A
Style Sheet for Advice to Writers of Essays
by
A.
Robert Lauer
arlauer@ou.edu
MISSION STATEMENT:
This page aims to inculcate effective writing habits;
it was originally designed for University of Oklahoma students.
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Enjoy!
The
Three Parts:
The
Ten Steps to a Super Composition:
-
STRUCTURE.
Make the purpose and organization of your paper clear to the reader immediately.
Tell the reader in the introductory paragraph what your thesis is and how
you will demonstrate it. Then stick to your argument, give solid
evidence of your thesis in an analytic and descriptive way, and, finally,
give a convincing conclusion which should follow naturally from your evidence
and introductory thesis. No new points should be presented in the
conclusion, which should be as brief, succinct, and precise as your main
thesis. A list of works cited should follow.
-
ARGUMENT.
Assume that your reader knows little about your topic but is nonetheless
eager to disagree with you. That assumption should encourage you
to argue clearly, logically, and forcefully.
-
PARAGRAPHS.
“Make the paragraph the unit of composition” (Strunk and White 10).
Each paragraph should form a continuous and complete unit of thought with
a clear structure (a thesis sentence, several demonstrative sentences,
and a conclusion).
-
SIMPLICITY.
Write short, uncomplicated sentences. Any sentence of more than twenty-five
or thirty words should be suspect (the product, no doubt, of an artist,
a lawyer, or a mentally deranged individual). Prefer active,
transitive verbs to passives and clumsy, wordy constructions. Do
not strive for elegant, complicated prose. Ask yourself constantly:
“Is there a simpler, more straightforward way of saying what I want to
say?” Avoid verbosity and ambiguity.
-
CLARITY.
Eliminate clichés, tautologies, platitudes, colloquialisms, and
all vague and flabby language. “Use definite, specific, concrete
language” (Strunk and White 15).
-
JARGON.
Avoid sociological, psychological, theological, or any other kind of jargon.
Write simple, standard English (Spanish) and be sure that you know the
exact meaning of every word you use.
-
EVIDENCE.
Use the assigned readings to illustrate your argument. The most persuasive
evidence is that taken from primary sources. But do not include quotations
without analyzing them and relating them to your argument. Also,
use direct quotations only when absolutely necessary to demonstrate a point
convincingly. Otherwise, paraphrase.
-
FOOTNOTES
(ENDNOTES).
Use an accepted footnote (endnote) form-consistently (I suggest MLA alphabetical
entries using the letter by letter system in the list of works cited and
parenthetical citations [hence, no footnotes] in the body of the text).
Be sure each page reference and quotation is correct. Include a citation
for every direct quotation and every idea or piece of evidence that is
not common knowledge and that you can assign to a definite written source.
Failure to acknowledge your source is plagiarism.
-
REVISE
AND REWRITE. ALSO, READ YOUR PAPER ALOUD TO YOURSELF.
-
PROOFREADING.
Proofread your final draft (do not rely on your computer proofreading program
completely). Check for spelling errors (use a good dictionary when
in doubt), typos, and incorrect punctuation (especially commas and apostrophes
in English; commas, interrogatives, exclamations, comillas, acute accents,
diaeresis, tildes, and other diacritic markers in Spanish). Number
the pages consecutively.
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The
Bibliography:
-
Browne, M. Neil and Stuart Keeley. Asking the Right
Questions. A Guide to Critical Thinking. 6th ed.
Upper Saddle River, NJ: Prentice Hall, 2000. An excellent guide on
how to think critically.
-
Corrigan, Timothy. A Short Guide to Writing About
Film. 3rd. ed. New York: Longman, 1998. This is an
excellent guide for writers of essays in the humanities, even though it
is geared specifically for film students.
-
Gámez, Tana de, ed. Simon and Schuster’s
International Dictionary. English/Spanish, Spanish/English.
2nd. ed. New York: Simon & Schuster, 1997. This is the
only bilingual dictionary I can recommend.
-
-
Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reesman,
John R. Willingham. A Handbook of Critical Approaches to Literature.
4th ed. Oxford: Oxford UP, 1999. An excellent book, both theoretical
and practical, on the sundry approaches one may apply to a text (e.g.,
traditional, formalist, psychological, mythological, archetypal, feminist,
cultural, Marxist, linguistic, rhetorical, structuralist, poststructuralist,
deconstructionalist, phenomenological, reader-response, etc.). ISBN:
0-19-509955-9
-
Marius, Richard. A Short Guide to Writing About
History. 3rd. ed. New York: Longman, 1999. This is
an excellent guide on how to write a good research paper even though it
is geared specifically for history students. ISBN: 0-321-02387-0
-
Strunk, William, Jr. and E. B. White. The Elements
of Style. Toronto: Macmillan, 1962. The bible (short and
sweet, too).
-
Troyka, Lynn Quitman. Simon & Schuster Handbook
for Writers. 2nd. ed. Englewood Cliifs, NJ: Prentice Hall,
1990. Learn your grammar. ISBN: 0-13-809476-4.
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THE
END
Created on 25 January 2002 by
A.
Robert Lauer
Feedback
appreciated!
arlauer@ou.edu
Revised on 15 March 2004
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