Author : Katrin Freeh.
Published : Sun, Mar 24 2019 :1 PM.
Format : jpg/jpeg.
Leads are big. If your first bite of a meal is bitter, you`re likely to put the fork down and call for take-out. You`ve got to grab readers from the get-go. One method is direct address. Here`s the lead from an article of mine about dictionaries: Think of your favorite book. No, better yet, go and get your favorite book, feel its heft in your hand, flip through its pages, smell its bookness. Read a passage or two to send that stream of sparks through your head, the alchemy that occurs when the written word collides with the chemicals of your consciousness. Delight is the fruit of that collision. It tells the reader to do something, with a visual and sensual context. It`s hard for a reader not to read that lead and avoid doing what it requests, at least in the reader`s imagination. Here`s another lead of mine that takes a different tack, one of identification or empathy: Scuttlebutt had it that Barbara Cartland, the doyenne of romance writers, did much of her early writing at the piano, stark naked. However that strains credibility, everyone`s heard of writers who insist they can`t write without their ancient manual typewriters with the missing keys, or their favorite fountain pens (or maybe even a stylus and hot wax). Writers can be a peculiar lot, and it`s not surprising that their composing methods can be all over the map.
Notice the four-sentence structure of this introductory paragraph. Notice how the general topic of the essay is clearly stated in the first sentence and notice how the supporting evidence in the second sentence and the explanation of how that evidence does support the general topic of the essay leads the reader to the statement of the thesis -- the last sentence in the introductory paragraph. Notice how the last sentence in this introductory paragraph (the thesis statement) communicates to the reader a clear outline of what the reader may expect in the essay, thus providing the reader an opportunity to develop an initial structure of thinking in his or her own brain to use to build an effective understanding of the main points the author of the essay intends to communicate to the reader.
This same four-sentence paragraph structure may be used to develop the expected three main paragraphs in the example essay (one main paragraph for each of the three main points in the thesis statement) as well as any subparagraphs for each main paragraph. Using the example introductory paragraph developed in this article, might the reader have developed an effective understanding of the four-sentence basic paragraph structure illustrated to create the expected three main paragraphs for this essay example? Try it!
In a cultural diversity class the author had an assignment to write an essay to ...review a current article that discusses or illustrates the portrayal of some aspect of cultural diversity in U.S.society. One current article which appeared to meet the assignment directions concerned black officers in the U.S. military -- it illustrated an aspect of cultural diversity in U.S. society. So the general topic of the proposed essay became A review of a current newspaper article that discusses black officers in the U.S. military illustrating an aspect of cultural diversity in the U.S. This statement of the general topic of the proposed essay serves as the basis for the first sentence in the introductory paragraph. The first sentence of the example introductory paragraph might be something like The media addressing some aspect of cultural diversity that was selected for this paper is a newspaper article discussing black officers in the U.S. military. Notice how this sentence clearly states what is the general topic of the essay which IS the main point of the introductory paragraph. Also notice how words from the assignment directions are used in this sentence -- communicating to the essay evaluator that the writer is paying attention to the assignment directions.
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Most essays aren`t built on journalism`s inverted pyramid, stacking essential information up front and moving to leaner layers as factual momentum fades. Instead, essays often take elliptical paths that meander around in a subject`s fields, picking its flowers, discarding them, looking to metaphoric hills beyond, then up-close at the ground below. An accomplished essayist like Edward Hoagland wends his way through paragraphs, often taking a quick conceptual turn that might seem a misstep or a dead end, but he always re-establishes his rhythm, much like a jazzman vamping and then returning to the deeper theme. Hoagland is a good study on the magic of cadence and the musicality of words; he makes the difficult art of weaving layered points of view with bright language seem easy. That`s not to say that a more straightforward path through your essay isn`t the best course. Mark Twain`s The Private History of a Campaign That Failed essentially plots a chronological rendering of the hapless-and hilarious-exploits of a band of Civil War bumblers, Twain prominent among them. Determine if your material is the sort that should sneak up on readers to win their confidences or overwhelm them with the sustained march of topic vigor.
Besides beginning with a memorable bit about Ms. Cartland, it invites the readers to consider their own pecadillos about favorite objects and fetishes, whether they are writers or not. You want the reader here to nod yes, agree that people are odd, and move forward into the piece. Sometimes a question that has a universal appeal can do the trick. Consider this: Could listening to a barking dog actually drive you mad? I fear it could. Worse yet, I fear this not in theory, but in fact: barking dogs are making me a sweaty mess. The statement shapes my own problem into one that might apply to many. You`ll drag a dog lover or hater (and that`s a broad audience) deep into the essay by this lead leash.