this kind of reading primarily to identify and remember key facts, then you are likely to end up looking the right way for the wrong thing, so to speak; in EN 112 we do of course care about facts (an argument that isn’t based on facts is going to have some serious flaws), but we are interested in them mainly in terms of how the writer puts those facts together on the page.
There are several schools of thought about how to teach students enhanced reading skills, but I’ve never found anything that works better than just telling people up front what we’re trying to do here. (I have a feeling the real reason this hasn’t caught on is that it’s hard to sell textbooks on the basis of, “Have you tried just ... telling your students what you’d like them to do?”) So:
1) you will need to get the gist of whatever you are reading, obviously, but you will also need to read for more than the gist in order to analyze any piece of writing effectively
and
2) any techniques you’ve learned for identifying and remembering key portions of a text can probably be adapted for EN 112, but you may experience something of a “learning curve” as you get a feel for the kind of details (often rhetorical cues, rather than names, dates, or statistics) we’ll be examining
So far as I know, there is no “magic formula” that will ensure you come up with the perfect understanding of every text, every time (for one thing, written materials are notoriously subject to interpretation, and even the person who wrote them often can’t remember exactly what they were thinking when they wrote a specific phrase) ... but the following list of questions should get you off to a good start.
Every question in this list can be applied to pretty much any text you encounter, and you’ll almost always need to be able to answer these questions in order to get a good analysis “off the ground,” so to speak. There are additional questions that only pertain to certain kinds of writing (”What is the plot?” would be a very weird question to ask about an instruction manual, for instance), but on Tuesday we focused on questions with broad applicability:
One reason I asked the class to read O’Malley’s piece, “More Testing, More Learning” before we began our discussion of reading strategies was so that we would all have a text the whole class had just read to which we could apply the questions for practice during our conversation. Accordingly, we took time to answer each question on the list for O’Malley as we went.
Before we wrapped for the day, I asked everybody to annotate their text for the following class period’s discussion in two ways:
1) by marking each time O’Malley changed point of view in the essay
and
2) by marking each piece of evidence he introduced and how he presented that information
Whew! Tuesday was a busy day! :)
Thursday, 09/01/2022
We led with a quick review of the semester so far and a very brief refresher on syllabus essentials. Somewhat disconcertingly for me, the most-missed item by far was ... my name.
(For the record: I am Dr. Carpenter.)
The backstory here is that I have gotten several emails lately asking me questions that were answered on the syllabus. I never mind getting the questions themselves. But the fact that people were asking the questions suggests that they hadn’t fully assimilated the information from the syllabus yet.
For some courses that probably wouldn’t matter very much –– but in a course like EN 112, which has you doing quite a lot of small assignments that all fit together to form larger projects, understanding the way the syllabus puts the course structure together for you can make a huge difference in your experience because it affects how much you feel like you’re lost or like you know what’s going on. Feeling “oriented” and sure of what we are working on at any given time is extremely helpful in keeping your overall stress levels down as we begin to pick up speed on some of our writing projects –– so I want to make sure that everybody has a firm grasp of the essentials ASAP.
Names in general turned out to be something of a theme in Thursday’s class, as we also spent substantial time discussing O’Malley’s handling of his sources. I want to underscore that we were interested not just in the content (the information he gleaned from his sources, and is using in the paper), but the textual integration of both quoted material and practices of attribution. His fourth and tenth paragraphs in particular give a good example of several related sources referenced back-to-back, and managed with enough dexterity that the information they contain feels like a natural part of the paragraph structure in each case, rather than some sort of “breaking news” alert.
It’s worth taking the time now to examine some of O’Malley’s techniques, because a research essay by its nature is going to have you handling multiple sources at once and needing to clearly indicate the transitions between your own ideas and those of other scholars as you go. This kind of interwoven commentary is very much a learned and learnable skill, but it requires significant practice, which for most people comes more easily after they have studied someone else’s example a few times.
The last thing we did on Thursday was to lay out the essential elements of a proposal essay.
A proposal essay:
identifies a problem
demonstrates that the problem is a real problem and the reader should care about the problem
proposes a solution to the problem
demonstrates that the proposed solution is functional and feasible
makes a case that the proposed solution is the best available solution to the problem
You have more flexibility with the last element than with any of the preceding ones; if you are missing any of those elements, then whatever you may have, it is not a complete proposal argument!
On Tuesday 09/06/2022, we will examine O’Malley’s essay once more, this time in the light of a proposal argument.
If you missed class on any day in Week 3, your catch-up assignment is to summarize this document and to leave BOTH your summary AND one question about managing sources in an academic essay as a comment on the most recent Announcements post in Canvas.
feeling a little feral over the fact that catullus is (probably) referencing the beginning of the odyssey in catullus 101 when he says he's traveled "through many peoples and across many seas", and how in the context of the odyssey odysseus is making this journey to get home from the war in troy (and the destruction he helped cause), whereas catullus is heading towards troy ("the joint tomb of europe and asia") to see his dead brother, and how they're almost like these two ships passing in the poetic ocean, one struggling away from death and one struggling towards it
Weekend Roundup: EN 112 | Weeks 1 & 2
Thursday, August 18th, 2022:
Syllabus Day - we went through the syllabus, and I tried to put faces on names.
Tuesday, August 23rd, 2022:
We explored both the course objectives and the grading strategy (for essays in particular) in greater detail.
Here’s a quick reference for thinking about the various letter grades and what they mean:
A: Above & Beyond; Superior B: Beyond Basic; Strong C: Competent; Satisfactory D or below: Don’t Quit; Some Work Needed
I put a few sample grading scenarios on the board and we practiced estimating the approximate grade range in each case (this basically helps you to have an idea of how I’m weighing the relative importance of all the elements that go into an essay so you know what you are shooting for; it also prepares you to understand what your grades mean when you get them).
We went on to discuss what plagiarism is and how to avoid it. We addressed the fact that avoiding plagiarism requires a different approach for unintentional plagiarism vs. intentional plagiarism, and we briefly considered the relationship between citation and attribution. Note: There is a link to review materials from this lesson in your 08/24 homework instructions; you can return to them if you need a refresher.
We introduced the concept of Standard American English: What the term means, how “standard” differs from other versions of English, what SAE is used for.
Thursday, August 25th, 2022:
We ran through a “syllabus self-check” (works like a quiz, except instead of taking up your papers I walk through the answers on the board and you mark the ones you missed so you know where to review). TL;DR –– most people could probably stand to review the syllabus.
We quickly recapped Tuesday’s class and clarified questions pertaining to attribution in particular.
We used one specific example of a difference between Standard American English and many other dialects –– the way SAE forms the second person plural pronoun –– as our entry point for a short but intensive grammar-and-style workshop on grammatical person and how we can use point of view to structure emphasis, suggest tone, and direct the reader’s attention in our writing.
As part of that lesson, I put this sentence (adapted from some of the standard language the English Department uses to describe learning outcomes) on the board:
College students should be able to compose focused, well-supported, organized and coherent essays.
We then rewrote the sentence in three ways, changing the grammatical person and thus the point of view:
I should be able to compose focused, well-supported, organized and coherent essays.
You should be able to compose focused, well-supported, organized and coherent essays.
We should be able to compose focused, well-supported, organized and coherent essays.
We discussed the differences in tone and emphasis among these options.
In order to help students see and remember the general tendencies of each point of view in shaping an essay’s emphasis, I drew a chart like this one on the board (but I drew this version at home with a ruler, so I hope it’s a little prettier than the one I drew in class!):
Many people have trouble at first understanding why I keep writing “no 1st person; adjust POV” on their essays, until they see this chart: Almost always, the focus of academic writing is (and should be) on the evidence the writer is presenting and the subject matter at hand. Very rarely is it about the writer’s personal experiences, and almost never (except for in the context of giving instructions) does it “call out” or directly address the reader. Academic writing is all about the pieces of information available and ways of putting those pieces together –– so it only makes sense to choose a point of view that puts the emphasis on the evidence!
The plan for Tuesday (08/30/2022) is to discuss Patrick O’Malley’s essay “More Testing, More Learning” –– it starts on page 246 in your SMG text.
IF YOU MISSED CLASS any day during Week 1 or Week 2, your job is to read this entire document carefully, review the syllabus, and then ask ONE question pertaining to our course as a comment on last week’s Announcement post in Canvas.
Weekend Roundup: EN 099, 08-26-2022
If you missed any classes in Week 1 or Week 2, here’s what you need to know to get caught up.
Thursday, 08/18/2022
This was Syllabus Day. We went over the syllabus (and that’s all we did, unless you count first week announcements and my attempts to learn everybody’s names ... that part is a work in progress LOL).
If you missed the first day of class, go read your syllabus. Send me any questions via email.
Tuesday, 08/23/2022
We reviewed some of the key points from our syllabus discussion (reminder: Canvas > Simple Syllabus) and walked through instructions for getting the activation codes for your Waymaker digital course materials. You can read the assignments without an activation code, but the first time you attempt to take one of the structured quizzes, Canvas will prompt you to enter your code –– so be ready!
We spent the majority of the class period discussing what plagiarism is and how to avoid it (you may remember that I already posted a homework assignment asking for your Plagiarism Awareness Forms; if you need reminders on avoiding plagiarism, you can find good links in the assignment instructions there).
Don’t forget: The Plagiarism Awareness Forms were due on Wednesday (08/24/2022). If you have not turned those in, remember that I have to have your completed, signed forms on file in Canvas before I can accept any of your work for a grade.
ALSO: If you follow the instructions and attempt to complete the assignment instead of skipping ahead, you will not need to email me saying you cannot find the form in Canvas. The form is in the list of materials the assignment asks you to review, and it is clearly labeled “Plagiarism Awareness Form” on the appropriate page –– so do the work, and you’ll find the form.
Don’t email me asking what to do if you did not turn in the Plagiarism Awareness Form by Wednesday. What to do if you are late turning in an assignment is explained in your syllabus under “Late Work” –– if you need to ask me what to do, then you need to review the syllabus (if you review the syllabus and don’t understand the policy, THEN you can email me!).
Thursday, 08/25/2022
We went through a “syllabus self-check” exercise to see how much we remembered about course policies and basic course information. Several people joined us during drop/add, so for the people who added just Wednesday then much of the syllabus information was actually new.
You can’t remember what you don’t know, and I have seen a lot of drop/add over the years, so I will share this tip: If you add a course or change sections/instructors a few days into the semester, check right away to see if the instructor has made the syllabus available in Canvas. If they have, then the syllabus itself often provides you with a shortcut to getting caught up in the class AND gives you a much better idea of what to ask if and when you need to talk with the instructor about the work/notes you missed before you added the class.
We reviewed some basic policies (for instance, when you SHOULD skip class), and I was happy to see that somebody actually got my office hours right on the first try (for whatever reason, this is one of the most-missed questions on a syllabus self-check). Basically, however, most people seemed to be missing at least one of the self-check questions –– which just means that pretty much everybody needs to review the syllabus a couple of times. That may seem like a lot of work now, but getting familiar with the syllabus early in the semester helps you to feel grounded and confident as you move through the course. It’s worth a little work!
After our syllabus review, we briefly recapped Tuesday’s lesson on avoiding plagiarism. We discussed how intentional plagiarism happens and then took a look at how unintentional plagiarism happens, and we talked in more detail about how to avoid unintentional plagiarism in particular. Big picture: If you aren’t sure whether you need a citation or you aren’t sure how to format your citation, assume you probably need to give credit and explain in your sentence where the idea or information came from.
Early in the semester I always try to walk students through a lesson on academic titles and what they mean, mainly because nobody ever explained them to me and I spent a lot of time feeling very confused about them as a result (Google was still finding its feet when I was an undergrad). We discussed the concept of titles based on institutional rank (for instance, “Associate Professor”) vs. titles based on degree and type of academic qualification (for instance, Doctor of Education or Doctor of Philosophy). We also considered some elements you can look for when you are meeting a new professor so that you can know right away what to call them (this might save you some stress!).
After all of THAT, we discussed the first three links in your Week 2 module, focusing especially on the significance of a “growth mindset.” I told you to finish reading the rest of the links in that module and to be ready for an ONLINE diagnostic essay on Tuesday* (it is a timed activity, and you need to complete it during the same time frame as our regular class meeting, but you are free to complete it at home/in the library/wherever is comfortable for you).
FOR THURSDAY 09/01/2022: Read just the “Study Plan” link in your Week 3 module in Canvas.
IF YOU MISSED ANY DAY IN WEEK 1 OR WEEK 2:
Your catch-up activity (see “Course-Specific Attendance...” in your syllabus) is to summarize this whole document AND to tell me one food you can’t get on campus that you miss (for me it’s “Singapore noodles,” even though I’ve never eaten them in Singapore!).
*You should see your diagnostic essay ASSIGNMENT show up in Canvas sometime late Monday; you won’t be able to open it and read the prompt until close to class time on TUESDAY, because the whole point of this activity is to get the clearest possible picture of what your on-the-moment writing looks like NOW, at the beginning of the semester, when you are handed a topic and asked to sit down and write about it without preparation or assistance. This also means that you should work on your own. You are welcome to use a dictionary, if you wish to do so, but don’t work with a classmate (or other friend/colleague) for this assignment: For one thing, we just covered plagiarism, so I don’t want to see a bunch of sentences from different students that look way too much alike, and for another, I am trying to get a good understanding of what each individual student’s writing looks like before we begin work –– collaboration in this case would confuse the data.
Final Literary Analysis Essay: Thesis Statement & Introduction
Like most essays, this one starts with picking a general topic and then formulating a thesis statement. Your thesis statement will probably change somewhat as you work; that’s normal. But you can’t really get an essay off the ground until you have SOME kind of framework, and the first draft of your thesis statement gives you that.
YOUR THESIS STATEMENT
makes a claim
about a text we’ve read this semester
Ideally, this claim should be something mildly surprising –– I said surprising, not startling or bizarre –– that is, it should suggest an interpretation of a major character or an important scene or a key phrase that readers might not previously have considered (in other words, it isn’t something immediately obvious), but that is grounded in the text and can be supported by, or contrasted with, existing scholarly commentary.
YOUR INTRODUCTION
gives readers the context they need in order to receive your thesis statement as provocative/interesting/plausible-but-not-proven, instead of as the academic equivalent of some random one-off Tweet.
So far as I’m aware, there is no “magic formula” for the perfect introduction. However, there are a few general guidelines that seem to make achieving a decent one a little easier.
CHOOSE YOUR ADVENTURE:
[Start by identifying the text(s) under examination. It follows that this means you do not start with the phrase “Since the dawn of time,” or any variation thereof. Start. With. The. Text.]
>> OR <<
[Start by identifying the type of text (e.g., “Greek epic”; “Chinese lyric poem”), and work your way into the specific text you intend to examine.]
IF YOU ARE STUCK between these two options, I recommend the first one: It’s harder to screw up.
SET OUT ON THE TRAIL:
Follow your opener up with a short paragraph (maybe 4-6 sentences) of useful background information. There is almost always going to be more historical/cultural/contextual information on any given text than you could possibly use, or would logically need, at the outset of your essay; you pick and choose here, based on which pieces of information seem most likely to help readers understand your thesis when they reach it.
OBLIGATORY MID-QUEST DETOUR THAT IS ACTUALLY ESSENTIAL TO THE PLOT:
Add a paragraph giving a brief overview of the scholarly consensus and/or major scholarly disputes on the text at hand. At this point you very likely want to start “narrowing in” and focusing not on general ideas academics have tossed out about, say, The Táin bó Cualigne, but on the subset of scholarly discussions that you know (even though your readers will not know this yet) have something to do with what you have to say about the text.
ACTION BUILDS TOWARD A THRILLING REVELATION:
Your third paragraph can then begin building toward your thesis statement, i.e., the claim that you specifically want to make. If you have made your selections in paragraphs #1 and #2 well, then it can do this fairly easily by explaining how the cultural/historical/genre background in #1 informs a reading that complements/differs from/expands on the stuff other people have already been saying in #2. Your thesis statement is the mic drop.
(But this is just a set change, because you are about to come back on stage and deliver the body of your essay, which will explain why your ~~~micdrop~~~ thesis statement is so dang insightful.)
(P.S. At no point in your essay should you tell us “and my thesis statement is dang insightful.” Don’t tell us “my thesis statement is…” anything. Just give us the information that makes your thesis statement work as an interpretation of the text you’ve selected.)
BONUS:
Here is the text of an abstract (same basic concept as an essay introduction) I had accepted to a conference a few years ago. You’ll notice there is no “Works Cited” attached here –– that’s because conference organizers requested the abstract and the list of sources as two separate (but both required) documents (this is very common for conference submissions, but almost never applies to term papers; these are genre conventions pertaining to distinct, but closely related, contexts of academic writing). FYI: The references page included 20 sources, which was the maximum set by the conference organizers (it’s different for every conference).
Anyway, here’s the text:
While in the field of literature the word “epic” has traditionally referred to longform poetry recounting the feats of gods and heroes, in popular and more recent usage the term has come to signify any tale of heroic feats drawn to large scale. The “larger-than-life” exploits of superheroes in the Marvel and other comics-based universes offer particularly apt examples, with characters whose grandiosity surpasses Achilles and whose improbability rivals Cúchulainn, and with adventures that span not just the known world, but whole galaxies. It is curious, therefore, that many of the fan works that play with(in) these universes reduce the scale: they focus on the intimate personal dramas of life in the Avengers compound, or imagine the petty challenges of court politics on Asgard. They chart out the intimate cartography of epic space.
A robust body of scholarship - including work by Henry Jenkins, Constance Penley, and Francesca Coppa, among many others - has already established that fan fiction, as a form of textual engagement practiced largely by women, tends to prioritize the domestic and personal over the public and professional, particularly in male/male friendships. Scholars have debated whether this emphasis reflects a feminist subversion of mainstream texts or, on the contrary, reinforces patriarchal norms for women’s literature. Such a dichotomy elides the implied context in which fan fiction is meant to be read: as a literal co-text that complements the canon and enriches its possible meanings.
By closely reading key fan texts in conjunction with the MCU canon, I demonstrate that each iteration of these smaller-scale stories works in an implicit conversation with the canon, to go “behind the scenes” and fill in ellipses, to explicate the emotional and developmental backgrounds and consequences of important events in the canonical narrative. Such works are intended neither to replace nor expand, but to make more sense of, a canon sketched in the open form of constellations, bringing stark figures to robust and often poignant life. In crosshatching details of intimate conversation and quotidian domesticity between and underneath the canon’s lines, the fan texts create an oscillation: canonical events on an epic scale, human effects rendered minutely. From a distance, grandiosity, heroism, wars won and lost; at close range, humanity, tragedy, comfort and redemption.
Primary vs. Secondary Sources/Texts/Materials
I mentioned the distinction briefly in a previous post, but this “primary AND secondary” business shows up in all sorts of places, usually just as some academic jargon the journal editors/event organizers/course profs assume you will know. However, nobody is BORN knowing this sort of thing (I promise); we all have to learn at some point.
Might as well be today.
^ okay that might be overly dramatic. It may feel like the entire ship is on fire, but so far discussing primary vs. secondary materials has never resulted in a high casualty rate.
There’s some dispute over whether you need to distinguish between primary text vs primary source or primary material depending on the kind of thing you are looking at, but basically the rule of thumb is that these are all ways of referring to EITHER a firsthand account (of an event) OR an EXAMPLE OF whatever thing you are examining (my dissertation, for example, analyzed Tumblr discourse, so my “primary” materials were Tumblr posts; if I had conducted interviews with Tumblr users, I’d probably have referred to those folks as primary sources, because I have a hunch that most people would find being referred to as “materials” kinda rude).
This one’s easy: A secondary source/text/whatever is everything else –– all the other “stuff” you might use in drafting your document. “Everything else” obviously covers a lot of ground, but in practice way most items in this category are some form of expert commentary: a book, a journal article, the editors’ notes in your Norton textbooks.
Don’t platform-drop quoted material on your readers mid-paragraph. Make use of handy tools like quotation marks and signal phrases to indicate what’s happening, and keep the quoted material within the logic-structure of your own sentence (or, working the other way around, build your sentence so that it incorporates the quoted material instead of being chopped to pieces by it).
You want the quotes to belong in the train of thought you are establishing, not interrupt it.
Writing About Writing: Tips for Student Essays
I notice that college writing classes/textbooks often present “integrating sources” as a distinct unit –– as if that constitutes a skill set separate from organizing paragraphs.
Realistically, however, “integrating” means that the way you put your sources on the page is going to develop in interaction with the way you choose your evidence (much of which, in academic essays, will come from some source other than your own head) and how you present that evidence over a series of paragraphs which, ideally, are themselves structured by their shared relation to a thesis your essay is proving.
Here’s a post on how to write an effective body paragraph.
Here are some additional tips more specifically organized around using textual evidence in a literary essay:
For a literary analysis, you want to keep your claims, and your evidence, pretty tightly focused on the specific primary text(s) you are examining. It’s fine to provide historical context to support your interpretation of a key line, for example, but you don’t want to wander into discussing the whole of ancient Mesopotamian literature or all of the other books of the Hebrew Old Testament or the entire category of Irish folklore.
Those “rabbit trails” are incredibly tempting precisely because they do raise interesting questions of real value, and there absolutely are occasions when it’s appropriate to pursue them –– but you if you try to follow all of them in a literary analysis, then your essay ends up having a lot of underdeveloped ideas that might be interesting, instead of making the case for one key claim and following it through.
As a friend of mine likes to say:
“Never try to half-ass two things. Whole-ass one thing, instead.”
When the evidence you are using comes from a piece of writing (and even when you are setting up claims about a piece of writing), you want to structure your sentences in the present, not the past, tense:
“Medb’s bloodthirstiness is evident on page ...”
“In Book I of The Iliad, Achilles repeatedly insults Agamemnon. For example, on line ....”
Tl;dr –– most evidence in a Lit class is going to come in the form of quotes from your primary texts. Most background information that readers might need in order to follow your argument in a World Literature pre-1650 class is probably going to need a citation (that’s obviously true for the historical/anthropological information we apply in interpreting “older” texts, but it’s also true for lots of other areas of knowledge you might reasonably bring to bear here, like philosophy or psychology or, idk, some form of market theory that’s popular with economists.
PRIMARY vs. SECONDARY sources/texts:
Body Paragraphs in Academic Essays:
Imaginary Thesis Statement:
The Empire must immediately transition to conscripted labor in order to ensure timely completion of the Endor Death Star Project.
Body paragraphs in academic essays start with a statement in support of the essay’s thesis, which has generally been presented near the end of the introduction.
Traditionally, this “statement in support of the thesis” is called a “topic sentence,” and it serves the dual function of both presenting a new point for consideration and controlling what the rest of the paragraph will address (if a piece of information does not clearly relate to this first sentence, then it may be a perfectly good piece of information, but it does not belong in this paragraph).
Sometimes this sentence does double-duty by also introducing a study/article you wish to discuss.
Ex: Researchers at the University of Coruscant recently concluded that labor disputes may have delayed completion of the Death Star project by as much as 18 years.
Body paragraphs in academic essays include, at a minimum, sentences that explain
a) how we know [x = y]
AND
b) why it matters [that x = y]
Ex: The multi-author study, published last month in Corellian Labor Theory, confirmed that they had found “an average of 15 labor-related delays per year of project construction” with “more than 70 percent” of these delays taking place “outside of normal contract negotiations” (Solo et al 65, 68).
^The example shows a series of “key quotes,” placed so that they function as part of the sentence structure (not platform-dropped mid-essay). The “topic sentence” presents evidence in support of a thesis that presumably has something to do with overhauling labor laws in the Galactic Empire. The “how we know” sentence provides three data points showing how we know that researchers have concluded [...] by sharing more details from their study.
Ex. This latter point suggests that simply improving the contract negotiation process would not have been sufficient to avoid labor-related construction delays.
^ The example shows what this information about how labor disputes during Death Star construction arose has to do with the essay’s thesis (which, again, we are imagining argues in favor of conscription Wookiees ... and yes, I am showing off my SW trivia chops LOL).
oh yeah have i ever told yall of the academic war i have been an unwilling soilder in for the past two years
okay SO. i have two professors that both teach this one subject, but different classes. they have different last names, so i didnt know this at first and espically since they are academic RIVELS at my school, but they are MARRIED. but for the past 8 years they have been in an academic WAR of geospatical sciences data. more accurately, the raster vs vector data debate. i am personally on the side of "both have their pros and cons and can be utalizied to the utmost efficency" but both professors are like, DEADLOCKED in insistanting one is better then the other
so, professor A is my mentor. i like him a lot, and he was the main person that taught me the most abotu Eris and ArcGIS. professor B is a professor i had one for class, and shes nice and knows a lot of little tricks about Eris programming but mostly relies on arcMAP because shes the raster data professor.
and THESE MOTHERFUCKERS. have written no less then 30 papers that is basically like a "re: re: re: re: re: re: vector data is better then raster fuck you" but like, Professionally. and they leave stupid notes in the footnotes that read "Reguardless of Professor A's opinions reguarding the efficency of Vector data, Raster data has a more efficant polygon computing rate and is the most commonly used program on interplantaring mapping" and its HILARIOUS
ive read all of their papers, and its basically like reading an email chain between a married couple arguing over the colors of the kitchen backsplash for their new home. its HILARIOUS. but obviously, because of their differnet last names and because they act like they HATE each other, NOT VERY MANY PEOPLE REALIZES THEYRE MARRIED
until like LAST WEEK
professor B publishes a paper that casually drops the word "husband"
and obviously all the students are like "oh i didnt know u were married!" because we read that shit like how white suburban mothers read People Magazine
and shes like "yeah, its Professor A"
and we all FLIPPED. THE FUCK. OUT
we thought the framed picture of the two of them on professor A's desk was ironic because hes that type of guy
like, you gotta undestand. these two have gotten into YELLING matches in hallways. these two refuse to go onto trips with each other. but apparently they have a system where they quite LITERALLY leave all of their work at work and drive home in seperate cars and literally NEVER mention work at home. it is SO funny
Okay these people are probably not LITERALLY in the department that has its office down the hall, but ... otoh ...