Category Archives: writing process

Navigating the Prompt

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The prompt is as much a part of the assignment as the paper itself.

Navigating a prompt can seem daunting to a student, but some simple guidelines, that can be applied to most assignment descriptions, can help. An action plan, leading to the paper’s action plan, is not so daunting because it is based on common sense questions:

  • Did I read it? Read it-all the way through, before anything else.
  • What is the overall objective of this assignment? The prompt probably contains a statement to that effect. Highlight or label it.
  • What are the “givens,” the technical stuff? Make a list of to-dos, such as length, style, due date, etc. These become a simple checklist. Save it the for last, after the work is done. (Don’t wrap the box before the present is inside.)
  • Who is the audience? Who, other than the instructor, are you writing for? (This might be a real audience, or it might be a “made-up”one for the purposes of the paper. Either way, it doesn’t matter; it gives you focus, and helps you strategize.)
  • What is this? Highlight anything that just isn’t clear or doesn’t make sense, and ASK. (The teacher and/or the writing center are there to help.)
  • What materials will I need (research, texts, etc.)?
  • Are there any special rules or exceptions for this assignment (e.g. an author’s note, or an exception to an MLA or APA rule, etc.) If not, then forget about it.

Get all these things “sorted,” as they say in England, then, think about a tentative thesis, and finally, begin that outline. Breaking it down into bits, eliminates the scary. They’re just things to do.

Here’s some more detailed information from Purdue and UNC:

https://owl.english.purdue.edu/owl/resource/688/01/

http://writingcenter.unc.edu/tips-and-tools/understanding-assignments/

 

The Three Index Cards

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One of the most challenging times for a student, especially in a First Year Writing course, or in any class with writing, is navigating the assignment., Often, they don’t think about doing a critical reading of the assignment description, or annotating it, like any other text they encounter. And, oftener still, they don’t ask for help when they are confused.

Several years ago, I came up with a simple activity to get them to talk with each other about the assignment itself. It takes three index cards, and something from which they can be drawn, like a bag, or a cap, or envelope.

After they have read over the assignment description (say for a paper), and the instructor has gone over it, the index cards are employed to get them talking about the doing of the work:

  1. Each student gets a card.
  2. On the lined side of the card, they write the single thing about the assignment they think will be the most challenging. Ask them to be concise and write only that one thing.
  3. All the cards go back in the bag.
  4. Then, everyone draws a new card.
  5. They then respond to what the card says. This could be identifying with the concern, an answer, or suggestions, etc.
  6. The cards go back in the bag.
  7. Each student draws a new card.
  8. This time, on the blank side, the last student builds on what the first two have said.
  9. The third student presents to the class. They read the original concern, the response, and then what they wrote to build on it.
  10. Discussion will begin organically because others will want to respond, etc.; the instructor just needs to guide it.

This not only gets them taking abut the paper they must write, but about studying/writing/reading habits that work, and it eases some of that tension about “looking dumb,” or that “everyone but me gets it” feeling they might have.

Living Words

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I often find myself giving students this note: “Anything occurring in a text (print, digital, or visual) is referred to in the present tense because it is “living” in an ongoing present. Shakespeare is dead, but you would still say, ‘In Rome & Juliet, he writes…’”

The late Brenda Ueland inspired me as a young writer. I have always tried to incorporate much of what she says when encouraging student writers. Ueland encapsulates her advice for writers at the end of If You Want to Write, and I have taken the liberty of passing on the highlights. She advises:

“To sum up—if you want to write:

  1. Know that you have talent, are original and have something to say.
  2. Know that it is good to work…
  3. Write freely, recklessly, in first drafts.
  4. Tackle anything you want to—novels, plays, anything. Only remember Blake’s admonition: ‘Better top strangle an infant in its cradle than nurse unacted desires.’
  5. Don’t be afraid to write bad stories [or essays, or papers.]
  6. Don’t fret or be shamed of what you have written in the past… It is so conceited and timid to be ashamed of one’s mistakes. Of course they are mistakes. go on to the next.
  7. Try to discover your true, honest, untheoretical self…
  8. Remember how wonderful you are…
  9. if you are never satisfied with what you write, that is a good sign…
  10. Don’t be afraid of yourself when you write. Don’t check-rein yourself…
  11. Don’t always be appraising yourself, wondering if you are better or worse than other writers…”

Pretty good advice, for the classroom, the writing center…the mirror.

Brenda Ueland wrote these words in 1938, but her wisdom, indeed, lives in an ongoing present.

Works Cited

Ueland, Brenda. If You Want to Write, a Book about Art, Independence and Spirit. Graywolf. 1987.

 

Giving Shape to a Stream-of-Consciousness Draft

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The process of transitioning from research notes to a first draft can be daunting, and the creation of outlines and mind maps eases the way for many writers. But what if your favored method of working is a direct dive into writing pages and pages of exposition until you reach the conclusion? Can stream-of-consciousness drafts result in quality essays?

The truth is, readers can easily spot an essay that hasn’t been shaped. Some telltale signs are repetitiveness, disorganizationStreet signs, paragraphs that don’t align with topic sentences, and a conclusion that doesn’t match the thesis statement. To a professor, these are signs of a hastily crafted, night-before-it’s-due paper; to an editor, they’re signs that an author isn’t invested in the work being done. No matter what your writing timeline is, these are impressions to avoid, and there’s a relatively pain-free fix. It’s called “the reverse outline.”

Sometimes the mention of the word “outline” has writers rolling their eyes and envisioning roman numeral exercises from elementary school, but a reverse outline is a fast and simple method for revealing the bones of your work and is a critical part of the revising and editing process.  Here’s one method for reverse outlining:

  1. Read each paragraph, and write out the main point in the left margin.
  2. In the right margin, write down how each paragraph supports and advances the thesis.
  3. Review the right margin notes. Is there a logical build and direction that moves the reader from your thesis to the conclusion? If not, what needs to be shifted, added, or removed?
  4. Review the left margin notes. Are any main points repeated? Are there paragraphs where it was difficult to identify a main point? Are several main points jumbled together in the same paragraph? Are there sentences that don’t support the paragraph’s main point? What shifts might be necessary to resolve any of these issues?
  5. Making those shifts: move paragraphs, delete sentences, and clarify connections and focus.
  6. Note if there are sufficient signposts and transitions for the reader to follow the re-ordered argument and evidence.
  7. Carry on with your usual editing and proofreading from here!

For more on reverse outlining, see this Writing Center handout.

With a small bit of fine-tuning through the use of these reverse outline suggestions, a stream-of-consciousness draft can evolve into a logically structured essay with great flow while fully supporting the thesis and effectively guiding the reader to a logical conclusion. Not bad for avoiding the use of roman numerals! Even your elementary school teacher would be proud.

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Writing Exercise: Mimicry, Part 2

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My last post was an introduction to the use of mimicry in writing as a tool for developing a writer’s voice. In this second half of the posted exercise, we’re going to try our hands at being copycats…for the sake of art.

If you’ve never done an imitation writing exercise before, granting yourself permission to be a hack may prove to be the first challenge. That fear of God that rises inside of a writer in near brushes with plagiarism is real—it serves the practical purposes of safeguarding work and respecting territory—and it can get in the way of allowing yourself the freedom to experiment. So, repeat with me: “I’m going to copy. I’m going to steal from talented writers.” You’re also not going to pass off a floundering word substitution exercise as a submission for The Atlantic (or for a class, unless your professor understands and agrees with your method!), so rest assured that you’re just flexing some underused muscles and testing your limits for the purposes of an exercise.

There are multiple approaches to imitation or mimicry exercises—you can substitute clauses while retaining punctuation, you can swap out words, and some writers even find value in transcribing text word-for-word to get a feel for the motion and rhythm of the original work. I’m going to select a passage and do my best to adhere to a rough sentence structure and theme. Feel free to play along with this passage or one of your own choosing.

  1. I’m giving myself a real humdinger of a complex and beautiful passage from Olga Grushin’s novel The Dream Life of Sukhanov:

“And slowly, as more recollections claimed him, all the accidentally intercepted glances and bitten lips and bright, insincere intonations slid into place, all the uncertainties were made certain, all the blank spots colored—and by the time Belkin turned to him with a new glass of colorless tea, he finally knew the truth, and his whole young past with Nina, with its sleepless rambles through the city, its flights of happiness, its ecstatic dreams, shifted, changed in time, became dimmer, sadder, more transparent, and at the same time more real” (2005).

Seriously. Isn’t that an incredible sentence?

  1. My second step is to identify the highlights of the passage, and I encourage you to do the same for a passage that you’ve selected. Here’s what I love about the excerpt from above and its author: Grushin is a pro at dragging the reader through her characters’ critical emotional crossroads, especially the ones where the unexpected barrels through and blindsides characters. Here, the anxiety is mounting as the main character of the novel sorts through memories of his wife and best friend, each recollection being tinted with a new sense of loss and betrayal in light of a freshly uncovered, disturbing truth about an enduring, clandestine love. The passage has a dizzying motion to it due to the movement from present to past to present to past to present, all while memories and reality are shifting. In the context of the story, the dizziness mirrors the physical and mental state of the unsteady main character, Sukhanov.
  1. Now for the hard part. Mimicking. Here’s my very basic shot at it (try your own, as well!):

Steadily, with a stream of regrets flooding her, all the paths she could’ve walked and canvases left untouched became rising, swift waters, all the wasted moments were droplets, all her talents were wind—and by the time Anna looked to her reflection, a pallid wash crossed with fine, worn tributaries, she realized that her youth, with its tired excuses, its manic spurts of partial paintings, its sullen dry spells, was lost, starkly barren, a fossilized, unchangeable history of inertia.

My aim for the exercise was to get a feel for Grushin’s structure, so I copied that as best as I could. I also wanted to fluctuate between past and present and stick with the themes of discovery and loss. The outcome is vastly different from anything that I would ordinarily write, and it’s refreshing and challenging to grapple with a complex structure when I gravitate toward a more straightforward, conversational style. What did I learn? This type of structure is really effective for engaging a reader in something that is typically boring to witness in real life: picturing a person untangling thoughts. The structure allows you to both see the person and experience revelations with that person. That’s one of the greatest beauties of writing, isn’t it?

I encourage you to test out a new style to see what can be learned and to push yourself out of the comfort zone. The process might bring about new themes for your work as well as adding variety to tired sentence structures, and it will certainly add dimension to your voice.

Writing Exercise: Mimicry, Part I

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A writer’s voice is an ever-changing product of practice and exposure to others’ work. Much in the same way that we carry with us a gesture, a mannerism, a charm from each person who has influenced us in life, writers absorb structures, themes, cadences, and lyricism from authors. These essential adoptions in daily reading and writing practices add dimension to the timbre of writers’ voices and invite us to revisit classics and seek out new authors as part of our growth.

For novice writers, developing a voice is a critical challenge; some novices shift rapidly through styles and avoid cultivating a unique and mature voice while others stick with what they know and remain underdeveloped, firmly situated in a comfort zone. It can be hard for young poets, for example, to land confidently in a new verse structure. (If couplets are your cup of tea, why switch and brew up misery?) And it can be easy to write off a style without trying it out. Some fit like gloves while others seem to be shoes on the wrong feet. Growth. It’s a necessary, painful, and experimental stretch that can be eased through intentional development of voice. Enter the art of mimicry. Tell us all about it, T.S. Eliot:

One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest. Chapman borrowed from Seneca; Shakespeare and Webster from Montaigne. (“The Sacred Wood,” 1921)

According to Eliot, it isn’t so much about whether or not a writer will take from the masters (that’s a given, and you’re likely doing it to a degree without noticing); his test of a writer’s worth hinges on the quality and uniqueness of the resulting work. It takes exposure to great work and experience to develop into the “good poet,” and a writing practice that centers on absorption can take writers from the immature imitator to the master with a unique voice.

The first step of absorbing great work is analysis. All writers benefit from analyzing the work of influential authors—it doesn’t matter if you’re a poet looking to a novelist or a journalist looking to a screenwriter. Here’s an exercise to encourage you to seek out those who inspire you, and then I hope you’ll take some time to reflect on their work.

  • Identify a favorite author and one work from that author.
  • Identify what appeals to you about the author’s writing. Theme? Sentence structure? Narrative arc? Character development? Explore what is appealing about the handling of the identified elements.
  • Identify what doesn’t appeal to you or something that rings untrue in the work. What’s going on in the work at those turns?

Eventually, you’ll want to identify a sentence or paragraph that is particularly striking to you. Bookmark that page! We’re going to need that excerpt for the exercise that will be in my next post, “Writing Exercise: Mimicry, Part II.”

Featured Resources: Writer’s Block

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Comedian Steve Martin once said, “Writer’s block is a fancy term made up by whiners so they can have an excuse to drink alcohol.” We know he was joking (isn’t Steve Martin always joking?) because anyone who has written as many books, magazine pieces, and plays as he has cannot have avoided writer’s block.

What is writer’s block? (Psych students, hold off—it’s not in the DSM.) Feel free to self-diagnose. Can’t figure out how to get started? Do you repeatedly write a line and then delete it in disgust? Have you found yourself in the middle of a paper without any idea of what you’re doing there? Sure, you have writer’s block! Here are some resources to help.

Overcoming Writer’s Block: This Writing Center handout suggests that maybe, if you’re stuck, you need to read your sources a bit more carefully, do some prewriting to develop your purpose and strategy, or work with a consultant in the Writing Center.

How to Crush Writer’s Block: This episode of Austin’s own Two Guys on Your Head podcast investigates the psychological and emotional reasons why writers get stuck and how they can get unstuck.

And finally, the Writer’s Block Instant Cure:

Follow any of this advice and you’ll be writing fluently again in no time. Happy writing!

Campus Publications at St. Edward’s University

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Do you want to publish your art or writing? Do you enjoy reading the work of others and talking about writing? Do your friends always ask you to help proofread their papers? Getting involved in a campus publication is a great way to get some résumé-building experience with writing, editing, design, publishing, and even marketing and event planning.

Following is a list of campus publications at St. Edward’s, with links for more information. Note that each publication has different guidelines, policies, schedules, and needs, and most are staffed by students and faculty who juggle many responsibilities. If you want to get involved, be sure to read the information on the publication’s website, if it has one, and be respectful and professional when emailing publication staff. (Here are Five Tips for Better Email.)

  • Arete, published annually in print, is the university’s academic journal. Submission guidelines are on the web.
  • Cabra is a student-run fashion magazine on the web. For contact information, see the Masthead section of the website.
  • Hilltop Views is the campus newspaper, which publishes in print and online. To learn how to get involved, see the Contact Us and Submission links at the bottom of the website.
  • J-Source: A St. Edward’s Undergraduate Research Journal is the faculty-edited journal of SOURCE (Symposium on Undergraduate Research and Creative Expression), an annual event. For more information, contact Dr. Victoria Hill.
  • New Literati is an arts and literary journal published online and in print. See the journal’s website for contact and submission information.
  • Pangaea: Global Connections  is an online journal publishing student perspectives on global issues and processes. For more information, contact Charles R. Porter, Jr., MLA.
  • The Sorin Oak Review, published annually in print, is an established arts and literary journal at St. Edward’s. Visit the website for contact and submission information.

If you have information to add to this list, please email us at writingcenter@stedwards.edu.

Hacking Your Proofread

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""What do you do when your piece of writing no longer looks like the ideas, shapely rhetoric, and graceful sentences you put into it but a pool of melting ugh on the page? Ideally, you put it away—for a few hours, a day, a weekend, a decade. But if your deadline is within the hour? Hack the system.

The system, in this case, is your brain. It is so smart that it knows how to read misspelled words and glosses over all kinds of minor obstacles to glean meaning. Also, it doesn’t spend time noticing stuff you’ve already seen; it’s after novelty. This system is great for the survival and development of our species but not so good at catching small (but potentially annoying and reputation-busting) errors in our own work.

How to Trick Your Brain into Noticing Errors

  • Have someone read the paper to you. No one around? Read it out loud to yourself.
  • Print it out. If you don’t usually do that, your brain will pay more attention.
  • Change the font. Make it really big. Make it ugly. If the writing looks good in Comic Sans, it’s probably pretty good writing. (Just don’t forget to change it back!)
  • Change the background color.
  • Change your environment. Usually write at the kitchen table? Take your laptop or printed copy to a coffee shop, a library, your backyard—anywhere you don’t usually work on your writing.

Tech Hacks for Proofreading

Prefer to use an app to help you proofread? Here are some strategies to try:

  • Use a speedreading app, like Readsy (on the web) or RushReader (for mobile). These apps use a technology called Spritz, which presents one word at a time in the same place, so your eyes don’t have to move. The purpose of these apps is to train you to read faster, but if you keep the adjustable speed on a slower setting, they’re great for proofreading, too. Here’s an example of what Readsy looks like in action:

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  • Use a text-to-speech app to have your computer or device read the writing to you. Most devices have some sort of text-to-speech app built in: VoiceOver for Mac and iOS devices; Narrator for Windows, Talkback for Android devices.

Do you have more proofreading hacks? Let us know!

How to Be a Scholar in a Digital Environment

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You find the article in an online database but print it out for highlighting. You show up to class with a laptop (dead battery, no charger) and a pen (no paper). You’re reading an ebook, but your style guide is full of advice for citing print books. It’s not just you—today’s reading and writing environment is beautiful mess, a hybrid of the print and the digital.

This hybrid environment can leave all of us writers and researchers—students and professionals alike—confused about how to get started, keep track of research and organize a project, facilitate focus amid constant distractions and massive amounts of text and information, and iterate drafts. But entrepreneurial readers and writers can take advantage of this environment by developing unique combinations of strategies and methods that leverage their strengths and make sense for their projects.

With our pals in the Munday Library, we’ve developed the following big-picture sampler, with links to many resources on campus and online, of strategies that readers and writers might pull from as they develop unique processes.

If the embed isn’t working for you, download the PDF file.

Need help developing a unique process for your project? Contact the library or Writing Center services.