Posted on by Stephanie McGann

Essay Writing #5: The Personal Argument

I teach the personal argument last of the three essay formats I have laid out in this series, and it always throws my students off at first. So trained as they are to develop a thesis and follow a set structure and organization in their writing, they expect the personal argument to be the same.

But it isn’t. In fact, it shouldn’t even read like an essay when it’s done. It should read like a short story. Let’s take a look at the principles at play in a personal argument.

THE “PERSON” IN PERSONAL
Heidi Writing by Jessie Willcox Smith

Personal arguments are a basic requirement of a just about any academic application. Why do you want to attend such and such school? What is your crowning achievement so far in your life?

These are hard questions to answer, especially for young, self-conscious students. They often think that a personal essay is akin to a job interview, but it shouldn’t be. It should really be like the beginning of a lifelong friendship. Just as two people get to know one another by sharing stories and making new ones together, a personal argument should do the same thing: It should tell a story about oneself that answers the essay question. 

Rather than talk about being a hard-worker and commit to rigorous study sessions in the next school system, a good personal argument would tell a story about doing hard work. I remember the time I had to fill in last minute for the lead role in my class’s production of King Lear…

Now that’s an essay an admissions counselor would pay attention to. By the end of reading it, the counselor would feel like he actually knew the student and could picture the student making similar contributions in another school environment.

THE PLOT OF THE ESSAY

First and foremost, the plot must be drawn from real-life. It can be exaggerated, of course, but only to the extent that it still reveals the true nature of the student. Choosing stories is often the most difficult for my students and, thus, the most important piece to talk-through with others. It’s helpful to share the story aloud before writing it with a classmate or parent and see how it goes over.

What did you learn about me from this story? If the answer is different than what was intended, the student may need to repackage the story or try a different one.

Personal arguments need all the traditional plot elements: exposition, inciting incident, rising action, climax, falling action, and resolution. Moreover, they need to have literal and figurative components.

For example, a literal inciting incident might be that the teacher asked me to memorize all of so-and-so’s lines for tomorrow’s play. Figuratively, that inciting incident reveals a challenge for the student’s work ethic and ability. So everything that follows in the plot would match those two ideas together, hopefully culminating with a successful performance.

It’s tempting to spell out the figurative side in the resolution, but I tend to think it’s better not to since it can change the tone of the story. If well-written, the message should be read in-between the lines. 

A REMINDER ABOUT PROCESS

Fox With A Quill Pen by H. Plancquet

Like the simple argument and the classical argument, the writing process in the personal argument is as important as ever. Students should brainstorm their stories and outline each separate element of the plot before writing it.

And the first draft should not be their last. The best personal arguments get revised dramatically from start to finish.

Initial revisions should focus on the storyline to make sure that it works. Once that’s in place, then the student should play around with the narration and dialogue so it reads like a gripping story and not just a summary of something that happened once. A final revision would clean up grammar, polish syntax, and sharpen word choice.

The reader, often an admissions counselor, will no doubt learn a great deal about the student from his personal argument. Best of all, the student will get to know himself better, too.

Images courtesy of the New York Public Library

Posted on by Stephanie McGann

Essay Writing #4: The Classical Argument

The second essay format I teach my students is the classical argument. It is more advanced than the simple argument for a number of reasons.

To begin with, the thesis in a classical argument is debatable in a consequential way, meaning there is something at stake. That something might be political, social, religious, or any number of things that affect the broader world. Given this substantive nature, the argument often requires outside research as opposed to simply one’s own personal analysis. Finally, in order to lend authority to one’s position, the essay format spells out and refutes the opposing position.

In a middle school classroom like mine, I might use a simple argument for analysis of King Arthur but a classical argument for analysis of the justice of the Crusades. Given their complicated history and enduring legacy, a meaningful position on the Crusades requires research and attention to a vast array of conflicting viewpoints.

As I explain to my students, a classical argument is more than “I think this about such and such.” It’s also, “You should think this, too.” It’s clearly a persuasive argument because it tries to draw people to the writer’s viewpoint and dispel any doubt that other views could be correct.

The essay structure itself consists of five parts, which support a single thesis statement through deductive writing, meaning they begin with the thesis statement and then move on to support it.

PART ONE – THE INTRODUCTION AND THESIS STATEMENT

Happily, the introduction of a classical argument models the same format as that of a simple argument. It introduces the topic to be discussed and presents the thesis statement. I instruct students to limit themselves to approximately 3-5 sentences. The brevity of the opening paragraph is one of its strengths and should not be compromised by extraneous information.

The Writing Lesson by Morris Shulman

This paragraph consists of three parts. The first is the opening sentence itself. This should typically consist of a simple statement of fact, especially for students who are just learning to write an essay for the first time. More “provocative” openings like questions or startling facts are a lot harder to pull off, and I recommend new writers avoid them.

The second part of the opening paragraph offers transitional background information and justification for why the topic is relevant.

Well-done transitional sentences pave the way for the final part of the opening, which is the one-sentence thesis itself, or the position the essay takes. I always remind students that the thesis should be something debatable much like an opinion. In other words, it is not simply a fact.

PART TWO – THE NARRATION

This part of the essay establishes context for the argument. First, it tells the story, so to speak, behind the essay. That story might be the history of a war or the facts of a case or some other relevant background.

Next, it addresses the reality that there are opposing views about the subject matter. It should state what those views are without actually getting into the arguments for either position. That will come later.

Finally, the narration makes a type of appeal to the reader, letting him know what is at stake in the essay and asking him to weigh each side carefully.

There is no set number of sentences, but a good paragraph of 8-10 sentences usually does it for middle school students. More advanced writers might write several paragraphs in this part.

PART THREE – THE CONFIRMATION  

Much like the body of a simple argument, the confirmation presents the evidence to support the thesis. It should have a topic sentence, at least three pieces of thoroughly explained evidence, and a concluding sentence that clearly ties the confirmation back to the thesis.

Again, a good paragraph of 8-10 sentences is ideal for middle school students, but more advanced writers might have several paragraphs in this section as well. .  

PART FOUR – THE REFUTATION AND CONCESSION

With careful planning, this part of the essay is often the strongest because it allows the writer to dismiss all, or nearly all, of the opposition’s claims.

It should have a topic sentence followed by as many objections as the writer can come up with. If there are areas where the opposition may have a good point, the writer should concede that but without giving full weight to their overall position. Finally, this part of the essay should have a concluding sentence that relates back to the thesis.

The refutation and concession should mirror the confirmation in structure and length.

PART FIVE – THE CONCLUSION

Its purpose is to drive home the thesis statement by casting its relevance more broadly than what was initially presented in the introduction and narration.

A Lady Writing by Johannes Vermeer

Beginning writers often erroneously think of a conclusion as a restatement of what has already been said. Though this might work on a basic level, it represents only a superficial understanding of the key purpose of the conclusion and tends to be boring.

I find it helpful to refer to the conclusion as the “so what” part of the essay. We often think of it in terms of the broad lessons we learned from exploring an argument in a specific context. In other words, it is the student’s opportunity to reiterate what is at stake in the argument.

The conclusion should be divided into three parts, inversely mirroring the introduction. It, too, should be relatively short but powerful.

The first part of the conclusion recalls the thesis but presents it in a new way. I refer to this as a “thesis with a twist.” The second part provides transitional information on the connection between the thesis and the stakes at play in the argument. The final part is broader still, typically consisting of only one or two sentences, and should press the moral imperative of making the “right” choice for “the world.”

A REMINDER ABOUT PROCESS

If the writing process is important for the simple argument, it is all the more important for the classical argument, which is far more complicated.

From using Socratic discussions and disputations, to developing a thesis, to outlining the argument, to writing it out, every phase needs thorough, well-planned attention. Any breakdown in the writing process can greatly undermine the strength of the argument, and it shows all the more in this essay format.

Conversely, careful adherence to the process results in a persuasive argument even if the writing is wanting in style and beauty.

The classical argument, when followed properly, is as full-proof of a persuasive format as it gets. Naturally, there will be many readers who are not convinced in the end, but they will at least have to concede that the argument is convincing.  

First image courtesy of the New York Public Library, New York

Second image courtesy of the National Gallery of Art, Washington, D.C.

Posted on by Stephanie McGann

Essay Writing #3: The Simple Argument

The first essay I format I teach my students is the simple argument. If they can get this format down in middle school, they will soar through high school and even college writing assignments because it is so foundational.

The essay structure itself consists of three parts, which support a single thesis statement through deductive writing, meaning it begins with the thesis statement and then moves on to support it.

PART ONE – THE INTRODUCTION AND THESIS STATEMENT

The opening paragraph of the essay introduces the topic to be discussed and presents the thesis statement. I instruct students to limit themselves to approximately 3-5 sentences. The brevity of the opening paragraph is one of its strengths and should not be compromised by extraneous information.

This paragraph consists of three parts. The first is the opening sentence itself. This should typically consist of a simple statement of fact, especially for students who are just learning to write an essay for the first time. More “provocative” openings like questions or startling facts are a lot harder to pull off, and I recommend new writers avoid them.

The second part of the opening paragraph offers transitional background information and justification for why the topic is relevant.

Well-done transitional sentences pave the way for the final part of the opening, which is the one-sentence thesis itself, or the position the essay takes. I always remind students that the thesis should be something debatable much like an opinion. In other words, it is not simply a fact.

PART TWO – THE BODY

The body provides three pieces of evidence to support the thesis statement. I teach my students to use only one paragraph for the body. It, too, is divided into three parts.

The first part is the topic sentence, which introduces the evidence. The second part of the body paragraph presents three pieces of evidence and so is the longest. Though there is no set number of sentences for students to follow, I tell them that good evidence needs to be clear enough for an outside reader to get the picture. The third part of the body paragraph is simply a concluding sentence or two that ties the evidence together.

As students mature in their writing, they will likely expand the body of their essay from one to three paragraphs. Each piece of evidence would then stand alone as a full, well-developed paragraph.

PART THREE – THE CONCLUSION

The concluding paragraph is often the hardest for students to write. Its purpose is to drive home the thesis statement by casting its relevance more broadly than what was initially presented in the introduction.

Beginning writers often erroneously think of a conclusion as a restatement of what has already been said. Though this might work on a basic level, it represents only a superficial understanding of the key purpose of the conclusion and tends to be boring.

Doorway by Robert W.R. Taylor

I find it helpful to refer to the conclusion as the “so what” part of the essay. We often think of it in terms of the broad lessons we learned in class. I tell the students that the conclusion is their chance to explain why what they have to say matters to the world of ideas.

In a sense, it “closes” the argument yet “opens” a new, related idea at the same time.

The conclusion should be divided into three parts, inversely mirroring the introduction. It, too, should be relatively short but powerful.

The first part of the conclusion recalls the thesis but presents it in a new way. I refer to this as a “thesis with a twist.” The second part provides transitional information on the connection between the thesis and the world more generally. The final part is broader still, typically consisting of only one or two sentences, and should fully open the door to a new idea about the thesis.

A “SIMPLE” MISNOMER

For new writers, there is nothing “simple” about this essay format. It frequently takes many attempts to write a good one.

Some classical educators require students to continually rewrite an essay until it is “perfect,” but I do not. I think it is far better to give a fresh opportunity to work with a new thesis. With practice, students learn how to logically, persuasively, and even beautifully express their argument.

Once they do, they are ready to learn the classical argument, which I discuss in the next post.

Image courtesy of The National Gallery of Art, Washington, D.C.

Posted on by Stephanie McGann

Essay Writing #2: The Process

I’m sorry to say the word “essay” conjures fear in the hearts of my students. I was no different in school. While I enjoyed reading and discussing ideas, I found whatever excuse I could to put off writing them out in an essay.

It was hard. It was time consuming. And I was never satisfied with how my essays turned out.

Looking back, I realize that lack of satisfaction was a good thing because it (gradually) taught me the importance of revision. Still, revision took even longer and was just as daunting.

The Writing Desk
by Childe Hassam

Now as a teacher, I feel the most important part of instructing students to write essays is instilling a respect for the process it involves. Yes, they need to use good grammar, strong evidence, and logical construction to make a sound argument. And, of course, I teach that as I go, but my bigger objective is to slow things down so they can constantly reassess the beauty and persuasiveness of their writing.

The world of classical education has its own special language for discussing the writing process, but it’s really no different than what one might find in a conventional writing “program.” (Remember, the difference is often found in the idea, not the process.)

PHASE ONE – THE THESIS

The first phase of the writing process is all about defining a thesis, or a main position. In classical terms, this is called invention. In more conventional terms, it is called pre-writing or brainstorming. Again, it’s really just a difference in word choice because it all means the same thing.

Activities like Socratic discussions and disputations are part of this phase because they help students develop their ideas and grow passionate about them long before they put pen to paper. For a breakdown of what this might look like, check out my previous post on debating King Arthur. 

PHASE TWO – THE OUTLINE

The second phase of the writing process involves gathering evidence to support the thesis and compiling that evidence into a well-ordered, logical outline. The fancy classical word for it is arrangement, but I just as soon call it organization like many other writers do.

The outline is essential, and I generally model what this looks like on the board. To me, a good one is short with just headers and sub-headers, no supporting details. The reason for this is because I want students to figure out right away if they have enough evidence to support their thesis.

If, for example, they need three pieces of evidence to make a strong argument, they should be able to tick those off quickly in an outline. If they can’t, then they need to revisit their thesis and find one they can support.

PHASE THREE – THE WRITING

Having completed their outlines and affirmed the strength of their theses, students are ready to write their essays. Classical educators call this the style phase of the writing process. I like that terms myself because it conjures the imagination and reminds students that their writing should be beautiful and persuasive. More conventional programs might simply call it drafting or writing or even re-writing. Again, the idea is really the same even if the wording is different.

I try to have my students begin their writing in the classroom so I can provide guidance at the outset. By doing so, we fold re-writing into this phase as well. Of course students can and should revise more on their own, but many are unable to do so without another person’s critique.

For that reason, I welcome parent input for my middle schoolers. Some students at first think that’s cheating but not in my book. It’s part of the writing process to get the opinion of others. Even the best writers have editors, and those writers learn a great deal from being reviewed and edited. Likewise, I want my students to turn in the best possible version of their argument.

I’ll discuss what those arguments might look like in subsequent posts.

Image courtesy of the National Gallery of Art, Washington, DC

Posted on by Stephanie McGann

Essay Writing #1: The Idea

A good essay starts with a good idea. It’s really that simple. Thus, much of my “writing instruction” doesn’t even involve writing. Instead, it consists of Socratic discussions and disputations based on the great books in our Literature studies or the rich content of our History lessons.

And that’s the special something that makes essays in a classical classroom turn out so nicely. They are not one-off assignments or formulaic gobbley gook from a pre-packaged writing program.

Certainly students can write wonderful essays drawn from fairly typical prompts like, “Who is your favorite athlete?” In my first few years of teaching, I sampled some of those prompts, and the essays were okay at best. They generally read like the students didn’t care all that much about what they were saying, almost like they felt the prompts were beneath them. Frankly, they were.

Students are capable of much deeper thinking beyond what Derek Jeter or even Babe Ruth can elicit. They need a chance to engage the “big questions” and to develop and write out their own opinions on ideas related to life and death, love and romance, wisdom and foolishness, to name a few.

At least in my classroom, essays drawn from King Arthur or The Marriage Set have students on the edge of their seats. Likewise, an essay to evaluate the justice of the Crusades in the Middle Ages sparks an impassioned response. And the reason students engage those essays with such passion is because they had ample time to develop and defend their ideas during a unit. They already have skin in the game, so to speak.

What’s more, students enjoy defining their own essay topics because they have so many ideas to work with. I think John Steinbeck was right when he said,

Rabbits by Henri-Charles Guérard

Ideas are like rabbits. You get a couple and learn how to handle them, and pretty soon you have a dozen.”

In a classical classroom, students get to “pet” dozens and dozens of “bunnies” before they raise one into an essay. All that experience builds confidence in students and helps the chosen “bunnies” thrive.

For example, when we read Personal Recollections of Joan of Arc, we spend a lot of time dealing with the concept of “construction of memoir.” From those discussions, one student might write an essay on whether or not Mark Twain was “telling the truth” about Joan’s life. Another might write about the type of military leader Joan was and another about how she handled herself during her trial and condemnation. Each of those essays reflects discussions we had in class, albeit with additional ideas unique to individual students.

While my approach to writing instruction is fluid enough to draw from almost anything we discuss, it is also deliberate in its planning and implementation. My goal is for all of my students to learn the writing process and be able to apply it to three essay formats: the simple essay, the classical essay, and the personal essay. I will breakdown what this entails in subsequent posts. 

Image courtesy of The National Gallery of Art, Washington D.C.