As you begin this chapter, you may be wondering why you need an introduction. After all, you have been writing and reading since elementary school. Why is a writing course even necessary?

Honing your writing skills—and your reading and critical-thinking skills—gives you a more solid academic foundation.

As you continue in your education, academic expectations change from what you may have experienced in high school. The quantity of work you are expected to do is increased. When instructors expect you to read pages upon pages or study hours and hours for one particular course, managing your work load can be challenging. This textbook includes strategies for studying efficiently and managing your time.

The quality of the work you do also changes. It is not enough to understand course material and summarize it on an exam. You will also be expected to seriously engage with new ideas by reflecting on them, analyzing them, critiquing them, making connections, drawing conclusions, or finding new ways of thinking about a given subject. Educationally, you are moving into deeper waters. A good introductory writing course will help you swim.

Table 1.1 summarizes some of the other major differences between high school and assignments for adults; this text will get you prepared for these.

This text covers the types of reading and writing assignments you will encounter as a student. You will also learn a variety of strategies for mastering these new challenges—and becoming a more confident student and writer.

By now, you have a general idea of what to expect from your courses. You have probably received course syllabi, started on your first few assignments, and begun applying the strategies you learned about reading and writing.

At the beginning of the semester, your work load is relatively light. This is the perfect time to brush up on your study skills and establish good habits. When the demands on your time and energy become more intense, you will have a system in place for handling them.

This section covers specific strategies for managing your time effectively. You will also learn about different note-taking systems that you can use to organize and record information efficiently.

As you work through this section, remember that every student is different. The strategies presented here are tried and true techniques that work well for many people. However, you may need to adapt them slightly to develop a system that works well for you personally. If your friend swears by her smartphone, but you hate having to carry extra electronic gadgets around, then using a smartphone will not be the best organizational strategy for you.

Read with an open mind, and consider what techniques have been effective (or ineffective) for you in the past. Which habits from your high school years or your work life could help you succeed now? Which habits might get in your way? What changes might you need to make?

Understanding Yourself as a Learner

To succeed in education—or any situation where you must master new concepts and skills—it helps to know what makes you tick. For decades, educational researchers and organizational psychologists have examined how people take in and assimilate new information, how some people learn differently than others, and what conditions make students and workers most productive. Here are just a few questions to think about:

• What is your learning style? For the purposes of this text, learning style refers to the way you prefer to take in new information, by seeing, by listening, or through some other channel.
• What times of day are you most productive? If your energy peaks early, you might benefit from blocking out early morning time for studying or writing. If you are a night owl, set aside a few evenings a week for schoolwork.
• How much clutter can you handle in your work space? Some people work fine at a messy desk and know exactly where to find what they need in their stack of papers; however, most people benefit from maintaining a neat, organized space.
• How well do you juggle potential distractions in your environment? If you can study at home without being tempted to turn on the television, check your e-mail, fix yourself a snack, and so on, you may make home your work space. However, if you need a less distracting environment to stay focused, you may be able to find one on your campus or in your community.
• Does a little background noise help or hinder your productivity? Some people work better when listening to background music or the low hum of conversation in a coffee shop. Others need total silence.
• When you work with a partner or group, do you stay on task? A study partner or group can sometimes be invaluable. However, working this way takes extra planning and effort, so be sure to use the time productively. If you find that group study sessions turn into social occasions, you may study better on your own.
• How do you manage stress? Accept that at certain points in the semester, you will feel stressed out. In your day-to-day routine, make time for activities that help you reduce stress, such as exercising, spending time with friends, or just scheduling downtime to relax.

Learning Styles

Most people have one channel that works best for them when it comes to taking in new information. Knowing yours can help you develop strategies for studying, time management, and note taking that work especially well for you.

To begin identifying your learning style, think about how you would go about the process of assembling a piece of furniture. Which of these options sounds most like you?

1. You would carefully look over the diagrams in the assembly manual first so you could picture each step in the process.
2. You would silently read the directions through, step by step, and then look at the diagrams afterward.
3. You would read the directions aloud under your breath. Having someone explain the steps to you would also help.
4. You would start putting the pieces together and figure out the process through trial and error, consulting the directions as you worked.

Now read the following explanations. Again, think about whether each description sounds like you.

• If you chose (a), you may be a visual learner. You understand ideas best when they are presented in a visual format, such as a flowchart, a diagram, or text with clear headings and many photos or illustrations.
• If you chose (b), you may be a verbal learner. You understand ideas best through reading and writing about them and taking detailed notes.
• If you chose (c), you may be an auditory learner. You understand ideas best through listening. You learn well from spoken lectures or books on tape.
• If you chose (d), you may be a kinesthetic learner. You learn best through doing and prefer hands-on activities. In long lectures, fidgeting may help you focus.

Your learning style does not completely define you as a student. Auditory learners can comprehend a flow chart, and kinesthetic learners can sit still long enough to read a book. However, if you do have one dominant learning style, you can work with it to get the most out of your classes and study time. Table 2.1 “Learning Style Strategies” lists some tips for maximizing your learning style.

Time Management

As an adult student, you have increased freedom to structure your time as you please. With that freedom comes increased responsibility. High school teachers often take it upon themselves to track down students who miss class or forget assignments. Instructors if adults, however, expect you to take full responsibility for managing yourself and getting your work done on time.

Getting Started: Short- and Long-Term Planning

At the beginning of the semester, establish a weekly routine for when you will study and write. A general guideline is that for every hour spent in class, students should expect to spend another two to three hours on reading, writing, and studying for tests. Therefore, if you are taking a biology course that meets three times a week for an hour at a time, you can expect to spend six to nine hours per week on it outside of class. You will need to budget time for each class just like an employer schedules shifts at work, and you must make that study time a priority.

That may sound like a lot when taking multiple classes, but if you plan your time carefully, it is manageable. A typical full-time schedule of fifteen credit hours translates into thirty to forty-five hours per week spent on schoolwork outside of class. All in all, a full-time student would spend about as much time on school each week as an employee spends on work. Balancing school and a job can be more challenging, but still doable.

In addition to setting aside regular work periods, you will need to plan ahead to handle more intense demands, such as studying for exams and writing major papers. At the beginning of the semester, go through your course syllabi and mark all major due dates and exam dates on a calendar. Use a format that you check regularly, such as your smartphone or the calendar feature in your e-mail.

Staying Consistent: Time Management Dos and Don’ts

Setting up a schedule is easy. Sticking with it, however, may create challenges. A schedule that looked great on paper may prove to be unrealistic. Sometimes, despite students’ best intentions, they end up procrastinating or pulling all-nighters to finish a paper or study for an exam.

Keep in mind, however, that your weekly schedule and semester calendar are time-management tools. Like any tools, their effectiveness depends on the user: you. If you leave a tool sitting in the box unused (e.g., if you set up your schedule and then forget about it), it will not help you complete the task. And if, for some reason, a particular tool or strategy is not getting the job done, you need to figure out why and maybe try using something else.

With that in mind, read the list of time-management dos and don’ts. Keep this list handy as a reference you can use throughout the semester to “troubleshoot” if you feel like your schoolwork is getting off track.

Dos

1. Set aside time to review your schedule or calendar regularly and update or adjust them as needed.
2. Be realistic when you schedule study time. Do not plan to write your paper on Friday night when everyone else is out socializing. When Friday comes, you might end up abandoning your plans and hanging out with your friends instead.
3. Be honest with yourself about where your time goes. Do not fritter away your study time on distractions like e-mail and social networking sites.
4. Accept that occasionally your work may get a little off track. No one is perfect.
5. Accept that sometimes you may not have time for all the fun things you would like to do.
6. Recognize times when you feel overextended. Sometimes you may just need to get through an especially demanding week. However, if you feel exhausted and overworked all the time, you may need to scale back on some of your commitments.
7. Have a plan for handling high-stress periods, such as final exam week. Try to reduce your other commitments during those periods—for instance, by scheduling time off from your job. Build in some time for relaxing activities, too.

Don’ts

1. Do not procrastinate on challenging assignments. Instead, break them into smaller, manageable tasks that can be accomplished one at a time.
2. Do not fall into the trap of “all-or-nothing” thinking: “There is no way I can fit in a three-hour study session today, so I will just wait until the weekend.” Extended periods of free time are hard to come by, so find ways to use small blocks of time productively. For instance, if you have a free half hour between classes, use it to preview a chapter or brainstorm ideas for an essay.
3. Do not fall into the trap of letting things slide and promising yourself, “I will do better next week.” When next week comes, the accumulated undone tasks will seem even more intimidating, and you will find it harder to get them done.
4. Do not rely on caffeine and sugar to compensate for lack of sleep. These stimulants may temporarily perk you up, but your brain functions best when you are rested.

Note-Taking Methods

One final valuable tool to have in your arsenal as a student is a good note-taking system. Just the act of converting a spoken lecture to notes helps you organize and retain information, and of course, good notes also help you review important concepts later. Although taking good notes is an essential study skill, many students enter education without having received much guidance about note taking.

These sections discuss different strategies you can use to take notes efficiently. No matter which system you choose, keep the note-taking guidelines in mind.

Organizing Ideas in Your Notes

A good note-taking system needs to help you differentiate among major points, related subtopics, and supporting details. It visually represents the connections between ideas. Finally, to be effective, your note-taking system must allow you to record and organize information fairly quickly. Although some students like to create detailed, formal outlines or concept maps when they read, these may not be good strategies for class notes, because spoken lectures may not allow time for elaborate notes.

Instead, focus on recording content simply and quickly to create organized, legible notes. Try one of the following techniques.

Modified outline format

A modified outline format uses indented spacing to show the hierarchy of ideas without including roman numerals, lettering, and so forth. Just use a dash or bullet to signify each new point unless your instructor specifically presents a numbered list of items.

The first example shows a student’s notes from a developmental psychology class about an important theorist in this field. Notice how the line for the main topic is all the way to the left. Subtopics are indented, and supporting details are indented one level further. She also used abbreviations for terms like development and example.

Idea mapping

If you discovered in this section that you learn best with visual presentations, you may prefer to use a more graphic format for notes, such as an idea map. The next example shows how a student’s lecture notes could be set up differently. Although the format is different, the content and organization are the same.

Figure 2.1

Charting

If the content of a lecture falls into a predictable, well-organized pattern, you might choose to use a chart or table to record your notes. This system works best when you already know, either before class or at the beginning of class, which categories you should include. Table 2.2 shows how this system might be used.

The Cornell note-taking system

In addition to the general techniques already described, you might find it useful to practice a specific strategy known as the Cornell note-taking system. This popular format makes it easy not only to organize information clearly but also to note key terms and summarize content.

To use the Cornell system, begin by setting up the page with these components:

• The course name and lecture date at the top of the page
• A narrow column (about two inches) at the left side of the page
• A wide column (about five to six inches) on the right side of the page
• A space of a few lines marked off at the bottom of the page

During the lecture, you record notes in the wide column. You can do so using the traditional modified outline format or a more visual format if you prefer.

Then, as soon as possible after the lecture, review your notes and identify key terms. Jot these down in the narrow left-hand column. You can use this column as a study aid by covering the notes on the right-hand side, reviewing the key terms, and trying to recall as much as you can about them so that you can mentally restate the main points of the lecture. Uncover the notes on the right to check your understanding. Finally, use the space at the bottom of the page to summarize each page of notes in a few sentences.

Using the Cornell system, a student’s notes would look like the following:

Figure 2.2

Text Attributions

• This chapter was adapted from “Developing Study Skills” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

These general techniques you will learn will help ensure your success on any writing task, whether you complete a final exam in an hour or an in-depth research project over several weeks.

Strategies for Success

Writing well is difficult. Even people who write for a living sometimes struggle to get their thoughts on the page. Even people who generally enjoy writing have days when they would rather do anything else. For people who do not like writing or do not think of themselves as good writers, writing assignments can be stressful or even intimidating. And of course, you cannot get through your education without having to write—sometimes a lot, and often at a higher level than you are used to.

No magic formula will make writing quick and easy. However, you can use strategies and resources to manage writing assignments more easily. This section presents a broad overview of these strategies and resources. The remaining chapters of this book provide more detailed, comprehensive instruction to help you succeed at a variety of assignments. Your education will challenge you as a writer, but it is also a unique opportunity to grow.

Using the Writing Process

To complete a writing project successfully, good writers use some variation of the following process.

The Writing Process

• Prewriting. In this step, the writer generates ideas to write about and begins developing these ideas.
• Outlining a structure of ideas. In this step, the writer determines the overall organizational structure of the writing and creates an outline to organize ideas. Usually this step involves some additional fleshing out of the ideas generated in the first step.
• Writing a rough draft. In this step, the writer uses the work completed in prewriting to develop a first draft. The draft covers the ideas the writer brainstormed and follows the organizational plan that was laid out in the first step.
• Revising. In this step, the writer revisits the draft to review and, if necessary, reshape its content. This stage involves moderate and sometimes major changes: adding or deleting a paragraph, phrasing the main point differently, expanding on an important idea, reorganizing content, and so forth.
• Editing. In this step, the writer reviews the draft to make additional changes. Editing involves making changes to improve style and adherence to standard writing conventions—for instance, replacing a vague word with a more precise one or fixing errors in grammar and spelling. Once this stage is complete, the work is a finished piece and ready to share with others.
• Submission. In this step, you hand in your assignment in the approved format for your course and that required by your instructor. Be careful not to neglect the care needed to make sure you are submitting your assignment correctly.

Chances are, you have already used this process. You may have used it for other types of creative projects, such as developing a sketch into a finished painting or composing a song. The steps listed above apply broadly to any project that involves creative thinking. You come up with ideas (often vague at first), you work to give them some structure, you make a first attempt, you figure out what needs improving, and then you refine it until you are satisfied.

Most people have used this creative process in one way or another, but many people have misconceptions about how to use it to write. Here are a few of the most common misconceptions students have about the writing process:

• “I do not have to waste time on prewriting if I understand the assignment.” Even if the task is straightforward and you feel ready to start writing, take some time to develop ideas before you plunge into your draft. Freewriting—writing about the topic without stopping for a set period of time—is one prewriting technique you might try in that situation.
• “It is important to complete a formal, numbered outline for every writing assignment.” For some assignments, such as lengthy research papers, proceeding without a formal outline can be very difficult. However, for other assignments, a structured set of notes or a detailed graphic organizer may suffice. The important thing is that you have a solid plan for organizing ideas and details.
• “My draft will be better if I write it when I am feeling inspired.” By all means, take advantage of those moments of inspiration. However, understand that sometimes you will have to write when you are not in the mood. Sit down and start your draft even if you do not feel like it. If necessary, force yourself to write for just one hour. By the end of the hour, you may be far more engaged and motivated to continue. If not, at least you will have accomplished part of the task.
• “My instructor will tell me everything I need to revise.” If your instructor chooses to review drafts, the feedback can help you improve. However, it is still your job, not your instructor’s, to transform the draft to a final, polished piece. That task will be much easier if you give your best effort to the draft before submitting it. During revision, do not just go through and implement your instructor’s corrections. Take time to determine what you can change to make the work the best it can be.
• “I am a good writer, so I do not need to revise or edit.” Even talented writers still need to revise and edit their work. At the very least, doing so will help you catch an embarrassing typo or two. Revising and editing are the steps that make good writers into great writers.

TIP: The writing process also applies to timed writing tasks, such as essay exams. Before you begin writing, read the question thoroughly and think about the main points to include in your response. Use scrap paper to sketch out a very brief outline. Keep an eye on the clock as you write your response so you will have time to review it and make any needed changes before turning in your exam.

Managing Your Time

When your instructor gives you a writing assignment, write the due date on your calendar. Then work backward from the due date to set aside blocks of time when you will work on the assignment. Always plan at least two sessions of writing time per assignment, so that you are not trying to move from step 1 to step 5 in one evening. Trying to work that fast is stressful, and it does not yield great results. You will plan better, think better, and write better if you space out the steps.

Ideally, you should set aside at least three separate blocks of time to work on a writing assignment: one for prewriting and outlining, one for drafting, and one for revising and editing. Sometimes those steps may be compressed into just a few days. If you have a couple of weeks to work on a paper, space out the five steps over multiple sessions. Long-term projects, such as research papers, require more time for each step.

TIP: In certain situations you may not be able to allow time between the different steps of the writing process. For instance, you may be asked to write in class or complete a brief response paper overnight. If the time available is very limited, apply a modified version of the writing process (as you would do for an essay exam). It is still important to give the assignment thought and effort. However, these types of assignments are less formal, and instructors may not expect them to be as polished as formal papers. When in doubt, ask the instructor about expectations, resources that will be available during the writing exam, and if they have any tips to prepare you to effectively demonstrate your writing skills.

Imagine this scenario: each Monday in a Foundations of Education class, the instructor distributes copies of a current news article on education and assigns students to write a one-and-one-half- to two-page response due the following Monday. Together, these weekly assignments count for 20 percent of the course grade. Although each response takes just a few hours to complete, one student finds that she learns more from the reading and gets better grades on her writing if she spreads the work out in the following way:

Figure 3.1

Setting Goals

One key to succeeding as a student and as a writer is setting both short- and long-term goals for yourself. You have already glimpsed the kind of short-term goals a student might set. By planning carefully and following through on daily and weekly goals, you can fulfill your goals for the semester. How does this experience relate to your own experience?

To do well in your education, it is important to stay focused on how your day-to-day actions determine your long-term success. You may not have defined your career goals or chosen a major yet. Even so, you surely have some overarching goals for what you want out of your education: to expand your career options, to increase your earning power, or just to learn something new. In time, you will define your long-term goals more explicitly. Doing solid, steady work, day by day and week by week, will help you meet those goals.

Exercise 3.1

In this exercise, make connections between short- and long-term goals.

1. For this step, identify one long-term goal you would like to have achieved by the time you complete your education. For instance, you might want a particular job in your field or hope to graduate with honours.
2. Next, identify one semester goal that will help you fulfill the goal you set in step one. For instance, you may want to do well in a particular course or establish a connection with a professional in your field.
3. Review the goal you determined in step two. Brainstorm a list of stepping stones that will help you meet that goal, such as “doing well on my midterm and final exams” or “talking to Instructor Gibson about doing an internship.” Write down everything you can think of that would help you meet that semester goal.
4. Review your list. Choose two to three items, and for each item identify at least one concrete action you can take to accomplish it. These actions may be recurring (meeting with a study group each week) or one time only (calling the professor in charge of internships).
5. Identify one action from step four that you can do today. Then do it.

Using Your Institution’s Resources

One reason students sometimes find education overwhelming is that they do not know about, or are reluctant to use, the resources available to them. Some aspects of your education will be challenging. However, if you try to handle every challenge alone, you may become frustrated and overwhelmed.

Academic institutions have resources in place to help students cope with challenges. Your student fees help pay for resources such as a health center or tutoring, so use these resources if you need them. The following are some of the resources you might use if you find you need help:

• Your instructor. If you are making an honest effort but still struggling with a particular course, set up a time to meet with your instructor and discuss what you can do to improve. They may be able to shed light on a confusing concept or give you strategies to catch up.
• Your academic counselor. Many institutions assign students an academic counselor who can help you choose courses and ensure that you fulfill degree and major requirements.
• The academic resource centre. These centres offer a variety of services, which may range from general coaching in study skills to tutoring for specific courses. Find out what is offered at your institution and use the services that you need.
• The writing centre. These centres employ tutors to help you manage writing assignments. They will not write or edit your paper for you, but they can help you through the stages of the writing process. (In some schools, the writing center is part of the academic resource centre.)
• The career resource centre. Visit the career resource centre for guidance in choosing a career path, developing a résumé, and finding and applying for jobs.
• Counseling services. Many institutions offer psychological counseling for free or for a low fee. Use these services if you need help coping with a difficult personal situation or managing depression, anxiety, or other problems.

Students sometimes neglect to use available resources due to limited time, unwillingness to admit there is a problem, or embarrassment about needing to ask for help. Unfortunately, ignoring a problem usually makes it harder to cope with later on. Waiting until the end of the semester may also mean fewer resources are available, since many other students are also seeking last-minute help.

Exercise 3.2

Identify at least one college resource that you think could be helpful to you and you would like to investigate further. Schedule a time to visit this resource within the next week or two so you can use it throughout the semester.

Overview: Writing Skills

You now have a solid foundation of skills and strategies you can use to succeed in college. The remainder of this book will provide you with guidance on specific aspects of writing, ranging from grammar and style conventions to how to write a research paper.

For any college writing assignment, use these strategies:

• Plan ahead. Divide the work into smaller, manageable tasks, and set aside time to accomplish each task in turn.
• Make sure you understand the assignment requirements, and if necessary, clarify them with your instructor. Think carefully about the purpose of the writing, the intended audience, the topics you will need to address, and any specific requirements of the writing form.
• Complete each step of the writing process. With practice, using this process will come automatically to you.
• Use the resources available to you. Remember that most colleges have specific services to help students with their writing.

Text Attributions

• This chapter was adapted from “Becoming a Successful College Writer” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon. CC BY-NC-SA.

Text Attributions

• This chapter was adapted from “Introduction to Writing: End-of-Chapter Exercises” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

If you think that a blank sheet of paper or a blinking cursor on the computer screen is a scary sight, you are not alone. Many writers, students, and employees find that beginning to write can be intimidating. When faced with a blank page, however, experienced writers remind themselves that writing, like other everyday activities, is a process. Every process, from writing to cooking, bike riding, and learning to use a new cell phone, will get significantly easier with practice.

Just as you need a recipe, ingredients, and proper tools to cook a delicious meal, you also need a plan, resources, and adequate time to create a good written composition. In other words, writing is a process that requires following steps and using strategies to accomplish your goals.

Effective writing can be simply described as good ideas that are expressed well and arranged in the proper order. This chapter will give you the chance to work on all these important aspects of writing. Although many more prewriting strategies exist, this chapter covers six: using experience and observations, freewriting, asking questions, brainstorming, mapping, and searching the Internet. Using the strategies in this chapter can help you overcome the fear of the blank page and confidently begin the writing process.

Prewriting

Prewriting is the stage of the writing process during which you transfer your abstract thoughts into more concrete ideas in ink on paper (or in type on a computer screen). Although prewriting techniques can be helpful in all stages of the writing process, the following four strategies are best used when initially deciding on a topic:

1. Using experience and observations
2. Reading
3. Freewriting
4. Asking questions

At this stage in the writing process, it is okay if you choose a general topic. Later you will learn more prewriting strategies that will narrow the focus of the topic.

Choosing a Topic

In addition to understanding that writing is a process, writers also understand that choosing a good general topic for an assignment is an essential step. Sometimes your instructor will give you an idea to begin an assignment, and other times your instructor will ask you to come up with a topic on your own. A good topic not only covers what an assignment will be about but also fits the assignment’s purpose and its audience.

In this chapter, you will prepare a piece of writing. The first important step is for you to understand why you are writing (to inform, to explain, or some other purpose) and for whom you are writing. Write your purpose and your audience on your own sheet of paper, and keep the paper close by as you read and complete exercises in this chapter.

My purpose: ____________________________________________

My audience: ____________________________________________

Using Experience and Observations

When selecting a topic, you may also want to consider something that interests you or something based on your own life and personal experiences. Even everyday observations can lead to interesting topics. After writers think about their experiences and observations, they often take notes on paper to better develop their thoughts. These notes help writers discover what they have to say about their topic.

Reading

Reading plays a vital role in all the stages of the writing process, but it first figures in the development of ideas and topics. Different kinds of documents can help you choose a topic and also develop that topic. For example, a magazine advertising the latest research on the threat of global warming may catch your eye in the supermarket. This cover may interest you, and you may consider global warming as a topic. Or maybe a novel’s courtroom drama sparks your curiosity of a particular lawsuit or legal controversy.

After you choose a topic, critical reading is essential to the development of a topic. While reading almost any document, you evaluate the author’s point of view by thinking about his main idea and his support. When you judge the author’s argument, you discover more about not only the author’s opinion but also your own. If this step already seems daunting, remember that even the best writers need to use prewriting strategies to generate ideas.

Prewriting strategies depend on your critical reading skills. Reading prewriting exercises (and outlines and drafts later in the writing process) will further develop your topic and ideas. As you continue to follow the writing process, you will see how  a student can use critical reading skills to assess her own prewriting exercises.

Freewriting

Freewriting is an exercise in which you write freely about any topic for a set amount of time (usually three to five minutes). During the time limit, you may jot down any thoughts that come to your mind. Try not to worry about grammar, spelling, or punctuation. Instead, write as quickly as you can without stopping. If you get stuck, just copy the same word or phrase over and over until you come up with a new thought.

Writing often comes easier when you have a personal connection with the topic you have chosen. Remember, to generate ideas in your freewriting, you may also think about readings that you have enjoyed or that have challenged your thinking. Doing this may lead your thoughts in interesting directions.

Quickly recording your thoughts on paper will help you discover what you have to say about a topic. When writing quickly, try not to doubt or question your ideas. Allow yourself to write freely and unselfconsciously. Once you start writing with few limitations, you may find you have more to say than you first realized. Your flow of thoughts can lead you to discover even more ideas about the topic. Freewriting may even lead you to discover another topic that excites you even more.

Asking Questions

Who? What? Where? When? Why? How? In everyday situations, you pose these kinds of questions to get more information. Who will be my partner for the project? When is the next meeting? Why is my car making that odd noise? Even the title of this chapter begins with the question “How do I begin?”

You seek the answers to these questions to gain knowledge, to better understand your daily experiences, and to plan for the future. Asking these types of questions will also help you with the writing process. As you choose your topic, answering these questions can help you revisit the ideas you already have and generate new ways to think about your topic. You may also discover aspects of the topic that are unfamiliar to you and that you would like to learn more about. All these idea-gathering techniques will help you plan for future work on your assignment.

Now that you have completed some of the prewriting exercises, you may feel less anxious about starting a paper from scratch. With some ideas down on paper (or saved on a computer), writers are often more comfortable continuing the writing process. After identifying a good general topic, you, too, are ready to continue the process.

More Prewriting Techniques

The prewriting techniques of freewriting and asking questions help students to think more about their topic, but the following prewriting strategies can help you narrow the focus of the topic:

• Brainstorming
• Idea mapping
• Searching the Internet

Narrowing the Focus

Narrowing the focus means breaking up the topic into subtopics, or more specific points. Generating lots of subtopics will help you eventually select the ones that fit the assignment and appeal to you and your audience.

Brainstorming

Brainstorming is similar to list making. You can make a list on your own or in a group with your classmates. Start with a blank sheet of paper (or a blank computer document) and write your general topic across the top. Underneath your topic, make a list of more specific ideas. Think of your general topic as a broad category and the list items as things that fit in that category. Often you will find that one item can lead to the next, creating a flow of ideas that can help you narrow your focus to a more specific paper topic.

The following is a student’s brainstorming list:

Figure 5.2

Imagine you have to write an e-mail to your current boss explaining your prior work experience, but you do not know where to start. Before you begin the e-mail, you can use the brainstorming technique to generate a list of employers, duties, and responsibilities that fall under the general topic “work experience.”

Idea Mapping

Idea mapping allows you to visualize your ideas on paper using circles, lines, and arrows. This technique is also known as clustering because ideas are broken down and clustered, or grouped together. Many writers like this method because the shapes show how the ideas relate or connect, and writers can find a focused topic from the connections mapped. Using idea mapping, you might discover interesting connections between topics that you had not thought of before.

To create an idea map, start with your general topic in a circle in the center of a blank sheet of paper. Then write specific ideas around it and use lines or arrows to connect them together. Add and cluster as many ideas as you can think of.

Figure 5.3

Notice the largest circle contains a general topic, mass media. Then, the general topic branches into two subtopics written in two smaller circles: television and radio. The subtopic television branches into even more specific topics: cable and DVDs. From there, draw more circles and write more specific ideas: high definition and digital recording from cable and Blu-ray from DVDs. The radio topic leads to draw connections between music, downloads versus CDs, and, finally, piracy.

From this idea map, you can narrow the focus of the mass media topic to the more specific topic of music piracy.

Searching the Internet

Using search engines on the Internet is a good way to see what kinds of websites are available on your topic. Writers use search engines not only to understand more about the topic’s specific issues but also to get better acquainted with their audience.

TIP: Look back at the chart you completed in the second exercise. Did you guess at any of the answers? Searching the Internet may help you find answers to your questions and confirm your guesses. Be choosy about the websites you use. Make sure they are reliable sources for the kind of information you seek.

When you search the Internet, type some key words from your broad topic or words from your narrowed focus into your browser’s search engine (many good general and specialized search engines are available for you to try). Then look over the results for relevant and interesting articles.

Results from an Internet search show writers the following information:

• Who is talking about the topic
• How the topic is being discussed
• What specific points are currently being discussed about the topic

TIP: If the search engine results are not what you are looking for, revise your key words and search again. Some search engines also offer suggestions for related searches that may give you better results.

Type the words music piracy from the idea map into the search engine Google.

Figure 5.4

 Not all the results online search engines return will be useful or reliable. Give careful consideration to the reliability of an online source before selecting a topic based on it. Remember that factual information can be verified in other sources, both online and in print. If you have doubts about any information you find, either do not use it or identify it as potentially unreliable.

Prewriting strategies are a vital first step in the writing process. First, they help you first choose a broad topic and then they help you narrow the focus of the topic to a more specific idea. An effective topic ensures that you are ready for the next step.

With your narrowed focus in mind, answer the bulleted questions in the checklist 5.1 for developing a good topic. If you can answer “yes” to all the questions, write your topic on the line. If you answer “no” to any of the questions, think about another topic or adjust the one you have and try the prewriting strategies again.

My narrowed topic: ____________________________________________

Text Attributions

• This chapter was adapted from “Apply Prewriting Models” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

Imagine reading one long block of text, with each idea blurring into the next. Even if you are reading a thrilling novel or an interesting news article, you will likely lose interest in what the author has to say very quickly. During the writing process, it is helpful to position yourself as a reader. Ask yourself whether you can focus easily on each point you make. One technique that effective writers use is to begin a fresh paragraph for each new idea they introduce.

Paragraphs separate ideas into logical, manageable chunks. One paragraph focuses on only one main idea and presents coherent sentences to support that one point. Because all the sentences in one paragraph support the same point, a paragraph may stand on its own. To create longer assignments and to discuss more than one point, writers group together paragraphs.

Three elements shape the content of each paragraph:

1. Purpose. The reason the writer composes the paragraph.
2. Tone. The attitude the writer conveys about the paragraph’s subject.
3. Audience. The individual or group whom the writer intends to address.

Figure 6.1

The assignment’s purpose, audience, and tone dictate what the paragraph covers and how it will support one main point. This section covers how purpose, audience, and tone affect reading and writing paragraphs.

Identifying Common Academic Purposes

The purpose for a piece of writing identifies the reason you write a particular document. Basically, the purpose of a piece of writing answers the question “Why?” For example, why write a play? To entertain a packed theater. Why write instructions to the babysitter? To inform him or her of your schedule and rules. Why write a letter to your congressman? To persuade him to address your community’s needs.

In academic settings, the reasons for writing fulfill four main purposes:

1. to summarize,
2. to analyze,
3. to synthesize, and
4. to evaluate.

You will encounter these four purposes not only as you read for your classes but also as you read for work or pleasure. Because reading and writing work together, your writing skills will improve as you read.

Eventually, your instructors will ask you to complete assignments specifically designed to meet one of the four purposes. As you will see, the purpose for writing will guide you through each part of the paper, helping you make decisions about content and style. For now, identifying these purposes by reading paragraphs will prepare you to write individual paragraphs and to build longer assignments.

Summary Paragraphs

A summary shrinks a large amount of information into only the essentials. You probably summarize events, books, and movies daily. Think about the last blockbuster movie you saw or the last novel you read. Chances are, at some point in a casual conversation with a friend, coworker, or classmate, you compressed all the action in a two-hour film or in a two-hundred-page book into a brief description of the major plot movements. While in conversation, you probably described the major highlights, or the main points in just a few sentences, using your own vocabulary and manner of speaking.

Similarly, a summary paragraph condenses a long piece of writing into a smaller paragraph by extracting only the vital information. A summary uses only the writer’s own words. Like the summary’s purpose in daily conversation, the purpose of an academic summary paragraph is to maintain all the essential information from a longer document. Although shorter than the original piece of writing, a summary should still communicate all the key points and key support. In other words, summary paragraphs should be succinct and to the point.

Here is a report on youth alcohol consumption:

A summary of the report should present all the main points and supporting details in brief. Read the following summary of the report written by a student:

Notice how the summary retains the key points made by the writers of the original report but omits most of the statistical data. Summaries need not contain all the specific facts and figures in the original document; they provide only an overview of the essential information.

Analysis Paragraphs

An analysis separates complex materials in their different parts and studies how the parts relate to one another. The analysis of simple table salt, for example, would require a deconstruction of its parts—the elements sodium (Na) and chloride (Cl). Then, scientists would study how the two elements interact to create the compound NaCl, or sodium chloride, which is also called simple table salt.

Analysis is not limited to the sciences, of course. An analysis paragraph in academic writing fulfills the same purpose. Instead of deconstructing compounds, academic analysis paragraphs typically deconstruct documents. An analysis takes apart a primary source (an essay, a book, an article, etc.) point by point. It communicates the main points of the document by examining individual points and identifying how the points relate to one another.

Take a look at a student’s analysis of the journal report:

Synthesis Paragraphs

A synthesis combines two or more items to create an entirely new item. Consider the electronic musical instrument aptly named the synthesizer. It looks like a simple keyboard but displays a dashboard of switches, buttons, and levers. With the flip of a few switches, a musician may combine the distinct sounds of a piano, a flute, or a guitar—or any other combination of instruments—to create a new sound. The purpose of the synthesizer is to blend together the notes from individual instruments to form new, unique notes.

The purpose of an academic synthesis is to blend individual documents into a new document. An academic synthesis paragraph considers the main points from one or more pieces of writing and links the main points together to create a new point, one not replicated in either document.

Take a look at a student’s synthesis of several sources about underage drinking:

Notice how the synthesis paragraphs consider each source and use information from each to create a new thesis. A good synthesis does not repeat information; the writer uses a variety of sources to create a new idea.

Evaluation Paragraphs

An evaluation judges the value of something and determines its worth. Evaluations in everyday experiences are often not only dictated by set standards but also influenced by opinion and prior knowledge. For example, at work, a supervisor may complete an employee evaluation by judging his subordinate’s performance based on the company’s goals. If the company focuses on improving communication, the supervisor will rate the employee’s customer service according to a standard scale. However, the evaluation still depends on the supervisor’s opinion and prior experience with the employee. The purpose of the evaluation is to determine how well the employee performs at his or her job.

An academic evaluation communicates your opinion, and its justifications, about a document or a topic of discussion. Evaluations are influenced by your reading of the document, your prior knowledge, and your prior experience with the topic or issue. Because an evaluation incorporates your point of view and reasons for your point of view, it typically requires more critical thinking and a combination of summary, analysis, and synthesis skills. Thus evaluation paragraphs often follow summary, analysis, and synthesis paragraphs. Read this student’s evaluation paragraph:

Notice how the paragraph incorporates the student’s personal judgment within the evaluation. Evaluating a document requires prior knowledge that is often based on additional research.

Identifying the Audience

With an expository essay, since you are defining or informing your audience on a certain topic, you need to evaluate how much your audience knows about that topic (aside from having general common knowledge).

You want to make sure you are giving thorough, comprehensive, and clear explanations on the topic. Never assume the reader knows everything about your topic (even if it is covered in the reader’s field of study). For example, even though some of your instructors may teach criminology, they may have specialized in different areas from the one about which you are writing; they most likely have a strong understanding of the concepts but may not recall all the small details on the topic. If your instructor specialized in crime mapping and data analysis for example, they may not have a strong recollection of specific criminological theories related to other areas of study.

Providing enough background information without being too detailed is a fine balance, but you always want to ensure you have no gaps in the information, so your reader will not have to guess your intention.

1. Imagine you must give a presentation to a group of executives in an office. Weeks before the big day, you spend time creating and rehearsing the presentation. You must make important, careful decisions not only about the content but also about your delivery. Will the presentation require technology to project figures and charts? Should the presentation define important words, or will the executives already know the terms? Should you wear your suit and dress shirt? The answers to these questions will help you develop an appropriate relationship with your audience, making them more receptive to your message.
2. Now imagine you must explain the same business concepts from your presentation to a group of high school students. Those important questions you previously answered may now require different answers. The figures and charts may be too sophisticated, and the terms will certainly require definitions. You may even reconsider your outfit and sport a more casual look. Because the audience has shifted, your presentation and delivery will shift as well to create a new relationship with the new audience.

In these two situations, the audience—the individuals who will watch and listen to the presentation—plays a role in the development of presentation. As you prepare the presentation, you visualize the audience to anticipate their expectations and reactions. What you imagine affects the information you choose to present and how you will present it. Then, during the presentation, you meet the audience in person and discover immediately how well you perform.

Although the audience for writing assignments—your readers—may not appear in person, they play an equally vital role. Even in everyday writing activities, you identify your readers’ characteristics, interests, and expectations before making decisions about what you write. In fact, thinking about audience has become so common that you may not even detect the audience-driven decisions.

For example, you update your status on a social networking site with the awareness of who will digitally follow the post. If you want to brag about a good grade, you may write the post to please family members. If you want to describe a funny moment, you may write with your friends’ senses of humor in mind. Even at work, you send e-mails with an awareness of an unintended receiver who could intercept the message.

In other words, being aware of “invisible” readers is a skill you most likely already possess and one you rely on every day. Consider the following paragraphs. Which one would the author send to her parents? Which one would she send to her best friend?

Example A

Last Saturday, I volunteered at a local hospital. The visit was fun and rewarding. I even learned how to do cardiopulmonary resuscitation, or CPR. Unfortunately, I think caught a cold from one of the patients. This week, I will rest in bed and drink plenty of clear fluids. I hope I am well by next Saturday to volunteer again.

Example B

OMG! You won’t believe this! My advisor forced me to do my community service hours at this hospital all weekend! We learned CPR but we did it on dummies, not even real peeps. And some kid sneezed on me and got me sick! I was so bored and sniffling all weekend; I hope I don’t have to go back next week. I def do NOT want to miss the basketball tournament!

Most likely, you matched each paragraph to its intended audience with little hesitation. Because each paragraph reveals the author’s relationship with her intended readers, you can identify the audience fairly quickly. When writing your own paragraphs, you must engage with your audience to build an appropriate relationship given your subject. Imagining your readers during each stage of the writing process will help you make decisions about your writing. Ultimately, the people you visualize will affect what and how you write.

Similarly, grammar and sentence structure serve as the appearance of a piece of writing. Polishing your work using correct grammar will impress your readers and allow them to focus on what you have to say.

Because focusing on audience will enhance your writing, your process, and your finished product, you must consider the specific traits of your audience members. Use your imagination to anticipate the readers’ demographics, education, prior knowledge, and expectations.

• Demographics. These measure important data about a group of people, such as their age range, their ethnicity, their religious beliefs, or their gender. Certain topics and assignments will require these kinds of considerations about your audience. For other topics and assignments, these measurements may not influence your writing in the end. Regardless, it is important to consider demographics when you begin to think about your purpose for writing.
• Education. Education considers the audience’s level of schooling. If audience members have earned a doctorate degree, for example, you may need to elevate your style and use more formal language. Or, if audience members are still in college, you could write in a more relaxed style. An audience member’s major or emphasis may also dictate your writing.
• Prior knowledge. This refers to what the audience already knows about your topic. If your readers have studied certain topics, they may already know some terms and concepts related to the topic. You may decide whether to define terms and explain concepts based on your audience’s prior knowledge. Although you cannot peer inside the brains of your readers to discover their knowledge, you can make reasonable assumptions. For instance, a nursing major would presumably know more about health-related topics than a business major would.
• Expectations. These indicate what readers will look for while reading your assignment. Readers may expect consistencies in the assignment’s appearance, such as correct grammar and traditional formatting like double-spaced lines and legible font. Readers may also have content-based expectations given the assignment’s purpose and organization. In an essay titled “The Economics of Enlightenment: The Effects of Rising Tuition,” for example, audience members may expect to read about the economic repercussions of college tuition costs.

Keep in mind that as your topic shifts in the writing process, your audience may also shift.

Also, remember that decisions about style depend on audience, purpose, and content. Identifying your audience’s demographics, education, prior knowledge, and expectations will affect how you write, but purpose and content play an equally important role. The next subsection covers how to select an appropriate tone to match the audience and purpose.

Selecting an Appropriate Tone

Tone identifies a speaker’s attitude toward a subject or another person. You may pick up a person’s tone of voice fairly easily in conversation. A friend who tells you about her weekend may speak excitedly about a fun skiing trip. An instructor who means business may speak in a low, slow voice to emphasize her serious mood. Or, a coworker who needs to let off some steam after a long meeting may crack a sarcastic joke.

Just as speakers transmit emotion through voice, writers can transmit through writing a range of attitudes, from excited and humorous to somber and critical. These emotions create connections among the audience, the author, and the subject, ultimately building a relationship between the audience and the text. To stimulate these connections, writers intimate their attitudes and feelings with useful devices, such as sentence structure, word choice, punctuation, and formal or informal language. Keep in mind that the writer’s attitude should always appropriately match the audience and the purpose.

Read the following paragraph and consider the writer’s tone. How would you describe the writer’s attitude toward wildlife conservation?

Many species of plants and animals are disappearing right before our eyes. If we don’t act fast, it might be too late to save them. Human activities, including pollution, deforestation, hunting, and overpopulation, are devastating the natural environment. Without our help, many species will not survive long enough for our children to see them in the wild. Take the tiger, for example. Today, tigers occupy just 7 percent of their historical range, and many local populations are already extinct. Hunted for their beautiful pelt and other body parts, the tiger population has plummeted from one hundred thousand in 1920 to just a few thousand. Contact your local wildlife conservation society today to find out how you can stop this terrible destruction.

Choosing Appropriate, Interesting Content

Content refers to all the written substance in a document. After selecting an audience and a purpose, you must choose what information will make it to the page. Content may consist of examples, statistics, facts, anecdotes, testimonies, and observations, but no matter the type, the information must be appropriate and interesting for the audience and purpose. An essay written for third graders that summarizes the legislative process, for example, would have to contain succinct and simple content.

Content is also shaped by tone. When the tone matches the content, the audience will be more engaged, and you will build a stronger relationship with your readers. Consider that audience of third graders. You would choose simple content that the audience will easily understand, and you would express that content through an enthusiastic tone. The same considerations apply to all audiences and purposes.

Text Attributions

• Text under “Identifying the Audience” was adapted from “What are You Writing, to Whom, and How?” in Writing for Success 1st Canadian Edition by Tara Horkoff and a publisher who has requested that they and the original author not receive attribution. Adapted by Allison Kilgannon. CC BY-NC-SA.
• Text also has been adapted from “Purpose, Audience, Tone, and Content” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

Your prewriting activities and readings have helped you gather information for your assignment. The more you sort through the pieces of information you found, the more you will begin to see the connections between them. Patterns and gaps may begin to stand out. But only when you start to organize your ideas will you be able to translate your raw insights into a form that will communicate meaning to your audience.

Organizing Ideas

When you write, you need to organize your ideas in an order that makes sense. The writing you complete in all your courses exposes how analytically and critically your mind works. In some courses, the only direct contact you may have with your instructor is through the assignments you write for the course. You can make a good impression by spending time ordering your ideas.

Order refers to your choice of what to present first, second, third, and so on in your writing. The order you pick closely relates to your purpose for writing that particular assignment. For example, when telling a story, it may be important to first describe the background for the action. Or you may need to first describe a 3-D movie projector or a television studio to help readers visualize the setting and scene. You may want to group your support effectively to convince readers that your point of view on an issue is well reasoned and worthy of belief.

In longer pieces of writing, you may organize different parts in different ways so that your purpose stands out clearly and all parts of the paper work together to consistently develop your main point.

Methods of Organizing Writing

The three common methods of organizing writing are chronological order, spatial order, and order of importance. Keep these methods of organization in mind as you plan how to arrange the information you have gathered in an outline. An outline is a written plan that serves as a skeleton for the paragraphs you write. Later, when you draft paragraphs in the next stage of the writing process, you will add support for your assignment.

When you write, your goal is not only to complete an assignment but also to write for a specific purpose—perhaps to inform, to explain, to persuade, or for a combination of these purposes. Your purpose for writing should always be in the back of your mind, because it will help you decide which pieces of information belong together and how you will order them. In other words, choose the order that will most effectively fit your purpose and support your main point. Table 7.1 “Order versus Purpose” shows the connection between order and purpose.

Writing a Thesis Statement

One legitimate question readers always ask about a piece of writing is “What is the big idea?” (You may even ask this question when you are the reader, critically reading an assignment or another document.) Every nonfiction writing task—from the short essay to the ten-page term paper to the lengthy senior thesis—needs a big idea, or a controlling idea, as the spine for the work. The controlling idea is the main idea that you want to present and develop.

The big idea, or controlling idea, you want to present in an essay is expressed in a thesis statement. A thesis statement is often one sentence long, and it states your point of view. The thesis statement is not the topic of the piece of writing but rather what you have to say about that topic and what is important to tell readers.

The first thesis statement you write will be a preliminary thesis statement, or a working thesis statement. You will need it when you begin to outline your assignment as a way to organize it. As you continue to develop the arrangement, you can limit your working thesis statement if it is too broad or expand it if it proves too narrow for what you want to say.

Writing an Outline

For an essay question on a test or a brief oral presentation in class, all you may need to prepare is a short, informal outline in which you jot down key ideas in the order you will present them. This kind of outline reminds you to stay focused in a stressful situation and to include all the good ideas that help you explain or prove your point.

For a longer assignment, like an essay or a research paper, many instructors require students to submit a formal outline before writing a major paper as a way to be sure you are on the right track and are working in an organized manner. A formal outline is a detailed guide that shows how all your supporting ideas relate to each other. It helps you distinguish between ideas that are of equal importance and ones that are of lesser importance. You build your paper based on the framework created by the outline.

There are two types of formal outlines: the topic outline and the sentence outline. You format both types of formal outlines in the same way.

• Place your introduction and thesis statement at the beginning, under roman numeral I.
• Use Roman numerals (I, II, III, IV, V, etc.) to identify main points that develop the thesis statement.
• Use capital letters (A, B, C, D, E, etc.) to divide your main points into parts.
• Use Arabic numerals (1, 2, 3, 4, 5, etc.) if you need to subdivide any As, Bs, or Cs into smaller parts.
• End with the final roman numeral expressing your idea for your conclusion.

Here is what the skeleton of a traditional formal outline looks like. The indention helps clarify how the ideas are related.

Constructing Topic Outlines

A topic outline is the same as a sentence outline except you use words or phrases instead of complete sentences. Words and phrases keep the outline short and easier to comprehend. All the headings, however, must be written in parallel structure.

Here is the topic outline that a student constructed for the essay a student is developing. Their purpose is to inform, and their audience is a general audience of their fellow college students. Notice how they begin with their thesis statement. They then arrange their main points and supporting details in outline form using short phrases in parallel grammatical structure.

Constructing Sentence Outlines

A sentence outline is the same as a topic outline except you use complete sentences instead of words or phrases. Complete sentences create clarity and can advance you one step closer to a draft in the writing process.

Here is the sentence outline that a student constructed for the essay she is developing.

Text Attributions

• This chapter was adapted from “Outlining” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

Now that you have identified common purposes for writing and learned how to select appropriate content for a particular audience, you can think about the structure of a paragraph in greater detail. Composing an effective paragraph requires a method similar to building a house. You may have the finest content, or materials, but if you do not arrange them in the correct order, then the final product will not hold together very well.

A strong paragraph contains three distinct components:

1. Topic sentence. The topic sentence is the main idea of the paragraph.
2. Body. The body is composed of the supporting sentences that develop the main point.
3. Conclusion. The conclusion is the final sentence that summarizes the main point.

The foundation of a good paragraph is the topic sentence, which expresses the main idea of the paragraph. The topic sentence relates to the thesis, or main point, of the essay and guides the reader by signposting what the paragraph is about. All the sentences in the rest of the paragraph should relate to the topic sentence.

Developing a Topic Sentence

Pick up any newspaper or magazine and read the first sentence of an article. Are you fairly confident that you know what the rest of the article is about? If so, you have likely read the topic sentence. An effective topic sentence combines a main idea with the writer’s personal attitude or opinion. It serves to orient the reader and provides an indication of what will follow in the rest of the paragraph. Read the following example.

This topic sentence declares a favorable position for standardizing math and English education. After reading this sentence, a reader might reasonably expect the writer to provide supporting details and facts as to why standardizing math and English education might improve student learning in many provinces. If the purpose of the essay is actually to evaluate education in only one particular state, or to discuss math or English education specifically, then the topic sentence is misleading.

Main Idea versus Controlling Idea

Topic sentences contain both a main idea (the subject, or topic that the writer is discussing) and a controlling idea (the writer’s specific stance on that subject). Just as a thesis statement includes an idea that controls a document’s focus, a topic sentence must also contain a controlling idea to direct the paragraph. Different writers may use the same main idea but can steer their paragraph in a number of different directions according to their stance on the subject. Read the following examples.

Although the main idea—marijuana—is the same in all three topic sentences, the controlling idea differs depending on the writer’s viewpoint.

Characteristics of a Good Topic Sentence

Five characteristics define a good topic sentence:

1. A good topic sentence provides an accurate indication of what will follow in the rest of the paragraph.Weak example. People rarely give firefighters the credit they deserve for such a physically and emotionally demanding job. (The paragraph is about a specific incident that involved firefighters; therefore, this topic sentence is too general.)

   Stronger example. During the October riots, Unit 3B went beyond the call of duty. (This topic sentence is more specific and indicates that the paragraph will contain information about a particular incident involving Unit 3B.)

2. A good topic sentence contains both a topic and a controlling idea or opinion.Weak example. In this paper, I am going to discuss the rising suicide rate among young professionals. (This topic sentence provides a main idea, but it does not present a controlling idea, or thesis.)

   Stronger example. The rising suicide rate among young professionals is a cause for immediate concern. (This topic sentence presents the writer’s opinion on the subject of rising suicide rates among young professionals.)

3. A good topic sentence is clear and easy to follow.Weak example. In general, writing an essay, thesis, or other academic or nonacademic document is considerably easier and of much higher quality if you first construct an outline, of which there are many different types. (This topic sentence includes a main idea and a controlling thesis, but both are buried beneath the confusing sentence structure and unnecessary vocabulary. These obstacles make it difficult for the reader to follow.)Stronger example. Most forms of writing can be improved by first creating an outline. (This topic sentence cuts out unnecessary verbiage and simplifies the previous statement, making it easier for the reader to follow.)
4. A good topic sentence does not include supporting details.Weak example. Salaries should be capped in baseball for many reasons, most importantly so we don’t allow the same team to win year after year. (This topic sentence includes a supporting detail that should be included later in the paragraph to back up the main point.)Stronger example. Introducing a salary cap would improve the game of baseball for many reasons. (This topic sentence omits the additional supporting detail so that it can be expanded upon later in the paragraph.)
5. A good topic sentence engages the reader by using interesting vocabulary.Weak example. The military deserves better equipment. (This topic sentence includes a main idea and a controlling thesis, but the language is bland and unexciting.)Stronger example. The appalling lack of resources provided to the military is outrageous and requires our immediate attention. (This topic sentence reiterates the same idea and controlling thesis, but adjectives such as appalling and immediate better engage the reader. These words also indicate the writer’s tone.)

Developing Paragraphs That Use Topic Sentences, Supporting Ideas, and Transitions Effectively

Learning how to develop a good topic sentence is the first step toward writing a solid paragraph. Once you have composed your topic sentence, you have a guideline for the rest of the paragraph. To complete the paragraph, a writer must support the topic sentence with additional information and summarize the main point with a concluding sentence.

This section identifies the three major structural parts of a paragraph and covers how to develop a paragraph using transitional words and phrases.

Identifying Parts of a Paragraph

An effective paragraph contains three main parts: a topic sentence, the body, and the concluding sentence. A topic sentence is often the first sentence of a paragraph. This chapter has already discussed its purpose—to express a main idea combined with the writer’s attitude about the subject. The body of the paragraph usually follows, containing supporting details. Supporting sentences help explain, prove, or enhance the topic sentence. The concluding sentence is the last sentence in the paragraph. It reminds the reader of the main point by restating it in different words.

Figure 8.1

Read the following paragraph. The topic sentence is underlined for you.

The first sentence of this paragraph is the topic sentence. It tells the reader that the paragraph will be about reality television shows, and it expresses the writer’s distaste for these shows through the use of the word bombarded.

Each of the following sentences in the paragraph supports the topic sentence by providing further information about a specific reality television show. The final sentence is the concluding sentence. It reiterates the main point that viewers are bored with reality television shows by using different words from the topic sentence.

Paragraphs that begin with the topic sentence move from the general to the specific. They open with a general statement about a subject (reality shows) and then discuss specific examples (the reality show Prisoner). Most academic essays contain the topic sentence at the beginning of the first paragraph.

Now take a look at the following paragraph. The topic sentence is underlined for you.

The last sentence of this paragraph is the topic sentence. It draws on specific examples (a cat that tracked down its owners and a dog that can predict seizures) and then makes a general statement that draws a conclusion from these examples (animals’ senses are better than humans’). In this case, the supporting sentences are placed before the topic sentence and the concluding sentence is the same as the topic sentence.

This technique is frequently used in persuasive writing. The writer produces detailed examples as evidence to back up his or her point, preparing the reader to accept the concluding topic sentence as the truth.

Sometimes, the topic sentence appears in the middle of a paragraph. Read the following example. The topic sentence is underlined for you.

In this paragraph, the underlined sentence is the topic sentence. It expresses the main idea—that breathing exercises can help control anxiety. The preceding sentences enable the writer to build up to his main point (breathing exercises can help control anxiety) by using a personal anecdote (how he used to suffer from anxiety). The supporting sentences then expand on how breathing exercises help the writer by providing additional information. The last sentence is the concluding sentence and restates how breathing can help manage anxiety.

Placing a topic sentence in the middle of a paragraph is often used in creative writing. If you notice that you have used a topic sentence in the middle of a paragraph in an academic essay, read through the paragraph carefully to make sure that it contains only one major topic.

Drafting is the stage of the writing process in which you develop a complete first version of a piece of writing.

Even professional writers admit that an empty page scares them because they feel they need to come up with something fresh and original every time they open a blank document on their computers. Because you have completed the first two steps in the writing process, you have already recovered from empty page syndrome. You have hours of prewriting and planning already done. You know what will go on that blank page: what you wrote in your outline.

The student chose to begin by writing a quick introduction based on her thesis statement. She knew that she would want to improve her introduction significantly when she revised. Right now, she just wanted to give herself a starting point. You will read her introduction again in “Revising and Editing” when she revises it.

With her thesis statement and her purpose and audience notes in front of her, the student then looked at her sentence outline. She chose to use that outline because it includes the topic sentences. The following is the portion of her outline for the first body paragraph. The roman numeral II identifies the topic sentence for the paragraph, capital letters indicate supporting details, and Arabic numerals label subpoints.

The student then began to expand the ideas in her outline into a paragraph. Notice how the outline helped her guarantee that all her sentences in the body of the paragraph develop the topic sentence.

The student then began her third and final body paragraph using roman numeral IV from her outline.

If your thesis gives the reader a roadmap to your essay, then body paragraphs should closely follow that map. The reader should be able to predict what follows your introductory paragraph by simply reading the thesis statement.

The body paragraphs present the evidence you have gathered to confirm your thesis. Before you begin to support your thesis in the body, you must find information from a variety of sources that support and give credit to what you are trying to prove.

The method of organization you choose for your essay is just as important as its content. Without a clear organizational pattern to follow, your reader could become confused and lose interest. The way you structure your essay helps your readers draw connections between the body and the thesis, and the structure also keeps you focused as you plan and write the essay. Choosing your organizational pattern before you outline ensures that each body paragraph works to support and develop your thesis.

This section covers three ways to organize body paragraphs:

1. Chronological order
2. Order of importance
3. Spatial order

When you begin to draft your essay, your ideas may seem to flow from your mind in a seemingly random manner. Your readers, who bring to the table different backgrounds, viewpoints, and ideas, need you to clearly organize these ideas in order to help process and accept them.

A solid organizational pattern gives your ideas a path that you can follow as you develop your draft. Knowing how you will organize your paragraphs allows you to better express and analyze your thoughts. Planning the structure of your essay before you choose supporting evidence helps you conduct more effective and targeted research.

Picture your introduction as a storefront window: You have a certain amount of space to attract your customers (readers) to your goods (subject) and bring them inside your store (discussion). Once you have enticed them with something intriguing, you then point them in a specific direction and try to make the sale (convince them to accept your thesis).

Your introduction is an invitation to your readers to consider what you have to say and then to follow your train of thought as you expand upon your thesis statement.

First impressions are crucial and can leave lasting effects in your reader’s mind, which is why the introduction is so important to your essay. If your introductory paragraph is dull or disjointed, your reader probably will not have much interest in continuing with the essay.

Attracting Interest in Your Introductory Paragraph

Your introduction should begin with an engaging statement devised to provoke your readers’ interest. In the next few sentences, introduce them to your topic by stating general facts or ideas about the subject. As you move deeper into your introduction, you gradually narrow the focus, moving closer to your thesis. Moving smoothly and logically from your introductory remarks to your thesis statement can be achieved using a funnel technique, as illustrated in the diagram in Figure 13.1 “Funnel Technique”.

Figure 13.1

Exercise 13.1

On a separate sheet of paper, jot down a few general remarks that you can make about the topic for which you formed a thesis in a previous exercise, or create a new one.

Immediately capturing your readers’ interest increases the chances of having them read what you are about to discuss. You can garner curiosity for your essay in a number of ways. Try to get your readers personally involved by doing any of the following:

• Appealing to their emotions
• Using logic
• Beginning with a provocative question or opinion
• Opening with a startling statistic or surprising fact
• Raising a question or series of questions
• Presenting an explanation or rationalization for your essay
• Opening with a relevant quotation or incident
• Opening with a striking image
• Including a personal anecdote

In the following introductory paragraph, the thesis statement is underlined:

Revising and editing are the two tasks you undertake to significantly improve your essay. Both are very important elements of the writing process. You may think that a completed first draft means little improvement is needed. However, even experienced writers need to improve their drafts and rely on peers during revising and editing. You may know that athletes miss catches, fumble balls, or overshoot goals. Dancers forget steps, turn too slowly, or miss beats. For both athletes and dancers, the more they practice, the stronger their performance will become. Web designers seek better images, a more clever design, or a more appealing background for their web pages. Writing has the same capacity to profit from improvement and revision.

Text Attributions

• This chapter was adapted from “Writing Essays: End-of-Chapter Exercises” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

Figure 16.1

• Why was the Great Wall of China built?
• What have scientists learned about the possibility of life on Mars?
• What roles did women play in the American Revolution?
• How does the human brain create, store, and retrieve memories?
• Who invented the game of football, and how has it changed over the years?

You may know the answers to these questions off the top of your head. If you are like most people, however, you find answers to tough questions like these by searching the Internet, visiting the library, or asking others for information. To put it simply, you perform research.

Whether you are a scientist, an artist, a paralegal, or a parent, you probably perform research in your everyday life. When your boss, your instructor, or a family member asks you a question that you do not know the answer to, you locate relevant information, analyze your findings, and share your results. Locating, analyzing, and sharing information are key steps in the research process, and in this chapter, you will learn more about each step. By developing your research writing skills, you will prepare yourself to answer any question no matter how challenging.

Writing a good research paper takes time, thought, and effort. Although this assignment is challenging, it is manageable. Focusing on one step at a time will help you develop a thoughtful, informative, well-supported research paper.

Your first step is to choose a topic and then to develop research questions, a working thesis, and a written research proposal. Set aside adequate time for this part of the process. Fully exploring ideas will help you build a solid foundation for your paper.

Figure 17.1

The prewriting you have completed so far has helped you begin to plan the content of your research paper—your topic, research questions, and preliminary thesis. It is equally important to plan out the process of researching and writing the paper. Although some types of writing assignments can be completed relatively quickly, developing a good research paper is a complex process that takes time. Breaking it into manageable steps is crucial. Review the steps outlined at the beginning of this chapter.

You have already completed step 1. In this section, you will complete step 2. The remaining steps fall under two broad categories—the research phase of the project (steps 3 and 4) and the writing phase (steps 5 and 6). Both phases present challenges. Understanding the tasks involved and allowing enough time to complete each task will help you complete your research paper on time with a minimal amount of stress.

Figure 18.1

Planning Your Project

Each step of a research project requires time and attention. Careful planning helps ensure that you will keep your project running smoothly and produce your best work. Set up a project schedule that shows when you will complete each step. Think about how you will complete each step and what project resources you will use. Resources may include anything from library databases and word-processing software to interview subjects and writing tutors.

To develop your schedule, use a calendar and work backward from the date your final draft is due. Generally, it is wise to divide half of the available time on the research phase of the project and half on the writing phase. For example, if you have a month to work, plan for two weeks for each phase. If you have a full semester, plan to begin research early and to start writing by the middle of the term. You might think that no one really works that far ahead, but try it. You will probably be pleased with the quality of your work and with the reduction in your stress level.

As you plan, break down major steps into smaller tasks if necessary. For example, step 3, conducting research, involves locating potential sources, evaluating their usefulness and reliability, reading, and taking notes. Defining these smaller tasks makes the project more manageable by giving you concrete goals to achieve.

This student had six weeks to complete his research project. Working backward from a due date of May 2, he mapped out a schedule for completing his research by early April so that he would have ample time to write. The student chose to write his schedule in his weekly planner to help keep himself on track.

Review the following schedule. Key target dates are shaded. Note that the student planned times to use available resources by visiting the library and writing center and by meeting with his instructor.

Figure 18.2 [Image Description]

Exercise 18.1

1. Working backward from the date your final draft is due, create a project schedule. You may choose to write a sequential list of tasks or record tasks on a calendar.
2. Check your schedule to be sure that you have broken each step into smaller tasks and assigned a target completion date to each key task.
3. Review your target dates to make sure they are realistic. Always allow a little more time than you think you will actually need.

TIP: Plan your schedule realistically, and consider other commitments that may sometimes take precedence. A business trip or family visit may mean that you are unable to work on the research project for a few days. Make the most of the time you have available. Plan for unexpected interruptions, but keep in mind that a short time away from the project may help you come back to it with renewed enthusiasm. Another strategy many writers find helpful is to finish each day’s work at a point when the next task is an easy one. That makes it easier to start again.

Now that you have planned your research project, you are ready to begin the research. This phase can be both exciting and challenging. As you read this section, you will learn ways to locate sources efficiently, so you have enough time to read the sources, take notes, and think about how to use the information.

Figure 19.1

Of course, the technological advances of the past few decades—particularly the rise of online media—mean that, as a twenty-first-century student, you have countless sources of information available at your fingertips. But how can you tell whether a source is reliable? This section will discuss strategies for evaluating sources critically so that you can be a media-savvy researcher.

In this section, you will locate and evaluate resources for your paper and begin taking notes. As you read, begin gathering print and electronic resources, identify at least eight to ten sources by the time you finish the chapter, and begin taking notes on your research findings.

Locating Useful Resources

When you chose a paper topic and determined your research questions, you conducted preliminary research to stimulate your thinking. Your research proposal included some general ideas for how to go about your research—for instance, interviewing an expert in the field or analyzing the content of popular magazines. You may even have identified a few potential sources. Now it is time to conduct a more focused, systematic search for informative primary and secondary sources.

Using Primary and Secondary Sources

Writers classify research resources in two categories: primary sources and secondary sources. Primary sources are direct, firsthand sources of information or data. For example, if you were writing a paper about the First Amendment right to freedom of speech, the text of the First Amendment in the Bill of Rights would be a primary source.

Other primary sources include the following:

• Research articles
• Literary texts
• Historical documents such as diaries or letters
• Autobiographies or other personal accounts

Secondary sources discuss, interpret, analyze, consolidate, or otherwise rework information from primary sources. In researching a paper about the First Amendment, you might read articles about legal cases that involved First Amendment rights, or editorials expressing commentary on the First Amendment. These sources would be considered secondary sources because they are one step removed from the primary source of information.

The following are examples of secondary sources:

• Magazine articles
• Biographical books
• Literary and scientific reviews
• Television documentaries

Your topic and purpose determine whether you must cite both primary and secondary sources in your paper. Ask yourself which sources are most likely to provide the information that will answer your research questions. If you are writing a research paper about reality television shows, you will need to use some reality shows as a primary source, but secondary sources, such as a reviewer’s critique, are also important. If you are writing about the health effects of nicotine, you will probably want to read the published results of scientific studies, but secondary sources, such as magazine articles discussing the outcome of a recent study, may also be helpful.

Once you have thought about what kinds of sources are most likely to help you answer your research questions, you may begin your search for print and electronic resources. The challenge here is to conduct your search efficiently. Writers use strategies to help them find the sources that are most relevant and reliable while steering clear of sources that will not be useful.

Finding Print Resources

Figure 19.2

Print resources include a vast array of documents and publications. Regardless of your topic, you will consult some print resources as part of your research. (You will use electronic sources as well, but it is not wise to limit yourself to electronic sources only, because some potentially useful sources may be available only in print form.) Table 19.1 “Library Print Resources” lists different types of print resources available at public and university libraries.

Table 19.1 Library Print Resources

Resource Type	Description	Example(s)
Reference works	Reference works provide a summary of information about a particular topic. Almanacs, encyclopedias, atlases, medical reference books, and scientific abstracts are examples of reference works. In some cases, reference books may not be checked out of a library. Note that reference works are many steps removed from original primary sources and are often brief, so these should be used only as a starting point when you gather information.	The World Almanac and Book of Facts 2010 Diagnostic and Statistical Manual published by the American Psychiatric Association
Nonfiction books	Nonfiction books provide in-depth coverage of a topic. Trade books, biographies, and how-to guides are usually written for a general audience. Scholarly books and scientific studies are usually written for an audience that has specialized knowledge of a topic.	The Low-Carb Solution: A Slimmer You in 30 Days Carbohydrates, Fats and Proteins: Exploring the Relationship Between Macronutrient Ratios and Health Outcomes
Periodicals and news sources	These sources are published at regular intervals—daily, weekly, monthly, or quarterly. Newspapers, magazines, and academic journals are examples. Some periodicals provide articles on subjects of general interest, while others are more specialized.	New York Times PC Magazine JAMA, The Journal of the American Medical Association
Government publications	Federal, state, and local government agencies publish information on a variety of topics. Government publications include reports, legislation, court documents, public records, statistics, studies, guides, programs, and forms.	The Census 2000 Profile The Business Relocation Package published by the Philadelphia Chamber of Commerce
Business and nonprofit publications	Businesses and nonprofit organizations produce publications designed to market a product, provide background about the organization, provide information on topics connected to the organization, or promote a cause. These publications include reports, newsletters, advertisements, manuals, brochures, and other print documents.	A company’s instruction manual explaining how to use a specific software program A news release published by the Sierra Club

Some of these resources are also widely available in electronic format. In addition to the resources noted in the table, library holdings may include primary texts such as historical documents, letters, and diaries.

To find print resources efficiently, first identify the major concepts and terms you will use to conduct your search—that is, your keywords. These, along with the research questions you identified in  “Writing from Research: What Will I Learn?”, and “Steps in Developing a Research Proposal”, will help you find sources using any of the following methods:

• Using the library’s online catalog or card catalog
• Using periodicals indexes and databases
• Consulting a reference librarian

You probably already have some keywords in mind based on your preliminary research and writing. Another way to identify useful keywords is to visit the Library of Congress’s website. This site allows you to search for a topic and see the related subject headings used by the Library of Congress, including broader terms, narrower terms, and related terms. Other libraries use these terms to classify materials. Knowing the most-used terms will help you speed up your keyword search.

Using Periodicals, Indexes, and Databases

Library catalogs can help you locate book-length sources, as well as some types of nonprint holdings, such as CDs, DVDs, and audio books. To locate shorter sources, such as magazine and journal articles, you will need to use a periodical index or an online periodical database. These tools index the articles that appear in newspapers, magazines, and journals. Like catalogs, they provide publication information about an article and often allow users to access a summary or even the full text of the article.

Print indexes may be available in the periodicals section of your library. Increasingly, libraries use online databases that users can access through the library website. A single library may provide access to multiple periodical databases. These can range from general news databases to specialized databases. Table 19.2 “Commonly Used Indexes and Databases” describes some commonly used indexes and databases.

Consulting a Reference Librarian

Figure 19.3

Sifting through library stacks and database search results to find the information you need can be like trying to find a needle in a haystack. If you are not sure how you should begin your search, or if it is yielding too many or too few results, you are not alone. Many students find this process challenging, although it does get easier with experience. One way to learn better search strategies is to consult a reference librarian.

Reference librarians are intimately familiar with the systems libraries use to organize and classify information. They can help you locate a particular book in the library stacks, steer you toward useful reference works, and provide tips on how to use databases and other electronic research tools. Take the time to see what resources you can find on your own, but if you encounter difficulties, ask for help. Many librarians hold virtual office hours and are available for online chatting.

Finding and Using Electronic Resources

With the expansion of technology and media over the past few decades, a wealth of information is available to you in electronic format. Some types of resources, such as a television documentary, may only be available electronically. Other resources—for instance, many newspapers and magazines—may be available in both print and electronic form. The following are some of the electronic sources you might consult:

• Online databases
• CD-ROMs
• Popular web search engines
• Websites maintained by businesses, universities, nonprofit organizations, or government agencies
• Newspapers, magazines, and journals published on the web
• E-books
• Audio books
• Industry blogs
• Radio and television programs and other audio and video recordings
• Online discussion groups

The techniques you use to locate print resources can also help you find electronic resources efficiently. Libraries usually include CD-ROMs, audio books, and audio and video recordings among their holdings. You can locate these materials in the catalog using a keyword search. The same Boolean operators used to refine database searches can help you filter your results in popular search engines.

At this point in your project, you are preparing to move from the research phase to the writing phase. You have gathered much of the information you will use, and soon you will be ready to begin writing your draft. This section helps you transition smoothly from one phase to the next.

Beginning writers sometimes attempt to transform a pile of note cards into a formal research paper without any intermediary step. This approach presents problems. The writer’s original question and thesis may be buried in a flood of disconnected details taken from research sources. The first draft may present redundant or contradictory information. Worst of all, the writer’s ideas and voice may be lost.

An effective research paper focuses on the writer’s ideas—from the question that sparked the research process to how the writer answers that question based on the research findings. Before beginning a draft, or even an outline, good writers pause and reflect. They ask themselves questions such as the following:

• How has my thinking changed based on my research? What have I learned?
• Was my working thesis on target? Do I need to rework my thesis based on what I have learned?
• How does the information in my sources mesh with my research questions and help me answer those questions? Have any additional important questions or subtopics come up that I will need to address in my paper?
• How do my sources complement each other? What ideas or facts recur in multiple sources?
• Where do my sources disagree with each other, and why?

In this section, you will reflect on your research and review the information you have gathered. You will determine what you now think about your topic. You will synthesize, or put together, different pieces of information that help you answer your research questions. Finally, you will determine the organizational structure that works best for your paper and begin planning your outline.

Text Attributions

• This chapter was adapted from “Critical Thinking and Research Applications” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

Text Attributions

• This chapter was adapted from “Writing from Research: End-of-Chapter Exercises” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

At last, you are ready to begin writing the rough draft of your research paper. Putting your thinking and research into words is exciting. It can also be challenging. In this section, you will learn strategies for handling the more challenging aspects of writing a research paper, such as integrating material from your sources, citing information correctly, and avoiding any misuse of your sources.

The Structure of a Research Paper

Research papers generally follow the same basic structure: an introduction that presents the writer’s thesis, a body section that develops the thesis with supporting points and evidence, and a conclusion that revisits the thesis and provides additional insights or suggestions for further research.

Your writing voice will come across most strongly in your introduction and conclusion, as you work to attract your readers’ interest and establish your thesis. These sections usually do not cite sources at length. They focus on the big picture, not specific details. In contrast, the body of your paper will cite sources extensively. As you present your ideas, you will support your points with details from your research.

Given all the time and effort you have put into your research project, you will want to make sure that your final draft represents your best work. This requires taking the time to revise and edit your paper carefully.

You may feel like you need a break from your paper before you revise and edit it. That is understandable—but leave yourself with enough time to complete this important stage of the writing process. In this section, you will learn the following specific strategies that are useful for revising and editing a research paper:

• How to evaluate and improve the overall organization and cohesion
• How to maintain an appropriate style and tone
• How to use checklists to identify and correct any errors in language, citations, and formatting

In this chapter, you will learn how to use APA style, the documentation and formatting style followed by the American Psychological Association, as well as MLA style, from the Modern Language Association. There are a few major formatting styles used in academic texts, including AMA, Chicago, and Turabian:

• AMA (American Medical Association) for medicine, health, and biological sciences
• APA (American Psychological Association) for education, psychology, and the social sciences
• Chicago—a common style used in everyday publications like magazines, newspapers, and books
• MLA (Modern Language Association) for English, literature, arts, and humanities
• Turabian—another common style designed for its universal application across all subjects and disciplines

While all the formatting and citation styles have their own use and applications, in this chapter we focus our attention on the two styles you are most likely to use in your academic studies: APA and MLA.

If you find that the rules of proper source documentation are difficult to keep straight, you are not alone. Writing a good research paper is, in and of itself, a major intellectual challenge. Having to follow detailed citation and formatting guidelines as well may seem like just one more task to add to an already-too-long list of requirements.

Following these guidelines, however, serves several important purposes. First, it signals to your readers that your paper should be taken seriously as a student’s contribution to a given academic or professional field; it is the literary equivalent of wearing a tailored suit to a job interview. Second, it shows that you respect other people’s work enough to give them proper credit for it. Finally, it helps your reader find additional materials if they wish to learn more about your topic.

Furthermore, producing a letter-perfect APA-style paper need not be burdensome. Yes, it requires careful attention to detail. However, you can simplify the process if you keep these broad guidelines in mind:

• Work ahead whenever you can. keep track of your sources early in the research process, which will save time later on.
• Get it right the first time. Apply APA guidelines as you write, so you will not have much to correct during the editing stage. Again, putting in a little extra time early on can save time later.
• Use the resources available to you. In addition to the guidelines provided in this chapter, you may wish to consult the APA website or the Purdue University Online Writing lab, which regularly updates its online style guidelines.

General Formatting Guidelines

This chapter provides detailed guidelines for using the citation and formatting conventions developed by the American Psychological Association, or APA. Writers in disciplines as diverse as astrophysics, biology, psychology, and education follow APA style. The major components of a paper written in APA style are listed in the following box.

These are the major components of an APA-style paper:

1. Title page
2. Abstract
3. Body, which includes the following:
   • Headings and, if necessary, subheadings to organize the content
   • In-text citations of research sources
4. References page

All these components must be saved in one document, not as separate documents.

Title Page

The title page of your paper includes the following information:

• Title of the paper
• Author’s name
• Name of the institution with which the author is affiliated
• Header at the top of the page with the paper title (in capital letters) and the page number (If the title is lengthy, you may use a shortened form of it in the header.)

List the first three elements in the order given in the previous list, centered about one third of the way down from the top of the page. Use the headers and footers tool of your word-processing program to add the header, with the title text at the left and the page number in the upper-right corner. Your title page should look like the following example.

Figure 25.1

Abstract

The next page of your paper provides an abstract, or brief summary of your findings. An abstract does not need to be provided in every paper, but an abstract should be used in papers that include a hypothesis. A good abstract is concise—about one hundred fifty to two hundred fifty words—and is written in an objective, impersonal style. Your writing voice will not be as apparent here as in the body of your paper. When writing the abstract, take a just-the-facts approach, and summarize your research question and your findings in a few sentences.

In “Writing a Research Paper”, you read a paper written by a student, who researched the effectiveness of low-carbohydrate diets. Read the abstract. Note how it sums up the major ideas in his paper without going into excessive detail.

Margins, Pagination, and Headings

APA style requirements also address specific formatting concerns, such as margins, pagination, and heading styles, within the body of the paper. Review the following APA guidelines.

Use these general guidelines to format the paper:

1. Set the top, bottom, and side margins of your paper at 1 inch.
2. Use double-spaced text throughout your paper.
3. Use a standard font, such as Times New Roman or Arial, in a legible size (10- to 12-point).
4. Use continuous pagination throughout the paper, including the title page and the references section. Page numbers appear flush right within your header.
5. Section headings and subsection headings within the body of your paper use different types of formatting depending on the level of information you are presenting. Additional details from Jorge’s paper are provided.

 

Figure 25.3

Exercise 25.2

Begin formatting the final draft of your paper according to APA guidelines. You may work with an existing document or set up a new document if you choose. Include the following:

• Your title page
• The abstract you created in Exercise 25.1
• Correct headers and page numbers for your title page and abstract

Headings

APA style uses section headings to organize information, making it easy for the reader to follow the writer’s train of thought and to know immediately what major topics are covered. Depending on the length and complexity of the paper, its major sections may also be divided into subsections, sub-subsections, and so on. These smaller sections, in turn, use different heading styles to indicate different levels of information. In essence, you are using headings to create a hierarchy of information.

The following heading styles used in APA formatting are listed in order of greatest to least importance:

1. Section headings use centered, boldface type. Headings use title case, with important words in the heading capitalized.
2. Subsection headings use left-aligned, boldface type. Headings use title case.
3. The third level uses left-aligned, indented, boldface type. Headings use a capital letter only for the first word, and they end in a period.
4. The fourth level follows the same style used for the previous level, but the headings are boldfaced and italicized.
5. The fifth level follows the same style used for the previous level, but the headings are italicized and not boldfaced.

Figure 25.4

Visually, the hierarchy of information is organized as indicated in Figure 25.4 “Section Headings”.

A college research paper may not use all the heading levels shown in Figure 25.4 “Section Headings”, but you are likely to encounter them in academic journal articles that use APA style. For a brief paper, you may find that level 1 headings suffice. Longer or more complex papers may need level 2 headings or other lower-level headings to organize information clearly. Use your outline to craft your major section headings and determine whether any subtopics are substantial enough to require additional levels of headings.

Exercise 25.3

Working with the document you developed in Exercise 25.2, begin setting up the heading structure of the final draft of your research paper according to APA guidelines. Include your title and at least two to three major section headings, and follow the formatting guidelines provided above. If your major sections should be broken into subsections, add those headings as well. Use your outline to help you.

Table 25.1 Example level 1 headings

Level of Information	Text Example
Level 1	Purported Benefits of Low-Carbohydrate Diets
Level 1	Research on Low-Carbohydrate Diets and Weight Loss
Level 1	Other Long-Term Health Outcomes
Level 1	Conclusion

Citation Guidelines

In-Text Citations

Throughout the body of your paper, include a citation whenever you quote or paraphrase material from your research sources. The purpose of citations is twofold: to give credit to others for their ideas and to allow your reader to follow up and learn more about the topic if desired. Your in-text citations provide basic information about your source; each source you cite will have a longer entry in the references section that provides more detailed information.

In-text citations must provide the name of the author or authors and the year the source was published. (When a given source does not list an individual author, you may provide the source title or the name of the organization that published the material instead.) When directly quoting a source, it is also required that you include the page number where the quote appears in your citation.

This information may be included within the sentence or in a parenthetical reference at the end of the sentence, as in these examples.

Epstein (2010) points out that “junk food cannot be considered addictive in the same way that we think of psychoactive drugs as addictive” (p. 137).

Here, the writer names the source author when introducing the quote and provides the publication date in parentheses after the author’s name. The page number appears in parentheses after the closing quotation marks and before the period that ends the sentence.

Addiction researchers caution that “junk food cannot be considered addictive in the same way that we think of psychoactive drugs as addictive” (Epstein, 2010, p. 137).

Here, the writer provides a parenthetical citation at the end of the sentence that includes the author’s name, the year of publication, and the page number separated by commas. Again, the parenthetical citation is placed after the closing quotation marks and before the period at the end of the sentence.

As noted in the book Junk Food, Junk Science (Epstein, 2010, p. 137), “junk food cannot be considered addictive in the same way that we think of psychoactive drugs as addictive.”

Here, the writer chose to mention the source title in the sentence (an optional piece of information to include) and followed the title with a parenthetical citation. Note that the parenthetical citation is placed before the comma that signals the end of the introductory phrase.

David Epstein’s book Junk Food, Junk Science (2010) pointed out that “junk food cannot be considered addictive in the same way that we think of psychoactive drugs as addictive” (p. 137).

Another variation is to introduce the author and the source title in your sentence and include the publication date and page number in parentheses within the sentence or at the end of the sentence. As long as you have included the essential information, you can choose the option that works best for that particular sentence and source.

Citing a book with a single author is usually a straightforward task. Of course, your research may require that you cite many other types of sources, such as books or articles with more than one author or sources with no individual author listed. You may also need to cite sources available in both print and online and nonprint sources, such as websites and personal interviews.

Writing in Process

APA is just one of several different styles with its own guidelines for documentation, formatting, and language usage. Depending on your field of interest, you may be exposed to additional styles, such as the following:

• MLA style. Determined by the Modern Languages Association and used for papers in literature, languages, and other disciplines in the humanities.
• Chicago style. Outlined in the Chicago Manual of Style and sometimes used for papers in the humanities and the sciences; many professional organizations use this style for publications as well.
• Associated Press (AP) style. Used by professional journalists.

References List

The brief citations included in the body of your paper correspond to the more detailed citations provided at the end of the paper in the references section. In-text citations provide basic information—the author’s name, the publication date, and the page number if necessary—while the references section provides more extensive bibliographical information. Again, this information allows your reader to follow up on the sources you cited and do additional reading about the topic if desired.

The specific format of entries in the list of references varies slightly for different source types, but the entries generally include the following information:

• The name(s) of the author(s) or institution that wrote the source
• The year of publication and, where applicable, the exact date of publication
• The full title of the source
• For books, the city of publication
• For articles or essays, the name of the periodical or book in which the article or essay appears
• For magazine and journal articles, the volume number, issue number, and pages where the article appears
• For sources on the web, the URL where the source is located

The references page is double spaced and lists entries in alphabetical order by the author’s last name. If an entry continues for more than one line, the second line and each subsequent line are indented five spaces. Review the following example:

Figure 25.4

TIP: In APA style, book and article titles are formatted in sentence case, not title case. Sentence case means that only the first word is capitalized, along with any proper nouns.

Text Attributions

• This chapter was adapted from “Creating a References Section” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

This section covers the details of in-text citations. You will learn how to format citations for different types of source materials, whether you are citing brief quotations, paraphrasing ideas, or quoting longer passages. You will also learn techniques you can use to introduce quoted and paraphrased material effectively. Keep this section handy as a reference to consult while writing the body of your paper.

Formatting Cited Material: The Basics

As noted in previous sections of this book, in-text citations usually provide the name of the author(s) and the year the source was published. For direct quotations, the page number must also be included. Use past-tense verbs when introducing a quote—”Smith found…” and not “Smith finds.…”

Formatting Brief Quotations

For brief quotations—fewer than forty words—use quotation marks to indicate where the quoted material begins and ends, and cite the name of the author(s), the year of publication, and the page number where the quotation appears in your source. Remember to include commas to separate elements within the parenthetical citation. Also, avoid redundancy. If you name the author(s) in your sentence, do not repeat the name(s) in your parenthetical citation. Review following the examples of different ways to cite direct quotations.

The author’s name can be included in the body of the sentence or in the parenthetical citation. Note that when a parenthetical citation appears at the end of the sentence, it comes after the closing quotation marks and before the period. The elements within parentheses are separated by commas.

Including the title of a source is optional.

The author’s name, the date, and the title may appear in the body of the text. Include the page number in the parenthetical citation. Also, notice the use of the verb asserts to introduce the direct quotation.

You may begin a sentence with the direct quotation and add the author’s name and a strong verb before continuing the quotation.

Formatting Paraphrased and Summarized Material

When you paraphrase or summarize ideas from a source, you follow the same guidelines previously provided, except that you are not required to provide the page number where the ideas are located. If you are summing up the main findings of a research article, simply providing the author’s name and publication year may suffice, but if you are paraphrasing a more specific idea, consider including the page number.

Read the following examples.

Here, the writer is summarizing a major idea that recurs throughout the source material. No page reference is needed.

Although the writer is not directly quoting the source, this passage paraphrases a specific detail, so the writer chose to include the page number where the information is located.

Formatting Longer Quotations

When you quote a longer passage from a source—forty words or more—use a different format to set off the quoted material. Instead of using quotation marks, create a block quotation by starting the quotation on a new line and indented five spaces from the margin. Note that in this case, the parenthetical citation comes after the period that ends the sentence. Here is an example:

If you are quoting a passage that continues into a second paragraph, indent five spaces again in the first line of the second paragraph. Here is an example:

Introducing Cited Material Effectively

Including an introductory phrase in your text, such as “Jackson wrote” or “Copeland found,” often helps you integrate source material smoothly. This citation technique also helps convey that you are actively engaged with your source material. Unfortunately, during the process of writing your research paper, it is easy to fall into a rut and use the same few dull verbs repeatedly, such as “Jones said,” “Smith stated,” and so on.

Punch up your writing by using strong verbs that help your reader understand how the source material presents ideas. There is a world of difference between an author who “suggests” and one who “claims,” one who “questions” and one who “criticizes.” You do not need to consult your thesaurus every time you cite a source, but do think about which verbs will accurately represent the ideas and make your writing more engaging. The following list shows some possibilities.

Strong Verbs for Introducing Cited Material

• ask
• suggest
• question
• explain
• assert
• claim
• recommend
• compare
• contrast
• propose
• hypothesize
• believe
• insist
• argue
• find
• determine
• measure
• assess
• evaluate
• conclude
• study
• warn
• point out
• sum up

A Work by Two Authors

When two authors are listed for a given work, include both authors’ names each time you cite the work. If you are citing their names in parentheses, use an ampersand (&) between them. (Use the word and, however, if the names appear in your sentence.)

A Work by Three to Five Authors

If the work you are citing has three to five authors, list all the authors’ names the first time you cite the source. In subsequent citations, use the first author’s name followed by the abbreviation et al. (Et al. is short for et alia, the Latin phrase for “and others.”)

Note that these examples follow the same ampersand conventions as sources with two authors. Again, use the ampersand only when listing authors’ names in parentheses.

Note how the phrase et al. is punctuated. No period comes after et, but al. gets a period because it is an abbreviation for a longer Latin word. In parenthetical references, include a comma after et al. but not before. Remember this rule by mentally translating the citation to English: “Henderson and others, 2010.”

A Work by Six or More Authors

If the work you are citing has six or more authors, list only the first author’s name, followed by et al., in your in-text citations. The other authors’ names will be listed in your references section.

A Work Authored by an Organization

When citing a work that has no individual author(s) but is published by an organization, use the organization’s name in place of the author’s name. Lengthy organization names with well-known abbreviations can be abbreviated. In your first citation, use the full name, followed by the abbreviation in square brackets. Subsequent citations may use the abbreviation only.

A Work with No Listed Author

If no author is listed and the source cannot be attributed to an organization, use the title in place of the author’s name. You may use the full title in your sentence or use the first few words—enough to convey the key ideas—in a parenthetical reference. Follow standard conventions for using italics or quotations marks with titles:

• Use italics for titles of books or reports.
• Use quotation marks for titles of articles or chapters.

A Work Cited within Another Work

To cite a source that is referred to within another secondary source, name the first source in your sentence. Then, in parentheses, use the phrase as cited in and the name of the second source author.

Two or More Works Cited in One Reference

At times, you may provide more than one citation in a parenthetical reference, such as when you are discussing related works or studies with similar results. List the citations in the same order they appear in your references section, and separate the citations with a semicolon.

Both of these researchers authored works that support the point being made in this sentence, so it makes sense to include both in the same citation.

A Famous Text Published in Multiple Editions

In some cases, you may need to cite an extremely well-known work that has been repeatedly republished or translated. Many works of literature and sacred texts, as well as some classic nonfiction texts, fall into this category. For these works, the original date of publication may be unavailable. If so, include the year of publication or translation for your edition. Refer to specific parts or chapters if you need to cite a specific section. Discuss with your instructor whether they would like you to cite page numbers in this particular instance.

Here, the student is citing a classic work of psychology, originally written in German and later translated to English. Since the book is a collection of Freud’s lectures, the student cites the lecture number rather than a page number.

Personal Communication

For personal communications, such as interviews, letters, and e-mails, cite the name of the person involved, clarify that the material is from a personal communication, and provide the specific date the communication took place. Note that while in-text citations correspond to entries in the references section, personal communications are an exception to this rule. They are cited only in the body text of your paper.

Text Attributions

• This chapter was adapted from “Citing and Referencing Techniques” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon.  CC BY-NC-SA.

This section provides detailed information about how to create the references section of your paper. You will review basic formatting guidelines and learn how to format bibliographical entries for various types of sources.

Formatting the References Section: The Basics

At this stage in the writing process, you may already have begun setting up your references section. This section may consist of a single page for a brief research paper or may extend for many pages in professional journal articles. As you create this section of your paper, follow the guidelines provided here.

Formatting the References Section

To set up your references section, use the insert page break feature of your word-processing program to begin a new page. Note that the header and margins will be the same as in the body of your paper, and pagination continues from the body of your paper. (In other words, if you set up the body of your paper correctly, the correct header and page number should appear automatically in your references section.) See additional guidelines below.

Formatting Reference Entries

Reference entries should include the following information:

• The name of the author(s)
• The year of publication and, where applicable, the exact date of publication
• The full title of the source
• For books, the city of publication
• For articles or essays, the name of the periodical or book in which the article or essay appears
• For magazine and journal articles, the volume number, issue number, and pages where the article appears
• For sources on the web, the URL where the source is located

See the following examples for how to format a book or journal article with a single author.

The following box provides general guidelines for formatting the reference page. For the remainder of this chapter, you will learn about how to format bibliographical entries for different source types, including multiauthor and electronic sources.

An edited book with an author

List the author’s name first, followed by the title and the editor or editors. Note that when the editor is listed after the title, you list the initials before the last name.

A translated book

Include the translator’s name after the title, and at the end of the citation, list the date the original work was published. Note that for the translator’s name, you list the initials before the last name.

A book published in multiple editions

If you are using any edition other than the first edition, include the edition number in parentheses after the title.

A work that appears in an anthology

Follow the same process you would use to cite a book chapter, substituting the article or essay title for the chapter title.

An article in a reference book

List the author’s name if available; if no author is listed, provide the title of the entry where the author’s name would normally be listed. If the book lists the name of the editor(s), include it in your citation. Indicate the volume number (if applicable) and page numbers in parentheses after the article title.

Two or more books by the same author

List the entries in order of their publication year, beginning with the work published first.

If two books have multiple authors, and the first author is the same but the others are different, alphabetize by the second author’s last name (or the third or fourth, if necessary).

Books by different authors with the same last name

Alphabetize entries by the authors’ first initial.

A book authored by an organization

Treat the organization name as you would an author’s name. For the purposes of alphabetizing, ignore words like The in the organization’s name. (That is, a book published by the American Heart Association would be listed with other entries whose authors’ names begin with A.)

A book-length report

Format technical and research reports as you would format other book-length sources. If the organization that issued the report assigned it a number, include the number in parentheses after the title. (See also the guidelines provided for citing works produced by government agencies.)

A book authored by a government agency

Treat these as you would a book published by a nongovernment organization, but be aware that these works may have an identification number listed. If so, include it in parentheses after the publication year.

Print Sources: Periodicals

An article in a scholarly journal

Include the following information:

• Author or authors’ names
• Publication year
• Article title (in sentence case, without quotation marks or italics)
• Journal title (in title case and in italics)
• Volume number (in italics)
• Issue number (in parentheses)
• Page number(s) where the article appears

An article in a journal paginated by volume

In these types of journals, page numbers for one volume continue across all the issues in that volume. For instance, the winter issue may begin with page 1, and in the spring issue that follows, the page numbers pick up where the previous issue left off. (If you have ever wondered why a print journal did not begin on page 1, or wondered why the page numbers of a journal extend into four digits, this is why.) Omit the issue number from your reference entry.

An abstract of a scholarly article

At times you may need to cite an abstract—the summary that appears at the beginning—of a published article. If you are citing the abstract only, and it was published separately from the article, provide the following information:

• Publication information for the article
• Information about where the abstract was published (for instance, another journal or a collection of abstracts)

A journal article with two to seven authors

List all the authors’ names in the order they appear in the article. Use an ampersand before the last name listed.

A journal article with more than seven authors

List the first six authors’ names, followed by a comma, an ellipsis, and the name of the last author listed. The article in the following example has sixteen listed authors; the reference entry lists the first six authors and the sixteenth, omitting the seventh through the fifteenth.

Writing at work

The idea of an eight-page article with sixteen authors may seem strange to you—especially if you are in the midst of writing a ten-page research paper on your own. More often than not, articles in scholarly journals list multiple authors. Sometimes, the authors actually did collaborate on writing and editing the published article. In other instances, some of the authors listed may have contributed to the research in some way while being only minimally involved in the process of writing the article. Whenever you collaborate with colleagues to produce a written product, follow your profession’s conventions for giving everyone proper credit for their contribution.

A magazine article

After the publication year, list the issue date. Otherwise, treat these as you would journal articles. List the volume and issue number if both are available.

A newspaper article

Treat these as you would magazine and journal articles, with one important difference: precede the page number(s) with the abbreviation p. (for a single-page article) or pp. (for a multipage article). For articles whose pagination is not continuous, list all the pages included in the article. For example, an article that begins on page A1 and continues on pages A4 would have the page reference A1, A4. An article that begins on page A1 and continues on pages A4 and A5 would have the page reference A1, A4–A5.

A letter to the editor

After the title, indicate in brackets that the work is a letter to the editor.

An article from an online periodical with a DOI

List the DOI if one is provided. There is no need to include the URL if you have listed the DOI.

An article from an online periodical with no DOI

List the URL. Include the volume and issue number for the periodical if this information is available. (For some online periodicals, it may not be.)

Note that if the article appears in a print version of the publication, you do not need to list the URL, but do indicate that you accessed the electronic version.

A newspaper article

Provide the URL of the article.

An article accessed through a database

Cite these articles as you would normally cite a print article. Provide database information only if the article is difficult to locate.

An abstract of an article

Format these as you would an article citation, but add the word Abstract in brackets after the title.

A nonperiodical web document

The ways you cite different nonperiodical web documents may vary slightly from source to source, depending on the information that is available. In your citation, include as much of the following information as you can:

• Name of the author(s), whether an individual or organization
• Date of publication (Use n.d. if no date is available.)
• Title of the document
• Address where you retrieved the document

If the document consists of more than one web page within the site, link to the homepage or the entry page for the document.

An entry from an online encyclopedia or dictionary

Because these sources often do not include authors’ names, you may list the title of the entry at the beginning of the citation. Provide the URL for the specific entry.

Data sets

If you cite raw data compiled by an organization, such as statistical data, provide the URL where you retrieved the information. Provide the name of the organization that sponsors the site.

Graphic data

When citing graphic data—such as maps, pie charts, bar graphs, and so on—include the name of the organization that compiled the information, along with the publication date. Briefly describe the contents in brackets. Provide the URL where you retrieved the information. (If the graphic is associated with a specific project or document, list it after your bracketed description of the contents.)

An online interview (audio file or transcript)

List the interviewer, interviewee, and date. After the title, include bracketed text describing the interview as an “Interview transcript” or “Interview audio file,” depending on the format of the interview you accessed. List the name of the website and the URL where you retrieved the information. Use the following format.

An electronic book

Electronic books may include books available as text files online or audiobooks. If an electronic book is easily available in print, cite it as you would a print source. If it is unavailable in print (or extremely difficult to find), use the format in the example. (Use the words Available from in your citation if the book must be purchased or is not available directly.)

A chapter from an online book or a chapter or section of a web document

These are treated similarly to their print counterparts with the addition of retrieval information. Include the chapter or section number in parentheses after the book title.

A dissertation or thesis from a database

Provide the author, date of publication, title, and retrieval information. If the work is numbered within the database, include the number in parentheses at the end of the citation.

Computer software

For commonly used office software and programming languages, it is not necessary to provide a citation. Cite software only when you are using a specialized program, such as the nutrition tracking software in the following example. If you download software from a website, provide the version and the year if available.

A post on a blog or video blog

Citation guidelines for these sources are similar to those used for discussion forum postings. Briefly describe the type of source in brackets after the title.

A television or radio broadcast

Include the name of the producer or executive producer; the date, title, and type of broadcast; and the associated company and location.

A television or radio series or episode

Include the producer and the type of series if you are citing an entire television or radio series.

To cite a specific episode of a radio or television series, list the name of the writer or writers (if available), the date the episode aired, its title, and the type of series, along with general information about the series.

A motion picture

Name the director or producer (or both), year of release, title, country of origin, and studio.

A recording

Name the primary contributors and list their role. Include the recording medium in brackets after the title. Then list the location and the label.

A podcast

Provide as much information as possible about the writer, director, and producer; the date the podcast aired; its title; any organization or series with which it is associated; and where you retrieved the podcast.

MLA style is often used in the liberal arts and humanities. It provides a uniform framework for consistency across a document in several areas. MLA style provides a format for the manuscript text and parenthetical citations, or in-text citations. It also provides the framework for the works cited area for references at the end of the essay. MLA style emphasizes brevity and clarity. As a student writer, it is to your advantage to be familiar with both major styles, and this section will outline the main points of MLA as well as offer specific examples of commonly used references. Remember that your writing represents you in your absence. The correct use of a citation style demonstrates your attention to detail and ability to produce a scholarly work in an acceptable style, and it can help prevent the appearance or accusations of plagiarism.

If you are taking an English, art history, or music appreciation class, chances are that you will be asked to write an essay in MLA format. One common question goes something like “What’s the difference?” referring to APA and MLA style, and it deserves our consideration. The liberal arts and humanities often reflect works of creativity that come from individual and group effort, but they may adapt, change, or build on previous creative works. The inspiration to create something new, from a song to a music video, may contain elements of previous works. Drawing on your fellow artists and authors is part of the creative process, and so is giving credit where credit is due.

A reader interested in your subject wants not only to read what you wrote but also to be aware of the works that you used to create it. Readers want to examine your sources to see if you know your subject, to see if you missed anything, or if you offer anything new and interesting. Your new or up-to-date sources may offer the reader additional insight on the subject being considered. It also demonstrates that you, as the author, are up-to-date on what is happening in the field or on the subject. Giving credit where it is due enhances your credibility, and the MLA style offers a clear format to use.

Uncredited work that is incorporated into your own writing is considered plagiarism. In the professional world, plagiarism results in loss of credibility and often compensation, including future opportunities. In a classroom setting, plagiarism results in a range of sanctions, from loss of a grade to expulsion from a school or university. In both professional and academic settings, the penalties are severe. MLA offers artists and authors a systematic style of reference, again giving credit where credit is due, to protect MLA users from accusations of plagiarism.

MLA style uses a citation in the body of the essay that links to the works cited page at the end. The in-text citation is offset with parentheses, clearly calling attention to itself for the reader. The reference to the author or title is like a signal to the reader that information was incorporated from a separate source. It also provides the reader with information to then turn to the works cited section of your essay (at the end) where they can find the complete reference. If you follow the MLA style, and indicate your source both in your essay and in the works cited section, you will prevent the possibility of plagiarism. If you follow the MLA guidelines, pay attention to detail, and clearly indicate your sources, then this approach to formatting and citation offers a proven way to demonstrate your respect for other authors and artists.

Before we transition to specifics, please consider one word of caution: consistency. If you are instructed to use the MLA style and need to indicate a date, you have options. For example, you could use an international or a US style:

• International style: 18 May 1980 (day/month/year)
• US style: May 18, 1980 (month/day/year)

If you are going to the US style, be consistent in its use. You’ll find you have the option on page 83 of the MLA Handbook for Writers of Research Papers, 7th edition. You have many options when writing in English as the language itself has several conventions, or acceptable ways of writing particular parts of speech or information. For example, on the next page our MLA Handbook addresses the question:

You are welcome to look in the MLA Handbook and see there is one preferred style or convention (you will also find the answer at end of this section marked by an asterisk [*]). Now you may say to yourself that you won’t write that term and it may be true, but you will come to a term or word that has more than one way it can be written. In that case, what convention is acceptable in MLA style? This is where the MLA Handbook serves as an invaluable resource. Again, your attention to detail and the professional presentation of your work are aspects of learning to write in an academic setting.

Now let’s transition from a general discussion on the advantages of MLA style to what we are required to do to write a standard academic essay. We will first examine a general “to do” list, then review a few “do not” suggestions, and finally take a tour through a sample of MLA features. Links to sample MLA papers are located at the end of this section.

General MLA List

1. Use standard white paper (8.5 × 11 inches).
2. Double space the essay and quotes.
3. Use Times New Roman 12-point font.
4. Use one-inch margins on all sides
5. Indent paragraphs (five spaces or 1.5 inches).
6. Include consecutive page numbers in the upper-right corner.
7. Use italics to indicate a title, as in Provincial English.
8. On the first page, place your name, course, date, and instructor’s name in the upper-left corner.
9. On the first page, place the title centered on the page, with no bold or italics and all words capitalized.
10. On all pages, place the header, student’s name + one space + page number, 1.5 inches from the top, aligned on the right.

Title Block Format

You never get a second chance to make a first impression, and your title block (not a separate title page; just a section at the top of the first page) makes an impression on the reader. If correctly formatted with each element of information in its proper place, form, and format, it says to the reader that you mean business, that you are a professional, and that you take your work seriously, so it should, in turn, be seriously considered. Your title block in MLA style contributes to your credibility. Remember that your writing represents you in your absence, and the title block is the tailored suit or outfit that represents you best. That said, sometimes a separate title page is necessary, but it is best both to know how to properly format a title block or page in MLA style and to ask your instructor if it is included as part of the assignment.

Figure 28.1

Paragraphs and Indentation

Make sure you indent five spaces (from the left margin). You’ll see that the indent offsets the beginning of a new paragraph. We use paragraphs to express single ideas or topics that reinforce our central purpose or thesis statement. Paragraphs include topic sentences, supporting sentences, and conclusion or transitional sentences that link paragraphs together to support the main focus of the essay.

Tables and Illustrations

Place tables and illustrations as close as possible to the text they reinforce or complement. Here’s an example of a table in MLA.

This example demonstrates that the words that you write and the tables, figures, illustrations, or images that you include should be next to each other in your paper.

Parenthetical Citations

You must cite your sources as you use them. In the same way that a table or figure should be located right next to the sentence that discusses it (see the previous example), parenthetical citations, or citations enclosed in parenthesis that appear in the text, are required. You need to cite all your information. If someone else wrote it, said it, drew it, demonstrated it, or otherwise expressed it, you need to cite it. The exception to this statement is common, widespread knowledge. For example, if you search online for MLA resources, and specifically MLA sample papers, you will find many similar discussions on MLA style. MLA is a style and cannot be copyrighted because it is a style, but the seventh edition of the MLA Handbook can be copyright protected. If you reference a specific page in that handbook, you need to indicate it. If you write about a general MLA style issue that is commonly covered or addressed in multiple sources, you do not. When in doubt, reference the specific resource you used to write your essay.

Your in-text, or parenthetical, citations should do the following:

• Clearly indicate the specific sources also referenced in the works cited
• Specifically identify the location of the information that you used
• Keep the citation clear and concise, always confirming its accuracy

Works Cited Page

After the body of your paper comes the works cited page. It features the reference sources used in your essay. List the sources alphabetically by last name, or list them by title if the author is not known as is often the case of web-based articles. You will find links to examples of the works cited page in several of the sample MLA essays at the end of this section.

As a point of reference and comparison to our APA examples, let’s examine the following three citations and the order of the information needed.

Note: The items listed include proper punctuation and capitalization according to the style’s guidelines.

Useful Sources of Examples of MLA Style

• Arizona State University Libraries offers an excellent resource with clear examples.

• Purdue Online Writing Lab includes sample pages and works cited.

• California State University–Sacramento’s Online Writing Lab has an excellent visual description and example of an MLA paper.

• Cornell University Library provides comprehensive MLA information on its Citation Management website.

• The University of Kansas Writing Center is an excellent resource.

Checklist 28.1 MLA Checklist

1. Is the heading in the upper left-hand corner of the first page?
2. Does the heading include:
   • Your name?
   • Your instructor’s name?
   • The course name?
   • The date?
3. Does the paper have an original title (other than something like “Final Paper”)?
   • Is the title presented without being bolded, italicized, or placed in quotation marks
4. Does the paper have 1-inch margins on all sides?
5. Is the paper written in Times New Roman (or another standard font your professor allows) and in 12-pt. font?
6. Is everything double-spaced (including any notes and the works cited page)?
7. Are your last name and the page number in the upper right-hand corner of each page (0.5-inches from the top, or inserted using the “header” function in Word)?
8. If you’ve used outside sources, do you have a works cited page?  Is it titled “Works Cited” (without the quotation marks)?  Does it have a page number (that follows the last page of your paper) and your last name?
9. Are the entries in your list of works cited in alphabetical order by the author’s last name?
   • Does each source have an entry on the works cited page?
   • Are all direct quotes in quotation marks?
   • Do all paraphrases and summaries clearly indicate that they come from other sources?
   • Does each in-text reference include a parenthetical citation that includes the author’s last name (unless it is obvious from the context of the sentence who you are referencing) and the page number from which the information was taken?
   • If a quotation is 4 lines or more, is it block-quoted? (i.e. double-spaced, indented 1 inch from the left margin)
   • Have you clearly indicated where you found all information you did not previously know?
   • Does your works cited page conform to MLA format?

 

A YouTube element has been excluded from this version of the text. You can view it online here: https://opentextbc.ca/provincialenglishabe/?p=101

Media Attributions

• “Formatting Your Paper” video by FYC at USF is under the Standard YouTube Licence.

Text Attributions

• The MLA Checklist is from “MLA Checklist” by Jennifer Janechek. CC BY-NC-ND.
• Text had also been adapted from “Using Modern Language Association (MLA) Style” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon. CC BY-NC-SA.

Text Attributions

• This chapter was adapted from “Writing a Research Paper: End-of-Chapter Exercises” in Writing for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon. CC BY-NC-SA.

Aristotle (384 – 322 BCE)

1. Elements of Tragedy
   1. Serious and important plot
   2. Turns out disastrously for the main character
   3. Should arouse pity and fear in the audience
2. Tragic Hero
   1. Neither an all good nor all bad person
   2. “better than we are” (higher moral worth)
   3. Suffers a change in fortune (from happiness to misery)
3. Tragic Flaw
   1. Error in judgment
   2. Disregards a warning or moral law (hubris)
   3. We can recognize similar errors in our own lives

Text Attributions

• This chapter was adapted from “Course Handouts” by Julia Dodge. Adapted by Allison Kilgannon. CC BY-NC-SA.

From the French roman 12C.

1. Elements of Romance
   1. Setting is in epic scale—may be worldwide or even larger
   2. Suspends audience’s expectations based on everyday experiences
   3. Extraordinary deeds in battle
   4. Gods or supernatural beings (or important figures) take an interest in the action
   5. Emphasis on adventure
2. Romantic Hero/Characters
   1. Figure of great national or even cosmic importance
   2. Characters are sharply distinguished as heroes or villains, masters or victims
   3. Protagonist is often solitary or relatively isolated from society
   4. Men escape to an unspoiled natural environment, free from women, to undergo test of virility
3. Romantic Themes
   1. Quest undertaken by a knight in order to regain a lady’s favour
   2. Quest for an ideal
   3. Pursuit of an enemy
   4. Symbolize the primal desires, hopes, and terrors in the depths of the human mind

Aristophanes (450-c. – 385 B.C.)

1. Satire
   1. Attacks deviations from the social order
   2. Shows how ridiculous violators of moral standards or manners are
   3. Diminishes or derogates a subject
   4. Limits ridicule to the failing, not the person—limits to corrigible faults and those not of the person’s responsibility
2. Satiric Characters
   1. Greedy but intelligent rascally swindlers vs. greedy but gullible victims
   2. *Narrator is urbane, witty, and tolerant—points out failings in wry and humorous way *OR* Narrator is serious and dignified moralist who evokes contempt and indignation for subject
   3. Characters make themselves ridiculous and obnoxious by what they think, say, and do
3. Satiric Themes
   1. Laughter is used as a weapon against something outside of the work itself, ex. individual, type of person, class, institution, nation, all of the human race
   2. Corrective of human vice and folly… Alexander Pope: “Those who are ashamed of nothing else are so of being ridiculous.”
   3. “black humour” points out situations of social cruelty, inanity, or chaos

Old Comedy: Aristotle (384 – 322 BCE)

1. Elements of Comedy
   1. Ludicrous & non-threatening plot
   2. Turns out well for the main character(s)
   3. Should arouse feelings of sympathy & ridicule
   4. Should be mimetic (imitate society)
2. Comedic Hero
   1. Both a comedic & ironic person
   2. …”will get his triumph whether what he has done is sensible or silly, honest or rascally” (Frye)
   3. ‘lower’ than we are in social standing or moral worth
3. Comedic Themes
   1. Hero begins by escaping society to an idyllic place
   2. He then tries to fit back into society (plot = probation)
   3. Ends with ‘salvation’ – higher social standing or worth

New Comedy: Frye (1912-1991)

1. Shakespearean Comedy
   1. Sexual desire/ erotic intrigue
   2. The social order rebukes or rejects the hero(s)
   3. Should arouse feelings of sympathy & ridicule
   4. Highly mimetic (social commentary)
2. Comedic Hero(s)
   1. Often many characters involved (silly confusion)
   2. …”will get his triumph whether what he has done is sensible or silly, honest or rascally” (Frye)
   3. Humorous characters; “but socially attractive” (Frye)
3. Comedic Themes
   1. Struggle between the repressive and desirable societies: ours vs. idyllic
   2. Paternal/ societal “block” preventing sexual fulfillment
   3. Ends with: Hero becomes wealthy;
   4. Heroine becomes respectable

Text Attributions

• This chapter was adapted from “Course Handouts” by Julia Dodge. Adapted by Allison Kilgannon. CC BY-NC-SA.

Introduction

Figure 36.1

This reading is designed to develop the analytical skills you need for a more in-depth study of literary texts. You will learn about rhythm, alliteration, rhyme, poetic inversion, voice and line lengths and endings. You will examine poems that do not rhyme and learn how to compare and contrast poetry.

By the end of this reading you should be able to:

• have an awareness of the role of analysis to inform appreciation and understanding of poetry;
• be able to identify and discuss the main analytical concepts used in analyzing poetry.

Figure 36.2

What is the point of analyzing poetry? One simple answer is that the more we know about anything the more interesting it becomes: listening to music or looking at paintings with someone who can tell us a little about what we hear or see – or what we’re reading – is one way of increasing our understanding and pleasure. That may mean learning something about the people who produced the writing, music, painting that we are interested in, and why they produced it. But it may also mean understanding why one particular form was chosen rather than another: why, for example, did the poet choose to write a sonnet rather than an ode, a ballad, or a villanelle? To appreciate the appropriateness of one form, we need to be aware of a range of options available to that particular writer at that particular time. In the same way, we also need to pay attention to word choice. Why was this particular word chosen from a whole range of words that might have said much the same? Looking at manuscript drafts can be really enlightening, showing how much effort was expended in order to find the most appropriate or most evocative expression.

Think about this first stanza of Thomas Hardy’s ‘Neutral Tones’ (1867):

We stood by a pond that winter day,

And the sun was white, as though chidden of God,

And a few leaves lay on the starving sod;

—They had fallen from an ash, and were gray. (Gibson, 1976, p. 12)

Notice that, in the last line, ‘oak’ or ‘elm’ would work just as well as far as the rhythm or music of the line is concerned, but ‘ash’ has extra connotations of grayness, of something burnt out, dead, finished (‘ashes to ashes’, too, perhaps?), all of which contribute to the mood that Hardy conveys in a way that ‘oak’ or ‘elm’ wouldn’t.

To return to my original question then, ‘what is the point of analyzing poetry?’, one answer is that only an analytical approach can help us arrive at an informed appreciation and understanding of the poem. Whether we like a poem or not, we should be able to recognize the craftsmanship that has gone into making it, the ways in which stylistic techniques and devices have worked to create meaning. General readers may be entirely happy to find a poem pleasing, or unsatisfactory, without stopping to ask why. But studying poetry is a different matter and requires some background understanding of what those stylistic techniques might be, as well as an awareness of constraints and conventions within which poets have written throughout different periods of history.

You may write poetry yourself. If so, you probably know only too well how difficult it is to produce something you feel really expresses what you want to convey. Writing an essay presents enough problems – a poem is a different matter, but certainly no easier. Thinking of poetry as a discipline and a craft which, to some extent, can be learned, is another useful way of approaching analysis. After all, how successful are emotional outpourings on paper?

Words one might scribble down in the heat of an intense moment may have some validity in conveying that intensity, but in general might they not be more satisfactory if they were later revised? My own feeling is that a remark Wordsworth made 200 years ago has become responsible for a number of misconceptions about what poetry should do. In the Preface to a volume of poems called Lyrical Ballads (1802) he wrote that ‘all good poetry is the spontaneous overflow of powerful feelings’ (Owens and Johnson, 1998, p.85,11.105–6). The second time he uses the same phrase he says something that I think is often forgotten today: ‘poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquillity’ (my italics) (ibid., p. 95, ll.557–8). Notice the significant time lapse implied there – the idea that, however powerful or spontaneous the emotion, it needs to be carefully considered before you start writing. He goes on:

The emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion kindred to that which was before the subject of contemplation is gradually reproduced, and does itself actually exist in the mind. In this mood successful composition generally begins.

You don’t have to agree with Wordsworth about what poetry is or how best to achieve it. (Would you always want a poem to express powerful emotion, for example? I referred to Hardy’s ‘Neutral Tones’ above, where the whole point is that neither of the two characters described feels anything much at all.) But the idea of contemplation is a useful and important one: it implies distance, perhaps detachment, but above all re-creation, not the thing itself. And if we try to re-create something, we must choose our methods and our words carefully in order to convey what we experienced as closely as possible. A word of warning though: writers do not always aim to express personal experiences; often a persona is created.

The poet Ezra Pound offered this advice to other poets in an essay written in 1913: ‘Use no superfluous word, no adjective, which does not reveal something’ (Gray, 1990, p. 56). And in the 1950s William Carlos Williams advised, ‘cut and cut again whatever you write’. In his opinion, the ‘test of the artist is to be able to revise without showing a seam’ (loc. cit.). That sewing image he uses appeals to me particularly because it stresses the notion of skilled craftsmanship. Pound and Williams were American, writing long after Wordsworth, but, as you can see, like countless other poets they too reflected very seriously on their own poetic practice. I hope this helps convince you that as students we owe it to the poems we read to give them close analytical attention.

Note About Organization

In what follows, section headings like ‘Rhyme’, ‘Rhythm’, ‘Line lengths and line endings’, ‘Alliteration’, and so on, are intended to act as signposts to help you (if terms are unfamiliar, look them up in the glossary at the end). But these headings indicate only the main technique being discussed. While it is something we need to attempt, it is very difficult to try to isolate devices in this way – to separate out, for example, the effects of rhythm from rhyme. This doesn’t mean that we shouldn’t look for particular techniques at work in a poem, but we need to be aware that they will be interdependent and the end product effective or not because of the way such elements work together.

As you work through this reading, don’t be discouraged if your response to exercises differs from mine. Remember that I had the advantage of choosing my own examples and that I’ve long been familiar with the poems I’ve used. On a daily basis, we probably read much less poetry than we do prose. This is perhaps one reason why many people say they find poetry difficult – unfamiliarity and lack of practice. But, like anything else, the more effort we put in, the wider the range of experiences we have to draw on. I hope that when you come across an unfamiliar extract in the discussions that follow you might decide to look up the whole poem on your own account, widening your own experience and enjoying it too.

Remember that language changes over the years. I’ve deliberately chosen to discuss poems from different periods, and given dates of first publication. Do keep this in mind, especially as you may find some examples more accessible than others. The idiom and register of a poem written in the eighteenth century will usually be quite different from one written in the twentieth. Different verse forms are popular at different times: while sonnets have been written for centuries, they were especially fashionable in Elizabethan times, for example. Don’t expect to find free verse written much before the twentieth century.

Figure 36.3

If you are working on a poem, it can be a good idea to print it, maybe even enlarge it, and then write anything you find particularly striking in the margins. Use highlighters or coloured pens to underline repetitions and link rhyme words. Patterns may well emerge that will help you understand the way the poem develops. Make the poems your own in this way, and then, if you are the kind of person who doesn’t mind writing in books, you can insert notes in a more restrained way in the margins of your book.

If you prefer to work on your computer, you can do a similar thing by using an annotation tool on your word processor.

Whatever you do, always ask yourself what the effect of a particular technique that you identify is. Noticing an unusual choice of words, a particular rhyme scheme or use of alliteration is an important first step, but you need to take another one. Unless you go on to say why what you have noticed is effective, what it contributes to the rest of the poem, how it endorses or changes things, then you are doing less than half the job. Get into the habit of asking yourself questions, even if you can’t always answer them satisfactorily.

Rhythm

All speech has rhythm because we naturally stress some words or syllables more than others. The rhythm can sometimes be very regular and pronounced, as in a children’s nursery rhyme – ‘JACK and JILL went UP the HILL’ – but even in the most ordinary sentence the important words are given more stress. In poetry, rhythm is extremely important: patterns are deliberately created and repeated for varying effects. The rhythmical pattern of a poem is called its meter, and we can analyze, or ‘scan’ lines of poetry to identify stressed and unstressed syllables. In marking the text to show this, the mark ‘/’ is used to indicate a stressed syllable, and ‘x’ to indicate an unstressed syllable. Each complete unit of stressed and unstressed syllables is called a ‘foot’, which usually has one stressed and one or two unstressed syllables.

The most common foot in English is known as the iamb, which is an unstressed syllable followed by a stressed one (x /). Many words in English are iambic: a simple example is the word ‘forgot’. When we say this, the stresses naturally fall in the sequence:

Iambic rhythm is in fact the basic sound pattern in ordinary English speech. If you say the following line aloud you will hear what I mean:

The next most common foot is the trochee, a stressed syllable (or ‘beat’, if you like) followed by an unstressed one (/x), as in the word

Both the iamb and the trochee have two syllables, the iamb being a ‘rising’ rhythm and the trochee a ‘falling’ rhythm. Another two-syllable foot known as the spondee has two equally stressed beats (/ /), as in

Other important feet have three syllables. The most common are the anapest (x x /) and the dactyl (/ x x), which are triple rhythms, rising and falling respectively, as in the words

Here are some fairly regular examples of the four main kinds of meter used in poetry. (I have separated the feet by using a vertical slash.) You should say the lines aloud, listening for the stress patterns and noting how the ‘beats’ fall on particular syllables or words.

Iambic meter

Trochaic meter

Anapestic meter

Dactylic meter

The other technical point that you need to know about is the way the lengths of lines of verse are described. This is done according to the number of feet they contain, and the names given to different lengths of lines are as follows:

By far the most widely used of these are the tetrameter and the pentameter. If you look back at the four lines of poetry given as examples above, you can count the feet. You will see that the first one has five feet, so it is an iambic pentameter line; the second one has four feet, so it is a trochaic tetrameter line; the fourth and fifth also have four feet, so are anapestic and dactylic tetrameter lines respectively. Lines do not always have exactly the ‘right’ number of beats. Sometimes a pentameter line will have an extra ‘beat’, as in the famous line from Hamlet, ‘To be or not to be: that is the question’, where the ‘tion’ of question is an eleventh, unstressed beat. (It is worth asking yourself why Shakespeare wrote the line like this. Why did he not write what would have been a perfectly regular ten-syllable line, such as ‘The question is, to be or not to be’?)

Having outlined some of the basic meters of English poetry, it is important to say at once that very few poems would ever conform to a perfectly regular metrical pattern. The effect of that would be very boring indeed: imagine being restricted to using only iambic words, or trying to keep up a regular trochaic rhythm. Poets therefore often include trochaic or anapestic or dactylic words or phrases within what are basically iambic lines, in order to make them more interesting and suggestive, and to retain normal pronunciation. Here is a brief example from Shakespeare to show you what I mean. I have chosen a couple of lines spoken by Rosalind in
As You Like It, Act 1, scene 2, and have marked this first version to show you the basic iambic meter:

If you say the lines out loud in this regular way you can hear that the effect is very unnatural. Here is one way the lines might be scanned to show how the stresses would fall in speech (though there are other ways of scanning them):

It must be emphasized that there is no need to feel that you must try to remember all the technical terms I have been introducing here. The purpose has been to help you to become aware of the importance of rhythmic effects in poetry, and it can be just as effective to try to describe these in your own words. The thing to hang on to when writing about the rhythm of a poem is that, as Ezra Pound put it, ‘Rhythm MUST have meaning’: ‘It can’t be merely a careless dash off with no grip and no real hold to the words and sense, a tumty tum tumpty tum tum ta’ (quoted in Gray, 1990, p. 56). There are occasions, of course, when a tum-ty-ty-tum rhythm may be appropriate, and ‘have meaning’. When Tennyson wrote ‘The Charge of the Light Brigade’, he recreated the sound, pace, and movement of horses thundering along with the emphatic dactyls of ‘Half a league, half a league, half a league onward / Into the valley of death rode the six hundred’. But for a very different example we might take a short two-line poem by Pound himself. This time there is no fixed meter: like much twentieth-century poetry, this poem is in ‘free verse’. Its title is ‘In a Station of the Metro’ (the Metro being the Paris underground railway), and it was written in 1916:

Here you can see that the rhythm plays a subtle part in conveying the meaning. The poem is comparing the faces of people in a crowded underground to petals that have fallen on to a wet bough. The rhythm not only highlights the key words in each line, but produces much of the emotional feeling of the poem by slowing down the middle words of the first line and the final three words of the second.

Alliteration

Figure 36.4

Alliteration is the term used to describe successive words beginning with the same sound – usually, then, with the same letter.

To illustrate this I would like to use a stanza from Arthur Hugh Clough’s poem, ‘Natura naturans’. There is not enough space to quote the whole poem, but to give you some idea of the context of this stanza so that you can more fully appreciate what Clough is doing, it is worth explaining that ‘Natura naturans’ describes the sexual tension between a young man and woman who sit next to each other in a railway carriage. They have not been introduced, and they neither speak nor exchange so much as a glance. The subject matter and its treatment is unusual and also extraordinarily frank for the time of writing (about 1849), but you need to know what is being described in order to appreciate the physicality of the lines I quote.

Rhyme

If a poem rhymes, then considering how the rhyme works is always important.

Rhyme schemes can be simple or highly intricate and complex; it will always be worth considering why a particular rhyme pattern was chosen and trying to assess its effects.

Poetic inversion

Poetic inversion, or changing the usual word order of speech, is often linked to the need to maintain a rhythm or to find a rhyme. We noticed Pope’s poetic inversion in An Essay on Criticism and saw how the rhyme was intimately linked to the rhythm of the verse. The song ‘Dancing in the Street’, first recorded by Martha and the Vandellas in the 1960s, does violence to word order in the interests of rhyme – ‘There’ll be dancing in the street/ A chance new folk to meet’ – but, because the words are sung to a driving rhythm, we are unlikely to notice how awkward they are. There’s a convention that we recognise, however unconsciously, that prevents us from mentally re-writing the line as ‘a chance to meet new people’. (‘People’ rather than ‘folk’ would be more usual usage for me, but, as with the Pope example, this would mean that the rhythm too would be lost.)

Poems that don’t rhyme

Are poems that don’t rhyme prose? Not necessarily. Virginia Woolf (1882–1941), a novelist rather than a poet, and T.S. Eliot (1888–1965), known particularly for his poetry, both wrote descriptive pieces best described as ‘prose poems’. These look like short prose passages since there is no attention to line lengths or layout on the page, as there was, for example, in ‘Mariana’. When you study Shakespeare you will come across blank verse. ‘Blank’ here means ‘not rhyming’, but the term ‘blank verse’ is used specifically to describe verse in unrhyming iambic pentameters.

Although iambic pentameters resemble our normal speech patterns, in ordinary life we speak in prose. You’ll notice if you look through Shakespeare’s plays that blank verse is reserved for kings, nobles, heroes and heroines. They may also speak in prose, as lesser characters do, but commoners don’t ever have speeches in blank verse. Shakespeare – and other playwrights like him – used the form to indicate status. It is important to recognise this convention, which would have been understood by his contemporaries – writers, readers, and audiences alike. So choosing to write a poem in blank verse is an important decision: it will elevate the subject. One such example is Milton’s epic Paradise Lost(1667), a long poem in twelve Books describing Creation, Adam and Eve’s temptation, disobedience and expulsion from Paradise. It sets out to justify the ways of God to man, so blank verse is entirely appropriate.

Voice

Figure 36.5

Is the speaker in a poem one and the same as the writer? Stop and consider this for a few moments. Can you think of any poems you have read where a writer has created a character, or persona, whose voice we hear when we read?

Wordsworth’s The Prelude was written as an autobiographical poem, but there are many instances where it is obvious that poet and persona are different. Charlotte Mew’s poem, ‘The Farmer’s Bride’ (1916) begins like this:

Three summers since I chose a maid,
Too young maybe – but more’s to do
At harvest-time than bide and woo.
When us was wed she turned afraid
Of love and me and all things human;

(Warner, 1981, pp. 1–2)

Line Lengths and Line Endings

Read the following prose extract taken from Walter Pater’s discussion of the Mona Lisa, written in 1893, and then complete the activity:

She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants: and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.

Comparing and Contrasting

Often you will find that an assignment asks you to ‘compare and contrast’ poems. There’s a very good reason for this, for often it is only by considering different treatments of similar subjects that we become aware of a range of possibilities, and begin to understand why particular choices have been made.

Glossary

• Alliteration: repetition of sounds, usually the first letters of successive words, or words that are close together. Alliteration usually applies only to consonants.
• Anapest: see under foot.
• Assonance: repetition of identical or similar vowel sounds.
• Ballad: originally a song which tells a story, often involving dialogue. Characteristically, the storyteller’s own feelings are not expressed.
• Caesura: strong pause in a line of verse, usually appearing in the middle of a line and marked with a comma, semi-colon, or a full stop.
• Couplet: pair of rhymed lines, often used as a way of rounding off a sonnet; hence the term ‘closing couplet’.
• Dactyl: see under foot.
• Dialogue: spoken exchange between characters, usually in drama and fiction but also sometimes in poetry.
• Diction: writer’s choice of words. Poetic diction might be described, for instance, as formal or informal, elevated or colloquial.
• Elegy: poem of loss, usually mourning the death of a public figure, or someone close to the poet.
• Ellipsis: omission of words from a sentence to achieve brevity and compression.
• Enjambment: the use of run-on lines in poetry. Instead of stopping or pausing at the end of a line of poetry, we have to carry on reading until we complete the meaning in a later line. The term comes from the French for ‘striding’.
• Epic: a long narrative poem dealing with events on a grand scale, often with a hero above average in qualities and exploits.
• Epigram: witty, condensed expression. The closing couplet in some of Shakespeare’s sonnets is often described as an epigram.
• Foot: a unit of meter with a pattern of stressed and unstressed syllables. In the examples that follow, a stressed syllable is indicated by ‘/’, and an unstressed syllable by ‘x’: anapest: xx/; dactyl: /xx; iamb: x/; spondee: //; trochee: /x
• Heroic couplet: iambic pentameter lines rhyming in pairs, most commonly used for satiric or didactic poetry, and particularly favoured in the eighteenth century.
• Iamb: see under foot.
• Iambic pentameter: a line consisting of five iambs.
• Imagery: special use of language in a way that evokes sense impressions (usually visual). Many poetic images function as mental pictures that give shape and appeal to something otherwise vague and abstract; for example, ‘yonder before us lie/Deserts of vast Eternity’. Simile and metaphor are two types of imagery.
• Metaphor: image in which one thing is substituted for another, or the quality of one object is identified with another. The sun, for Shakespeare, becomes ‘the eye of heaven’.
• Meter: (from the Greek metron, ‘measure’) measurement of a line of poetry, including its length and its pattern of stressed and unstressed syllables. There are different meter in poetry. Most sonnets, for example, written in English are divided into lines of ten syllables with five stresses – a measure known as pentameter (from the Greek pente for ‘five’). The sonnet also tends to use a line (known as the iambic line) in which an unstressed syllable is followed by a stressed one, as in this line: ‘If I should die, think only this of me’. Most sonnets, then are written in iambic pentameters.
• Narrative: the telling of a series of events (either true or fictitious). The person relating these events is the narrator. However, it is often more usual in poetry to refer to ‘the speaker’.
• Octave: group of eight lines of poetry, often forming the first part of a sonnet.
• Ode: a poem on a serious subject, usually written in an elevated formal style; often written to commemorate public events.
• Onomatopoeia: a word that seems to imitate the sound or sounds associated with the object or action, for example, ‘cuckoo’.
• Ottava rima: a poem in eight-line stanzas, rhyming a b a b a b c c.
• Personification: writing about something not human as if it were a person, for example ‘Busy old fool, unruly Sun,/Why dost thou thus,/Through windows and through curtains call onus?’.
• Poetic inversion: reversing the order of normal speech in order to make the words fit a particular rhythm, or rhyme, or both.
• Pun: double meaning or ambiguity in a word, often employed in a witty way. Puns are often associated with wordplay.
• Quatrain: group of four lines of poetry, usually rhymed.
• Refrain: a line or phrase repeated throughout a poem, sometimes with variations, often at the end of each stanza.
• Rhyme: echo of a similar sound, usually at the end of a line of poetry. Occasionally, internal rhymes can be found, as in: ‘Sister, my sister, O fleet, sweet swallow’.
• Rhyme scheme: pattern of rhymes established in a poem. The pattern of rhymes in a quatrain, for instance, might be ‘a b a b’ or ‘a b b a’.
• Rhythm: the pattern of beats or stresses in a line creating a sense of movement. Sestet: group of six lines of poetry, often forming the second part of a sonnet.
• Simile: image in which one thing is likened to another. The similarity is usually pointed out with the word ‘like’ or ‘as’: ‘My love is like a red, red rose’.
• Sonnet: fourteen iambic pentameter lines with varying rhyme schemes.
• Spondee: see under foot.
• Syllable: single unit of pronunciation. ‘Sun’ is one syllable; ‘sunshine’ is two syllables.
• Tercet: group of three lines in poetry, sometimes referred to as a triplet.
• Trochee: see under foot.
• Turn: distinctive movement of change in mood or thought or feeling. In the sonnet, the turn usually occurs between the octave and the sestet, though the closing couplet in Shakespeare’s sonnets often constitutes the turn.
• Villanelle: an intricate French verse form with some lines repeated, and only two rhyme sounds throughout the five three-line stanzas and the final four-line stanza.

Text Attributions

• This chapter was adapted from “Approaching Poetry” published by Lumen Learning, who adapted it from original content by Sue Asbee. This adaptation by Allison Kilgannon omits most of the activities and associated discussions. CC BY-NC-SA.

Media Attributions

• Figure 36.1 “Quick Delirious” © by Hackley Public Library is licensed under CC BY 2.0.
• Figure 36.2 “poem on white page”© Metropolitan Transportation Authority of the State of New York is licensed under CC BY.
• Figure 36.3 “fountain pen” © Nic Mcphee is licensed under CC BY-SA.
• Figure 36.4 “Sue’s Sewing Services” © Map of the Urban Linguistic Landscape is licensed under CC BY.
• Figure 36.5 “wooden doll” © Kathleen Tyler Conklin is licensed under CC BY.

In this chapter, you will develop your critical thinking and analysis skills through examining a critique. The chapter will also provide guiding questions to help you formulate the elements to include in a critique. The self-practice exercises will provide you opportunities to examine more in depth what critiquing entails, and you will have the opportunity to proceed through the stages to develop your own critique.

What is a Critique?

A critique is a written work critically analyzing or evaluating another piece of writing; also known as a review or critical response.

When you see the word critique, the first thing you may think of is to criticize. In actuality, critiques do not need to look only at the negative aspects of a source; they can also focus on the positive components or even have a mix of the positive and negative elements. They are critical response papers analyzing and evaluating an original source, such as the academic journal article you are being asked to use for this assignment.

Critique Is Different from Expository Essay

A critique is different from an expository essay, which is a discussion revolving around a topic with multiple sources to support the discussion points. As you can see in Exercise 37.1, depending on the type of critique you are writing, your reference page could include one source only. However, as you may discuss topical ideas within the original source, you may also want to include secondary sources to which you can compare and contrast the original source’s ideas, but you need to always connect your discussion points back to the original source. Figure 37.1: Critiquing versus Other Essay Forms shows visual representations of what a critique structure could look in comparison to another essay, such as one that is expository or persuasive in purpose.

Figure 37.1

Figure 37.2

If you look at the mind map for the critique, you can see how all of the discussion points stem from and relate back to the original article and how all of the discussion points can be interconnected. Also, the bubble labelled Secondary Sources/Support shows you can integrate secondary sources to compare and contrast when discussing either rhetorical or idea points. In the second diagram, you can see that the supporting ideas relate to the central topic, but they are extensions of the topic each with their own supporting forms of evidence. There is less emphasis placed on synthesis of ideas, although this is something you can still do when composing this type of essay.

The Purpose of Critiquing

In an academic environment, your instructors will expect you to demonstrate critical thinking skills that go beyond simply taking another person’s ideas and spitting out facts. They will want you to show your ability to assess and analyze any type of information you use; they will also want to see that you have used sources to develop ideas of your own.

Critiquing, or critical analysis, demonstrates you are able to connect ideas, arrive at your own conclusions, and develop new directions for discussion. You are also showing you have strong background knowledge on the topic in order to provide feedback on another person’s discussion on the issue.

Elements of a Critique

Often people go online for to read reviews of services or products. They sometimes make personal choices based on those reviews, such as what movie to go to or which restaurant to eat at. When you ask for a recommendation, the person you are asking will usually give you a brief summary of the experience then break his or her opinion down into smaller aspects—good and bad. For example, imagine you want to visit a new restaurant, and you ask your friend to recommend a place. Here is a sample response:

When you break this example into sections, you can see the first and second sentences give the reviewer’s general opinion of the restaurant; they also summarize the main components the reviewer will cover. The review is then broken into smaller categories or points.

Notice that not all the points covered are positive: while the food and atmosphere are good, the service has both positive and negative aspects but is overall good. Also, the prices are high, but the writer states that people who eat there get good value for their money. Providing a generalized description first, the reviewer introduced the topic to the audience; she then analyzed individual aspects or components of the experience with examples to help convince the audience of her perspective.

Not everyone may have the same positive experience, of course. What if it was someone’s first time at this particular restaurant, and she arrived during the dinner rush feeling very hungry and had to wait a long time for a table? Not knowing how good the food is and that it is worth the wait, she may just leave, so her general impression of the restaurant would probably not be favourable. Whether the experience would be positive or negative would depend on an individual’s personal experience and situation.

Any critique, no matter if it is of a book, an article, or a movie, needs to contain the following elements:

Before You Begin Critiquing

The Purpose of Persuasive Writing

Figure 38.1

The purpose of persuasion in writing is to convince, motivate, or move readers toward a certain point of view, or opinion. The act of trying to persuade automatically implies more than one opinion on the subject can be argued.

The idea of an argument often conjures up images of two people yelling and screaming in anger. In writing, however, an argument is very different. An argument is a reasoned opinion supported and explained by evidence. To argue in writing is to advance knowledge and ideas in a positive way. Written arguments often fail when they employ ranting rather than reasoning.

The Controversy

Figure 39.1

A controversial topic is one on which people have strong views.

Imagine the type of discussion that can become really heated, usually when the subject is something people are passionate about. But a person who is passionate about a particular issue does not necessarily mean they recognize the merits of the other view (although that often happens); it just means that the person has collected evidence (from a variety of sources) and synthesized those ideas to arrive at a particular point of view.

When you are trying to choose your topic for your persuasive paper, it is easier if you choose a topic about which you feel very strongly. You probably have realized by this point that when you are writing, it is a lot easier to write about a topic you already have some background knowledge on, and something you are extremely interested in. This helps to engage you and keep you interested in the writing process.

No matter the topic you eventually decide to discuss, there are a few things you need to think about before you begin the writing process.

You will need to make sure your subject is:

• Significant. Is a discussion of this topic one that has the potential to contribute to a field of study? Will it make an impact? This does not mean every discussion has to change lives, but it needs to be something relatively important. For example, a significant topic would be to convince your reader that eating at fast-food restaurants is detrimental to people’s cardiovascular system. A less significant discussion would be if you were to try to convince your reader why one fast-food restaurant is better than another.
• Singular. This means you need to focus on one subject. Using the fast-food restaurant example, if you were to focus on both the effects on the cardiovascular and endocrine system, the discussion would lose that singular focus and there would be too much for you to cover.
• Specific. Similar to the point above, your topic needs to be narrow enough to allow for you to really discuss the topic within the essay parameters (i.e., word count). Many writers are afraid of getting too specific because they feel they will run out of things to say. If you develop the idea completely and give thorough explanations and plenty of examples, the specificity should not be a problem.
• Supportable. Does evidence for what you want to discuss actually exist? There is probably some form of evidence out there even for the most obscure topics or points of view. However, you need to remember you should use credible sources. Someone’s opinions posted on a blog about why one fast-food restaurant is the best does not count as credible support for your ideas.

Formulating a Research Question

In forming a research question, you are setting a goal for your research. Your main research question should be substantial enough to form the guiding principle of your paper, but focused enough to guide your research. A strong research question requires you not only to find information but also to put together different pieces of information, interpret and analyze them, and figure out what you think. As you consider potential research questions, ask yourself whether they would be too hard or too easy to answer.

To determine your research question, review the freewriting you completed earlier. Skim through books, articles, and websites and list the questions you have. (You may wish to use the 5WH strategy to help you formulate questions.) Include simple, factual questions and more complex questions that require analysis and interpretation. Determine your main question—the primary focus of your paper—and several subquestions that you will need to research to answer that main question.

Here is an example of research questions a student used to focus research. Notice that his main research question has no obvious, straightforward answer. He will need to research his sub questions, which address narrower topics, to answer his main question.

How to Be Really Convincing

Sometimes it can be very challenging to convince someone of your ideas and that your point of view is valid. If your reader has strong contrary views or has had emotional experiences in the past connected to that topic, your job in persuading will be more challenging. However, if you consider your audience and tone, you will be better able to predict possible objections your reader may have to your argument and address those accordingly.

It will also help you make recognize how much and what kind of background information you need to provide your reader with context for your discussion.

Dialectics

A strong persuasive essay will respectfully identify and discuss perspectives of the same topic. When you do this, you are presenting a well-rounded and complete discussion to your reader that shows you have critically thought about the topic and have been selective in choosing your points. As a result, there is a higher probably that you will convince your reader. The process of looking at multiple sides of a topic is called dialectics.

Dialectics is the act of using logical reasoning to combine, juxtapose, or synthesize opposing ideas to arrive at a strong conclusion.

The Components of Dialectics

To begin the dialectic process, you first need to come up with an idea of what topic will be discussed; this is the thesis behind the discussion.

Once you have determined your thesis, through various methods (the easiest being discussion with someone else), you will explore opposing sides to the topic, eventually discovering at least one antithesis. Combining those two perspectives, you can then make your own conclusions. Maybe this process will result in you standing by the original thesis, or maybe the antithesis is incredibly convincing and you will switch sides of the argument, or maybe you still believe the original thesis but accept there are other conditions that have credibility as well.

This end result is called the synthesis: the blending of ideas. Essentially, the process would look like this:

Figure 39.2

Considering both your thesis and the discovered antithetical perspectives will help you to arrive at a wider view of a topic: one that has more credibility. Looking back to the persuasive essay samples you read in 38. Persuasion and discussed in Exercise 38.5, consider to what degree the authors acknowledged opposing views.

• How did they justify their opinions?
• Consider how integrating dialectics into each of those arguments to a greater degree would have strengthened their points of view, ultimately making their arguments more convincing.

Organizing Your Ideas

Creating an Introduction and Thesis

The persuasive essay begins with an engaging introduction that presents the general topic. The thesis typically appears somewhere in the introduction and states the writer’s point of view.

Re-evaluate Your Working Thesis

A careful analysis of your notes will help you re-evaluate your working thesis and determine whether you need to revise it. Remember that your working thesis was the starting point—not necessarily the end point—of your research. You should revise your working thesis if your ideas changed based on what you read. Even if your sources generally confirmed your preliminary thinking on the topic, it is still a good idea to tweak the wording of your thesis to incorporate the specific details you learned from research.

Read this revised thesis.

Synthesizing and Organizing Information

By now, your thinking on your topic is taking shape. You have a sense of what major ideas to address in your paper, what points you can easily support, and what questions or subtopics might need a little more thought. In short, you have begun the process of synthesizing information—that is, of putting the pieces together into a coherent whole.

It is normal to find this part of the process a little difficult. Some questions or concepts may still be unclear to you. You may not yet know how you will tie all of your research together. Synthesizing information is a complex, demanding mental task, and even experienced researchers struggle with it at times. A little uncertainty is often a good sign! It means you are challenging yourself to work thoughtfully with your topic instead of simply restating the same information.

Synthesizing Information

You have already considered how your notes fit with your working thesis. Now, take your synthesis a step further. Organize your notes with headings that correspond to points and subpoints you came up with through dialectics and compiled in your outline, which you presented to your instructor. As you proceed, you might identify some more important subtopics that were not part of your original plan, or you might decide that some points are not relevant to your paper.

Categorize information carefully and continue to think critically about the material. Ask yourself whether the sources are reliable and whether the connections between ideas are clear.

Remember, your ideas and conclusions will shape the paper. They are the glue that holds the rest of the content together. As you work, begin jotting down the big ideas you will use to connect the dots for your reader. (If you are not sure where to begin, try answering your major research question and subquestions. Add and answer new questions as appropriate.) You might record these big ideas on sticky notes or type and highlight them within an electronic document.

Here is a rough outline for a paper.

You may be wondering how your ideas are supposed to shape the paper, especially since you are writing a research paper based on your research. Integrating your ideas and your information from research is a complex process, and sometimes it can be difficult to separate the two.

Some paragraphs in your paper will consist mostly of details from your research. That is fine, as long as you explain what those details mean or how they are linked. You should also include sentences and transitions that show the relationship between different facts from your research by grouping related ideas or pointing out connections or contrasts. The result is that you are not simply presenting information; you are synthesizing, analyzing, and interpreting it.

Plan How to Organize Your Paper

The final step to complete before beginning your draft is to choose an organizational structure. For some assignments, this may be determined by the instructor’s requirements. For instance, if you are asked to explore the impact of a new communications device, a cause-and-effect structure is obviously appropriate. In other cases, you will need to determine the structure based on what suits your topic and purpose.

The purpose of the following paper is primarily to persuade. With that in mind, look at the following outline.

Text Attributions

• This chapter was adapted from “Developing a Convincing Argument” in Writing for Success 1st Canadian Edition by Tara Horkoff and a publisher who has requested that they and the original author not receive attribution. Adapted by Allison Kilgannon.  CC BY-NC-SA

.Media Attributions

• Figure 39.1 “Raccoon argument II” © Tambako the Jaguar is licensed under CC BY-ND 2.0.

Good communication is a multisensory experience. Children first learning how to read often gravitate toward books with engaging pictures. As adults, we graduate to denser books without pictures, yet we still visualize ideas to help us understand the text. Advertisers favor visual media—television, magazines, and billboards—because they are the best way to hook an audience. Websites rely on colour, graphics, icons, and a clear system of visual organization to engage Internet surfers.

Bringing visuals into a presentation adds colour, literally and figuratively. There is an art to doing it well. This section covers how to use different kinds of visual aids effectively.

Using Visual Aids: The Basics

Good writers make conscious choices. They understand their purpose and audience. Every decision they make on the page, from organizing an essay to choosing a word with just the right connotations, is made with their purpose and audience in mind.

The same principle applies to visual communication. As a presenter, you choose the following:

• When to show images or video for maximum impact
• Which images will best produce the effect you want
• When to present information using a table, chart, or other graphic
• How much text to include in slides or informational graphics
• How to organize graphics so they present information clearly

Your goal is to use visual media to support and enhance your presentation. At the same time, you must make sure these media do not distract your audience or interfere with getting your point across. Your ideas, not your visuals, should be the focus.

As you develop the visual side of your presentation, you will follow a process much like the process you follow when you write. You will brainstorm ideas, form an organizational plan, develop drafts, and then refine and edit your work. The following sections provide guidelines to help you make good decisions throughout the process.

What Makes Visual Aids Effective?

To help you get a sense of what makes visual media work, think about what does not work. Try to recall occasions when you have witnessed the following visual media failures:

• Websites crammed with so many images, flashing phrases, and clashing colours that they are almost unreadable
• Assembly instructions with illustrations or diagrams that are impossible to follow
• Photographs that are obviously (and badly) altered with photo-editing software
• Distracting typos or other errors in signs, advertisements, or headlines
• Tables, charts, or graphs with tiny, dense text or missing labels

In each case, the problem is that the media creator did not think carefully enough about the purpose and audience. The purpose of images, colour, or flashing text on a website is to attract attention. Overusing these elements defeats the purpose because the viewer may become overwhelmed or distracted. Tables, charts, and graphs are intended to simplify complex information, but without clear labels and legible text, they will confuse the audience.

In contrast, effective visual elements are chosen or created with the purpose and audience in mind. Although a photo shoot for a magazine article might result in dozens of images, editors choose those few that work best with the article. Web designers and video game creators have an audience test their products before they are released, to ensure that people will understand how to use them. Understanding the function of different visual aids will help you use them with purpose.

Types of Visual Aids

Visual aids fall into two main categories—images and informational graphics. Images include photographs, illustrations and clip art, and video footage. Informational graphics include tables, charts, bar graphs, and line graphs.

These visual aids serve two purposes: to add emotional impact to your presentation and to organize information more clearly. With that in mind, read to find out how specific types of visual aids achieve those purposes.

Photographs

A striking photograph can capture your audience’s attention far more successfully than words can. Consider including photographs at the beginning or end of your presentation to emphasize your main ideas or to accompany a particularly important point in the body of your presentation. Remember that, as with other types of graphics, less is often more. Two or three well-chosen photographs are more effective than a dozen mediocre ones.

When you choose photographs, ask yourself these questions:

• What purpose does this image serve? Will it surprise the audience? Will it provoke a strong emotional response? Does it support an important point?
• Will this photograph be more effective if shown with only a caption, or does it need additional text?
• Will the audience understand what is happening in the photograph? Is the meaning immediately evident, or does the photo need some context?
• Would editing the image make it more effective? Consider using image-editing software to crop the photo, change the brightness, or make other cosmetic changes. (Do not go overboard, though. A slightly imperfect but authentic image is preferable to one that has been obviously altered.)

To illustrate the sense of helplessness people felt in the midst of tragedy, a student could use a photograph that shows fear, weariness, or defeat on the face of the photograph’s subject.

Figure 40.1

Illustrations

Illustrations, such as editorial or political cartoons, serve much the same purpose as photographs. Because an illustration does not capture a moment in time the way a photo does, it may have less impact. However, depending on your topic and the effect you want to achieve, illustrations can still be very useful. Use the same criteria for choosing photographs to help you choose illustrations.

Figure 40.2

Video Footage

Even more than photographs, video footage can create a sense of immediacy, especially if your video includes sound. Showing a brief video clip can help your audience feel as if they are present at an important event, connect with a person being interviewed, or better understand a process. Again, ask yourself the following questions to ensure you are using the footage well:

• What purpose does this video serve? (Never rely on video clips just to fill time.)
• How much footage should be shown to achieve your purpose?
• What will need to be explained, before or after showing the video, to ensure that your audience understands its significance?
• Will it be necessary to edit the video to stay within time requirements or to focus on the most important parts?

Tables

Informational graphics, such as tables, charts, and graphs, do not provoke the same response that images do. Nevertheless, these graphics can have a powerful impact. Their primary purpose is to organize and simplify information.

Tables are effective when you must classify information and organize it in categories. Tables are an especially good choice when you are presenting qualitative data that are not strictly numerical. Table 14.1 “Example of Qualitative Data Table” was created for a presentation discussing the subprime mortgage crisis. It presents information about people who have held powerful positions both in the government and at one of the investment banking firms involved in the subprime mortgage market.

Pie Charts

Pie charts are useful for showing numerical information in percentages. For example, you can use a pie chart to represent election results. The following pie chart shows the percentage of seats held by each political party in the House of Commons after the 2019 Federal Election out of a total of 338 seats.

Figure 40.3 Liberals won 46.4% of the seats, Conservatives won 35.8% of the seats, the Bloc Québécois won 9.5% the seats, the NDP won 7.1% of the seats, the Greens won 0.9% if the seats, and independents won 0.3% of the seats.

Bar Graphs

Bar graphs work well when you want to show similarities and differences in numerical data. Horizontal or vertical bars help viewers compare data from different groups, different time periods, and so forth. For instance, the bar graph in Figure 40.4 allows the viewer to compare data on the five countries that have won the most Olympic medals since the modern games began in 1924: Norway, the United States, the former Soviet Union, Germany, and Austria. Bar graphs can effectively show trends or patterns in data as well.

Figure 40.4

Line Graphs

Like bar graphs, line graphs show trends in data. Line graphs are usually used to show trends in data over time. For example, the line graph in Figure 40.5 shows changes in the Dow Jones Industrial Average—an economic index based on trading information about thirty large, US-based public companies. This graph shows where the Dow closed at the end of each business day over a period of five days.

Figure 40.5

Exercise 40.1

 Complete the following steps on your own sheet of paper.

1. Analyze the two different types of visual aids: images and informational graphics. Identify at least two places in your presentation where you might incorporate visual aids.
2. Evaluate the purpose of the visual aid. Does it create emotional impact, or does it organize information? Is the visual effective?
3. Determine whether you will be able to create the visual aid yourself or will need to find it.

Using Existing Visual Media

Depending on your topic, you may be able to find images and other graphics you can use instead of creating your own. For instance, you might use photographs from a reputable news source or informational graphics created by a government agency. If you plan to use visual aids created by others, keep the following guidelines in mind:

• Set a purpose before you begin your search. You will search more efficiently if you start with a general idea of what you are looking for—a line graph of unemployment rates for the past twelve months, for example, or a video clip of the most recent State of the Union address.
• Filter out visual aids that are not relevant. You may come across eye-catching graphics and be tempted to use them even if they are only loosely related to your topic, simply because they are attention getting. Resist the temptation. If the graphic is not clearly connected to your point, it does not belong in your presentation.
• Read carefully. In addition to reading labels, headings, and captions, read any text that accompanies the visual. Make sure you understand the visual in its original context. For informational graphics, make sure you understand exactly what information is being represented. (This may seem obvious, but it is easy to misread graphic information. Take the time to examine it carefully.)
• Evaluate sources carefully and record source information. When you look for visual media to complement your presentation, you are conducting research. Apply the same standards you used for your research paper. Choose reliable sources, such as reputable news organizations, government and nonprofit organizations, and educational institutions. Verify data in additional sources. Finally, be sure to document all source information as you proceed.

Public speaking can be stressful. In fact, some researchers have found that a large percentage of people surveyed rate public speaking as their number one fear. Most people feel at least a little bit nervous at the prospect of public speaking.

In this section, you will learn strategies for becoming a confident, effective speaker.

Figure 41.1

Figure 42.1

Most humans form self-identities through their communication with others, and much of that interaction occurs in a group context. A group may be defined as three or more individuals who affiliate, interact, or cooperate in a familial, social, or work context. Group communication may be defined as the exchange of information with those who are alike culturally, linguistically, and/or geographically. Group members may be known by their symbols, such as patches and insignia on a military uniform. They may be known by their use of specialized language or jargon. Group members may also be known by their proximity, as in gated communities. Regardless of how the group defines itself, and regardless of the extent to which its borders are porous or permeable, a group recognizes itself as a group. Humans naturally make groups a part of their context or environment.

Primary and Secondary Groups

There are fundamentally two types of groups, primary and secondary. The hierarchy denotes the degree to which the group(s) meet your interpersonal needs. Primary groups meet most, if not all, of one’s needs. Groups that meet some, but not all, needs are called secondary groups. Secondary groups often include work groups, where the goal is to complete a task or solve a problem. Secondary groups may meet your need for professional acceptance and celebrate your success, but they may not meet your need for understanding and sharing on a personal level.

If Two’s Company and Three’s a Crowd, What Is a Group?

This old cliché refers to the human tendency to form pairs. Pairing is the most basic form of relationship formation; it applies to childhood best friends, college roommates, romantic couples, business partners, and many other dyads (two-person relationships). A group, by definition, includes at least three people. We can categorize groups in terms of their size and complexity.

The larger the group grows, the more likely it is to subdivide. Analysis of these smaller, or microgroups, is increasingly a point of study as the internet allows individuals to join people of similar mind or habit to share virtually anything across time and distance. A microgroup is a small, independent group that has a link, affiliation, or association with a larger group. With each additional group member the number of possible interactions increases (Harris & Sherblom, 1999; McLean,, 2003).

Small groups normally contain between three and eight people. One person may involve intrapersonal communication, while two may constitute interpersonal communication, and both may be present within a group communication context.

Group norms are customs, standards, and behavioural expectations that emerge as a group forms. If you post an update every day on your Facebook page and your friends stop by to post on your wall and comment, not posting for a week will violate a group norm. They will wonder if you are sick or in the hospital where you have no access to a computer to keep them updated. If, however, you only post once a week, the group will come to naturally expect your customary post. Norms involve expectations that are self and group imposed and that often arise as groups form and develop.

If there are more than eight members, it becomes a challenge to have equal participation, where everyone has a chance to speak, listen, and respond. Some will dominate, others will recede, and smaller groups will form. Finding a natural balance within a group can also be a challenge. Small groups need to have enough members to generate a rich and stimulating exchange of ideas, information, and interaction, but not so many people that what each brings cannot be shared (Galanes, Adams, & Brilhart, 2000).

Text Attributions

• This chapter was adapted from “What is a Group?” in Communication for Business Professionals – Canadian Edition published by eCampusOntario, which was adapted from “What Is a Group” in Business Communication for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon to remove a number of paragraphs. CC BY-NC-SA.

Media Attributions

• Figure 42.1 © StockSnap is licensed under a Pixabay License.

Groups are dynamic systems in constant change. Groups grow together and eventually come apart. People join groups and others leave. This dynamic changes and transforms the very nature of the group. Those who are in leadership positions may ascend or descend the leadership hierarchy as the needs of the group, and other circumstances, change over time.

Group socialization involves how the group members interact with one another and form relationships.

Group Life Cycle Patterns

In order to better understand group development and its life cycle, many researchers have described the universal stages and phases of groups. While there are modern interpretations of these stages, most draw from the model proposed by Bruce Tuckman (1965). This model, shown in Figure 43.1, specifies the usual order of the phases of group development as a cycle, and allows us to predict several stages we can anticipate as we join a new group.

Figure 43.1. Tuckman’s Linear Model of group development.

Tuckman (1965) describes the five stages as follows:

• Forming: Members come together, learn about each other, and determine the purpose of the group.
• Storming: Members engage in more direct communication and get to know each other. Conflicts between group members will often arise during this stage.
• Norming: Members establish spoken or unspoken rules about how they communicate and work. Status, rank, and roles in the group are established.
• Performing: Members fulfill their purpose and reach their goal.
• Adjourning: Members leave the group

Tuckman begins with the forming stage as the initiation of group formation. This stage is also called the orientation stage because individual group members come to know each other.

If you don’t know someone very well, it is easy to offend. Each group member brings to the group a set of experiences, combined with education and a self-concept. You won’t be able to read this information on a nametag, but instead you will only come to know it through time and interaction.

Since the possibility of overlapping and competing viewpoints and perspectives exists, the group will experience a storming stage, a time of struggles as the members themselves sort out their differences. There may be more than one way to solve the problem or task at hand, and some group members may prefer one strategy over another. 

The norming stage is where the group establishes norms, or informal rules, for behaviour and interaction. Who speaks first? Who takes notes? Who is creative, who is visual, and who is detail-oriented? We are not simply a list of job functions, and in the dynamic marketplace of today’s business environment you will often find that people have talents and skills well beyond their “official” role or task. Drawing on these strengths can make the group more effective.

The norming stage is marked by less division and more collaboration. The level of anxiety associated with interaction is generally reduced, making for a more positive work climate that promotes listening. 

Ultimately, the purpose of a work group is performance, and the preceding stages lead to the performing stage, in which the group accomplishes its mandate, fulfills its purpose, and reaches its goals. To facilitate performance, group members can’t skip the initiation of getting to know each other or the sorting out of roles and norms, but they can try to focus on performance with clear expectations from the moment the group is formed. 

In the adjourning stage, members leave the group. The group may cease to exist or it may be transformed with new members and a new set of goals. Like life, the group process is normal, and mixed emotions are to be expected. 

Watch the following 2 minute video Forming, Storming, Norming, and Performing: Bruce Tuckman’s Team Stages Model Explained

A YouTube element has been excluded from this version of the text. You can view it online here: https://opentextbc.ca/provincialenglishabe/?p=150

Life Cycle of Member Roles

Just as groups go through a life cycle when they form and eventually adjourn, so the group members fulfill different roles during this life cycle. These roles, proposed by Richard Moreland and John Levine (1982), are summarized in Table 43.1.

Positive and Negative Member Roles

If someone in your group always makes everyone laugh, that can be a distinct asset when the news is less than positive. At times when you have to get work done, however, the class clown may become a distraction. Notions of positive and negative will often depend on the context when discussing groups. Table 11.2 “Positive Roles” and Table 11.3 “Negative Roles” list both positive and negative roles people sometimes play in a group setting (Beene & Sheets, 1948; McLean, 2005).

Now that you’ve reviewed positive and negative group member roles, you may examine another perspective. While some personality traits and behaviours may negatively influence groups, some traits can be positive or negative depending on the context.

Just as the class clown can have a positive effect in lifting spirits or a negative effect in distracting members, a dominator may be exactly what is needed for quick action. An emergency physician doesn’t have time to ask all the group members in the emergency unit how they feel about a course of action; instead, a self-directed approach based on training and experience may be necessary. In contrast, a teacher may ask students their opinions about a change in the format of class; in this situation, the role of coordinator or elaborator is more appropriate than that of dominator.

The group is together because they have a purpose or goal, and normally they are capable of more than any one individual member could be on their own, so it would be inefficient to hinder that progress. But a blocker, who cuts off collaboration, does just that. If a group member interrupts another and presents a viewpoint or information that suggests a different course of action, the point may be well taken and serve the collaborative process. But if that same group member repeatedly engages in blocking behaviour, then the behaviour becomes a problem. A skilled business communicator will learn to recognize the difference, even when positive and negative situations and roles aren’t completely clear.

Text Attributions

• This chapter was adapted from “Group Life Cycles and Member Roles” in Communication for Business Professionals – Canadian Edition published by eCampusOntario, which was adapted from Business Communication for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon. CC BY-NC-SA.

Media Attributions

• Figure 43.1 “Tuckman’s Linear Model of group development” © eCampus Ontario is licensed under CC BY-NC-SA.
• “Forming, Storming, Norming, and Performing: Bruce Tuckman’s Team Stages Model Explained” by MindToolsVideos. Standard YouTube Licence.

The problem-solving process involves thoughts, discussions, actions, and decisions that occur from the first consideration of a problematic situation to the goal. The problems that groups face are varied, but some common problems include budgeting funds, raising funds, planning events, addressing customer or citizen complaints, creating or adapting products or services to fit needs, supporting members, and raising awareness about issues or causes.

While there are many ways to approach a problem, the American educational philosopher John Dewey’s reflective thinking sequence has stood the test of time. This seven-step process (Adler, 1996) has produced positive results and serves as a handy organizational structure. If you are member of a group that needs to solve a problem and don’t know where to start, consider the seven simple steps illustrated in Figure 44.1 below:

Figure 44.1. Problem-solving process.

Define the Problem

If you don’t know what the problem is, how do you know you can solve it? Defining the problem allows the group to set boundaries of what the problem is and what it is not and to begin to formalize a description or definition of the scope, size, or extent of the challenge the group will address. A problem that is too broadly defined can overwhelm the group. If the problem is too narrowly defined, important information will be missed or ignored.

In the following example, there is a web-based company called Favourites that needs to increase its customer base and ultimately sales. A problem-solving group has been formed, and they start by formulating a working definition of the problem.

Example problems:

Too broad: “Sales are off, our numbers are down, and we need more customers.”

More precise: “Sales have been slipping incrementally for six of the past nine months and are significantly lower than a seasonally adjusted comparison to last year. Overall, this loss represents a 4.5 percent reduction in sales from the same time last year. However, when we break it down by product category, sales of our nonedible products have seen a modest but steady increase, while sales of edibles account for the drop off and we need to halt the decline.”

Analyze the Problem

The problem-solving group Kevin, Mariah, and Suri analyze the problem and begin to gather information to learn more. The problem is complex and requires more than one area of expertise. Why do nonedible products continue selling well? What is it about the edibles that is turning customers off?

Kevin is responsible for customer resource management. He is involved with the customer from the point of initial contact through purchase and delivery. Most of the interface is automated in the form of an online “basket model,” where photographs and product descriptions are accompanied by “buy it” buttons. He is available during normal working business hours for live chat and voice chat if needed, and customers are invited to request additional information. Most Favourites customers do not access this service, but Kevin is kept quite busy, as he also handles returns and complaints. Because Kevin believes that superior service retains customers while attracting new ones, he is always interested in better ways to serve the customer. Looking at edibles and nonedibles, he will study the cycle of customer service and see if there are any common points—from the main webpage, through the catalog, to the purchase process, and to returns—at which customers abandon the sale. He has existing customer feedback loops with end-of-sale surveys, but most customers decline to take the survey and there is currently no incentive to participate.

Mariah is responsible for products and purchasing. She wants to offer the best products at the lowest price, and to offer new products that are unusual, rare, or exotic. She regularly adds new products to the Favourites catalog and culls underperformers. Right now she has the data on every product and its sales history, but it is a challenge to represent it. She will analyze current sales data and produce a report that specifically identifies how each product—edible and nonedible—is performing. She wants to highlight “winners” and “losers” but also recognizes that today’s “losers” may be the hit of tomorrow. It is hard to predict constantly changing tastes and preferences, but that is part of her job. It’s not all science, and it’s not all art. She has to have an eye for what will catch on tomorrow while continuing to provide what is hot today.

Suri is responsible for data management at Favourites. She gathers, analyzes, and presents information gathered from the supply chain, sales, and marketing. She works with vendors to make sure products are available when needed, makes sales predictions based on past sales history, and assesses the effectiveness of marketing campaigns.

The problem-solving group members already have certain information on hand. They know that customer retention is one contributing factor. Attracting new customers is a constant goal, but they are aware of the well-known principle that it takes more effort to attract new customers than to keep existing ones. Thus, it is important to ensure a quality customer service experience for existing customers and encourage them to refer friends. The group needs to determine how to promote this favourable customer behaviour.

Another contributing factor seems to be that customers often abandon the shopping cart before completing a purchase, especially when purchasing edibles. The group members need to learn more about why this is happening.

Establish Criteria

Establishing the criteria for a solution is the next step. At this point, information is coming in from diverse perspectives, and each group member has contributed information from their perspective, even though there may be several points of overlap.

Kevin: Customers who complete the postsale survey indicate that they want to know (1) what is the estimated time of delivery, (2) why a specific item was not in stock and when it will be available, and (3) why their order sometimes arrives with less than a complete order, with some items back-ordered, without prior notification.

He notes that a very small percentage of customers complete the postsale survey, and the results are far from scientific. He also notes that it appears the interface is not capable of cross-checking inventory to provide immediate information concerning back orders, so that the customer “buys it” only to learn several days later that it was not in stock. This seems to be especially problematic for edible products, because people may tend to order them for special occasions like birthdays and anniversaries. But we don’t really know this for sure because of the low participation in the postsale survey.

Mariah: There are four edible products that frequently sell out. So far, we haven’t been able to boost the appeal of other edibles so that people would order them as a second choice when these sales leaders aren’t available. We also have several rare, exotic products that are slow movers. They have potential, but currently are underperformers.

Suri: We know from a postal code analysis that most of our customers are from a few specific geographic areas associated with above-average incomes. We have very few credit cards declined, and the average sale is over $100. Shipping costs represent on average 8 percent of the total sales cost. We do not have sufficient information to produce a customer profile. There is no specific point in the purchase process where basket abandonment tends to happen; it happens fairly uniformly at all steps.

Consider Possible Solutions to the Problem

The group has listened to each other and now starts to brainstorm ways to address the challenges they have addressed while focusing resources on those solutions that are more likely to produce results.

Kevin: Is it possible for our programmers to create a cross-index feature, linking the product desired with a report of how many are in stock? I’d like the customer to know right away whether it is in stock, or how long they may have to wait. As another idea, is it possible to add incentives to the purchase cycle that won’t negatively impact our overall profit? I’m thinking a small volume discount on multiple items, or perhaps free shipping over a specific dollar amount.

Mariah: I recommend we hold a focus group where customers can sample our edible products and tell us what they like best and why. When the best sellers are sold out, could we offer a discount on related products to provide an instant alternative? We might also cull the underperforming products with a liquidation sale to generate interest.

Suri: If we want to know more about our customers, we need to give them an incentive to complete the postsale survey. How about a 5 percent off coupon code for the next purchase to get them to return and to help us better identify our customer base? We may also want to build in a customer referral rewards program, but it all takes better data in to get results out. We should also explore the supply side of the business by getting a more reliable supply of the leading products and trying to get discounts that are more advantageous from our suppliers, especially in the edible category.

Decide on a Solution

Kevin, Mariah, and Suri may want to implement all the solution strategies, but they do not have the resources to do them all. They’ll complete a cost-benefit analysis, which ranks each solution according to its probable impact.

Implement the Solution

Kevin is faced with the challenge of designing the computer interface without incurring unacceptable costs. He strongly believes that the interface will pay for itself within the first year—or, to put it more bluntly, that Favourites’ declining sales will get worse if the website does not have this feature soon. He asks to meet with top management to get budget approval and secures their agreement, on one condition: he must negotiate a compensation schedule with the information technology consultants that includes delayed compensation in the form of bonuses after the feature has been up and running successfully for six months.

Mariah knows that searching for alternative products is a never-ending process, but it takes time and the company needs results. She decides to invest time evaluating products that competing companies currently offer, especially in the edible category, on the theory that customers who find their desired items sold out on the Favourites website may have been buying alternative products elsewhere instead of choosing an alternative from Favourites’ product lines.

Suri decides to approach the vendors of the four frequently sold-out products and ask point blank, “What would it take to get you to produce these items more reliably in greater quantities?” By opening the channel of communication with these vendors, she is able to motivate them to make modifications that will improve the reliability and quantity. She also approaches the vendors of the less popular products with a request for better discounts in return for their cooperation in developing and test-marketing new products.

Follow Up on the Solution

Kevin: After several beta tests, the cross-index feature was implemented and has been in place for thirty days. Now customers see either “in stock” or “available [mo/da/yr]” in the shopping basket. As expected, Kevin notes a decrease in the number of chat and phone inquiries to the effect of, “Will this item arrive before my wife’s birthday?” However, he notes an increase in inquiries asking, “Why isn’t this item in stock?” It is difficult to tell whether customer satisfaction is higher overall.

Mariah: In exploring the merchandise available from competing merchants, she got several ideas for modifying Favourites’ product line to offer more flavors and other variations on popular edibles. Working with vendors, she found that these modifications cost very little. Within the first thirty days of adding these items to the product line, sales are up. Mariah believes these additions also serve to enhance the Favourites brand identity, but she has no data to back this up.

Suri: So far, the vendors supplying the four top-selling edibles have fulfilled their promise of increasing quantity and reliability. However, three of the four items have still sold out, raising the question of whether Favourites needs to bring in one or more additional vendors to produce these items. Of the vendors with which Favourites asked to negotiate better discounts, some refused, and two of these were “stolen” by a competing merchant so that they no longer sell to Favourites. In addition, one of the vendors that agreed to give a better discount was unexpectedly forced to cease operations for several weeks because of a fire.

This scenario allows us to see that the problem may have several dimensions as well as solutions, that resources can be limited, and not every solution is successful. Even though the problem is not immediately resolved, the group problem-solving pattern and communication among the group members serves as a useful guide through the problem-solving process.

Text Attributions

• This chapter was adapted from “Group Life Cycles and Member Roles” in Communication for Business Professionals – Canadian Edition published by eCampusOntario, which was adapted from Business Communication for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon. CC BY-NC-SA.

Media Attributions

• Figure 44.1 “Problem solving process” © eCampus Ontario is licensed under CC BY-SA.

Two important aspects of group communication—especially in the business environment—are teamwork and leadership. You will work in a team and at some point may be called on to lead. You may emerge to that role as the group recognizes your specific skill set in relation to the task, or you may be appointed to a position of responsibility for yourself and others. Your communication skills will be your foundation for success as a member and as a leader. Listen and seek to understand both the task and your group members as you become involved with the new effort. Have confidence in yourself and inspire the trust of others. Know that leading and following are both integral aspects of effective teamwork.

Teamwork

Teams are a form of a group normally dedicated to production or problem solving. Teams can often achieve higher levels of performance than individuals because of the combined energies and talents of the members. Collaboration can produce motivation and creativity that may not be present in single-contractor projects. Individuals also have a sense of belonging to the group, and the range of views and diversity can energize the process, helping address creative blocks and stalemates. By involving members of the team in decision-making, and calling upon each member’s area of contribution, teams can produce positive results.

Figure 45.1

Teamwork is not without its challenges. The work itself may prove a challenge as members juggle competing assignments and personal commitments. The work may also be compromised if team members are expected to conform and pressured to go along with a procedure, plan, or product that they themselves have not developed. Groupthink, or the tendency to accept the group’s ideas and actions in spite of individual concerns, can also compromise the process and reduce efficiency. Personalities and competition can play a role in a team’s failure to produce.

We can recognize that people want to belong to a successful team, and celebrating incremental gain can focus the attention on the project and its goals. Members will be more willing to express thoughts and opinions, and follow through with actions, when they perceive that they are an important part of the team. By failing to include all the team members, valuable insights may be lost in the rush to judgment or production. Making time for planning, and giving each member time to study, reflect, and contribute can allow them to gain valuable insights from each other, and may make them more likely to contribute information that challenges the status quo. Unconventional or “devil’s advocate” thinking may prove insightful and serve to challenge the process in a positive way, improving the production of the team. Respect for divergent views can encourage open discussion.

John Thill and Courtland Bovee (2002) provide a valuable list to consider when setting up a team as follows:

• Select team members wisely
• Select a responsible leader
• Promote cooperation
• Clarify goals
• Elicit commitment
• Clarify responsibilities
• Instill prompt action
• Apply technology
• Ensure technological compatibility
• Provide prompt feedback

Group dynamics involve the interactions and processes of a team and influence the degree to which members feel a part of the goal and mission. A team with a strong identity can prove to be a powerful force, but it requires time and commitment. A team that exerts too much control over individual members can run the risk of reducing creative interactions and encourage tunnel vision. A team that exerts too little control, with attention to process and areas of specific responsibility, may not be productive. The balance between motivation and encouragement, and control and influence, is challenging as team members represent diverse viewpoints and approaches to the problem. A skilled business communicator creates a positive team by first selecting members based on their areas of skill and expertise, but attention to their style of communication is also warranted. Individuals that typically work alone or tend to be introverted may need additional encouragement to participate. Extroverts may need to be encouraged to listen to others and not dominate the conversation.

Leadership

Leadership is one of the most studied aspects of group communication. Scholars in business, communication, psychology, and many other fields have written extensively about the qualities of leaders, theories of leadership, and how to build leadership skills. It’s important to point out that although a group may have only one official leader, other group members play important leadership roles. Making this distinction also helps us differentiate between leaders and leadership (Hargie, 2011). The leader is a group role that is associated with a high-status position and may be formally or informally recognized by group members. Leadership is a complex of beliefs, communication patterns, and behaviours that influence the functioning of a group and move a group toward the completion of its task. A person in the role of leader may provide no or poor leadership. Likewise, a person who is not recognized as a “leader” in title can provide excellent leadership.

Navigate to the following quick quiz: What’s Your Leadership Style?

Leadership Styles

Given the large amount of research done on leadership, it is not surprising that there are several different ways to define or categorize leadership styles. In general, effective leaders do not fit solely into one style in any of the following classifications. Instead, they are able to adapt their leadership style to fit the relational and situational context (Wood, 1977).

Read and review the following article from MindTools that describes a variety of leadership style models: Leadership styles: Choosing the right approach for the situation.

One common way to study leadership style is to make a distinction among autocratic, democratic, and laissez-faire leaders (Lewin, Lippitt, & White, 1939). These leadership styles can be described as follows:

• Autocratic leaders set policies and make decisions primarily on their own, taking advantage of the power present in their title or status to set the agenda for the group.
• Democratic leaders facilitate group discussion and like to take input from all members before making a decision.
• Laissez-faire leaders take a “hands-off” approach, preferring to give group members freedom to reach and implement their own decisions.

Thomas Harris and John Sherblom (1999) specifically note three leadership styles that characterize the modern business or organization, and reflect our modern economy. We are not born leaders but may become them if the context or environment requires our skill set. A leader-as-technician role often occurs when we have skills that others do not. If you can fix the copy machine at the office, your leadership and ability to get it running again are prized and sought-after skills. You may instruct others on how to load the paper or how to change the toner, and even though your pay grade may not reflect this leadership role, you are looked to by the group as a leader within that context. Technical skills, from internet technology to facilities maintenance, may experience moments where their particular area of knowledge is required to solve a problem. Their leadership will be in demand.

The leader-as-conductor involves a central role of bringing people together for a common goal. In the common analogy, a conductor leads an orchestra and integrates the specialized skills and sounds of the various components the musical group comprises. In the same way, a leader who conducts may set a vision, create benchmarks, and collaborate with a group as they interpret a set script. Whether it is a beautiful movement in music or a group of teams that comes together to address a common challenge, the leader-as-conductor keeps the time and tempo of the group.

Coaches are often discussed in business-related books as models of leadership for good reason. A leader-as-coach combines many of the talents and skills we’ve discussed here, serving as a teacher, motivator, and keeper of the goals of the group. A coach may be autocratic at times, give pointed direction without input from the group, and stand on the sidelines while the players do what they’ve been trained to do and make the points. The coach may look out for the group and defend it against bad calls, and may motivate players with words of encouragement. Coaches are teachers, motivators, and keepers of the goals of the group. Coaches serve to redirect the attention and energy of the individuals to the overall goals of the group.  We can recognize some of the behaviors of coaches, but what specific traits have a positive influence on the group? Thomas Peters and Nancy Austin (1985) identify five important traits that produce results:

1. Orientation and education
2. Nurturing and encouragement
3. Assessment and correction
4. Listening and counseling
5. Establishing group emphasis

Text Attributions

• This chapter was adapted from “Teamwork and Leadership” in Communication for Business Professionals – Canadian Edition published by eCampusOntario, which was adapted from Business Communication for Success by a publisher who has requested that they and the original author not receive attribution (and republished by University of Minnesota Libraries Publishing). Adapted by Allison Kilgannon. CC BY-NC-SA.