Graduated Organization

Here are two lists of movies produced by director Alfred Hitchcock.

1. Psycho
2. North By Northwest
3. Rebecca
4. Shadow of a Doubt
5. The Man Who Knew Too Much

1. North By Northwest
2. The Man Who Knew Too Much
3. Rebecca
4. Shadow of a Doubt
5. Psycho

Both lists have the same five movies on them, but are organized differently. It might be easy to assume one organizes them by release date (which is not the case), but what about the other? Either list could be entirely arbitrary, but that would leave them isolated when the goal of organization is to create unity and cohesion from one topic to another. It's even difficult to determine what relationship there is between the lists because some movies change position and others don't, while Psycho drops from the first to last.

Both lists are organized gradually, or by gradations: The first list is organized based on the aggregate user rating found on the Internet Movie Database (8.5, 8.4, 8.2, 8.0, 7.5), while the second list ranks them according to the AFI ranking of the lead actor appearing in the film (Cary Grant, 2; James Stewart 3; Laurence Olivier, 14; William Holden, 25; and Anthony Perkins who was not ranked).

Graduated Organization takes the elements in question and applies a criteria to them to create a relationship between the elements depending on the method applied. The methods are:

• General to Specific: Begins with basic, simple information easily understood and accepted by the audience, before moving to more complex information. Of course, the information addressed should be related to one another. In essence, this is developing ideas and making them more complex.
• Familiar to Unfamiliar: Even more reliant on audience, this focuses on how familiar, well known, or accepted the information is, and does not necessarily have anything to do with its complexity (a simple idea will likely be more familiar, but this will vary from case to case).
• Climactic: Considers the importance of the topics and addresses them accordingly: whatever is least important for your audience is addressed first, and each transition leads to a more significant topic until the most important is reached. By the time this climax is reached, its relationship to all other topics should be clear, as well as its importance.

While these seem simple enough, they can actually be complex because they tend to deal heavily with your audience's perception. While you should always consider your audience when writing, graduated methods, because they essentially rank your topics, need to take the audience into consideration: you want your audience to agree with your rankings, so you need to either frame your list in a way to be readily accepted by your audience, or adopt a perspective they will agree with. This is especially true because graduated methods are sometimes best used for introducing unfavorable or controversial issues gradually and by showing your audience what you're getting at isn't all that complex, nor difficult to believe or accept. Therefore, the theses in essays that employ graduated methods are more likely to be delayed.

What about placing the thesis early on? Doing so would invert the organization, changing them into Specific to General, Unfamiliar to Familiar, and Reverse Climactic. Technically, this is possible, and there may even be situations where a more direct, even shocking, approach might be useful. While there are instances where it is appropriate, and these methods can be inverted, doing so should be used with caution. It may be appealing to take this approach, but it should be handled with care because the most interesting parts of the essay are addressed early on.

The opposite problem is also a possibility: going too broad or vague. Each method ultimately points to a specific point, but gets there from some much less specific place. Because of this, it can be tempting to go too broad and general, in particular to fill space. The solution to this is audience: how far back does your audience need to be taken? The more familiar your audience is with your topic, the less distance you'll have to cover.

As for transitioning, it should identify the shift depending on the method. Climactic should indicate the move from less important to more important; General to Specific should indicate the information is becoming more specific; and familiar to unfamiliar, of course, will start with the more acceptable information. Without such transitions, the essay will appear disorganized because the relationship between the elements won't be clear, forcing the reader to wonder what the relationship is rather than focusing on the content of the essay, and all we really want to do in our writing is make sure our readers understand what we’re trying to say.

Sequential Organization

Consider the following sentence:

You woke up this morning, checked a message on your phone, and then went to the hospital for an appointment.

It's a basic narrative of largely unrelated events; now consider it slightly altered:

You were awakened by a message on your phone this morning informing you the time of your appointment had been moved up.

It's the same chain of events – wake up, message, hospital – but they are no longer unrelated. Each one depends on and impacts the other. Both of these represent different methods of Sequential organization (Chronological and Cause & Effect, respectively). Sequential methods of organization develop different relationships between the events in question and changes the way the narrative in question develops. The individual methods are:

• Chronological: The simplest method, and by extension, the weakest. All Chronological organization does is identify things happened in a certain order but does not identify any relationships outside of their sequence in time. The statement “I had cereal for breakfast and salad for lunch” is Chronological, but so is saying you ate green beans the day before an earthquake. Just because the event occur in sequence does not mean there is a relationship between them, or, in other words, correlation does not imply causation. While Chronological is a method of organization, there's almost always a better approach out there.
• Cause & Effect: Cause & Effect identifies the causal relationship between events. It fills in the gaps in Chronological by identifying and describing the relationship between the events. The events in question do not have to occur naturally, but can reflect the decisions we make based on our situations. Returning to the meals example, the statement “I had eggs for breakfast, and decided to have salad because it would have fewer carbs and calories,” now identifies a relationship between the two events, namely, nutritional content.
• Procedural: Rather than discuss what has happened or what will happen, Procedural gives direction and instruction: it says certain things have to be done in a specific order to reach a desired end. It therefore is not appropriate for events that naturally occur: Cause and Effect can occur naturally, regardless of our interaction. No matter what, your Ikea bed is not going to assemble itself.
• Problem to Solution: Problem to Solution seems straight forward: take time identifying and discussing a problem, and then follow it by discussing a possible solution. This simplicity, however, can be deceptive because it is easy to just divide an essay into two halves and call it good. When organizing with Problem to Solution, it is a good idea to consider what methods can be used in tandem to complement the broader Problem to Solution. A common approach is to use Cause & Effect in the Problem half, and Procedural in the Solution half.

As for Transitions, they need to reflect the fact the events are related in the way specified by the method. Merely saying “next”, “after”, or “and then” with nothing else only indicates two events occurred at different times and can suggest Cum Hoc or Post Hoc fallacies (i.e. suggesting a causal relationship where none exists). This is why Chronological alone can be weak: it doesn't naturally make these connections or relationships.

However, “and then” and “next” and “after” are not taboo: they just need to be used carefully, ideally in tandem with other words and phrases that complicate the meaning and identify the relationships in question. This means Sequential Organization is not just found in the order and transitions, but in the discussions of how the events are related: stepping outside of the events themselves to explain and explore just why the connections are logical and reasonable. A Cause & Effect piece should not just discuss the events, but should focus on the relationship, and you need more than a transition to do that. Similarly, a Procedural piece will need to not only specify the order, but make it clear why that order is important and what could happen in one were to deviate from it.

Comparative Organization

Comparative methods of organization will take an apple and an orange and will discuss how both of them are fruit, belonging to the same category, but they still have their distinct differences. In this regard, Comparative methods don't necessarily deal with superiority or inferiority, claims of judgment: merely that things share differences and similarities. This makes Comparative organization good for Definition level arguments and genres that aim for objectivity, like Literature Reviews.

The specific methods are as follows:

• Thematic: A thematic approach to organization can be harder than it appears. It involves developing or identifying a theme or concept related to your topic and using that theme to govern the organization. It isn't a matter of designating a unique theme for every paragraph, but having a strong theme to carry the reader from the beginning to the end. If you're writing something personal or open ended, it might be a good idea to experiment with Thematic. The more rigid the form, though, the less helpful it'll be.
• Classification: Classification can be considered Thematic on steroids. It involves identifying a common element and then grouping a lot of related things together based on this element. Classification is good to use in longer pieces because a longer piece will allow time to identify each point and explore it in detail before moving on to the next. A shorter piece attempting Classification will likely feature short, clipped paragraphs, introducing a lot of related ideas without much depth.
• Spatial: Spatial organization deals with where things lie in physical space. For example, if describing a classroom, you may see the desks, tables, chairs, walls, windows, etc., all at once, but you can't describe it all simultaneously: you have to pick one thing first and then move on to another. Because of this, Spatial organization rarely appears outside of creative writing (fiction and non-fiction) and discussions of visual arts: the shape and design of a sculpture, the composition of a painting or photograph, etc.
• Compare & Contrast: Compare & Contrast, whether Block or Point by Point, is similar to Classification as it groups related topics together, but it goes a step further than Classification by emphasizing more of the differences and why the similarities and differences are important. By emphasizing the differences and similarities and bringing together what Classification separates, we compare and contrast.

Transitions in Comparative methods can appear abrupt, even forced at times as you move from one point of discussion to another. On the other hand, trying to make every transition invisible can make the different point blur together to the point it gets hard to distinguish when you've switched from one to another.

The important thing to remember when transitioning with Comparative is forced transitions say is there's something else: words like “and” “another” “in addition” and “also” only signal there's something else for discussion. These words don't develop any deeper meaning between whatever it is they're combining. It is much better to rely on words that convey comparison, that indicate there is some kind of similarity or difference you want to emphasize.

For example, when you say, “on the other hand,” you indicate not just a change in topic, but a strong shift to a very different aspect of the same issue, whereas “and” or “also” suggest you could be moving to an entirely different topic: “I had popcorn and loved the movie” makes sense (however bland it is) by linking two virtually unrelated things. On the other hand, “I had popcorn; on the other hand, I loved the movie” makes no sense because there's nothing in this statement to link the topics of popcorn and the movie.

At its core, Comparative relies on the presence of similarities and differences. When we organize comparatively, we look for what is related just as much as where there are differences and we look for significance in these relations. Comparative, perhaps more than Sequential and Graduated, reminds us we use organization to create and govern meaning.

Thinking Thematically: A Method of Organization

When I addressed the different methods of organization, I defined “Thematic” as “organized by distinct topics or ideas” and I said little else on the matter.

At first, this makes it seem an easily manageable approach: an assortment of different topics and ideas, brought together in an essay. It seems easy, and this ease makes it appealing. However, it isn’t this simple. Every method of organization relies on having distinct topics or ideas because every paragraph and even groups of paragraphs should be distinct: a paragraph is a shift in topic or idea. Methods of Organization give us ways to structure and order the topics.

What, then, is Thematic organization?

Every other method organization gives you a way to distinguish each section or paragraph of an essay and a logical way to move from paragraph to paragraph. Graduated methods create hierarchies based on specificity, familiarity, or importance, while Sequential methods establish chronologies and trace ideas and concepts through time, and Comparative methods set the different topics in contrast to one another.

Thematic, however, gives a way to distinguish, but doesn’t give that logical progression.

Organizing Thematically involves using a theme appropriate for the essay as the governing mechanic to determine how everything is structured. The theme becomes the principle that logically brings the distinct topics together. This will then impact the topics themselves, with the theme running through the entire piece, impacting every decision you make. In other words, you need to find your own logic because the method itself doesn't supply it: it just reminds you that you need something to hang everything on, unlike the other methods of organization which give you the logic themselves.

It is possible for an essay to have multiple themes, just as fiction does, but to equate a theme with a paragraph is where the danger comes in. Too often disjointed, tangential essays are excused as being “thematic”, making Thematic Organization the refuge of the poorly organized: clusters of paragraphs placed together because they have to go somewhere, but without much attention given to why they are there. Most times a student proposes a Thematically organized essay or outline, they present either a disorganized mess or they haven't looked close enough to find a better way. Instead, themes should run across paragraphs, the length of broader sections and the essay as a whole, whether there’s only one theme or several. If you have a new organizational theme for every paragraph, then you don’t have an organized essay.

How then do we organize Thematically? Where are the examples? Because every use of Thematic organization will have a different theme, each will require a different approach and execution. The closest thing to such a general prescription for Thematic is to say every one will be different. Every combination of essay topic and organizational theme will yield a new situation, requiring its own organization.

Forced Transitions

Ever been talking with someone and halfway through whatever you’re saying, you remember something else that’s important to the discussion? In conversation, it’s better to interject this point and explain its relevance than to fumble around it, So we stop abruptly and add whatever important detail we need to. It’s awkward and slows the discussion, but we can’t go back and change the conversation to make it fit better.

However, we can go back and make changes in writing. We work to make the final version appear organic, and we’re responsible for fine tuning, revising, and editing to clarify our arguments and eliminate awkward moments. As writers we take the time to develop and maintain a consistent, logical flow, eliminating inelegant breaks to get everything in. One way to do this is through the careful use of transitions.

A transition is a logical move from one topic to another, usually showing up at the beginning or end of a paragraph (where the big shifts in topic happen). Best case scenario, each paragraph will sit side by side in a logical progression, each developing ideas and concepts explored previously. With a strong logical progression, the transitions should occur naturally, resolving whatever issues were presented while moving others along to be addressed in more detail in the next paragraph.

And then there are forced transitions.

This is when paragraphs begin with words like “and”, “another”, and “also” instead of relying on the logical formation of ideas to make the shift. By themselves these are not bad words: they are useful for joining items in lists or signaling additional information, but they do not work for starting paragraphs. They bring the transition to the reader’s attention. It stands and shouts, “I’m going to talk about something else now!”

It can be easy to see how these might be considered good transitions: they indicate a change in topic after all. However, essay format has its own tools to do this, namely, new lines ( with the next line starting with indentations or a blank line between the two). These are to paragraphs what periods are to sentences: periods signal the end of an idea expressed and developed inside its sentence. 

Paragraphs end with a period and with the line, creating a stronger break and a stronger shift in format. It’s smooth and natural, and we’re trained to understand this is how paragraphs work; it is a simple, unobtrusive way to shift ideas. With paragraph structure as a guide, we can easily read from one paragraph to another, the message of “new topic” coming easily without any distracting words getting in the way or unnecessarily complicating it.

Placing a period and hitting enter isn’t enough though: that makes a new paragraph, but it doesn’t preserve the logical flow of ideas. Instead, it’s best to consider the purpose or function of the paragraph in relationship to those around it. In short, there should be a reason for each paragraph to be wherever it is.

Sometimes, I’ll be looking at a draft with a student and I’ll ask why a given paragraph is wherever it is, and there’s no answer because there isn’t a reason for it to be there. If there was a good reason, it would reflect in how the alignment of paragraphs clarifies the ideas and develops one into the other. These problem paragraphs tend to have forced transitions: paragraphs that start with with statements like “Also, it is important to…” or “Another related issue is…” which just derail the argument.

All in all, forced transitions are a symptom of a much larger problem. As I said above, there’s nothing wrong with these words: it’s just they can be used at inappropriate times to compensate for insufficiencies elsewhere in the essay. So, if you catch yourself using forced transitions, take a good look at the paragraph in question and ask yourself what it’s contributing to the essay as a whole. You may write a few new sentences to better show the transition. You may find a better place for it. You may find the essay is better off without it. Either way, the essay will be improved and logic maintained.

Balanced Essays: Quantity, Quality, and Attention to Detail, Part 2

In my last post, I addressed the issue of Balance, how it is difficult to teach, but it is important to know because it promotes looking for the purpose. How then should you keep an eye out for it?

It’s ultimately a matter of purpose. Don’t ask yourself how long a paragraph needs to be and gauge that by an arbitrary standard; rather ask yourself how long the paragraph should be based on the kind of information it’s addressing and its purpose in the rest of the essay. For the Annotated Bibliography, the paragraphs summarize (or evaluate or assess). For the Five Paragraph Essay, each paragraph represents a different topic that needs just as much attention as the other ones. So it isn’t just balance in terms of words, but in terms of content and purpose.

There are no hard and fast rules for the purposes paragraphs have, so rather than providing guidelines, here are a few questions to ask yourself if you’re worried about balance:

What is this paragraph’s purpose in the essay? Take some time to understand the purpose the paragraph has in the essay as a whole, what information is says, and why it is important. If you can’t explain to yourself why you have a paragraph in your essay, then you need to do something about it. 

How much detail do I need here? The simple answer is however much you need to prove your point (the one in the topic sentence). However, because each paragraph will have a different purpose, the amount of detail and words can vary. There may be brief paragraphs amid longer ones so the author has time to stop and collect their ideas, summarize those complex ideas, or signal a shift in the essay.

Do I have other paragraphs with similar purposes? This is where the problem in Part 1 really comes up. You should be able to look at your essay and recognize when the different paragraphs have similar purposes (even if the material is different). If two paragraphs both address related and equally important topics, it doesn’t make sense for one to be significantly longer than others.

How do I approach each paragraph? This deals with style more than information. We adapt our writing styles to different purposes, so when reading for purpose, make sure you’re consistent in the style you use. There may be times to change styles in a piece of writing, but it, like the information it conveys, should reflect the purpose of the essay.

Balance is a matter of detail, information, style, and reading purposefully. Not length. And I’ll be honest: I like it that way. It may make it more difficult to teach it, but it requires closer attention to detail and critical thinking on the part of students.

Balanced Essays: Quantity, Quality, and Attention to Detail, Part 1

I want to start this post by saying that balance is an important thing, and yet I never see it addressed. Not in a composition classroom, textbook, conference, or meeting, and if I have, it's been ensconced with other topics as something incidental rather than essential. It's a concept I've stumbled across and, the more I think about it, the more I realize it's an important part of learning how to write.

So what is balance?

Simply, it's the attention a writer gives their material. And yes, I'm being intentionally vague when I say “their material”.

Let's consider it in the context of a 5 Paragraph Essay, about 1000 words long, no tangents, and each paragraph addresses its own specific, related topic. The expectation is each paragraph averages about 200 words. But let's say this essay's paragraphs are, respectively, 200, 400, 150, 100, and 150 words. The enormity of the second paragraph in comparison to those that follow makes it stand out. If it's a decent paragraph, it will identify its topic and then explore it in detail. This is all good, but the other paragraphs being a about a third or fourth in length will pale in comparison. They may be well written paragraphs, but their brevity suggests a few things. The author cared much more about one topic than the others, and these other topics were not addressed to the same extent. This can weaken the overall essay, no matter how good the longer paragraph was.

The solution may or may not be to simply make the other paragraphs three or four times as long: the issue would be if the author can or needs to make these paragraphs as detailed as the first one. If they find the first topic much more interesting than the rest, and the others are there to fill space, then they may be able to produce more words, but the writing won't be as strong. The solution may be scrap the other paragraphs and break the long one into more specific topics.

A great example of this is on annotated bibliographies. I will see a long, almost lyrical summary of a source followed by a few haphazard sentences of evaluation. This is not a reflection on the source but on the author's attention to the sources: the better summary shows the author paid careful attention to one source, but not to the rest of their research. 

Issues of Balance are more prevalent in heavily structured forms, like annotated bibliographies and rogerian arguments (for example: a few sentences are spent on the opposition and a few paragraphs on the author's stance), so I try to emphasize it more when teaching these forms. It's easier to point to the length or number of paragraphs and show how and why the longer and shorter ones, generally, have more detail and show the author was more careful and attentive to one more than another.

However, length is only a superficial indication. Some paragraphs need more detail and attention and will therefore be longer. Others may just need a few sentences to get their job done. The real issue is how the paragraph is written, which is why I used the 5 paragraph essay in my earlier example: each body paragraph has basically the same purpose, so each should have about the same amount of detail and attention, which will likely reflect in their all being close enough in length that none appears significantly longer or shorter than another. You need to read your own writing purposefully: what purpose does each section and paragraph have does it have the detail needed to meet that purpose?

Looking beyond the word count and thinking about purpose and function is important, and I think that focusing on Balance is a good way to teach and emphasize this kind of reading. It may be hard to quantify, require a fair amount of specification, and vary from situation to situation, making it hard to teach, but that’s no reason not to. The overall lesson is to ask yourself what the purpose of the paragraph is and if it is getting the attention and detail it deserves.

Why in that order? Methods of Organization

Let’s say you have bad news to pass on to someone. What approach do you take? Do you blurt out the bad news and then run? Do you give a letter and then run? Or do you scuttle up whatever good news you have in order to cushion the blow? Do you consider your timing, delivery, and what other information you have to mitigate the damage?

Welcome to Organization, the simple art of determining what information goes where.

Unfortunately, it sometimes seems like organizing an essay is little more than Paragraphs go here! In all honesty, I blame the 5 Paragraph Essay and the teaching of Transitions. The 5 paragraph essay because it can promote the idea that order doesn't matter: so long as there are three paragraphs addressing the overall topic of the essay, all is well. And Transitions because it takes organization from a significant part of essay writing and turns it into sentences that begin and end paragraphs forced to resemble one another.

Reducing organization to having transitions is kind of like saying there's no difference between a Main Coon, a Sphynx cat, and a Chartreux cat because each one was put in the same funny hat (thank you internet). Each has distinct traits and for accuracy should be recognized individually, as opposed to being just cats in funny hats.

Organization is quite complex. It can be as instrumental in conveying information than any other aspect in a piece of writing because it determines the order the information is presented. It is not enough for information to be there, but knowing where and how to present information influences how later information will be received. Once information is presented, it influences the way other information will be received: how a piece is organized sends messages.

The next step is to make sure your organization sends the right message. For this, I turn to a number of different Methods of Organization. Each method has its own purpose and in turn, conveys a specific message about the information. Not only is it helpful in using these to figure out the order of the paragraphs, but it helps make those pesky transitions easier to write and more fluid because it gives the order purpose.

The methods themselves can be divided into three groups: Sequential, Graduated, and Comparative.

The first, Sequential, deals with the relationship of topics in time:

• Chronological: Organizing events in the order they occurred without considering connections between them.
• Cause and effect: Identifies how one event or situation leads to another.
• Procedural: Identifies specific action to be taken in a specific order.
• Problem to Solution: Explores an issue in detail before exploring ways to resolve it.

The next group is Graduated and deals with information presented in scales from more important to less important, more detailed to less detailed, etc:

• General to Specific: Begins with basic ideas and then explores them in greater detail.
• Familiar to Unfamiliar: Introduces basic, acceptable information before introducing new or controversial topics.
• Climactic: Starts out with simple topics and leads to the most important or exciting detail or information.

Each form of Graduated organization can be reversed. For example, a piece can start out specific and then become more general, etc.

The last group is Comparative and deals with identifying similarities and differences across and between topics:

• Thematic: Organized by distinct topics or ideas.
• Classification: Groups related topics based on similarities.
• Spatial: Identifies the relationship between physical properties.
• Block Compare & Contrast: Explain all of the aspects of one topic before another.
• Point by Point Compare & Contrast: Alternate between specific aspects of two or more topics.

Picking a method of organization can depend on the form and genre of the essay, and its audience, usually dictates what methods are appropriate. There are even situations where an essay will need multiple forms of organization at different times. When considering what methods to use, think of the kind of information you're dealing with. From there, it becomes easier to structure an essay and move from paragraph to paragraph because the form of the essay has a purpose, and transitions become easier to write. 

I like to say that every paragraph has two purposes. The first is to prepare the reader for the next paragraph. The second is to prepare the reader for the rest of the essay. Determining and using methods of organization just helps you figure where and why each paragraph goes where it does.

Introduction...or exposition?

I think some writers feel a need to introduce their subject matter when introducing their essay, to give exposition, which is basically providing background information. This issue shows itself in two major forms: in the introduction, and as the body of an essay.

Essays with expository introductions are when an author, rather than using their Six Journalistic Question criteria to guide them, insists on giving a broad background on the topic, referencing important figures, events, and developments, few, if any, of which will be explored later in the essay. A sentence here or there is bad enough, but the entire introduction being commandeered for the sake of exposition makes it an introduction to the subject and not an introduction to the essay. I think this issue stems from a misunderstanding about what an introduction is for. Introductions don't introduce the whole subject matter to the reader, just the specific topics the essay is focusing on.

You resolve this by taking audience into consideration. First, does your audience need the exposition? An expert in the field wouldn't. A teacher might ask for some exposition, though. If there has not been a request (or requirement) for exposition and if you can reasonably assume your audience will be familiar with the topic, then no exposition. If the situation does call for exposition, keep it out of the introduction. This can create a false sense of the essay being about the broad history of the subject itself.

Expository essays are worse. This is when the exposition is the body of an essay. Note that I didn't say in the body of the essay, I said is the body of the essay. I have read essays that have an interesting and engaging introduction and thesis, only to be met with stifling exposition that ends in time for the conclusion, usually addressing topics new to the essay. Paragraph after paragraph, page after page of it. I'm reading a different essay than I was led to believe I'd be reading. Than the introduction promised me I'd be reading.

I can't be as generous with this one when guessing at a cause. These essays always seem to me like the author has something to say, but isn't even trying to give it in any detail. It's as if the construction of the thesis and its introduction ought to be enough, so the rest of the essay is just fluff: something needs to go there, so how about background information?

These essays almost exclusively outline the chronological events behind the subject itself and suggest that rather than doing analytical work, the author has simply regurgitated details about dates and events. The major culprits behind this are essays about historical events or breakthroughs, anything from pirates to computers, where, rather than offering new insights or interpretations on a historical situation, the author simply traces the events leading up to the situation they should be analyzing. The introductions and conclusions of such essays usually suggest an insight or interpretation, but the essay isn't interested in developing any. Sometimes, the conclusions address topics quite alien to what was in the introduction.

In both these situations, whether an expository introduction or essay, the result is an essay with mismatched introductions, conclusions, and bodies. A hodgepodge of related but unnecessary information where critical thinking should be.

However, there will be times when you need exposition. If so, you should keep it down to a paragraph or two. If the situation calls for exposition, wait until the introduction is done (so never the first paragraph), and then take some time to give only the absolutely essential details. If you discover your first paragraph is more exposition than introduction, then bump it from Slot 1 to Slot 2 and write a new introduction. If the body of the essay is the problem, take those pages of exposition and get them down to a paragraph or two so you free up the rest of the essay for more important information: presenting and defending your own thesis. I would say even if your audience is an expert on your subject and even if exposition wasn't required, a little can help show your expertise and familiarity with the subject. But no matter what, keep it brief and keep it relevant to the essay topic.

There is certainly merit in being able to summarize and paraphrase; it demonstrates familiarity with the research and the topic. However, the ability to develop one's own ideas and conclusions from that information and present and defend your ideas coherently, is of a much greater value.

Reverse Outlining with Topic Sentences

An outline is an essay condensed into a list of its topics in the order they appear in the paper. On the other hand, a reverse outline is when an author reads over a draft and identifies just what it is they are saying. Reverse Outlining helps you see just what it is that you wrote.

Putting together a reverse outline can be an interesting experience. We can see how our ideas actually came out, how they changed, and even how our perception on our topic changed as we wrote. Or, we can miss the point and end up just seeing what we want to see in our drafts, as opposed to what’s really there.

Let me elaborate. You did your outline and it went well. You wrote a draft and it went well. But when you go to do your reverse outline, you know what you wanted to say in each paragraph, and so rather than writing what your essay says, you write down what you want it to say. This is only going to cause problems. Instead, I recommend trying the following when reverse outlining:

1. Identify the topic sentence in a paragraph. Look for the sentence in the paragraph that best explains what the paragraph is doing: which could work as a paraphrase of the paragraph. You may be surprised to find that this is not always the first sentence; it may come in the middle or the end, and you may find the paragraph ended up addressing a different topic than you had anticipated. No matter where it is, copy this sentence into your outline as is.
2. Reread the paragraph for tangential sentences. I'm not talking about tangents from the essay thesis: I mean tangents from the paragraph's topic sentence. It is when a paragraph does things or addresses issues we didn't originally expect, but these things still may be relevant to the essay as a whole. Take the sentences that best represents the shift or tangent and make it a subtopic of the paragraph's topic on the outline.
3. Repeat until the essay is done. Do this process for each and every paragraph. Don't fret too much over the essay thesis, but focus on identifying the sentences that mark changes in topic throughout the essay and within paragraphs.
4. Revise. If you've done it right, you've just identified topic consistency issues in your essay, which will help you go back and make the necessary changes. This may be as simple as revising the topic sentence to accommodate a concept introduced in the paragraph, or it could require hefty revisions.

I recently did this with an essay of mine, and while most of my paragraphs were fine, a few introduced tangents. I had to use a variety of strategies to fix these issues. Almost all of them required some revision to the topic sentence, and while a couple didn't need anything else (to resolve the tangent), most needed more attention. I had rewritten sentences, and deleted some unnecessary words.

Thankfully, though, no paragraphs had more than one tangent. With one exception.

After I identified the topic sentence of one paragraph, I identified four tangents.

Four. An essay as a whole shouldn't have any. I had a paragraph with four. I identified the issues, so that as I moved to the next draft, I could outline properly and make the necessary changes. But had I never taken these measures, I probably never would have found and fixed these tangents, and would have only made the matter worse when doing normal revisions. I probably would have encountered this paragraph and would have known there were problems, but without identifying the topic sentence and tangents, the issue would have remained muddled and my attempts to mend it would have just made it more confusing.

The main lesson to be learned from this is outlining is more than just summarizing what a paragraph says or what you want it to say. Readers don't have the luxury of knowing what you're thinking. They have to go off of what you have written. So, make sure what you give readers is clear and coherent, from sentences, to topics and paragraphs, to the thesis.

For clarity's sake: Topic Sentences

Imagine going to a different city for the first time. You could be moving, meeting friends, starting a new job, whatever. You have a goal in mind, but when you get to the city, you're confronted by a lack of street signs. No matter how neat and orderly the streets are, there's little more than the unique features along the streets to help you find your way. Stuff like, brick houses with blue roofs, or black wrought iron fences, or the house with a stone lion occupying the porch. You have a vague idea where you want to go, but even if you stop and ask directions, they're vague and indirect, relying on specific landmarks you've seen a dozen times.

The thesis is the destination. It gives you an idea of where you're going and how to get there when reading or writing an essay. But topic sentences are the distinct, more specific directions letting you know the precise path to take. The thesis may be the address, but the topic sentences are the finer indicators of when to turn and which way to go. Just as the thesis tells you what the essay is about, topic sentences tell you what the paragraph is about.

This means an essay can be subdivided from the thesis into more specific subtopics, each one explained in its own paragraph. The same principle even applies to sentence structures: a sentence has a single, specific idea it’s trying to convey. Any less and it’s an incomplete sentence; more than one and it’s a run on sentence. The same applies to paragraphs and essays; an essay with a split thesis is basically a run on sentence.

Topic sentences generally appear at the beginning of a paragraph. Not necessarily the first sentence, but odds are it will be close. By placing a distinct topic sentence at the start of a paragraph, it gives readers a lens through which to interpret the paragraph. Like I said above: it gives direction and creates expectations. When those expectations aren’t met, we run into breakdowns in organization, essays and paragraphs that say more than they should, and that means tangents. Topic sentences that do not directly support the thesis are defined as tangents. Keeping track of one's thesis and topic sentences is a good way to make sure an essay is not diverting and the sentences stay on topic.

Lining up theses, topic sentences, and paragraphs makes composing an essay manageable because, with them, you can worry about an essay in sections and paragraphs rather than as a whole. Once you can identify the purpose of a paragraph in the bigger scheme of the essay (with, of course, a topic sentence), it makes it easier to focus on the individual sentences. Each sentence plays an integral role in developing the thesis of the essay, but tying one sentence to dozens or hundreds to the thesis is intimidating, especially when they need to fit in the flow of the rest of the essay. Instead, line up the topic sentences with the thesis, and the individual sentences with the topic sentences of their respective paragraphs.

Clear topic sentences are an important way to make the otherwise daunting task of writing an essay manageable: it makes it easier to keep track of what goes where, which helps with organization and revision. With topic sentences, you can create better outlines, manage organization, and eliminate tangents. Most of all, though, it helps you go from writing long essays to writing manageable paragraphs, each with a distinct topic.

Rogerian Argumentation

Rogerian Argumentation addresses some of the main misconceptions about arguments: that they are confrontational, oppressive, and center around at least two competitive, incompatible perspectives.

On the contrary. Rogerian Argumentation is centered around principles of mutual understanding, sympathy, and corroboration. Its purpose is to find a common ground between the two parties: a balance where both sides of the issue can come to an agreement. It is a much more amicable way to discuss differences.

Rogerian Arguments follow a four-step process designed to both ingratiate yourself to opposition and to help you better understand and sympathize with them:

• Address the issue. It's important to identify that there is an issue – not that you have an issue or someone else has an issue but that an issue exists. While being careful not to take sides, you should address the issue by taking a serious look at the situation from a neutral perspective and address what both sides can agree on.
• Identify positives and negatives of the opposition. You aren’t trying to bring down your opposition: you are trying to show your understanding. This way, you present yourself as concerned about the issue and sympathetic to their concerns without tearing down their entire argument. Sometimes, we can feel inclined to point out every fallacy and short-coming, but rarely are things so simple and convenient. Instead of tearing down, build them up, and show you are sympathetic to your opposition.
• Identify positives and negatives of your own stance. Rather than lift your own stance on the issue as a paradigm, you should own up to its shortcomings: making your own stance seem ideal can be just as off-putting as tearing down an opposing side. Instead of championing your own stance, approach your stance as if you were a third-party. Be objective and be honest.
• Compromise. Having established that you understand and are sympathetic to both sides of the issue, it is time to work out a compromise: propose a plan that employs the strengths and positive aspects of both sides, while simultaneously minimizing the weaknesses and negative aspects. By suggesting a compromise, you recognize your opposition has a voice in the matter, and you disagree with but still respect, as opposed to disregarding all different opinions.

Analyzing both sides of an issue can help us understand the complexities of a problem and others' perspectives. It’s all too easy to limit our own perspectives, rather than consider the opinions or concerns of others, or even take a serious look at the problem itself, but we can mire ourselves with our preoccupations and prejudices. Rogerian Argumentation gives us a way to reevaluate just how we see and deal with problems or topics.

By way of disclaimer, I want to add, while the principles behind Rogerian Argumentation can be be applied to any situation, compromise is not always an option. One side may not be willing to concede to a compromise, or a mutually beneficial option simply is not feasible. 

However, no matter what the situation, take time to explore, understand, and in particular, articulate the positions of your opposition.

Get a new doorman: Transitions and Transition Statements

On the Organization Overview page, when I listed transitions I stated it is “an issue with which I have mixed feelings.” This is because I understand and hope to teach that transitions are an essential part of writing. However, in my experience, transitions aren't what gets taught; it's transition statements. These are two very different concepts.

I tutored a student once who claimed to have a problem with those quaint little statements that sit at the end of paragraphs like doormen prepared to mark the move from one locale to another. The student recognized the need for cohesion in his writing, for that elusive “flow.” After a few minutes looking at his essay, it became clear that he understood his topic, was articulate, and had a firm grasp on the issue he was writing about. It’s just the doormen closing each paragraph were locking the door rather than opening it. Each transition was painfully abrupt, stalled the writing, and made every paragraph feel like an introduction rather than a continuation. It was bizarre that a good writer like this would have such a unique and individualized problem.

I proposed an experiment: we read through the second to last sentence of every paragraph and the first sentence of the next paragraph. We skipped the transitions. it worked beautifully. The essay was improved ten times at least.

The problem wasn't that he had bad transitions, it was that he had forced transition statements. He explained he had been taught to use token transition statements, and while that's fine for beginning writers, it ends up doing more harm than good for mature writers.

The red line is a tangent.

I see transition statements as a device to force otherwise tangential pieces into an essay. Pardon the geometry, but a tangent is a line that intersects with a circle at only one point. So, in writing, a tangent is when the essay suddenly starts talking about something that is related but irrelevant to the piece as a whole. It's a portion that just doesn't fit with the rest of the piece. “Transition statements” make it easy to go into a tangent and then force it back on track. It's a bad practice.

Therefore, forced transition statements (or weak transitions) are a symptom of two interrelated issues: the first is poor organization. The second is a weak thesis.

The thesis is the main point or argument and organization is how that point is delivered and presented. A well organized essay will flow from paragraph to paragraph, i.e. from topic to topic. A well organized essay will designate each paragraph with a specific topic directly related to the thesis. Anything related to a different topic goes in a different paragraph. Paragraphs that deal with similar information go before or after one another. And, here's where transitions come in: paragraphs with related topics will transition easier into one another. Strong transitions should be a natural by-product of adhering to the thesis and careful organization.

Transitions bring topics together much more than they bring paragraphs together, and a statement alone isn't enough to do it. It's more a matter of how the essay as a whole develops ideas as it progresses from introduction to conclusion: each paragraph should prepare the reader for the paragraph that follows it.

Unfortunately for me, this makes transitions a much harder topic to briefly address. There isn’t a set list of acceptable sentence structures and forms that can be interchangeably used to solve a problem. Good transitions show strong writing, strong organization, and a strong understanding of the subject matter: you haven’t put an arbitrary doorman down who may or may not do his job properly. You want a doorman who knows the building, the people, the clientele, and the situation. Someone who will let people know that all is well and you are welcome in the building.

Organization: An Overview

Organization is ubiquitous and yet invisible. It’s an issue identified with words like “flow,” and transition,” terms that are neither technical nor specific. An essay should flow, but what does a flowing essay look or sound like? Should an essay flow like a river?...What does that even mean?

Maybe a different comparison. 

In filmmaking, editing is the process of piecing together the different shots of film into a coherent whole. It involves sifting through the filmed footage and finding the best parts to include and putting them together seamlessly: so that you don’t even realize it’s going on. Poor editing stands out. Good editing goes unnoticed.

A well organized essay will do the same thing. You’ll be able to move from word to word, sentence to sentence, and paragraph to paragraph without stopping to notice the fact the subject matter has changed or shifted. Organization is supposed to make the transition from topic to topic smooth and understandable: to tame the beast that composing an essay.

There are many topics that address the finer nuances of organization, none of which I have time to adequately discuss here; I’ll have to devote a specific post to each one later. For now, a simple overview will have to suffice.

• Outlining: Listing the topics you are going to write about in the order you are going to write about them.
• Methods of Organization: Using a specific form or model to give your essay a way to disseminate the information. There are a lot of different methods, and sometimes an essay will employ several.
• Transitions: Statements at the start and ending of paragraphs designed to signal the subject matter is changing. And an issue with which I have mixed feelings.
• Balance: Making sure each topic receives a fair amount of attention, and the essay is not spending undue time and attention where it should not.
• Thesis Consistency: Tracking the development of the essay’s thesis from the very start to the very end of the essay.
• Paragraph Structure: Not just the essay but the information in paragraphs need to be carefully structured and developed.
• Topic Sentences: Sub-theses for your paragraphs.
• Sentence Structure: Determining how best to place information in specific sentences so that their form and structure emphasizes your point.
• Tangents: Oddities that arise and appear out of place. They do not support the thesis and introduce topics not discussed elsewhere.

This is, at best, only some of the issues dealing with organizing. It is, as I said, made up of many topics and finer nuances. I hope that this list gives at least an understanding of how nuanced and ubiquitous it can be.

You may also notice that I left out “flow.” This was a deliberate choice. I use it to describe essays, but only for lack of a better word. I don’t feel like it’s a great teaching tool because all it really says is the information throughout the essay made sense. It doesn’t give me a model to present to a class or write about here, and it may not even mean the student has fully grasped the concept of organization. Maybe they got lucky. Maybe they wrote a way that made sense to their professor. I can teach a lot of things about organization, but I can’t teach “flow.”

My purpose in this introductory post is to emphasize the complexity of an otherwise undervalued topic. There are so many things more apparent when it comes to writing and composition, like thesis, editing, research, citations, etc, that organization can be relegated to a day or two in any curriculum on the rush towards more apparent topics. Therefore, I don’t want to take it lightly or undervalue it. I want to give it the time and attention it deserves.

Writing Exercise: The Annotated Bibliography

I will not mince words. Annotated Bibliographies are weird. They almost always precede larger research projects, are rarely published, and have a set of rules far apart from most every other form of writing.

Rather than the steady flow from paragraph to paragraph, each one building on ideas and concepts, Annotated Bibliographies list citations of research sources, accompanied by annotations of the important aspects of the research. Hence the name Annotated Bibliography.

They’re like archipelagos: scattered, separated, independent, but interrelated.

People who encounter them for the first time sometimes have a hard time figuring out just what exactly it is they’re dealing with and why they’re dealing with it. A lot of the major rules about writing - transitions, organization, and in some instances the valued thesis, introduction, and conclusion are tossed to the wind. But annotated bibliographies can be invaluable in a research project.

Part of the problem is that the requirements vary from situation to situation. I’ve assigned annotated bibliographies for five different courses at three different schools, and was assigned them as an undergraduate and graduate student. Each time the parameters have been different, but there are a few constants.

The main constant is the form. At its core, an annotated bibliography is a list of citations with annotations, i.e., a few paragraphs describing the citation. What these annotations contain varies.

The first, and most common, annotation is the summary, an explanation of the source itself. This represents the content of the source without any interpretation, criticism, or other analysis. If you can’t reiterate the main points of a source, then you can’t summarize it. If you can’t understand it well enough to put it into your words, you should sit down with your research and get to know it better so you can.

The second annotation focuses on the rhetoric, and is sometimes called the evaluation. Rather than determine whether or not a source is useful, this determines whether or not it’s credible and reliable, generally through a rhetorical analysis. This considers the quality of the source’s arguments, if the piece is properly written, whether or not the author is credible.

The third annotation is an evaluation of the sources’ usefulness and can sometimes be called an assessment or reflection. Here, the writer gauges how helpful and relevant the research is. This is an opportunity for the writer to move from the research alone and consider their project in the long run. Sometimes determining a source’s usefulness calls for references to other pieces of research, but the main thing here is you can identify what you expect to do with the source.

There are certainly more out there, but these seem to show up the most.

Different circumstances will call for different approaches. Sometimes you may only need a summary. If it’s for a class, some teachers may be more interested in their students deciphering rhetoric than applying the source to a larger project. The purpose though is largely the same regardless of the situation. Annotated bibliographies exist so we can put aside a lot of the issues that come with writing a research essay and just focus on the research.

Outlines Make Everything Better

Usually when I discuss an essay draft with a student, I ask if they’ve written an outline.

This isn't because it’s a routine question.

It almost always comes after some discussion about the status of the essay and the student's concerns.
Many of the problems I have encountered in writing – that of my students and students I have worked with as a tutor – stems back to issues of organization, which can be resolved or improved with an outline.

Outlines seem simple. They're lists of information and subjects to be discussed in an essay. A lot of people ignore this step though, because they already have a collection of paragraphs or they have an idea of what they are going to write and so don't worry about making a list.

But an outline makes everything clearer.

A piece of writing is a mass of words running left to right, and hundreds of them can fill a page without much to say where one point ends and another begins. Writing an outline is a way to take that mass of information and express it clearly, simply, and succinctly.

Seems easy enough. The first benefit is a list takes the task of writing an essay and turns it into a series of topics: one daunting task is now a list of manageable tasks. Second, because you have a series of specified points, it is unlikely you’ll be blurring topics in a single paragraph. Third,  because you have sorted the ideas, it is easier to understand why you’ve put topics where you have and what they have to do with the whole. Each paragraph should have something to do with the paragraphs before and after it, and having an outline makes it easier to recognize those points. From there, it makes it easier to find, remove, or repurpose tangential sections or paragraph. Fourth, once each paragraph is in a logical place, it becomes easier to transition from paragraph to paragraph.

Overall, an outline helps your essay become more refined, specific, focused, and easier to follow.

Outlines aren’t a panacea though. They still require attention and detail, and can themselves be a couple of pages if the essay is longer.

You also may start with a solid list, but things don't always go according to plan. Enter, one of my favorite tools, the reverse outline.

Reverse outlines are outlines you do after you've written an essay. Go back through your writing, and identify what's going on in each paragraph. Chances are they’re not what you planned or expected them  to be. This can be illuminating for the same reasons doing an outline is a good first step. It helps you figure out what you've addressed and where the essay has grown as you come up with new ideas. Maybe you discovered you need to address a certain topic in a different place or the topic of a paragraph changed from what you intended. Basically, you discover you need to reorganize a few things. So the next step is to make a new outline as a guide to what you need to do with the next draft..

How many outlines? I would say there should be at least one, maybe two for every draft.

Here's how to use this tool:

• Put together an outline before writing, if you haven't already.
  
• Then write a draft and make an outline based on what you wrote.
  
• Revise that outline to fix whatever issues you came across while making your outline.
  
• Use that revised outline to revise your essay, and then, put together another reverse outline.
  

Outlines give you a way to look at an entire piece on just one or two pieces of paper. Everything whittled down to the bare necessities. Whether it’s the start of a project, or just one in need of revision, taking a step back and transforming your essay into a list is clarifying.

Friend or Foe Part 2: What’s Good About the Five Paragraph Essay

Part 2: What’s Good About the Five Paragraph Essay.

As I said in my last post, I've seen the Five Paragraph Essay taught/learned as a process, resulting in intellectual constipation. But it is good for something.

The Five Paragraph Essay is a model. It gives meaning, structure, and form. It’s an example of what an essay should eventually look like, emphasis on like. I tell my students that if you've just got two or three pages then five paragraphs would be okay on the final product. That’s for two or three pages. I vividly remember receiving a five page essay, however, with particularly long paragraphs. Suspiciously long, as each one conveniently ended with the page. The student had written a Five Paragraph essay for a five page essay. 

It wasn’t a very well written essay. Had it been better, I probably wouldn't have noticed the paragraph to page alignment. But it seemed like the student was cramming enough information into each paragraph to make them long enough for five paragraphs in spite of the number of pages. In my feedback, I pointed this out. I don't know if s/he was trying to have exactly five paragraphs, but s/he did. I advised the student about this and reminded s/he there didn't need to be five paragraphs, especially in a five page essay.

I like telling this story in class because It lets my students know that five isn’t a magic number. There's nothing wrong with more paragraphs and there's nothing wrong with fewer, nor is there anything wrong with just five. Circumstances determine what's best.

No matter what, an essay must have an introduction, a body, and a conclusion; and each body paragraph needs to cover a different but related topic that develops ideas brought up in the introduction. This is what the Five Paragraph Essay is good for. It reminds writers of the form that their final product should resemble. Get out a book or a newspaper or a magazine and look at how those pieces of writing are broken up into paragraphs, and with more than five much of the time. Then look closer and you'll find that some of these larger publications have entire chapters entitled "Introduction" and "Conclusion." Essays have introductions and conclusions. Books have them. Blog posts have them. You'll be hard pressed to have a serious publication without introductions and conclusions in one form or another.

Just don't think that the introduction has to be the first thing written and the conclusion has to be the last.

Friend or Foe Part 1: The Five Paragraph Essay

Part 1: Why I Hate the Five Paragraph Essay.

When I tutored high school students, it was interesting to see their struggles with writing assignments. Most of the time, I could trace their difficulties back to the Five Paragraph Essay, or rather, the way they had been taught to write an essay.

For those unfamiliar, the five paragraph essay is as follows:

• Introduction paragraph
• 3 Body paragraphs – each of these covers a topic introduced in the introduction.
• Conclusion paragraph.

There you have it. Five paragraphs. Seems simple enough, right?

Not to the frustrated students, who were sometimes caught between a prompt and a handout comparing writing to building a sandwich. The problem was they had learned the Five Paragraph Essay as the only way to write the essay: Step one to write the introduction. Step two was paragraph 2, or body paragraph 1. Step three was paragraph 3. Do I need to continue?

The results were students who had no idea how to write. They expected their ideas to come out perfectly the first time, and they wouldn’t lay pen to page until they had something great. I saw students who were angry, frustrated, and bitter, developing a hatred of writing rather than the skill. They made for interesting tutoring sessions, to say the least. My advice for them boiled down to this: the Five Paragraph Essay is a model and not a process.

I've wondered if the insistence on the Five Paragraph Essay is a response to students saying “I don't know how to write.” Unfortunately, it leads to meandering introductions where students figure out what they’re writing about, followed by a good paragraph on the topic they spent their introduction figuring out. Having exhausted their first idea, the rest of the essay meanders before petering out in a conclusion that may or may not address the same topic as the introduction. Now with the requisite five paragraphs they forego any revision and stop with a less than ideal brainstorming session forced into prose.

It’s a tragedy that this kept students from discovering their own writing processes and developing a valuable skill. It denies experimentation and hinders the very learning it is intended to promote.

I'm starting my fourth year of teaching English composition and every class I've taught needed this lesson. Some students are liberated. For some, it's a confirmation of something they figured out already, most likely on their own. Others were so hardened against writing that they don’t even try to listen.

The Five Paragraph Essay has been poorly implemented by students and teachers. It isn’t a universal problem, as I learned when I taught Concurrent Enrollment and the students didn’t have the same issues as those I had tutored years before. But they still needed a reminder of what the Five Paragraph Essay was indeed for and its relationship to good writing.

In short, the good stuff.

Which I’ll be discussing in my next post.