In the article by Kantz the relationship between reading and writing and the similarities of the two activities are discussed.
My favorite section in the reading that I found is one plainly bullet pointed and easily spelling out the play by play of what to do when getting ready to read.
The article clearly spells out what to do both before you read and as your read:
The before you read steps, featured on page 168, include activities which will aid in understanding the argument the writer presents.
One bullet point Kantz writes says, "Watch three TV commercials (you might want to record them) and count the number of facts and the number of claims in each. Then think about what's most persuasive in the ads: the facts, the claims or the combination of the two?" (Kantz, p168.)
This helps in thinking of the separation between how effectual facts v. claims are -- which backs up earlier in the writing where Kantz explains the difference between a fact and a claim or theory. By acknowledging the effectiveness or lack of power behind a claim or a fact, or being able to skillfully combine the usage of both, as a reader you will not only understand the passages and be able to come to your own conclusions, but also as a writer you will have the skill in understanding which form of research or oppinions to use when and where in your own writing.
This interconnection between writer and reader is furthered in the writing about of John Swales entitled "Create a Research Space" (CARS) Model of Research Introductions.
The writing focuses on how to swiftly allow reader and writing to travel through the research introductions section of rhetorical and analytical writing.
His three given steps include:
Move 1: Establishing a Territory
This step emphasizes explaining both background as well as stressing the importance of the writing to the reader in order to give a reasoning which attracts readers to the writing.
Move 2:Establishing a Niche
Find the remaining missing link and putting your foot in the door for an area where more research is needed is what occurs within this step of writing.
Move 3: Occupying a Niche
Show the readers what exactly you're working for, this is where the writer makes his or her closing in move on writing about the subject of his or her choice.
Out of the entire short reading on Swales's idea, my favorite excerpt is this one which says, "The author demonstrates that earlier research does not sufficiently address all existing questions or problems." (Swales, p2.)
The latter passsage is shared under "Move 2" of the writing. It shows that simply because research has been done in an area doesn't mean that's all there is to know. I've learned this in my Classics and World Religions course this quarter, which specifically focuses on the history of American Religions as taught by Dr. Lybarger.
In the class, we're required to keep a running glossary of terms -- much alike a wikipedia. Classmates and I choose our own terms to define and most add information to the terms cards. However, just because one classmate has gotten to a term, for exampke like Martin Luther King Jr., doesn't mean the card is done and complete. Students are encourged to either edit the card itself or to create their own version too, maybe focusing on a different area such as his early life or career, etc.
In fact the website Wikipedia, commonly used among web browsers for quick research, is founded on this same concept of community learning and researching.
A topic is never dead, and a research is never finished.
Wednesday, May 11, 2011
Sunday, May 8, 2011
Stedman Response.
I love how the opening of Stedman's reading uses a comparison between sloppy conversational writing and slow drivers to show how annoying poor writing is for readers.
Stedman persists to continue that even though your writing may be as interesting as a "custom paintjob" there may be better usage of that creativity if it's too distracting for readers -- the way you drop in sources may make sense to you, but it's the readers who matter.
He says, "One of the fundamental ideas of rhetoric is that speak- ers/writers/composers shape what they say/write/create based on what they want it to do, where they’re publishing it, and what they know about their audience/readers." (Stedman, p244.)
This is showing how sources can be more than something which adds to your story, but in fact they play road map for readers in better understanding your purpose in writing.
He goes on to discuss his interpretations of citing and the "annoyances." He even gives his own names for each ... not say these guidelines are rules in any way, but suggestions or as he insists conventions on page 244 again.
Uncle Barry and His Encyclopedia of Use- less Information is my favorite mistake and fix. I often, find myself wanting to write question after question in my writing but know to avoid this ... I can only imagine it to be annoying because it leads to topic jumping. Being a journalist means being able to focus in on the real topic or lede of a story. Whenever I write, I have to stop and make sure there is a relevant point to my work which readers will find interesting enough to follow throughout the piece.
Stedman says, "Readers get the feeling that they’re moving from one quo- tation to the next without ever quite getting to hear the real point of what the author wants to say, never getting any time to form an opinion about the claims." (Stedman, p248.)
Just like Stedman's Uncle Barry, writing isn't about knowing the answer to every piece of curiosity writer or reader encounters. Showing you know and understand the topic means sharing with readers what's most important for them to know and understand.
In papers where this topic switch-up occurs, writers often are quoting too many outside resources, Stedman says, claiming that using the authority of others too much takes away from the writing having any authority at all.
In journalism, we're taught to use quotes, or the words of outside sources, to convey emotion or interest -- things an objective writer could not convey. If it's a fact or concept it's often much easier to explain it in your own terms, however it's the colorful things worth pulling in from outsiders. Stedman says this same idea applies when writing papers and pulling in resources. A writer must examine every source and its purpose for being there he insists.
In my Genre Analysis paper I want to include more sources, however after reading this article I realize stuffing in a certain numerical amount of outside quotations into my writing isn't the answer. I need to re-read my paper and see where its weak enough to need a quotation to lean on -- the crutch adding to my paper of course and not making it more confusing in the process.
Stedman persists to continue that even though your writing may be as interesting as a "custom paintjob" there may be better usage of that creativity if it's too distracting for readers -- the way you drop in sources may make sense to you, but it's the readers who matter.
He says, "One of the fundamental ideas of rhetoric is that speak- ers/writers/composers shape what they say/write/create based on what they want it to do, where they’re publishing it, and what they know about their audience/readers." (Stedman, p244.)
This is showing how sources can be more than something which adds to your story, but in fact they play road map for readers in better understanding your purpose in writing.
He goes on to discuss his interpretations of citing and the "annoyances." He even gives his own names for each ... not say these guidelines are rules in any way, but suggestions or as he insists conventions on page 244 again.
Uncle Barry and His Encyclopedia of Use- less Information is my favorite mistake and fix. I often, find myself wanting to write question after question in my writing but know to avoid this ... I can only imagine it to be annoying because it leads to topic jumping. Being a journalist means being able to focus in on the real topic or lede of a story. Whenever I write, I have to stop and make sure there is a relevant point to my work which readers will find interesting enough to follow throughout the piece.
Stedman says, "Readers get the feeling that they’re moving from one quo- tation to the next without ever quite getting to hear the real point of what the author wants to say, never getting any time to form an opinion about the claims." (Stedman, p248.)
Just like Stedman's Uncle Barry, writing isn't about knowing the answer to every piece of curiosity writer or reader encounters. Showing you know and understand the topic means sharing with readers what's most important for them to know and understand.
In papers where this topic switch-up occurs, writers often are quoting too many outside resources, Stedman says, claiming that using the authority of others too much takes away from the writing having any authority at all.
In journalism, we're taught to use quotes, or the words of outside sources, to convey emotion or interest -- things an objective writer could not convey. If it's a fact or concept it's often much easier to explain it in your own terms, however it's the colorful things worth pulling in from outsiders. Stedman says this same idea applies when writing papers and pulling in resources. A writer must examine every source and its purpose for being there he insists.
In my Genre Analysis paper I want to include more sources, however after reading this article I realize stuffing in a certain numerical amount of outside quotations into my writing isn't the answer. I need to re-read my paper and see where its weak enough to need a quotation to lean on -- the crutch adding to my paper of course and not making it more confusing in the process.
Monday, May 2, 2011
Wednesday, April 27, 2011
Bawarshi, Allen, Magee Articles Response.
In the article by Allen, I read more about scientific writing than I think I've read in my entire life. Even though, I understand the article is pertaining more to the rhetoric behind such writing, I in all honesty didn't find much use for the tools desribed in the writing.
And, I was extremely lost on the integration of the (TBI) and how researchers wrote on the topic. Plus, when the author discusses how editors of Merriam Webster's Dictionary of English Usage claim passive voice allows writers an instance "whereby the writer can easily omit the agent (the "doer" in the clause)" (Allen p98), I was immediately turned off because in journalistic writing reporters are taught to always write in the active in order to take themselves out of the story; exactly the opposite of the point made in the writing.
I liked Magee's article much more, though. I actually wish I'd been able to get my hands on this article prior to writing my college admission letter. As a typical girly girl, I know I constantly project my gender into my writing without thinking twice about it.
This made me take an interest in page 117, wherein the author begins to discuss her own gender characteristics peaking through into her writing. Magee says how in an essay she wrote she compared community service work and the personal need to be her own fairy godmother -- this is most definitely not a piece of writing a typical male would first think to write.
The point she makes in exploring this is finding her true genre of writing before making the mistake of missing her objective -- she writes, "I had to sell myself so that someone at school X would want me to attend his or her institution. It was the genre that influenced both the lack of relationships and the focus on achievements" (Magee, p118).
The person she's writing for, i.e., may not care as much for princesses as her 3-year-old and 20 something self does.
In the final article read, written by Bawashi, the ideas of social influence on writing and the organization and plotting process of rhetoric are assessed together. The two are hand-in-hand in enabling writers to choose a direction and giving readers a genre to dissect.
I agree that the combination of these elements aid in constructing the perfectly laid out article.
"Genre is at the heart of this ecological process, maintaining a symbolic relationship between social habits and rhetorical habits" (Bawashi, p77). -- This point of the article lies at the heart of the author's argument as well as perfectly sums up the emphasis of the writing.
And, I was extremely lost on the integration of the (TBI) and how researchers wrote on the topic. Plus, when the author discusses how editors of Merriam Webster's Dictionary of English Usage claim passive voice allows writers an instance "whereby the writer can easily omit the agent (the "doer" in the clause)" (Allen p98), I was immediately turned off because in journalistic writing reporters are taught to always write in the active in order to take themselves out of the story; exactly the opposite of the point made in the writing.
I liked Magee's article much more, though. I actually wish I'd been able to get my hands on this article prior to writing my college admission letter. As a typical girly girl, I know I constantly project my gender into my writing without thinking twice about it.
This made me take an interest in page 117, wherein the author begins to discuss her own gender characteristics peaking through into her writing. Magee says how in an essay she wrote she compared community service work and the personal need to be her own fairy godmother -- this is most definitely not a piece of writing a typical male would first think to write.
The point she makes in exploring this is finding her true genre of writing before making the mistake of missing her objective -- she writes, "I had to sell myself so that someone at school X would want me to attend his or her institution. It was the genre that influenced both the lack of relationships and the focus on achievements" (Magee, p118).
The person she's writing for, i.e., may not care as much for princesses as her 3-year-old and 20 something self does.
In the final article read, written by Bawashi, the ideas of social influence on writing and the organization and plotting process of rhetoric are assessed together. The two are hand-in-hand in enabling writers to choose a direction and giving readers a genre to dissect.
I agree that the combination of these elements aid in constructing the perfectly laid out article.
"Genre is at the heart of this ecological process, maintaining a symbolic relationship between social habits and rhetorical habits" (Bawashi, p77). -- This point of the article lies at the heart of the author's argument as well as perfectly sums up the emphasis of the writing.
Sunday, April 24, 2011
Dirk and Devitt Response.
In beginning to explore genres, I'm learning that genres are essentially "man made." This is an interesting concept, because much alike all other classification methods genres are more of an idea than they are concrete. A genre exists to one person or one group of people, howver it is not a proven system of classification, but instead genres are a tool for us.
In the Dirk reading my favorite part exists in this example, "Think about George Wash- ington giving the first State of the Union Address. Because this genre was completely new, he had complete freedom to pick its form and content. All presidents following him now have these former addresses to help guide their response because the situation is now a reoccurring one" (p5).
This is so interesting to me because it's so true and plain in its factual basis. George Washington did set the precedent for all presidents giving their State of the Union Address. What he said and how he performed it, has been carried down at least in concept by the following 43 presidents. Until her stood at the podium to speak, there was no genre of formal State of the Union speech given by presidents -- thus man created it.
Another portion of the Dirk reading which I particularly liked is later on page seven when Dirk addresses how interconnected writer and reader really are. He states that all genres matter because each is linked to the actions of the writer, which directly or indirectly are carried out in order to provoke some sort of action from the reader. His example is how in The Onion -- which I love reading, especially for the headlines -- the headlines are written specifically to make readers laugh. The genre of satircle writing is usually meant to provoke comedy and thought. This shows how the writers wanted to connect with readers who will share in their humor, and that these readers have sought out this literature with a desire to do what action pertains to the genre.
In the writing of Devitt, the focus of the article is placed on an escape from the confines often associated with genres. Devitt argues that though genres may be seen as limiting, they can also expand the rhetorical gains a student takes away from the subject and author's purpose of the peice as he or she reads.
Devitt sums up his opinion to be, "The genre awareness I argue for is a type of rhetorical awareness, and others have posited that rhetorical awareness can lead to critical awareness and to more deliberate action."
He claims the more rhetorically aware a student be, the more he or she will take away from the reading and learning at hand. By understanding the context of the reading, it'll aid in understanding the author's purpose for the readers. This is how readers are meant to gain an understanding of the main focus points of the reading, which means the student has successfully gained what he or she originally needed to from the reading.
He goes on in the third and fourth pages discussing how teachers direct impressions of certain topics and "genres" on students by the chosen writings they expose students to. He also claims, though, that teachers must construct lessons using genres as an organization system. This use of genre gives students a building block to construct greater writing skills from.
Though genres are scary for teachers because they may sometimes be self-serving or focus in on one group more than another, Devitt still uses it with his students.
He said, "I want students not only to add to their repertoire but also to learn to critique the genres they know and encounter, with an end possibility of changing the genres that need to change to better serve their needs" (p11). As to say that by learning more about the genres, students begin critiquing not just the work within the genres but also the genres themselves. This way they can judge to see if the genre is really appropriate for what purpose their writing is trying to accomplish. This gives guidelines to writing without constraining the thought power and creativity of the writer.
As a journalist I understand the usage of genres -- we have them within our field of course; features, previews, coverage, editorials, opinion pieces, columns and more. These each guide writers as to which direction to take information in order to most usefully exhibit an idea to readers.
Genres, friend or foe, should be used in a skillful ways to aid readers and writers along the course of what point their making where and why in their writing. It's just another bridge connecting both readers and writers.
In the Dirk reading my favorite part exists in this example, "Think about George Wash- ington giving the first State of the Union Address. Because this genre was completely new, he had complete freedom to pick its form and content. All presidents following him now have these former addresses to help guide their response because the situation is now a reoccurring one" (p5).
This is so interesting to me because it's so true and plain in its factual basis. George Washington did set the precedent for all presidents giving their State of the Union Address. What he said and how he performed it, has been carried down at least in concept by the following 43 presidents. Until her stood at the podium to speak, there was no genre of formal State of the Union speech given by presidents -- thus man created it.
Another portion of the Dirk reading which I particularly liked is later on page seven when Dirk addresses how interconnected writer and reader really are. He states that all genres matter because each is linked to the actions of the writer, which directly or indirectly are carried out in order to provoke some sort of action from the reader. His example is how in The Onion -- which I love reading, especially for the headlines -- the headlines are written specifically to make readers laugh. The genre of satircle writing is usually meant to provoke comedy and thought. This shows how the writers wanted to connect with readers who will share in their humor, and that these readers have sought out this literature with a desire to do what action pertains to the genre.
In the writing of Devitt, the focus of the article is placed on an escape from the confines often associated with genres. Devitt argues that though genres may be seen as limiting, they can also expand the rhetorical gains a student takes away from the subject and author's purpose of the peice as he or she reads.
Devitt sums up his opinion to be, "The genre awareness I argue for is a type of rhetorical awareness, and others have posited that rhetorical awareness can lead to critical awareness and to more deliberate action."
He claims the more rhetorically aware a student be, the more he or she will take away from the reading and learning at hand. By understanding the context of the reading, it'll aid in understanding the author's purpose for the readers. This is how readers are meant to gain an understanding of the main focus points of the reading, which means the student has successfully gained what he or she originally needed to from the reading.
He goes on in the third and fourth pages discussing how teachers direct impressions of certain topics and "genres" on students by the chosen writings they expose students to. He also claims, though, that teachers must construct lessons using genres as an organization system. This use of genre gives students a building block to construct greater writing skills from.
Though genres are scary for teachers because they may sometimes be self-serving or focus in on one group more than another, Devitt still uses it with his students.
He said, "I want students not only to add to their repertoire but also to learn to critique the genres they know and encounter, with an end possibility of changing the genres that need to change to better serve their needs" (p11). As to say that by learning more about the genres, students begin critiquing not just the work within the genres but also the genres themselves. This way they can judge to see if the genre is really appropriate for what purpose their writing is trying to accomplish. This gives guidelines to writing without constraining the thought power and creativity of the writer.
As a journalist I understand the usage of genres -- we have them within our field of course; features, previews, coverage, editorials, opinion pieces, columns and more. These each guide writers as to which direction to take information in order to most usefully exhibit an idea to readers.
Genres, friend or foe, should be used in a skillful ways to aid readers and writers along the course of what point their making where and why in their writing. It's just another bridge connecting both readers and writers.
Wednesday, April 20, 2011
Johns and Harris Discourses Response.
In the discourse of both Johns and Downs -- articles focusing again on the discourses and communities in which professional writing often finds itself.
In Johns' discourse the thought is poured into what community is being written for and why. It also examines why writers join communities and what useful tools these communities can become in a professional setting.
Over and over again the text stops and asks writers to question why they are writing -- this is to make sure they're using the most applicable voice to create their work. The questions asked range from which type of community this is being written for, profession or personal etc., to what the goals and objectives of the writing truely are.
Later in the Discourse the relation between this and how students are written for is drawn. The article reads, "Some students cannot recognize when they are being talked down to in text books" (p509).
Saying that textbooks are written with a goal to educate students, however students very seldom reason see this point in the textbooks. The information is of course "dumbed-down" to a level easily understood by students.
This statement definitely relates to my field of study -- seeing that many national studies claim most of American reads a fourth grade level. It's the job of the media to thus take information seen as pertinent to the public and by the public and spoon feed it to them in a way they'll easily understand. The more easy information is for readers to understand, free of jargon and over-the-head vocabulary, the more quickly the information will be transpired across.
In the other discourse, the one regarding Harris, my favorite part of the article is found on page 587 where the discussion of communities as too much of a safety blanket for students and writings come into place. The idea that students may turn to asking so many questions about what's expected knowledge within their community that when asked to regurgitate the knowledge there's no knew thought to it. And the original point of a community is to fee off one another with new ideas while stile maintaining common ground.
Later in the discourse the article reads, "I would like to urge an even more specific and material view of community: one that, like a city, allows for both consensus and conflict, and that holds room for ourselves, our disciplinary colleagues, our university coworkers, and our students" (p591). This idea suggests that communities must, in Harris's opinion, join together to create common ground and work for better truths, however conflict must also be allowed to resonate in the group in order to allow for growth and continuation of modernization and success.
I agree that if communities want to stay active and strong as time progresses they must hold stern to the successes they've found throughout working together, but must also be able to let go of their failures and make room for improvements in thought and methods.
In Johns' discourse the thought is poured into what community is being written for and why. It also examines why writers join communities and what useful tools these communities can become in a professional setting.
Over and over again the text stops and asks writers to question why they are writing -- this is to make sure they're using the most applicable voice to create their work. The questions asked range from which type of community this is being written for, profession or personal etc., to what the goals and objectives of the writing truely are.
Later in the Discourse the relation between this and how students are written for is drawn. The article reads, "Some students cannot recognize when they are being talked down to in text books" (p509).
Saying that textbooks are written with a goal to educate students, however students very seldom reason see this point in the textbooks. The information is of course "dumbed-down" to a level easily understood by students.
This statement definitely relates to my field of study -- seeing that many national studies claim most of American reads a fourth grade level. It's the job of the media to thus take information seen as pertinent to the public and by the public and spoon feed it to them in a way they'll easily understand. The more easy information is for readers to understand, free of jargon and over-the-head vocabulary, the more quickly the information will be transpired across.
In the other discourse, the one regarding Harris, my favorite part of the article is found on page 587 where the discussion of communities as too much of a safety blanket for students and writings come into place. The idea that students may turn to asking so many questions about what's expected knowledge within their community that when asked to regurgitate the knowledge there's no knew thought to it. And the original point of a community is to fee off one another with new ideas while stile maintaining common ground.
Later in the discourse the article reads, "I would like to urge an even more specific and material view of community: one that, like a city, allows for both consensus and conflict, and that holds room for ourselves, our disciplinary colleagues, our university coworkers, and our students" (p591). This idea suggests that communities must, in Harris's opinion, join together to create common ground and work for better truths, however conflict must also be allowed to resonate in the group in order to allow for growth and continuation of modernization and success.
I agree that if communities want to stay active and strong as time progresses they must hold stern to the successes they've found throughout working together, but must also be able to let go of their failures and make room for improvements in thought and methods.
Monday, April 18, 2011
Engineer v. English -- writing for all subjects.
In the reading by Johnson, Clark and Burton -- I have to say it was an interesting thought to stop and think of the person on the other side of the writing workshop table. I often go in for help on papers and find myself intimidated and in need of dire help for my pathetic paper, however I never stop and think about the mess of ideas I'm about to unload on the tutor sitting next to me and how they're going to approach helping me.
It was interesting to hear a more narrative approach looking at how the tutors feel nervous sometimes ... I can't imagine the shock and terror level of being approached by a stampede of engineer super nerds asking for my help. Oh, the terror.
The authors even write on the first page of the article, "She wonders if she will even be able to understand the intricate, jar-gon-laden draft. Then she takes a deep breath, knowing that these students are looking to her for help, and starts asking questions." In order to express the sheer intimidation factor felt by the writing lab attendant.
It continues on the explain the positive and negative methods used by writing tutors in approaching student papers. It encouraged empathy and suggesting instead of holding education or experience above students' heads. I have to say that though it's nice to dream of walking into the lab with a semi-blank page and having the tutor fill it with genius for me, I probably am learning more by their cooperation to listen to my ideas and work alongside me.
In the reading from the article by Winsor, the topic of egineering writing is again addressed. I think engineering is used over and over again because it's the perfect opposite to English, and the subject appears to almost be the total antithesis to writing itself.
The text reads in one of the formost paragraphs on the second page, "Textual mediation of knowledge is difficult for engineers to accept because they see themselves as working directly on physical objects."
Although I'm not an engineer I understand this application, because as a journalist it's difficult for me to imagine writing without the usage of strong sources of research. I work with people, and I tell their stories. That's my job as I've been taught in the Scripps School of Journalism, here at OU. Ask me to sit and write an in depth five page paper on the topic of journalism writing, and you'll find me out on the streets asking others what they think. I've been taught to maintain a high level of unbiased behavior.
However, a little rhetorical writing and thought process behind specifically why I form into words which thoughts I choose to jot down can greatly aid my skills as a journalists. I could meet the most interesting source in the world, but if I can't express or tell their story in a means pleasing to reader's ears or eyes -- the source's story is better off remaining untold.
As for the final article, Wardle's piece specifically deals again with writing for your specific profession -- however, she keeps the field open and writes a general piece detailing writing in your profession.
She also delves into the story of Alan, and how he got the boost of responsibility he wanted at work through usage of strong writing. The narrative form Wardle uses to step-by-step layout the thought process of Alan working his writing skills in his departments helped me see how written word can give any worker a stronger voice if thought out and used carefully.
From the very simple tasks of using the Listerves properly in order to send email as the company expected and beyond, Alan was able to perform his duties to the maximum as well as amp up his own personal needs.
My sorority Chi Omega has a listerve which the girls and I rely on daily to keep us up to speed regarding meetings, rules, happenings and even campus opportunities we would have missed out on had they not been filtered through to us by one of our fellow sisters. These emails are often profession and often personal -- both format well because one can email specifically to the group, the cardinal cabinet or even just one person in charge. By being able to connect digitally we stay connected with even the busiest of senior girls, who still involves herself in the sorority without ever having to set foot in our house.
I guess the tip-top lesson I walked away from these three articles with is that writing doesn't have to stay within the context of research papers or English classrooms. Writing follows every profession -- I know my dad who is a CEO of a national sporting goods company even said once that a good writer can go anywhere ... despite his or her chosen field.
It was interesting to hear a more narrative approach looking at how the tutors feel nervous sometimes ... I can't imagine the shock and terror level of being approached by a stampede of engineer super nerds asking for my help. Oh, the terror.
The authors even write on the first page of the article, "She wonders if she will even be able to understand the intricate, jar-gon-laden draft. Then she takes a deep breath, knowing that these students are looking to her for help, and starts asking questions." In order to express the sheer intimidation factor felt by the writing lab attendant.
It continues on the explain the positive and negative methods used by writing tutors in approaching student papers. It encouraged empathy and suggesting instead of holding education or experience above students' heads. I have to say that though it's nice to dream of walking into the lab with a semi-blank page and having the tutor fill it with genius for me, I probably am learning more by their cooperation to listen to my ideas and work alongside me.
In the reading from the article by Winsor, the topic of egineering writing is again addressed. I think engineering is used over and over again because it's the perfect opposite to English, and the subject appears to almost be the total antithesis to writing itself.
The text reads in one of the formost paragraphs on the second page, "Textual mediation of knowledge is difficult for engineers to accept because they see themselves as working directly on physical objects."
Although I'm not an engineer I understand this application, because as a journalist it's difficult for me to imagine writing without the usage of strong sources of research. I work with people, and I tell their stories. That's my job as I've been taught in the Scripps School of Journalism, here at OU. Ask me to sit and write an in depth five page paper on the topic of journalism writing, and you'll find me out on the streets asking others what they think. I've been taught to maintain a high level of unbiased behavior.
However, a little rhetorical writing and thought process behind specifically why I form into words which thoughts I choose to jot down can greatly aid my skills as a journalists. I could meet the most interesting source in the world, but if I can't express or tell their story in a means pleasing to reader's ears or eyes -- the source's story is better off remaining untold.
As for the final article, Wardle's piece specifically deals again with writing for your specific profession -- however, she keeps the field open and writes a general piece detailing writing in your profession.
She also delves into the story of Alan, and how he got the boost of responsibility he wanted at work through usage of strong writing. The narrative form Wardle uses to step-by-step layout the thought process of Alan working his writing skills in his departments helped me see how written word can give any worker a stronger voice if thought out and used carefully.
From the very simple tasks of using the Listerves properly in order to send email as the company expected and beyond, Alan was able to perform his duties to the maximum as well as amp up his own personal needs.
My sorority Chi Omega has a listerve which the girls and I rely on daily to keep us up to speed regarding meetings, rules, happenings and even campus opportunities we would have missed out on had they not been filtered through to us by one of our fellow sisters. These emails are often profession and often personal -- both format well because one can email specifically to the group, the cardinal cabinet or even just one person in charge. By being able to connect digitally we stay connected with even the busiest of senior girls, who still involves herself in the sorority without ever having to set foot in our house.
I guess the tip-top lesson I walked away from these three articles with is that writing doesn't have to stay within the context of research papers or English classrooms. Writing follows every profession -- I know my dad who is a CEO of a national sporting goods company even said once that a good writer can go anywhere ... despite his or her chosen field.
Wednesday, April 13, 2011
Boyd, Gee and Cooper Response.
The three writing styles discussed in the blog, I think, are uniquely different yet go hand-in-hand at the same time.
Boyd, Gee and Cooper all discuss where writing comes from and how the origin of writing topics affects the content that fills the pages. Boyd, for example, contrives writing from a more internal level, where as Gee writes by taking ideas and thought from the community. And Cooper, sits at the extreme by claims of taking all aspects of writing at a more social stance -- drawing primarily from the external.
In terms of which writing I prefer the most, I feel like Cooper may have the point of topic nearest to a journalist. As much as I love rhetorical writing practiced in the 10,000 English course I've loved, as a journalist I draw influence primarily from my environment.
Journalists write for their readers -- about readers. Every person we meet is a possible source, every action a possible event and every bit of gossip is a possible lead.
Rhetoric and community help stretch social audience topics into a story, however the dynamic, ever-changing aspect of social society is what culture reporters are made to cover.
Boyd, Gee and Cooper all discuss where writing comes from and how the origin of writing topics affects the content that fills the pages. Boyd, for example, contrives writing from a more internal level, where as Gee writes by taking ideas and thought from the community. And Cooper, sits at the extreme by claims of taking all aspects of writing at a more social stance -- drawing primarily from the external.
In terms of which writing I prefer the most, I feel like Cooper may have the point of topic nearest to a journalist. As much as I love rhetorical writing practiced in the 10,000 English course I've loved, as a journalist I draw influence primarily from my environment.
Journalists write for their readers -- about readers. Every person we meet is a possible source, every action a possible event and every bit of gossip is a possible lead.
Rhetoric and community help stretch social audience topics into a story, however the dynamic, ever-changing aspect of social society is what culture reporters are made to cover.
Monday, April 11, 2011
Resume Article Response.
I found the concept of teaching resume building to be a genre especially interesting in the article posted up on resumes.
Often resumes are viewed as more of a tool than their very own category, however I think learning how to craft a well put-together resume is just as useful as -- if not more so than -- knowing the bio and writings of William Shakespeare, for example.
And, that's specifically why I chose to take this class for my junior comp credit.
As far as peer editing goes, I think it fits perfectly alongside integrating resume building into course curriculum. It's good to be able to understand your own resume of course, however it is essentially a document meant purely to impress your image upon others.
In the professional world, resumes are practically like Facebook.
So by allowing other students to critique my resume, it will reveal what it predominately says about me -- what does each reader walk away with or remember about my skills and experiences after viewing my resume. I'm guessing what peers take away will be close to the same message employers will also receive.
Often resumes are viewed as more of a tool than their very own category, however I think learning how to craft a well put-together resume is just as useful as -- if not more so than -- knowing the bio and writings of William Shakespeare, for example.
And, that's specifically why I chose to take this class for my junior comp credit.
As far as peer editing goes, I think it fits perfectly alongside integrating resume building into course curriculum. It's good to be able to understand your own resume of course, however it is essentially a document meant purely to impress your image upon others.
In the professional world, resumes are practically like Facebook.
So by allowing other students to critique my resume, it will reveal what it predominately says about me -- what does each reader walk away with or remember about my skills and experiences after viewing my resume. I'm guessing what peers take away will be close to the same message employers will also receive.
Wednesday, April 6, 2011
Chapter 8 to 11, K&S article reading response.
Chapter eight lays out exactly what it takes to make a good personal package, in order to best sell yourself for whatever reason needed. Showing examples as visual aids helps guide readers into seeing how packages look when laid together. This way the reader can carefully pick out what looks good together and see the difference for themselves -- plus, the book containing good and bad examples is awesome.
Speaking of good and bad examples, I loved how in the same chapter on p. 141 it says, "Absence of the bad features of web design takes you a long way toward good web design." This is why it's so helpful for the text to contain do's as well as don'ts. I like thinking about design using the frame of mind that knowing what to do is even more powerful to use if paired with knowing what to avoid doing.
Later on in the book, the content is more exciting!! Despite being a writer who could care less about design, I really like fonts. My favorite font is Georgia -- which paired with Times of course is utter conflict because the two are so similar. However, I admire Georgia over the common standard because it's what readers are familiar with and expect, but with a little more oomph or added flare. It flows more. So when paired with a sans-serif font, the contrast between the two proves even more stark.
I've studied a little on my own, mostly for school projects, the concept of creating contrast between fonts in order to visually please readers. I love that there's chapters and examples of this in the book -- the wedding invitation on p. 149 shows how ugly two fonts which are too similar look when paired together on the same document. There is no visual separation on the invitation between the what's going on and the who's getting married -- all the type runs together.
In the blackboard reading by Klein and Shackleford, my favorite part of the reading is the concept of how graphics can often express what writing can't. Whether a picture or a table, it's easier to keep information organized by using fewer words.
I know that at the Post our graphics for items such as "If You Go" boxes help the paper to function more efficiently. A reader can glance from lede to graphic and gather all the information needed to attend the event written about.
I also found in the reading, p. 7, information on how to apply design principals outside of designing. This made the reading more applicable to my life because I seldom design layouts or pages outside of required coursework. The reading suggests using simple space-saving and clean-visual tips for resumes as well as academic papers also. When writing a paper for class I tend to think more about the content, effort and research poured into the assignment -- which I should -- than the design of the page. I've never stopped to ask if reading all that jumbled text leaves my professors with a headache. I know I wouldn't want to read 200 multiple-page papers all written in crammed size 12, Times New Roman font -- even if double-spaced.
Both the book and required reading posted to blackboard contained very useful tips ... all held within multiple well-designed pages.
Speaking of good and bad examples, I loved how in the same chapter on p. 141 it says, "Absence of the bad features of web design takes you a long way toward good web design." This is why it's so helpful for the text to contain do's as well as don'ts. I like thinking about design using the frame of mind that knowing what to do is even more powerful to use if paired with knowing what to avoid doing.
Later on in the book, the content is more exciting!! Despite being a writer who could care less about design, I really like fonts. My favorite font is Georgia -- which paired with Times of course is utter conflict because the two are so similar. However, I admire Georgia over the common standard because it's what readers are familiar with and expect, but with a little more oomph or added flare. It flows more. So when paired with a sans-serif font, the contrast between the two proves even more stark.
I've studied a little on my own, mostly for school projects, the concept of creating contrast between fonts in order to visually please readers. I love that there's chapters and examples of this in the book -- the wedding invitation on p. 149 shows how ugly two fonts which are too similar look when paired together on the same document. There is no visual separation on the invitation between the what's going on and the who's getting married -- all the type runs together.
In the blackboard reading by Klein and Shackleford, my favorite part of the reading is the concept of how graphics can often express what writing can't. Whether a picture or a table, it's easier to keep information organized by using fewer words.
I know that at the Post our graphics for items such as "If You Go" boxes help the paper to function more efficiently. A reader can glance from lede to graphic and gather all the information needed to attend the event written about.
I also found in the reading, p. 7, information on how to apply design principals outside of designing. This made the reading more applicable to my life because I seldom design layouts or pages outside of required coursework. The reading suggests using simple space-saving and clean-visual tips for resumes as well as academic papers also. When writing a paper for class I tend to think more about the content, effort and research poured into the assignment -- which I should -- than the design of the page. I've never stopped to ask if reading all that jumbled text leaves my professors with a headache. I know I wouldn't want to read 200 multiple-page papers all written in crammed size 12, Times New Roman font -- even if double-spaced.
Both the book and required reading posted to blackboard contained very useful tips ... all held within multiple well-designed pages.
April 4 response.
Chapters one through six in The Non-Designer's Design Book deal with the four basic principals of the Joshua Tree theory and how best to apply them.
These principles are as follows; Proximity, alignment, repetition and contrast.
By usage of visual emphasis the book breaks down why each of these four principals matter and how best each one can be used.
For example in chapter three, which discusses alignment. This encomphases facets that I as a writer would never think of. It states to make sure, on p. 45, that the aligning of text and heads and subheads matchup. Being a writer, I've always simply seen my job to be filling the spaces on the page with no regard as to what's actually being placed on the page, or how my words are positioned ... especially not as to how they're aligned.
And then, in chapter five the book discusses the principle of contrast. It says that if two items are not identical, then making them vastly different aids in extreme contrast which appeals to readers, p. 65. This design goes hand-in-hand with all the reversal black and white heading my graphics 221 teacher had me create last quarter. It's interesting that instead of learning how to do so on a design program, I'm actually acquiring from the text now why it's done.
These chapters, including six which is a review of the principals, break-down nicely the four principles presented. I especially enjoyed the visual aid.
These principles are as follows; Proximity, alignment, repetition and contrast.
By usage of visual emphasis the book breaks down why each of these four principals matter and how best each one can be used.
For example in chapter three, which discusses alignment. This encomphases facets that I as a writer would never think of. It states to make sure, on p. 45, that the aligning of text and heads and subheads matchup. Being a writer, I've always simply seen my job to be filling the spaces on the page with no regard as to what's actually being placed on the page, or how my words are positioned ... especially not as to how they're aligned.
And then, in chapter five the book discusses the principle of contrast. It says that if two items are not identical, then making them vastly different aids in extreme contrast which appeals to readers, p. 65. This design goes hand-in-hand with all the reversal black and white heading my graphics 221 teacher had me create last quarter. It's interesting that instead of learning how to do so on a design program, I'm actually acquiring from the text now why it's done.
These chapters, including six which is a review of the principals, break-down nicely the four principles presented. I especially enjoyed the visual aid.
Wednesday, March 30, 2011
Response One.
"The most common suggestion made by former students—mentioned by every single one of them—was to mark up the text, make com- ments in the margins, and write yourself notes and summaries both during and after reading. Often the notes students took while reading became ideas or material for the students to use in their own papers. It’s important to read with a pen or highlighter in your hand so that you can mark—right on the text—all those spots where you identify an interesting choice the author has made or a writerly technique you might want to use." (p. 81)
This tip found in Bunn's reading is one I've heard over and over again in my high school AP English classes. But, I must say I disagree. When I pull out my highlighter and begin marking up the text, I have a lot to say -- much like I do in life -- almost too much to say. I get distracted by my own thoughts which are being scribbled onto the page, and then I forget to absorb any of the ideas found in the text. I'm a little too self-centered, I guess. It does help, though, if I choose to simply highlight and not jot anything in the margins. This way I can quickly glance back at the text for paragraphs and words that I like, however, I'm not all caught up in my own marginal arguments.
"Crap! How many paragraphs had my eyes grazed over while I was thinking about Joel’s stupid elbows? By the end of that first semester, I abandoned ideas of majoring in political science. I vacillated between intense irritation with my assigned readings and a sneaking suspicion that perhaps the problem was me—I was too dumb to read academic texts. Whichever it was—a problem with the readings or with me—I carefully chose my classes so that I could read novels, poetry, and plays for credit." (p.211)
I found this narrative piece of information in Rosenberg's writing both so entertaining and so true!! I often find my eyes glazing over when I read any sort of academic writing. It's weird, I could sit down and flip through a magazine that interests me and read it front-to-back in an easy half-hour. I'd remember every detail, and years later I could still tell you the best tips for softer hair and who was dating who in Cosmo's April 2011 issue. However give me something uninteresting to digest, and my mind wanders.
That's why Rosenberg's writing interests me so much, what are the tricks to making yourself interested in what you need to know over what you want to know? I actually found myself highlighting this article and practicing the tips as I read ... as I read. As my knowledge bank grew, I began to practice more and more of the skills. Hopefully, this helped me to internalize them.
I can't get away with just reading what I want to for the rest of my life ... and there has to be a less painful way to get through textbooks.
Basic 411
I'm a broadcast major in the Scripps college, and I love Athens. I'm also a writer for The Post campus paper as well as a member of the Chi Omega women's sorority on campus:) I'm not sure as to what I want to do professionally yet, however I love writing and working with people, and I plan on moving to New York after graduation -- even if I am poor and jobless and have to live in a cardboard box. I just love the city!!
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