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By:
The Cain Project in Engineering and Professional Communication
By:
The Cain Project in Engineering and Professional Communication
Online:
< http://cnx.org/content/col10551/1.1/ >
CONNEXIONS
Rice University, Houston, Texas
This selection and arrangement of content as a collection is copyrighted by The Cain Project in Engineering and Professional Communication. It is licensed under the Creative Commons Attribution 2.0 license (http://creativecommons.org/licenses/by/2.0/)
Collection structure revised: July 17, 2008
PDF generated: October 26, 2012
For copyright and attribution information for the modules contained in this collection, see p. 31.
Table of Contents
1
2
3
4
iv
Chapter 1
Writing Module Introductory Note:
Common Objectives
Each of the three modules in this series introducing the Little Red Schoolhouse principles aims to do several
things:
Writers often lack useful terms for talking about their writing with peers, editors, and collaborators. Developing a vocabulary for talking about good writing simplies the composition, editing and review processes.
These Modules introduce the Little Red Schoolhouse (LRS) method and terminology and discuss some of
the major strategies of the LRS approach.
The Little Red Schoolhouse curriculum originated at the University of Chicago and was developed by Joe
Williams, Greg Colomb, Frank Kinahan, Peter Blaney and others. The LRS curriculum has been adopted
and adapted at, among others, the University of Chicago, Duke University, the University of Illinois, the
University of Virginia, and the Georgia Institute of Technology. The approach formulates practical solutions
to common diculties of writing experienced by students across disciplines.
LRS Helps Writers
about good writing simplies the composition, editing and review processes. LRS provides writers with the
tools to see and solve common problems.
My introductions ramble Focus on topic sentences
My paragraphs lack structure Learn to use transition sentences
My audiences never seem convinced
and response
CHAPTER 1.
Chapter 2
Writing Module One: Clear Narrative,
Characters and Actions
In fact, all sentences tell stories. Although the format and details vary widely, professional and academic
narratives are not nearly as dierent from fairy tales as they may rst seem.
Stories work through structure. We understand story better when we can easily recognize
characters and
actions. Until we know what is happening and to whom, we are likely to feel lost
Story structure is apparent on both the sentence and the paragraph level.
makes important characters and actions clear from the outset, inadequate storytelling:
By contrast, fairy tale structure is an example of the type of narrative that readers nd easy to understand
because it satises
certain fundamental expectations. If asked to retell a fairy tale, even very young
children can tell us who, what, and even why. Complex professional prose can be this clear if it follows
a few key principles.
CHAPTER 2.
Example 2.1
The suggestion of recent evidence has been a role for nanobacteria in a growing number of human
diseases, including renal stone formation, cardiovascular diseases, and cancer.
Promoted by this
large body of research studies is the view that nanobacteria are not only alive but that they are
associated with disease pathogenesis. (Martel and Young, 5549)
Contrast with:
Example 2.2
Recent evidence [noun] suggests [verb] a role for nanobacteria in a growing number of human
diseases, including renal stone formation, cardiovascular diseases, and cancer. This large body of
research studies [noun] promotes [verb] the view that nanobacteria are not only alive but that they
are associated with disease pathogenesis. (Martel and Young, 5549)
In the example above, a few simple improvements lead to a much more readable statement of the problem.
Notice how the published sentences
The parts of the sentence that satisfy the reader's basic needs are strongly positioned to give them the
information they need as quickly and concisely as possible. The character, recent evidence, and the action,
suggests appear within the rst three words of the rst sentence. Similarly, the second sentence begins
right away with the character this large body of research studies, and follows up immediately with the
verb promotes to describe the action of those studies. We know the main characters and actions RIGHT
AWAY, and we are able to grasp the important subject and activity that the sentence describes without
searching around for clues.
These crucial alignments often dictate changes in the order in which characters and actions appear in a
sentence. Instead of:
Our loss of funding prevented continuation of the research program.
We can write:
Because
In the rst sentence, loss and continuation are used as nouns instead of describing what the main
character does through the more active we lost and we could not continue (see Style 36).
bands of fast-moving wind known as jet streams have shifted position in recent decades,
according to a new analysis of weather data that were collected between 1979 and 2001 (Atmospheric
science: Jetting away).
Notice how the important subjects and verbs a) appear early, and b) occur close to each other (see Craft
244).
What if it isn't immediately clear what your main subject should be?
most important action of the sentence really is. Now determine who or what is responsible for that action.
When you put your main character rst, you give the reader essential information about the main actors
in the drama they will be asked to follow. You also create a context in which the reader can understand
what you will go on to say about that character.
Readers will judge your prose to be indirect, abstract, complex, dense, and unclear
Readers have to work harder to translate your words into a story that they can remember
Readers will have to ll in any missing story elements from their own knowledge
Readers are more likely to interpret your sentence in a way you did not expect or want
This is not to say that your main character must always be the subject of your sentence, or that character's
action is always represented by the verb. However, if readers nd your writing confusing or unclear, it's a
safe bet that one of these things is throwing them o. If your most important character is not the main
subject of your sentence, and if that character's most important action is not represented by the sentence's
main verb, a good rst step is to locate each of these and align them with one another!
CHAPTER 2.
a novel thermal convection cell consisting of half a soap bubble heated at the
equator enables the study of thermal convection and the movement of isolated vortices.
thermal convection at its equator is noted in
Development of
a novel thermal convection cell consisting of half a soap bubble heated at the
equator enables the study of thermal convection and the movement of isolated vortices.
thermal convection at its equator is noted in
Development of
Above, the main characters are hard to identify, buried among other nouns and not clearly emphasized
as the doers of the actions.
2.4.4 Step Four: Organize your new subjects and verbs so that the actions are
expressed in verbs.
Introductionbecomesto introduce
Developmentbecomesto develop
In the published version from which our less elegant example was derived, the main characters appear
early and are described by the main verbs:
A
novel thermal convection cell consisting of half a soap bubble heated at the equator is introThe soap bubble, subject to
calculate'), nding (from `to nd'), and dependent (from `to depend') (Style 36).
Verb
<
Nominalization
DISCOVER
<
Discovery
Adjective
<
CARELESS
Nominalization
<
Carelessness
RESIST
<
Resistance
DIFFERENT< Dierence
REACT
<
Reaction
2.6
Your Turn:
As you read the following example, ask yourself:
There is disagreement among many experts about the utility of emissions cap-and-trade policies.
Now notice how much easier it is to understand the sentence when we change the order of the main
characters and verbs to read:
Experts [important character/doer] disagree [important verb] about whether emissions cap-andtrade policies [second important character] are useful. [a verb and an adjective replace the nominalization
utility]
Similarly, observe how it claries the sentence when we take a nominalization like:
Our
Atmospheric
(1
May
science:
2008):
Jetting
5-5.
away.
Nature,
doi:10.1038/453005c.
Vol.
453,
Retrieved
No.
5/6/2008
7191.
from
http://www.nature.com/nature/journal/v453/n7191/full/453005c.html
Martel, J. and John D. Young. From the Cover: Purported Nanobacteria in Human Blood as Calcium
Carbonate Nanoparticles. Proceedings of the National Academy of Sciences, Vol. 105, No. 14. (8 April
2
3
http://www.nature.com/nature/journal/v453/n7191/full/453005c.html
http://www.pnas.org/cgi/content/abstract/105/14/5549
Available for free at Connexions <http://cnx.org/content/col10551/1.1>
CHAPTER 2.
Seychelles,
tion
view
and
F.,Y
Amarouchene,
Emergence
Letters,
Vol.100,
of
Isolated
No.
Bessa,
and
Vortices
in
Soap
14.
(2008).
Kellay.Thermal
Bubbles.
Retrieved
Convec-
Physical
5/6/2008
Refrom
http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=PRLTAO00100000014144501000001&idtype=
Williams, Joseph. Style: Ten Lessons in Clarity and Grace. 8th ed. New York: Longman,2005.
Williams, Joseph and Colomb, Gregory. The Craft of Argument. Concise Ed. New York: Longman,
2003.
http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=PRLTAO00100000014144501000001&idtype=cvips&gifs=yes%20
Available for free at Connexions <http://cnx.org/content/col10551/1.1>
Chapter 3
PowerPoint Version of Writing Module
1
One
This Module presents techniques for achieving eective and elegant communication and becoming a better
reader of one's own work. The lesson introduces key vocabulary for talking about writing and reviews fundamental principles for editing for coherence and cohesion. Topics include sentence-level editing techniques
and focus on the importance of clear narrative, characters, and actions.
Figure 3.1:
10
CHAPTER 3.
Chapter 4
Writing Module Two: Problem
Statements, Introductions, and Issues of
1
Audience
problem, and on to a
solution.
The following examples, though certainly potentially problematic, are not problem statements:
A problem statement does combine elements of the examples above to introduce and approach to a given
problem. For example:
The properties of water at the nanoscale are crucial in many areas of biology, but the connement of water
molecules in sub-nanometre channels in biological systems has received relatively little attention. Advances
in nanotechnology make it possible to explore the role played by water molecules in living systems, potentially
leading to the development of ultrasensitive biosensors. (Mertens, J., et al. )
Status Quo: The properties of water at the nanoscale are crucial in many areas of biology
Destabilizing Moment: but the connement of water molecules in sub-nanometre channels
logical systems has received relatively little attention. . .
1
in bio-
CHAPTER 4.
12
Solution:
Advances in nanotechnology make it possible to explore the role played by water molecules
not:
We make arguments to solve problems. Problems can be either conceptual or pragmatic, but they always
ask us to
think or to act dierently. A concise problem statement motivates the reader and sets the stakes
for the argument to follow. Williams and Colomb teach us that problems have a familiar structure:
Problem = Destabilizing Condition + Cost [Negative Eect] or Consequence
In other words, before we can approach a solution, we need to understand and accept that we have a
problem.
introduces a question and makes us aware of the costs that might result from it. Framed another way:
Problem = Question + Costs or Benets
In order to acknowledge a problem, we need understand it to have costs and benets that aect us. As
readers and interlocutors, we must be motivated and inuenced by those costs-we must accept the problem
as something relevant to our lives and concerns. A powerful problem statement will be one for which we
want, need, and are able to imagine a solution.
13
demonstrates how a given approach to the issue can change our perception of the problem. For example:
We usually think of climate change as a bad thing, but global warming could substantially lower heating
costs.
Such a framing of the problem of global warming asks not what should we do? but rather What should
we think? To be successful, a conceptual argument needs to demonstrate that something is missing from
our understanding.
Conceptual argument also has to show that there are costs if we fail to change or
Without an
explicit statement of why we should care, we cannot get down to the issue of what we should do.
An economic cost
An intellectual, moral or spiritual cost
A cost of time or resources
A loss of power, prestige, or potency
A disadvantage (real or perceived) that aects an individual, group, company, or population
CHAPTER 4.
14
transform your topic into a problem statement. To begin, you can focus the problem by asking yourself the
same questions as those to which your audience will also need answers. We'll begin with some pragmatic
topics, and use The Craft of Argument method to organize them into some problem statements.
I am working on the issue of _______.
DNA
Clean Energy
Climate Change
But we still need to know, so what? In the next step, we need to make the cost or benet clear:
so that you/they/someone can avoid the cost/gain the benet of_________.
a disease-free life
environmental deterioration
dwindling natural habitats
We can use a similar procedure to develop problem statements for some conceptual topics.
I am working on the issue of _______.
Nanoparticles
The Jet Stream
Primate Behavior
pragmatic problems have tangible, real costs that we can see or touch, conceptual problems require another
step in motivating audiences. For conceptual problems, we need to answer the question so what? with an
appeal to the reader's
benets are likely to be concrete. In the case of conceptual problems, the consequences are usually abstract.
In the examples above, this means that the nal answers to the question so what? appeal to the need to
think dierently:
so that I/we can
15
In the case of conceptual problems in particular, the slippery nature of that all-important question, So
what?
still requires that you nd an audience that cares about knowing more, understanding better, or
Status Quo
Destabilizing Moment
Question
Consequences
Solution or Claim.
Each part of the Problem Statement fullls key expectations of the audience you hope to persuade. The
parts of your problem statement are related to each other in predictable ways, and each part establishes
important information upon which your audience will base its judgments.
actions, you must rst convince them to reexamine the Status Quo. Stating the Status Quo creates common
ground between the writer and the reader and
establishes certain shared information and assumptions. It also helps readers and listeners to place the
problem you introduce in the context of your larger argument and their larger experience.
CHAPTER 4.
16
The Destabilizing Condition varies slightly in pragmatic and conceptual problems. For a pragmatic problem,
the destabilizing condition often introduces a tangible cost. Examples include unforeseen events, changing
conditions, or new situations. You can often nd the destabilizing condition introduced by words like but,
however, actually, in fact, alternatively, etc. In the case of a conceptual problem, the destabilizing
condition takes the form of something your audience doesn't know or would like to understand better. For
readers to care about a conceptual problem, they have to perceive a cost to not thinking or understanding
dierently. Because conceptual costs are abstract as opposed to tangible, Williams and Colomb refer to them
as consequences.
Remember, this
involves establishing the status quo, unsettling it with a destabilizing condition, and proposing an answer or
solution. Imagine that the writer responds by adding:
Several eorts have been made in this context to achieve near-total but directionally dependent
absorption using periodic grating
...
17
technical situations, if you have stated the consequences in terms of costs, the solution should present the
benets of your proposed course of action. You need to answer the question, How does this solution eliminate
the perceived problem?
Think:
What does your audience need to know to appreciate the solution you propose?
What makes it easy or dicult to accept?
Remember: LRS helps you to know what readers need by teaching you to question your own argument!
4.7.3 Audience
Fundamental to any problem statement is an awareness of what the audience needs to know to follow along
with your argument. As you build eective, convincing problem statements out of your topics, you are asking
yourself the same questions that your reader will need answered. Who or what? Why? So What? These
elements will later guide your choice of evidence, not to mention your reasons and warrants for what you are
arguing.
Good problem statements motivate good arguments
CHAPTER 4.
18
Mertens, J., et al. Label-free Detection of DNA Hybridization based on Hydration Induced Tension
in Nucleic Acid Films.
Teperik, T.V., et al. Omnidirectional Absorption in Nanostructured Metal Surfaces.Nature Photonics 2 (2008):
299 - 301.
Web of Science.
http://www.isiwebofknowledge.com.
Williams, J. (2005). Style: Ten Lessons in Clarity and Grace. (8th ed.). New York: Pearson.
Williams, J., Colomb, G. (2003). The Craft of Argument. (Concise ed.). New York: Addison Wesley
Longman, Inc.
2
3
http://www.isiwebofknowledge.com./
http://www.isiwebofknowledge.com./
Available for free at Connexions <http://cnx.org/content/col10551/1.1>
Chapter 5
Powerpoint Version of Writing Module
1
Two
This module presents techniques for achieving eective and elegant communication and becoming a better reader of one's own work.
Lessons introduce more vocabulary for talking about writing and review
Figure 5.1:
20
CHAPTER 5.
Chapter 6
Writing Module Three: Five Essential
1
Parts of Argument
Why Argument?
The Five Parts of Argument
Using the Five Parts of Argument
Assessing and Revising Your Argument
in times of stress or conict carries with it many negative connotations of anger, high emotion, and even
irrationality.
But each of us also makes arguments every day, and in settings that help us become more
rational, better informed, and more clearly understood. Arguments help us to gather information from our
own experience and that of others, to make judgments based on evidence, and to marshal information toward
sound conclusions. Argument is appropriate when we seek understanding or agreement, when we want to
solve a problem or answer a question, and when we want others to act or think in ways we deem benecial,
suitable, or necessary. Argument also comes in handy when we seek to convince, persuade, or produce change
in our audience, and when circumstances require trust, respect, belief in our evidence or agreement with our
reasoning.
Argument is everywhereon television and radio, in politics and publications, and also in our day-to-day
decisions about what to have for dinner, when to schedule the next meeting, and who should walk the family
dog. As Colomb and Williams point out, the common notion that argument must be combative is built into
our very language: opposing sides attack, defend, hold o, triumph, struggle, crush objections
and slaughter competitors. On the other hand, in order to use argument as productive and collaborative
communication, we must certainly nd a way to transcend the vocabulary of argument-as-war. We must
negotiate the audience's needs along with the speaker's agenda.
Argument is also about conversation. Although sometimes we forget, the best arguments are a forum
for:
CHAPTER 6.
22
that problem solved. It also claims a solution, convincing its audience of the validity of that solution with
evidence and reasons that it will accept.
the formulaic Five Paragraph Essay that is often assigned in high school (Scientic progress is good.
Here are several reasons why scientic progress is good. In conclusion, scientic progress is good.);
the default structure of chronological order (First I set up the lab, then I opened my notebook, then
Now you can begin to imagine what it will take to convince your audience. What evidence, methods, or
models do they expect? What conventions must you follow to win approval?
Claims
Reasons
Evidence
Warrants
Acknowledgement and Response
23
6.5.1 These correspond to the Williams' and Colomb's Five Questions of Argument:
or
Make sure your readers can recognize why your claim is signicant
Ensure that your claim is clear and concise. Readers should be able to tell what is at stake and what
principles you intend to use to argue your point
Conrm that the claim accurately describes the main tenets of the argument to follow
Moderate your claim with appropriate qualiers like many, most, often, in place of all, always,
etc.
also the most likely to convince your specic readers or listeners. Knowing
they will count as compelling
the general values and priorities of your readers will help you to determine what
reasons. Knowing
what kind of arguments and evidence they will expect from you will guide you in choosing
reasons that meet those expectations. Tailor your appeal to the specic needs and acknowledged concerns
CHAPTER 6.
24
and based upon authoritative and trustworthy research and sources. It should be appropriately cited, and
ample enough to convince. Evidence should also be designed to appeal to your target audience's values and
priorities.
6.7 Warrants
The words reason and evidence are much more familiar to most students of written and oral argument
than the term warrant.
But reasons and evidence are most powerful when they are utilized within the
structure of argument we have been discussing. To be convincing, the reasons and evidence you present in
support of your claim need to be connected through warrants. Warrants express a general belief or principle
in a way that inuences or explains our judgments in specic cases.
Take, for example, the old saying:
Measure twice, cut once.
Expressing as it does a general belief or principle that when you take the time to do a thing properly,
you don't make mistakes the saying provides a viable warrant for an argument like:
Warrants express justifying principles, shared beliefs, or general assumptions. They are the spoken or
unspoken logic that connects your reasons to your evidence. Warrants take many forms, but Williams and
Colomb emphasize that they always have or imply two parts:
Warrants often take the form: Whenever X, then Y. For example, take the commonly held belief expressed
by the old saying When it rains, it pours. The same sentiment and set of assumptions could be described
by the general truism If one thing goes wrong, everything goes wrong. Whether implied or explicit, and
whether it takes the form of a general observation or a cultural belief, a warrant states a broader principle
that can be applied in a particular case to justify the thinking behind an argument.
25
Child: Because red is in this season and my shoes are blue. X
Mother: Sorry, but I don't accept your argument that you need new
shoes.
Above all, warrants require common ground. In the example above, the success of the child's argument
depends upon his mother's sharing the values and assumptions upon which the argument for new shoes is
based.
Productive argument will require that the child nd, and address, some common belief or assumption
about what constitutes need. While his mother might not be inuenced by peer pressure or style trends,
she probably does share a set of values that would ultimately lead to agreement (Common Ground).
Consider a situation in which the child's previous reasons had not convinced his mother to accept his
argument, and we can see how compelling reasons and evidence can be developed alongside shared warrants.
Child: I need new shoes because these ones have holes in them and it's the rainy season.
Mother: Well why didn't you say so?! I agree that you shouldn't be walking around with wet
feet!
We are most likely to accept an argument when we share a warrant.
implied:
Warrant= When shoes no longer protect the feet from stones and weather, it is time to buy new
ones.
There is another way to look at warrants that don't necessarily t a certain mold. If you believe in a
general principle stated about general circumstances (for example, People who fall asleep at work probably
aren't getting enough sleep at home.), then you are likely to link a specic instance (of nodding o at your
computer) with a specic conclusion (that you haven't gotten adequate rest). Warrants here can be dened
as general truths that lead us to accepted conclusions.
CHAPTER 6.
26
produce trust
mediate or moderate objections
limit the scope of your claim
demonstrate experience or immersion in a wider eld or discipline
Brainstorm useful concessions to potential dissenters by thinking about the diculties or questions your
argument is likely to produce. Within your argument, acknowledgements and responses often begin with:
To be sure, admittedly, some have claimed, etc. Concessions allow the writer to predict problems that
might weaken an argument and respond with rebuttals and reassessments. Acknowledgement and response
frequently employs terms like but, however, on the other hand, etc.
Do your reasons make a strong case for the validity of your claim?
Can you imagine other reasons that would appeal more strongly to your audience?
Think:
What does your audience need to know to appreciate the solution you propose?
What makes it easy or dicult to accept?
What further support might you oer?
27
Argument structures comprehension by giving readers a framework within which to understand a given
discussion. Argument supplies criteria for judgment, and connects reasons with claims through implicit or
explicit warrants. Sometimes, crafting a good argument is as simple as asking yourself three basic questions:
When you set about answering these questions using the ve parts of argument, you will hone introductions
and thesis statements to make clear and precise claims, make relevant costs and benets explicit, and connect
reasons and evidence through shared and compelling warrants.
Williams, J. (2005).
Style: Ten Lessons in Clarity and Grace. (8th ed.). New York: Pearson.
The Craft of Argument. (Concise ed.). New York: Addison
28
CHAPTER 6.
Chapter 7
PowerPoint Version of Writing Module
1
Three
This module presents techniques for achieving eective and elegant communication and becoming a better
reader of one's own work.
Figure 7.1:
30
INDEX
C
E
apples, 1
ATTRIBUTIONS
31
Attributions
Collection: Three Modules on Clear Writing Style: An Introduction to The Craft of Argument, by Joseph
M. Williams and Gregory Colomb
Edited by: The Cain Project in Engineering and Professional Communication
URL: http://cnx.org/content/col10551/1.1/
License: http://creativecommons.org/licenses/by/2.0/
Module: "Writing Module Introductory Note: Common Objectives"
By: The Cain Project in Engineering and Professional Communication
URL: http://cnx.org/content/m17221/1.1/
Page: 1
Copyright: The Cain Project in Engineering and Professional Communication
License: http://creativecommons.org/licenses/by/2.0/
Module: "Writing Module One: Clear Narrative, Characters and Actions"
By: The Cain Project in Engineering and Professional Communication
URL: http://cnx.org/content/m17222/1.1/
Pages: 3-8
Copyright: The Cain Project in Engineering and Professional Communication
License: http://creativecommons.org/licenses/by/2.0/
Module: "PowerPoint Version of Writing Module One"
By: The Cain Project in Engineering and Professional Communication
URL: http://cnx.org/content/m17215/1.4/
Page: 9
Copyright: The Cain Project in Engineering and Professional Communication
License: http://creativecommons.org/licenses/by/2.0/
Module: "Writing Module Two: Problem Statements, Introductions, and Issues of Audience"
By: The Cain Project in Engineering and Professional Communication
URL: http://cnx.org/content/m17223/1.1/
Pages: 11-18
Copyright: The Cain Project in Engineering and Professional Communication
License: http://creativecommons.org/licenses/by/2.0/
Module: "Powerpoint Version of Writing Module Two"
By: The Cain Project in Engineering and Professional Communication
URL: http://cnx.org/content/m17217/1.4/
Page: 19
Copyright: The Cain Project in Engineering and Professional Communication
License: http://creativecommons.org/licenses/by/2.0/
Module: "Writing Module Three: Five Essential Parts of Argument"
By: The Cain Project in Engineering and Professional Communication
URL: http://cnx.org/content/m17224/1.1/
Pages: 21-27
Copyright: The Cain Project in Engineering and Professional Communication
License: http://creativecommons.org/licenses/by/2.0/
32
ATTRIBUTIONS
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