My research came from 3 primary sources. Michael Pollan’s book, “The Omnivore’s Dilemma”, has exhaustive research on the corn industry in the US, and how farm and food policy in this country has shaped some facets of our economy. I also found an overview of a great study by geoengineering professor Tad Patzek, of UC Berkeley. In his study, he examined the efficiency (and lack thereof) of the corn-based, ethanol production process. In general terms, he concluded that much more energy goes into producing ethanol than is gained as an end result. Finally, I found a good article by Robert McIntyre in the The Futurist Magazine. McIntyre discusses, at length, the pros and cons of algae-based biofuels, as well as how much more work needs to be done in that area before we have a valid source of renewable energy in this country.
Preparation Outline
Speech topic: Alternative fuel possibilities in the US.
Speech purpose: To inform about impending world-wide oil shortage, and to discuss some potential renewable energy sources.
I. Introduction: World is heavily dependent on fossil fuels. Unfortunately, research shows that fossil fuels are in limited supply. We need to find other sources of energy.
A. Biofuels – fuels derived from plants.
B. Have had limited success with biofuels thus far – US energy policy needs to progress biofuel research.
II Body:
A. ‘Peak Oil’.
a. Peak oil is point at which maximal oil extraction is achieved. Some disagreement as to when this did/will happen, but most believe we are in “age” of ‘peak oil’.
1. Dwindling oil supplies – imperative to find new sources of energy.
B. Corn-based ethanol. First major foray into large-scale biofuel production.
a. Used as an additive to gasoline. Goal of ethanol production is to prolong existing oil supplies.
1. Many drawbacks to ethanol production.
C. Corn-based ethanol production is very inefficient.
a. Geoengineering professor Tad Patzek’s recent study illustrates many inefficiencies in process, from being a net-consumer of energy, to being highly dependent on subsidies.
1. Corn-based fuel is not a viable alternative to petroleum fuels.
D. More promising alternatives on the horizon – Algae-based biofuel.
a. More productive than land-based crops, with fewer of the drawbacks of corn-based ethanol. Government shifting focus from corn to algae.
1. Long ways from being a legitimate energy source.
III. Conclusion:
The race is on to find alternative, renewable source of energy. Most experts agree that our oil reserves are slowly drying up. Corn-based fuel is a step in the right direction, but clearly not a good enough method. We need to shift focus to more promising prospects, and that prospect may be “oilgae.” Lowly green algae may lead the way to a cleaner, greener, more sustainable planet.
Wednesday, August 5, 2009
Thursday, July 30, 2009
Real World Parallelism Example
I found a pamphlet from the Whole Foods grocery chain, which proclaims many of the benefits of buying organic foods. The piece of parallelism reads as follows:
When you buy organic, you…
Help support future needs of generations to come…
Help protect water resources…
Help save energy…
Help protect our health…
Each “Help” line goes on to explain in a little more detail. I think that, technically, this is a fine example of parallelism, but I feel that it could be written in a more succinct manner. I would write it as follows:
Buying organic allows you to help:
Support the needs of future generations…
Protect water resources…
Save energy…
Protect our health…
Although I feel my version reads a little better, I understand why Whole Foods chose to write it the way they did. The emphasis, in this case, is to make the consumer feel, beyond a doubt, that by purchasing organic foods they’re helping. Helping themselves, helping the farmer, and helping the environment. My version loses a little of the emotional appeal that the original copy generates, and therefore, probably makes for less effective advertising!
When you buy organic, you…
Help support future needs of generations to come…
Help protect water resources…
Help save energy…
Help protect our health…
Each “Help” line goes on to explain in a little more detail. I think that, technically, this is a fine example of parallelism, but I feel that it could be written in a more succinct manner. I would write it as follows:
Buying organic allows you to help:
Support the needs of future generations…
Protect water resources…
Save energy…
Protect our health…
Although I feel my version reads a little better, I understand why Whole Foods chose to write it the way they did. The emphasis, in this case, is to make the consumer feel, beyond a doubt, that by purchasing organic foods they’re helping. Helping themselves, helping the farmer, and helping the environment. My version loses a little of the emotional appeal that the original copy generates, and therefore, probably makes for less effective advertising!
Parallelism - Real World Examples
In the Fort Douglas example, it seems that parallelism was averted because of the sheer quantity of information that the author wishes to convey. By not adhering to strict rules of writing and parallelism, the author is able to expand the breadth of his bullet points to discuss everything from who will be living in the housing, to why, when, and for whom the housing was originally built. It is, after all, an advertisement, and as such the author needs to cram as much enticing information into the available space as possible. Therefore, standard writing rules are thrown to the wind in favor of packing lots of info into a small space.
In example 2, a similar thing seems to be happening. It’s hard to know if this is a result of intentional disregard for ‘good writing’ or an honest mistake, but the clear point of this ad is to communicate the 9 bullet points offered. The fact that they are disjointed and poorly written is of little concern, apparently. The primary goal is to create something that, when read by an interested party, will result in the reader remembering something of interest from the advertisement. How it is compose is irrelevant; what’s important is that a reader responds positively to one or more of the points listed, or is influenced enough to remember a phone number or website.
In example 2, a similar thing seems to be happening. It’s hard to know if this is a result of intentional disregard for ‘good writing’ or an honest mistake, but the clear point of this ad is to communicate the 9 bullet points offered. The fact that they are disjointed and poorly written is of little concern, apparently. The primary goal is to create something that, when read by an interested party, will result in the reader remembering something of interest from the advertisement. How it is compose is irrelevant; what’s important is that a reader responds positively to one or more of the points listed, or is influenced enough to remember a phone number or website.
Wednesday, July 15, 2009
Summary of The Craft of Research
1.) Chapter 7 provides valuable insight into effective methods for structuring arguments within academic writing. Although many people realize the importance of strong arguments, and well-structured writing, in academic research, I think few are cognizant of the fact that such arguments should follow a rather straightforward outline.
The 5 steps of writing a strong argument are as follows (taken from The Craft of Research):
1. State a claim
2. Support the claim(s) with reasons.
3. Support reasons with evidence.
4. Acknowledge alternatives/complications/objections, and respond.
5. State principle that make reasons relevant to claims.
Once a writer has gathered the necessary research and organized the thought behind an argument, it should be relatively straight-forward to use this framework to construct an effective argument.
2.) Interesting points are made in Chapter 13 regarding drafting. Essentially, the book encourages writers to tailor their specific preparation for drafting a piece to their individual style of writing. Writers who write freely and with some sense of abandon are encouraged to place less emphasis on a draft outline. They are instructed to, more-or-less, write their drafts in a “flow of conscious” style, and then spend time on revising, omitting, and editing their work later.
On the other hand, writers who are more deliberate in their composition and like to take the time to complete sentences, write reasonably well, insert quotations, and complete their train of thought in rough drafts, are encouraged to work off a reasonably detailed outline or storyboard. This is because this style of writing takes significantly more time, and thought, than to simply spill words on a page, and there is a higher likelihood of forgetting key concepts, quotations, or general direction of the paper.
3.) Later in the book, the authors discuss the importance of well-crafted introductions and conclusions in nearly all types of writing. What I find interesting about this chapter, and the book in general, is the way that nearly all parts of effective writing is broken down into a simple step-by-step process. I feel that few writers have concrete methods for creating good writing, but this book offers relatively simplistic formulas and strategies for ensuring good writing.
The chapter on introductions and conclusions is a good example. A good intro, this chapter explains, is as simple as a 3-step process. First, a writer must establish some common ground with the reader. That is, the writer must ensure that the reader enjoys an understanding of the context of the argument to be presented. Next, the author must present the problem to be discussed. Finally, the writer must present an overview of his response (the argument) to the problem. Conclusions are similar, although the author must start with the main point of the writing, and then provide some new evidence that was not presented in the introduction. Both the first and last sentences of a conclusion are particularly important; the first give the writer a chance to present a particularly good point or quotation, while the last affords an opportunity for some creativity to end on a memorable note.
I will take several points from The Craft of Research, and apply them to my writing. All of the clear-cut examples of how to frame proficient composition will take much of the guess-work out of my writing. I hope!
Good writing, for me, has always been a sort of hit-or-miss operation. Generally, by the time I’m done composing a piece I can tell if it is of any quality. However, it’s often hard for me to know what makes it good, or at other times what, specifically, is missing from writing to keep it from being as effective as possible. I feel that the guidelines proffered in this book will be of great help to me in the future.
The 5 steps of writing a strong argument are as follows (taken from The Craft of Research):
1. State a claim
2. Support the claim(s) with reasons.
3. Support reasons with evidence.
4. Acknowledge alternatives/complications/objections, and respond.
5. State principle that make reasons relevant to claims.
Once a writer has gathered the necessary research and organized the thought behind an argument, it should be relatively straight-forward to use this framework to construct an effective argument.
2.) Interesting points are made in Chapter 13 regarding drafting. Essentially, the book encourages writers to tailor their specific preparation for drafting a piece to their individual style of writing. Writers who write freely and with some sense of abandon are encouraged to place less emphasis on a draft outline. They are instructed to, more-or-less, write their drafts in a “flow of conscious” style, and then spend time on revising, omitting, and editing their work later.
On the other hand, writers who are more deliberate in their composition and like to take the time to complete sentences, write reasonably well, insert quotations, and complete their train of thought in rough drafts, are encouraged to work off a reasonably detailed outline or storyboard. This is because this style of writing takes significantly more time, and thought, than to simply spill words on a page, and there is a higher likelihood of forgetting key concepts, quotations, or general direction of the paper.
3.) Later in the book, the authors discuss the importance of well-crafted introductions and conclusions in nearly all types of writing. What I find interesting about this chapter, and the book in general, is the way that nearly all parts of effective writing is broken down into a simple step-by-step process. I feel that few writers have concrete methods for creating good writing, but this book offers relatively simplistic formulas and strategies for ensuring good writing.
The chapter on introductions and conclusions is a good example. A good intro, this chapter explains, is as simple as a 3-step process. First, a writer must establish some common ground with the reader. That is, the writer must ensure that the reader enjoys an understanding of the context of the argument to be presented. Next, the author must present the problem to be discussed. Finally, the writer must present an overview of his response (the argument) to the problem. Conclusions are similar, although the author must start with the main point of the writing, and then provide some new evidence that was not presented in the introduction. Both the first and last sentences of a conclusion are particularly important; the first give the writer a chance to present a particularly good point or quotation, while the last affords an opportunity for some creativity to end on a memorable note.
I will take several points from The Craft of Research, and apply them to my writing. All of the clear-cut examples of how to frame proficient composition will take much of the guess-work out of my writing. I hope!
Good writing, for me, has always been a sort of hit-or-miss operation. Generally, by the time I’m done composing a piece I can tell if it is of any quality. However, it’s often hard for me to know what makes it good, or at other times what, specifically, is missing from writing to keep it from being as effective as possible. I feel that the guidelines proffered in this book will be of great help to me in the future.
Thursday, July 2, 2009
Summary of "Integrating Sources"
1.1: This section describes the importance of three principles surrounding the use of sources in writing. The first principle discussed urges the writer to condense the source and information provided, and use quotes or summaries of others’ work sparingly. The author urges the use of sources only as a compliment to a writer’s own ideas, not as a focal point of an argument. It is also made clear that any paraphrasing or summarizing of sources be done in a distinctly original manner, as to avoid plagiarism.
The second principle of this section talks about the importance of clearly stating who is doing the talking in your writing: the writer or the source. The third principle stresses the necessity of clearly stating why a source is an important addition to your argument.
1.2: This section discusses how to properly insert and announce quotations in writing. Quotes should be kept to the minimal length necessary so as not to dominate a person’s original ideas; should be inserted into sentences in such a way as to fit smoothly into the flow of writing; and, quotes should be introduced with carefully chosen “announcing verbs”, as the reader should be left with no doubt as to from whom the quote is produced. This section also has a list of “technical rules” for quoting, dealing mostly with the proper punctuation surrounding, and within, quotes.
1.3: In this section, quoting longer pieces of text is discussed. There are unique rules for quoting longer passages, such as indenting and single spacing the quotes, and it is important to both have sufficient lead-in sentences prior to the quote and a good summary following the passage.
1.4: This section, titled “Discursive Notes”, discusses the role of this technique in academic writing. Discursive notes can be used to add some personal insight (though not necessarily documented) to an argument, to suggest additional source of information on a topic, or to expand, in a tangential manner, on a topic. The author notes that discursive notes, for most writing applications, should be used sparingly.
2.1 This section talks about when to cite a source. Essentially, anytime a writer’s ideas or text are derived from another’s work, it should be cited. Everything from quoting verbatim (quite obviously) to the less obvious use of something a writer just briefly mentions in passing
(but attributable to another’s work) should be cited.
2.2 “When not to Cite”. Common knowledge and phrases from everyday speech are a few examples of times not to cite a source. Also, there is no need to re-cite a source if you have immediately previously cited it, and it’s obvious that your are still alluding to the same bit of information.
2.3 “Methods of Citing.” This section covers myriad options for the most appropriate way to cite varying types of sources. Furthermore, this section explains, in detail, the most appropriate way to cite.
2.4 In “Acknowledging Uncited Sources,” the author discusses the most appropriate ways to recognize information you may have gleaned from someone else, but did not include in your list of references. This information may come from informal conversations or from a newspaper you read years ago; regardless, the author suggests acknowledge these sources in an endnote or footnote.
3.1 Section 3.1 discusses plagiarism, and the various ways that writers commit plagiarism. The author lays out, in fine detail, many examples of plagiarism, as well as the most common methods that students use to plagiarize. Most plagiarism is committed from laziness and/or ignorance of the rules surrounding proper academic writing. The author makes it clear that plagiarism is ubiquitous in collegiate writing, and special care must be taken to insure avoidance of this lapse in correct writing form.
3.2 This section discuses the “Misuse of Sources.” Some of the topics covered are misrepresenting sources, collusion amongst students on academic assignments, “abetting plagiarism,” and submitting the same or similar work for multiple classes. All, in at least some forms, are considered cheating and should be avoided.
3.3 Electronic sources are discussed in this section. In the last decade or two the rise of the internet has greatly increased our access to information, and often times this information is misused for academic research. Students will often pull information from electronic sources without properly citing it. It is also easy now, with the aid of the internet, to search for specific quotes or arguments. With that ability, students can find specific quotes that fit nicely into their arguments even though the greater content of the source may not be appropriate. Misrepresenting a source is a common violation of electronic sources.
3.4 This section talks about the disciplinary action likely to be taken if a student is found to be cheating on research. In general terms, we learn about some of the consequences of plagiarism.
3.5 This section discusses many ways in which the student can avoid high risk/potential plagiarism situations. The student should not rely too heavily on a single source, nor should the student use secondary sources unless needed. The student should be careful when taking notes; they should carefully distinguish their own voice from the sources. Perhaps most importantly, the student should plan plenty of time for a written assignment to avoid panicky situations in which plagiarism becomes more likely.
4.1 Section 4.1 talks about the appropriate ways to place citations into text. There are many different methods, which are each specific to different forms of writing.
4.2 This is a long, and very detailed, section that discusses the listing of references. Every potential type of reference is mentioned, and comprehensive examples are given, including examples for each significant style of referencing (MLA, APA, CMS, etc.)
The second principle of this section talks about the importance of clearly stating who is doing the talking in your writing: the writer or the source. The third principle stresses the necessity of clearly stating why a source is an important addition to your argument.
1.2: This section discusses how to properly insert and announce quotations in writing. Quotes should be kept to the minimal length necessary so as not to dominate a person’s original ideas; should be inserted into sentences in such a way as to fit smoothly into the flow of writing; and, quotes should be introduced with carefully chosen “announcing verbs”, as the reader should be left with no doubt as to from whom the quote is produced. This section also has a list of “technical rules” for quoting, dealing mostly with the proper punctuation surrounding, and within, quotes.
1.3: In this section, quoting longer pieces of text is discussed. There are unique rules for quoting longer passages, such as indenting and single spacing the quotes, and it is important to both have sufficient lead-in sentences prior to the quote and a good summary following the passage.
1.4: This section, titled “Discursive Notes”, discusses the role of this technique in academic writing. Discursive notes can be used to add some personal insight (though not necessarily documented) to an argument, to suggest additional source of information on a topic, or to expand, in a tangential manner, on a topic. The author notes that discursive notes, for most writing applications, should be used sparingly.
2.1 This section talks about when to cite a source. Essentially, anytime a writer’s ideas or text are derived from another’s work, it should be cited. Everything from quoting verbatim (quite obviously) to the less obvious use of something a writer just briefly mentions in passing
(but attributable to another’s work) should be cited.
2.2 “When not to Cite”. Common knowledge and phrases from everyday speech are a few examples of times not to cite a source. Also, there is no need to re-cite a source if you have immediately previously cited it, and it’s obvious that your are still alluding to the same bit of information.
2.3 “Methods of Citing.” This section covers myriad options for the most appropriate way to cite varying types of sources. Furthermore, this section explains, in detail, the most appropriate way to cite.
2.4 In “Acknowledging Uncited Sources,” the author discusses the most appropriate ways to recognize information you may have gleaned from someone else, but did not include in your list of references. This information may come from informal conversations or from a newspaper you read years ago; regardless, the author suggests acknowledge these sources in an endnote or footnote.
3.1 Section 3.1 discusses plagiarism, and the various ways that writers commit plagiarism. The author lays out, in fine detail, many examples of plagiarism, as well as the most common methods that students use to plagiarize. Most plagiarism is committed from laziness and/or ignorance of the rules surrounding proper academic writing. The author makes it clear that plagiarism is ubiquitous in collegiate writing, and special care must be taken to insure avoidance of this lapse in correct writing form.
3.2 This section discuses the “Misuse of Sources.” Some of the topics covered are misrepresenting sources, collusion amongst students on academic assignments, “abetting plagiarism,” and submitting the same or similar work for multiple classes. All, in at least some forms, are considered cheating and should be avoided.
3.3 Electronic sources are discussed in this section. In the last decade or two the rise of the internet has greatly increased our access to information, and often times this information is misused for academic research. Students will often pull information from electronic sources without properly citing it. It is also easy now, with the aid of the internet, to search for specific quotes or arguments. With that ability, students can find specific quotes that fit nicely into their arguments even though the greater content of the source may not be appropriate. Misrepresenting a source is a common violation of electronic sources.
3.4 This section talks about the disciplinary action likely to be taken if a student is found to be cheating on research. In general terms, we learn about some of the consequences of plagiarism.
3.5 This section discusses many ways in which the student can avoid high risk/potential plagiarism situations. The student should not rely too heavily on a single source, nor should the student use secondary sources unless needed. The student should be careful when taking notes; they should carefully distinguish their own voice from the sources. Perhaps most importantly, the student should plan plenty of time for a written assignment to avoid panicky situations in which plagiarism becomes more likely.
4.1 Section 4.1 talks about the appropriate ways to place citations into text. There are many different methods, which are each specific to different forms of writing.
4.2 This is a long, and very detailed, section that discusses the listing of references. Every potential type of reference is mentioned, and comprehensive examples are given, including examples for each significant style of referencing (MLA, APA, CMS, etc.)
Thursday, June 25, 2009
Summary of "They Say, I Say"
Chapter 1:
Chapter 1 emphasizes the point that academic writing is largely argumentative writing. Furthermore, to write as well as possible it is imperative that the writer not only acknowledge the other side of the debate, but make it a prominent element of what’s being written.
The argument—and what you are writing—needs to be framed in the greater context of the “conversation”. Therefore, the opposite point of view of the author’s must be presented early in the writing and regularly touched upon throughout the piece. On page 25 the authors express the importance of framing your argument. “After summarizing the ideas you are responding to at the outset, it’s very important to continue to keeps those ideas in view. Readers won’t be able to follow your unfolding response, much less any complications you may offer, unless you keep reminding them what claims you are responding to”.
Chapter 2:
Chapter 2 talks about the next logical step in the writing process after acknowledging the arguments that you are responding to: summarizing those arguments. In order to give weight to your argument, it is essential to do a good job at accurately and fully summarizing the counter-points. “…It is extremely important that you go back to what those others have said, and that you study it very closely, and that you do not collapse it to something you already have heard or know. Writers who do this end up essentially conversing with themselves…” Graff and Birkenstein feel that a writer needs to almost suspend his own beliefs for a short time in order to accurately portray the counter-argument. However, they feel that a good summary can add strength to writing in that an author can tailor this summary to fits his “own overall agenda”. They feel this strategy of fitting the counter-argument into the context of your own is a very important tool for writers, and provide many examples and templates on how to do it effectively. Graff and Birkenstein feel strongly that a simple summary of counter-points is boring and ineffective, and urge the use of “vivid and precise signal verbs as often as possible”.
Chapter 3:
“The Art of Quoting”. In order to accurately summarize the arguments of others, using actual quotes of an opposing-viewed author can be the most effective method. Graff and Birkenstein say, “Quoting someone else’s words gives a tremendous amount of credibility to your summary and helps insure that it is fair and accurate”.
However, simply infusing a quote or two is often not sufficient. Not accurately framing the quote or explaining its context will lead to confusion and poor writing. Graff and Birkenstein explain that, although quoting is important, it is at least as important to “…present them in a way that makes their relevance and meaning clear to the readers”. “Dangling” quotations (those inserted into text without adequate explanation and framing) often lead a reader confused. A proper framework around a quote not only explains the quotes relevance, but also allows an author to meld the ways in which that quote supports his argument.
Chapter 4:
After talking extensively about how to present the counter-argument in writing, beginning in this chapter Graff and Birkenstein begin the process of teaching how to present the writer’s argument—the “I say”.
Like all of their advice, the authors urge simplicity when doing this, and suggest that to begin with the most effective strategy is to first illustrate your basic position. State, up front and in no uncertain terms, whether you agree, disagree, or both, with the opposing view.
Graff and Birkenstein present several examples of ways to effectively explain your stance, but it is an imperative that you explain why you feel the way you do. Even if you agree with another’s point of view, Graff and Birkenstein feel that a writer can add heft to the “conversation” by adding previously unstated supporting evidence to a writer’s claim.
Chapter 5:
This chapter addresses the fact that in good academic writing (that which is argumentative) there will invariably be a discourse between two or more trains of thought. It is important that there is clear distinction between who is saying what, and that there is no confusion by the reader in determining precisely what the author is trying to convey, both in terms of his argument and what he’s providing for evidence for the counter-argument.
The chapter provides myriad techniques and examples for ways to clearly mark who, or whose argument, is doing the talking. Instead of using “overt voice markers like ‘X argues’” Graff and Birkenstein urge using less prominent, but just as effective, techniques that refer to a counter-argument in your writing.
Chapter 6:
In this chapter the authors point out the advantages of embedding criticisms and counter-arguments within your writing. Although many may think that this would weaken their stance, Graff and Birkenstein feel that anticipating adversarial thoughts in your text can actually strengthen your position and enrich your writing. This approach allows a writer to more thoroughly and effectively present his own arguments, thus making a stronger case. Not doing so can make writing seem too narrowly focused and rather circumspect. Doing so will increase your opportunity to present your evidence, and engaging others in an active argument will make for more interesting reading.
Chapter 7:
This chapter describes the importance of “Saying Why it Matter”. As students, writers can often research and feel strongly about a topic but fail to imply why the topic or argument is important. The fact that it is important to the writer, though, is of little consequence to the reader, so the reader needs to be informed of the relevance of the argument. Graff and Birkenstein present several techniques for providing reasons why the reader should care what the writer is conveying. One of the more interesting strategies is for the writer to tie the topic to something that he figures the reader already cares about; to link your argument to a “larger matter that readers already deem important”.
Chapter 8:
Chapter 8 discusses the importance of tying all the parts of your writing together; creating a smooth flow of sentences that are connected and are integral to the surrounding ideas and writing. “It may help you to think of each sentence you write as having arms that reach backward and forward (to surrounding sentences)”. Graff and Birkenstein heavily urge the use of such techniques as “transition terms”, “pointing words”, and using similar terms and phrases throughout your writing.
Chapter 9:
In this section of the book the authors encourage writers to find, and use, their own voice in their writing. Too often, and I think this stems from more traditional use of the language, academic writing is assumed to be technical, staid, and rather boring. Graff and Birkenstein say that it is okay, within reason, to use colloquial language and relax your approach to some types of academic writing. There are exceptions, of course, but these authors feel that much writing is only made stronger by using words, terms, and phrases that may be unique to an individual’s writing style or speaking manner.
Chapter 10:
“Metacommentary”. This term refers to the art of rephrasing oneself for the benefit of strengthening his argument and/or creating more text. I call it an “art” because I feel there is a fine line between metacommentary and repetitious writing. Metacommentary is meant to be used as a technique to present similar arguments but in different words. Everyone understands things in different ways, and sometimes the difference between confusion and enlightenment on a topic is a simple rewording of the discussion. Metacommentary in your text allows for additional opportunities to clarify your stance, strengthen your argument, and display your ability to write in a convincing manner.
Chapter 1 emphasizes the point that academic writing is largely argumentative writing. Furthermore, to write as well as possible it is imperative that the writer not only acknowledge the other side of the debate, but make it a prominent element of what’s being written.
The argument—and what you are writing—needs to be framed in the greater context of the “conversation”. Therefore, the opposite point of view of the author’s must be presented early in the writing and regularly touched upon throughout the piece. On page 25 the authors express the importance of framing your argument. “After summarizing the ideas you are responding to at the outset, it’s very important to continue to keeps those ideas in view. Readers won’t be able to follow your unfolding response, much less any complications you may offer, unless you keep reminding them what claims you are responding to”.
Chapter 2:
Chapter 2 talks about the next logical step in the writing process after acknowledging the arguments that you are responding to: summarizing those arguments. In order to give weight to your argument, it is essential to do a good job at accurately and fully summarizing the counter-points. “…It is extremely important that you go back to what those others have said, and that you study it very closely, and that you do not collapse it to something you already have heard or know. Writers who do this end up essentially conversing with themselves…” Graff and Birkenstein feel that a writer needs to almost suspend his own beliefs for a short time in order to accurately portray the counter-argument. However, they feel that a good summary can add strength to writing in that an author can tailor this summary to fits his “own overall agenda”. They feel this strategy of fitting the counter-argument into the context of your own is a very important tool for writers, and provide many examples and templates on how to do it effectively. Graff and Birkenstein feel strongly that a simple summary of counter-points is boring and ineffective, and urge the use of “vivid and precise signal verbs as often as possible”.
Chapter 3:
“The Art of Quoting”. In order to accurately summarize the arguments of others, using actual quotes of an opposing-viewed author can be the most effective method. Graff and Birkenstein say, “Quoting someone else’s words gives a tremendous amount of credibility to your summary and helps insure that it is fair and accurate”.
However, simply infusing a quote or two is often not sufficient. Not accurately framing the quote or explaining its context will lead to confusion and poor writing. Graff and Birkenstein explain that, although quoting is important, it is at least as important to “…present them in a way that makes their relevance and meaning clear to the readers”. “Dangling” quotations (those inserted into text without adequate explanation and framing) often lead a reader confused. A proper framework around a quote not only explains the quotes relevance, but also allows an author to meld the ways in which that quote supports his argument.
Chapter 4:
After talking extensively about how to present the counter-argument in writing, beginning in this chapter Graff and Birkenstein begin the process of teaching how to present the writer’s argument—the “I say”.
Like all of their advice, the authors urge simplicity when doing this, and suggest that to begin with the most effective strategy is to first illustrate your basic position. State, up front and in no uncertain terms, whether you agree, disagree, or both, with the opposing view.
Graff and Birkenstein present several examples of ways to effectively explain your stance, but it is an imperative that you explain why you feel the way you do. Even if you agree with another’s point of view, Graff and Birkenstein feel that a writer can add heft to the “conversation” by adding previously unstated supporting evidence to a writer’s claim.
Chapter 5:
This chapter addresses the fact that in good academic writing (that which is argumentative) there will invariably be a discourse between two or more trains of thought. It is important that there is clear distinction between who is saying what, and that there is no confusion by the reader in determining precisely what the author is trying to convey, both in terms of his argument and what he’s providing for evidence for the counter-argument.
The chapter provides myriad techniques and examples for ways to clearly mark who, or whose argument, is doing the talking. Instead of using “overt voice markers like ‘X argues’” Graff and Birkenstein urge using less prominent, but just as effective, techniques that refer to a counter-argument in your writing.
Chapter 6:
In this chapter the authors point out the advantages of embedding criticisms and counter-arguments within your writing. Although many may think that this would weaken their stance, Graff and Birkenstein feel that anticipating adversarial thoughts in your text can actually strengthen your position and enrich your writing. This approach allows a writer to more thoroughly and effectively present his own arguments, thus making a stronger case. Not doing so can make writing seem too narrowly focused and rather circumspect. Doing so will increase your opportunity to present your evidence, and engaging others in an active argument will make for more interesting reading.
Chapter 7:
This chapter describes the importance of “Saying Why it Matter”. As students, writers can often research and feel strongly about a topic but fail to imply why the topic or argument is important. The fact that it is important to the writer, though, is of little consequence to the reader, so the reader needs to be informed of the relevance of the argument. Graff and Birkenstein present several techniques for providing reasons why the reader should care what the writer is conveying. One of the more interesting strategies is for the writer to tie the topic to something that he figures the reader already cares about; to link your argument to a “larger matter that readers already deem important”.
Chapter 8:
Chapter 8 discusses the importance of tying all the parts of your writing together; creating a smooth flow of sentences that are connected and are integral to the surrounding ideas and writing. “It may help you to think of each sentence you write as having arms that reach backward and forward (to surrounding sentences)”. Graff and Birkenstein heavily urge the use of such techniques as “transition terms”, “pointing words”, and using similar terms and phrases throughout your writing.
Chapter 9:
In this section of the book the authors encourage writers to find, and use, their own voice in their writing. Too often, and I think this stems from more traditional use of the language, academic writing is assumed to be technical, staid, and rather boring. Graff and Birkenstein say that it is okay, within reason, to use colloquial language and relax your approach to some types of academic writing. There are exceptions, of course, but these authors feel that much writing is only made stronger by using words, terms, and phrases that may be unique to an individual’s writing style or speaking manner.
Chapter 10:
“Metacommentary”. This term refers to the art of rephrasing oneself for the benefit of strengthening his argument and/or creating more text. I call it an “art” because I feel there is a fine line between metacommentary and repetitious writing. Metacommentary is meant to be used as a technique to present similar arguments but in different words. Everyone understands things in different ways, and sometimes the difference between confusion and enlightenment on a topic is a simple rewording of the discussion. Metacommentary in your text allows for additional opportunities to clarify your stance, strengthen your argument, and display your ability to write in a convincing manner.
Thursday, June 18, 2009
Dillard Discussion Questions
1. Dillard’s process to achieve her “writerly” state of mind would put me over the top. Her recipe for success would have me squirming in my seat with a whirlwind of discombobulated thought in my head. For me to write well, or for that matter do anything involving some serious thought, my most productive state requires a balance between an energized mind and a calm, relaxed, and content physical being.
If I’m too tired, or too excited, I have a hard time sitting still and being productive. If I’m too excited my thoughts will wonder and I’ll not focus very well on the task at hand. Conversely, if I’m too tired there will be an absence of creative thought. So, I may have a cup of coffee to get myself going but usually the way for me to write the best is to simply choose my timing. Like Dillard refers to, it is often a waste of time to try and force writing. If I’m not in the right frame of mind or physical position I’ll need to wait for another time. Hopefully, an impending assignment does not force me to do otherwise!
2. I do not often “knock down bearing walls” when I write. I think this is largely because I don’t have to. The vast majority of my writing, thus far, has been for school. I don’t feel, at least in the classes I take for the major I pursue, that I’m necessarily encouraged to (or rewarded for) breaking down walls. Doing the safe and familiar thing when writing for the average college class is, I think, what generally gets a student good grades. Breaking down walls and going beyond one’s comfort level in writing takes a writer into the realm of the unknown, which is something most people would consistently avoid, if possible. Therefore I think most walls are constructed by the writer, but there are rarely incentives to bust through them.
3. I enjoyed and related to her inchworm metaphor for writing. “Few sights are so absurd as that of an inchworm leading its dimwit life”. That’s funny, depressing, and quite often how I feel about my writing process, all in one! Like I say below it’s a bumbling relationship, me and writing; blindly trying to find my way through a paragraph, attempting to make some meaning of it; to bring some life to it. Metaphors are useful in this sense, but not particularly inspiring. I think I’d rather focus on things that can help me with the process and help me more proficiently achieve my goal.
4. I think the mysticism that Dillard expresses in her writing is a luxury resulting from confidence and experience of years of successful prose. Mysticism, to me, implies a “go-with-the-flow, good things will come” approach to writing. I don’t think that works for me. To get a decent sentence on a page, and to link a few together, is for me a bumbling and awkward process. I have little feel for what will make a good piece of writing, or what steps I can take to insure a likeable outcome. So… Maybe I have talked a full circle around this topic now, as what I just described does seem to imply an element of mysticism! Mysticism in the sense that, at the start of a page, I have no idea what it will take to create that page of writing. Nor, when that page is finished, do I really have any better of an understanding of what it took.
5. I noticed that Dillard’s prose is, although complex and superb, often quite light-hearted. I like that. I may be constructing this thought for my own benefit, but when I read her writing it feels as if she’s almost poking fun at the person that takes her, or anyone’s, writing too seriously. I think she maintains vagueness in her writing on writing because, like any hard-won skill, there is no blueprint for writing. As one of the best she can inspire ideas or impart wisdom, but she cannot effectively write a “how-to” manual for good writing. It is such an individual process that to try and do so would be futile. She communicates the techniques and tricks that seem to work for her; however, she stops short of telling the reader that to follow her lead will necessarily elicit great writing. Besides, to do so would be to write a text book on the topic, and how many text books are entertaining to read?
If I’m too tired, or too excited, I have a hard time sitting still and being productive. If I’m too excited my thoughts will wonder and I’ll not focus very well on the task at hand. Conversely, if I’m too tired there will be an absence of creative thought. So, I may have a cup of coffee to get myself going but usually the way for me to write the best is to simply choose my timing. Like Dillard refers to, it is often a waste of time to try and force writing. If I’m not in the right frame of mind or physical position I’ll need to wait for another time. Hopefully, an impending assignment does not force me to do otherwise!
2. I do not often “knock down bearing walls” when I write. I think this is largely because I don’t have to. The vast majority of my writing, thus far, has been for school. I don’t feel, at least in the classes I take for the major I pursue, that I’m necessarily encouraged to (or rewarded for) breaking down walls. Doing the safe and familiar thing when writing for the average college class is, I think, what generally gets a student good grades. Breaking down walls and going beyond one’s comfort level in writing takes a writer into the realm of the unknown, which is something most people would consistently avoid, if possible. Therefore I think most walls are constructed by the writer, but there are rarely incentives to bust through them.
3. I enjoyed and related to her inchworm metaphor for writing. “Few sights are so absurd as that of an inchworm leading its dimwit life”. That’s funny, depressing, and quite often how I feel about my writing process, all in one! Like I say below it’s a bumbling relationship, me and writing; blindly trying to find my way through a paragraph, attempting to make some meaning of it; to bring some life to it. Metaphors are useful in this sense, but not particularly inspiring. I think I’d rather focus on things that can help me with the process and help me more proficiently achieve my goal.
4. I think the mysticism that Dillard expresses in her writing is a luxury resulting from confidence and experience of years of successful prose. Mysticism, to me, implies a “go-with-the-flow, good things will come” approach to writing. I don’t think that works for me. To get a decent sentence on a page, and to link a few together, is for me a bumbling and awkward process. I have little feel for what will make a good piece of writing, or what steps I can take to insure a likeable outcome. So… Maybe I have talked a full circle around this topic now, as what I just described does seem to imply an element of mysticism! Mysticism in the sense that, at the start of a page, I have no idea what it will take to create that page of writing. Nor, when that page is finished, do I really have any better of an understanding of what it took.
5. I noticed that Dillard’s prose is, although complex and superb, often quite light-hearted. I like that. I may be constructing this thought for my own benefit, but when I read her writing it feels as if she’s almost poking fun at the person that takes her, or anyone’s, writing too seriously. I think she maintains vagueness in her writing on writing because, like any hard-won skill, there is no blueprint for writing. As one of the best she can inspire ideas or impart wisdom, but she cannot effectively write a “how-to” manual for good writing. It is such an individual process that to try and do so would be futile. She communicates the techniques and tricks that seem to work for her; however, she stops short of telling the reader that to follow her lead will necessarily elicit great writing. Besides, to do so would be to write a text book on the topic, and how many text books are entertaining to read?
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