what is academic writing by irvin

1 Lennie Irvin’s “What is Academic Writing?”

Writing Spaces Volume 1

In this first chapter, Irvin defines academic writing for students new to the genre and identifies some common misconceptions (like never using the “I” pronoun). The chapter further explores the importance of understanding the academic writing situation for each assignment, and the literary tasks students are frequently asked to perform on the college level. Irvin also provides a detailed guide for deciphering the three major types of assignments ( closed, semi-open, open ) along with explaining how each carries different expectations . This reading would be especially useful when introducing each of the major essays, as we can employ Irvin’s methods to decode the assignment’s specific writing situation and requisite writing tasks .

“Analysis works best when you put all the cards on the table, so to speak. Identify and isolate the parts of your analysis, and record important features and characteristics of each one.”

MLA Citation Examples

Works Cited

Irvin, L. Lennie. “What Is ‘Academic’ Writing?” Writing Spaces: Readings on Writing Volume 1 , edited by Charles Lowe and Pavel Zemlianksky, Parlor Press, 2010, pp. 3-17.

In-text citation

“Analysis works best when you put all the cards on the table, so to speak. Identify and isolate the parts of your analysis, and record important features and characteristics of each one” (Irvin 11).

APA Citation Examples

Irvin, L. L. (2010). What is ‘academic’ writing ? In Charles Lowe and Pavel Zemliansky (Eds.), Writing Spaces: Readings on Writing , vol. 1 (pp. 3-17). New York: Parlor Press.

“Analysis works best when you put all the cards on the table, so to speak. Identify and isolate the parts of your analysis, and record important features and characteristics of each one” (p. 11).

Chicago Citation Examples

Bibliography

Irvin, Lennie. “What is Academic Writing?.” in Writing Spaces: Reading on Writing Volume 1 , ed. Charles Lowe and Pavel Zemliansky (New York: Parlor Press, 2010), 3-17.

About the Author

name: Writing Spaces Volume 1

institution: Parlor Press and WAC Clearinghouse

website: https://writingspaces.org/writing-spaces-volume-1/

Released in 2010, the first issue of Writing Spaces was edited by Drs. Charles Lowe and Pavel Zemliansky. In addition to the Writing Spaces Website, volume 1 can be accessed through WAC Clearinghouse, as well as Parlor Press.

From Parlor Press

Topics in Volume 1 of the series include academic writing, how to interpret writing assignments, motives for writing, rhetorical analysis, revision, invention, writing centers, argumentation, narrative, reflective writing, Wikipedia, patchwriting, collaboration, and genres.

From WAC Clearinghouse

Charles Lowe is Assistant Professor of Writing at Grand Valley State University where he teachers composition, professional writing, and Web design. Pavel Zemliansky is Associate Professor in the School of Writing, Rhetoric, and Technical Communication at James Madison University.

Publication Information: Lowe, Charles, & Pavel Zemliansky (Eds.). (2010). Writing Spaces: Readings on Writing, Volume 1 . WrtingSpaces.org; Parlor Press; The WAC Clearinghouse. https://wac.colostate.edu/books/writingspaces/writingspaces1/

Publication Date: June 14, 2010

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Thinking Deeper: Lennie L. Irvin, “What Is ‘Academic’ Writing?”

Thinking deeper.

Read the following essay by L. Lennie Irvin on what exactly academic writing is and then use the discussion questions to think through the nature and purpose of academic writing.

What Is “Academic” Writing?

Lennie l. irvin, introduction: the academic writing task.

As a new college student, you may have a lot of anxiety and questions about the writing you’ll do in college.* That word “academic,” especially, may turn your stomach or turn your nose. However, with this first year composition class, you begin one of the only classes in your entire college career where you will focus on learning to write. Given the importance of writing as a communication skill, I urge you to consider this class as a gift and make the most of it. But writing is hard, and writing in college may resemble playing a familiar game by completely new rules (that often are unstated). This chapter is designed to introduce you to what academic writing is like, and hopefully ease your transition as you face these daunting writing challenges.

So here’s the secret. Your success with academic writing depends upon how well you understand what you are doing as you write and then how you approach the writing task. Early research done on college writers discovered that whether students produced a successful piece of writing depended largely upon their representation of the writing task. The writers’ mental model for picturing their task made a huge differ ence. Most people as they start college have wildly strange ideas about what they are doing when they write an essay, or worse—they have no clear idea at all. I freely admit my own past as a clueless freshman writer, and it’s out of this sympathy as well as twenty years of teaching college writing that I hope to provide you with something useful. So grab a cup of coffee or a diet coke, find a comfortable chair with good light, and let’s explore together this activity of academic writing you’ll be asked to do in college. We will start by clearing up some of those wild misconceptions people often arrive at college possessing. Then we will dig more deeply into the components of the academic writing situation and nature of the writing task.

Myths about Writing

Myth #1: The “Paint by Numbers” myth

Some writers believe they must perform certain steps in a particular order to write “correctly.” Rather than being a lock-step linear process, writing is “recursive.” That means we cycle through and repeat the various activities of the writing process many times as we write.

Myth #2: Writers only start writing when they have everything figured out

Writing is not like sending a fax! Writers figure out much of what they want to write as they write it. Rather than waiting, get some writing on the page—even with gaps or problems. You can come back to patch up rough spots.

Myth #3: Perfect first drafts

We put unrealistic expectations on early drafts, either by focusing too much on the impossible task of making them perfect (which can put a cap on the development of our ideas), or by making too little effort because we don’t care or know about their inevitable problems. Nobody writes perfect first drafts; polished writing takes lots of revision.

Myth #4: Some got it; I don’t—the genius fallacy

When you see your writing ability as something fixed or out of your control (as if it were in your genetic code), then you won’t believe you can improve as a writer and are likely not to make any efforts in that direction. With effort and study, though, you can improve as a writer. I promise.

Myth #5: Good grammar is good writing

When people say “I can’t write,” what they often mean is they have problems with grammatical correctness. Writing, however, is about more than just grammatical correctness. Good writing is a matter of achieving your desired effect upon an intended audience. Plus, as we saw in myth #3, no one writes perfect first drafts.

Myth #6: The Five Paragraph Essay

Some people say to avoid it at all costs, while others believe no other way to write exists. With an introduction, three supporting paragraphs, and a conclusion, the five paragraph essay is a format you should know, but one which you will outgrow. You’ll have to gauge the particular writing assignment to see whether and how this format is useful for you.

Myth #7: Never use “I”

Adopting this formal stance of objectivity implies a distrust (almost fear) of informality and often leads to artificial, puffed-up prose. Although some writing situations will call on you to avoid using “I” (for example, a lab report), much college writing can be done in a middle, semi-formal style where it is ok to use “I.”

The Academic Writing Situation

Now that we’ve dispelled some of the common myths that many writers have as they enter a college classroom, let’s take a moment to think about the academic writing situation. The biggest problem I see in freshman writers is a poor sense of the writing situation in general. To illustrate this problem, let’s look at the difference between speaking and writing.

When we speak, we inhabit the communication situation bodily in three dimensions, but in writing we are confined within the two-dimensional setting of the flat page (though writing for the web—or multimodal writing—is changing all that). Writing resembles having a blindfold over our eyes and our hands tied behind our backs: we can’t see exactly whom we’re talking to or where we are. Separated from our audience in place and time, we imaginatively have to create this context. Our words on the page are silent, so we must use punctuation and word choice to communicate our tone. We also can’t see our audience to gauge how our communication is being received or if there will be some kind of response. It’s the same space we share right now as you read this essay. Novice writers often write as if they were mumbling to themselves in the corner with no sense that their writing will be read by a reader or any sense of the context within which their communication will be received.

What’s the moral here? Developing your “writer’s sense” about communicating within the writing situation is the most important thing you should learn in freshman composition.

Figure 1, depicting the writing situation, presents the best image I know of describing all the complexities involved in the writing situation.

Figure 1. Source: “A Social Model of Writing.” Writing@CSU. 2010. Web. 10 March 2010. Used by permission from Mike Palmquist.

Looking More Closely at the “Academic Writing” Situation

Writing in college is a fairly specialized writing situation, and it has developed its own codes and conventions that you need to have a keen awareness of if you are going to write successfully in college. Let’s break down the writing situation in college:

So far, this list looks like nothing new. You’ve been writing in school toward teachers for years. What’s different in college? Lee Ann Carroll, a professor at Pepperdine University, performed a study of student writing in college and had this description of the kind of writing you will be doing in college:

What are usually called ‘writing assignments’ in college might more accurately be called ‘literacy tasks’ because they require much more than the ability to construct correct sentences or compose neatly organized paragraphs with topic sentences Projects calling for high levels of critical literacy in college typically require knowledge of research skills, ability to read complex texts, understanding of key disciplinary concepts, and strategies for synthesizing, analyzing, and responding critically to new information, usually within a limited time frame. (3–4)

Academic writing is always a form of evaluation that asks you to demonstrate knowledge and show proficiency with certain disciplinary skills of thinking, interpreting, and presenting. Writing the paper is never “just” the writing part. To be successful in this kind of writing, you must be completely aware of what the professor expects you to do and accomplish with that particular writing task. For a moment, let’s explore more deeply the elements of this college writing “literacy task.”

Knowledge of Research Skills

Perhaps up to now research has meant going straight to Google and Wikipedia, but college will require you to search for and find more in-depth information. You’ll need to know how to find information in the library, especially what is available from online databases which contain scholarly articles. Researching is also a process, so you’ll need to learn how to focus and direct a research project and how to keep track of all your source information. Realize that researching represents a crucial component of most all college writing assignments, and you will need to devote lots of work to this researching.

The Ability to Read Complex Texts

Whereas your previous writing in school might have come generally from your experience, college writing typically asks you to write on unfamiliar topics. Whether you’re reading your textbook, a short story, or scholarly articles from research, your ability to write well will be based upon the quality of your reading. In addition to the labor of close reading, you’ll need to think critically as you read. That means separating fact from opinion, recognizing biases and assumptions, and making inferences. Inferences are how we as readers connect the dots: an inference is a belief (or statement) about something unknown made on the basis of something known. You smell smoke; you infer fire. They are conclusions or interpretations that we arrive at based upon the known factors we discover from our reading. When we, then, write to argue for these interpretations, our job becomes to get our readers to make the same inferences we have made.

The Understanding of Key Disciplinary Concepts

Each discipline whether it is English, Psychology, or History has its own key concepts and language for describing these important ways of understanding the world. Don’t fool yourself that your professors’ writing assignments are asking for your opinion on the topic from just your experience. They want to see you apply and use these concepts in your writing. Though different from a multiple-choice exam, writing similarly requires you to demonstrate your learning. So whatever writing assignment you receive, inspect it closely for what concepts it asks you to bring into your writing.

Strategies for Synthesizing, Analyzing, and Responding Critically to New Information

You need to develop the skill of a seasoned traveler who can be dropped in any city around the world and get by. Each writing assignment asks you to navigate through a new terrain of information, so you must develop ways for grasping new subject matter in order, then, to use it in your writing. We have already seen the importance of reading and research for these literacy tasks, but beyond laying the information out before you, you will need to learn ways of sorting and finding meaningful patterns in this information.

In College, Everything’s an Argument: A Guide for Decoding College Writing Assignments

Let’s restate this complex “literacy task” you’ll be asked repeatedly to do in your writing assignments. Typically, you’ll be required to write an “essay” based upon your analysis of some reading(s). In this essay you’ll need to present an argument where you make a claim (i.e. present a “thesis”) and support that claim with good reasons that have adequate and appropriate evidence to back them up. The dynamic of this argumentative task often confuses first year writers, so let’s examine it more closely.

Academic Writing Is an Argument

To start, let’s focus on argument. What does it mean to present an “argument” in college writing? Rather than a shouting match between two disagreeing sides, argument instead means a carefully arranged and supported presentation of a viewpoint. Its purpose is not so much to win the argument as to earn your audience’s consideration (and even approval) of your perspective. It resembles a conversation between two people who may not hold the same opinions, but they both desire a better understanding of the subject matter under discussion. My favorite analogy, however, to describe the nature of this argumentative stance in college writing is the courtroom. In this scenario, you are like a lawyer making a case at trial that the defendant is not guilty, and your readers are like the jury who will decide if the defendant is guilty or not guilty. This jury (your readers) won’t just take your word that he’s innocent; instead, you must convince them by presenting evidence that proves he is not guilty. Stating your opinion is not enough—you have to back it up too. I like this courtroom analogy for capturing two importance things about academic argument: 1) the value of an organized presentation of your “case,” and 2) the crucial element of strong evidence.

Academic Writing Is an Analysis

We now turn our attention to the actual writing assignment and that confusing word “analyze.” Your first job when you get a writing assignment is to figure out what the professor expects. This assignment may be explicit in its expectations, but often built into the wording of the most defined writing assignments are implicit expectations that you might not recognize. First, we can say that unless your professor specifically asks you to summarize, you won’t write a summary. Let me say that again: don’t write a summary unless directly asked to. But what, then, does the professor want? We have already picked out a few of these expectations: You can count on the instructor expecting you to read closely, research adequately, and write an argument where you will demonstrate your ability to apply and use important concepts you have been studying. But the writing task also implies that your essay will be the result of an analysis. At times, the writing assignment may even explicitly say to write an analysis, but often this element of the task remains unstated.

So what does it mean to analyze? One way to think of an analysis is that it asks you to seek How and Why questions much more than What questions. An analysis involves doing three things:

Engage in an open inquiry where the answer is not known at first (and where you leave yourself open to multiple suggestions)
Identify meaningful parts of the subject
Examine these separate parts and determine how they relate to each other

An analysis breaks a subject apart to study it closely, and from this inspection, ideas for writing emerge. When writing assignments call on you to analyze, they require you to identify the parts of the subject (parts of an ad, parts of a short story, parts of Hamlet’s character), and then show how these parts fit or don’t fit together to create some larger effect or meaning. Your interpretation of how these parts fit together constitutes your claim or thesis, and the task of your essay is then to present an argument defending your interpretation as a valid or plausible one to make. My biggest bit of advice about analysis is not to do it all in your head. Analysis works best when you put all the cards on the table, so to speak. Identify and isolate the parts of your analysis, and record important features and characteristics of each one. As patterns emerge, you sort and connect these parts in meaningful ways. For me, I have always had to do this recording and thinking on scratch pieces of paper. Just as critical reading forms a crucial element of the literacy task of a college writing assignment, so too does this analysis process. It’s built in.

Three Common Types of College Writing Assignments

We have been decoding the expectations of the academic writing task so far, and I want to turn now to examine the types of assignments you might receive. From my experience, you are likely to get three kinds of writing assignments based upon the instructor’s degree of direction for the assignment. We’ll take a brief look at each kind of academic writing task.

The Closed Writing Assignment

Is Creon a character to admire or condemn?
Does your advertisement employ techniques of propaganda, and if so what kind?
Was the South justified in seceding from the Union?
In your opinion, do you believe Hamlet was truly mad?

These kinds of writing assignments present you with two counter claims and ask you to determine from your own analysis the more valid claim. They resemble yes-no questions. These topics define the claim for you, so the major task of the writing assignment then is working out the support for the claim. They resemble a math problem in which the teacher has given you the answer and now wants you to “show your work” in arriving at that answer.

Be careful with these writing assignments, however, because often these topics don’t have a simple yes/no, either/or answer (despite the nature of the essay question). A close analysis of the subject matter often reveals nuances and ambiguities within the question that your eventual claim should reflect. Perhaps a claim such as, “In my opinion, Hamlet was mad” might work, but I urge you to avoid such a simplistic thesis. This thesis would be better: “I believe Hamlet’s unhinged mind borders on insanity but doesn’t quite reach it.”

The Semi-Open Writing Assignment

Discuss the role of law in Antigone.
Explain the relationship between character and fate in Hamlet.
Compare and contrast the use of setting in two short stories.
Show how the Fugitive Slave Act influenced the Abolitionist Movement.

Although these topics chart out a subject matter for you to write upon, they don’t offer up claims you can easily use in your paper. It would be a misstep to offer up claims such as, “Law plays a role in Antigone” or “In Hamlet we can see a relationship between character and fate.” Such statements express the obvious and what the topic takes for granted. The question, for example, is not whether law plays a role in Antigone, but rather what sort of role law plays. What is the nature of this role? What influences does it have on the characters or actions or theme? This kind of writing assignment resembles a kind of archeological dig. The teacher cordons off an area, hands you a shovel, and says dig here and see what you find.

Be sure to avoid summary and mere explanation in this kind of assignment. Despite using key words in the assignment such as “explain,” “illustrate,” analyze,” “discuss,” or “show how,” these topics still ask you to make an argument. Implicit in the topic is the expectation that you will analyze the reading and arrive at some insights into patterns and relationships about the subject. Your eventual paper, then, needs to present what you found from this analysis—the treasure you found from your digging. Determining your own claim represents the biggest challenge for this type of writing assignment.

The Open Writing Assignment

Analyze the role of a character in Dante’s The Inferno.
What does it mean to be an “American” in the 21st Century?
Analyze the influence of slavery upon one cause of the Civil War.
Compare and contrast two themes within Pride and Prejudice.

These kinds of writing assignments require you to decide both your writing topic and you claim (or thesis). Which character in the Inferno will I pick to analyze? What two themes in Pride and Prejudice will I choose to write about? Many students struggle with these types of assignments because they have to understand their subject matter well before they can intelligently choose a topic. For instance, you need a good familiarity with the characters in The Inferno before you can pick one. You have to have a solid understanding defining elements of American identity as well as 21st century culture before you can begin to connect them. This kind of writing assignment resembles riding a bike without the training wheels on. It says, “You decide what to write about.” The biggest decision, then, becomes selecting your topic and limiting it to a manageable size.

Picking and Limiting a Writing Topic

Let’s talk about both of these challenges: picking a topic and limiting it. Remember how I said these kinds of essay topics expect you to choose what to write about from a solid understanding of your subject? As you read and review your subject matter, look for things that interest you. Look for gaps, puzzling items, things that confuse you, or connections you see. Something in this pile of rocks should stand out as a jewel: as being “do-able” and interesting. (You’ll write best when you write from both your head and your heart.) Whatever topic you choose, state it as a clear and interesting question. You may or may not state this essay question explicitly in the introduction of your paper (I actually recommend that you do), but it will provide direction for your paper and a focus for your claim since that claim will be your answer to this essay question. For example, if with the Dante topic you decid ed to write on Virgil, your essay question might be: “What is the role of Virgil toward the character of Dante in The Inferno?” The thesis statement, then, might be this: “Virgil’s predominant role as Dante’s guide through hell is as the voice of reason.” Crafting a solid essay question is well worth your time because it charts the territory of your essay and helps you declare a focused thesis statement.

Many students struggle with defining the right size for their writing project. They chart out an essay question that it would take a book to deal with adequately. You’ll know you have that kind of topic if you have already written over the required page length but only touched one quarter of the topics you planned to discuss. In this case, carve out one of those topics and make your whole paper about it. For instance, with our Dante example, perhaps you planned to discuss four places where Virgil’s role as the voice of reason is evident. Instead of discussing all four, focus your essay on just one place. So your revised thesis statement might be: “Close inspection of Cantos I and II reveal that Virgil serves predominantly as the voice of reason for Dante on his journey through hell.” A writing teacher I had in college said it this way: A well tended garden is better than a large one full of weeds. That means to limit your topic to a size you can handle and support well.

Three Characteristics of Academic Writing

I want to wrap up this section by sharing in broad terms what the expectations are behind an academic writing assignment. Chris Thaiss and Terry Zawacki conducted research at George Mason University where they asked professors from their university what they thought academic writing was and its standards. They came up with three characteristics:

Clear evidence in writing that the writer(s) have been persistent, open-minded, and disciplined in study. (5)
The dominance of reason over emotions or sensual perception. (5)
An imagined reader who is coolly rational, reading for information, and intending to formulate a reasoned response. (7)

Your professor wants to see these three things in your writing when they give you a writing assignment. They want to see in your writing the results of your efforts at the various literacy tasks we have been discussing: critical reading, research, and analysis. Beyond merely stat ing opinions, they also want to see an argument toward an intelligent audience where you provide good reasons to support your interpretations.

The Format of the Academic Essay

Your instructors will also expect you to deliver a paper that contains particular textual features. The following list contains the characteristics of what I have for years called the “critical essay.” Although I can’t claim they will be useful for all essays in college, I hope that these features will help you shape and accomplish successful college essays. Be aware that these characteristics are flexible and not a formula, and any particular assignment might ask for something different.

Characteristics of the Critical Essay

“Critical” here is not used in the sense of “to criticize” as in find fault with. Instead, “critical” is used in the same way “critical thinking” is used. A synonym might be “interpretive” or “analytical.”

It is an argument, persuasion essay that in its broadest sense MAKES A POINT and SUPPORTS IT. (We have already discussed this argumentative nature of academic writing at length.)
The point (“claim” or “thesis”) of a critical essay is interpretive in nature. That means the point is debatable and open to interpretation, not a statement of the obvious. The thesis statement is a clear, declarative sentence that often works best when it comes at the end of the introduction.
Organization: Like any essay, the critical essay should have a clear introduction, body, and conclusion. As you support your point in the body of the essay, you should “divide up the proof,” which means structuring the body around clear primary supports (developed in single paragraphs for short papers or multiple paragraphs for longer papers).
Support: (a) The primary source for support in the critical essay is from the text (or sources). The text is the authority, so using quotations is required. ( b) The continuous movement of logic in a critical essay is “assert then support; assert then support.” No assertion (general statement that needs proving) should be left without specific support (often from the text(s)). (c) You need enough support to be convincing. In general, that means for each assertion you need at least three supports. This threshold can vary, but invariably one support is not enough.
A critical essay will always “document” its sources, distinguishing the use of outside information used inside your text and clarifying where that information came from (following the rules of MLA documentation style or whatever documentation style is required).
Whenever the author moves from one main point (primary support) to the next, the author needs to clearly signal to the reader that this movement is happening. This transition sentence works best when it links back to the thesis as it states the topic of that paragraph or section.
A critical essay is put into an academic essay format such as the MLA or APA document format.
Grammatical correctness: Your essay should have few if any grammatical problems. You’ll want to edit your final draft carefully before turning it in.

As we leave this discussion, I want to return to what I said was the secret for your success in writing college essays: Your success with academic writing depends upon how well you understand what you are doing as you write and then how you approach the writing task. Hopefully, you now have a better idea about the nature of the academic writing task and the expectations behind it. Knowing what you need to do won’t guarantee you an “A” on your paper—that will take a lot of thinking, hard work, and practice—but having the right orientation toward your college writing assignments is a first and important step in your eventual success.

How did what you wrote in high school compare to what you have/will do in your academic writing in college?
Think of two different writing situations you have found yourself in. What did you need to do the same in those two situations to place your writing appropriately? What did you need to do differently?
Think of a writing assignment that you will need to complete this semester. Who’s your audience? What’s the occasion or context? What’s your message? What’s your purpose? What documents/genres are used? How does all that compare to the writing you are doing in this class?

Works Cited

Carroll, Lee Ann. Rehearsing New Roles: How College Students Develop as Writers . Carbondale: Southern Illinois UP, 2002. Print.

Thaiss, Chris and Terry Zawacki. Engaged Writers & Dynamic Disciplines: Research on the Academic Writing Life . Portsmouth: Boynton/Cook, 2006. Print.

Source Information

Starting the Journey: An Intro to College Writing Copyright © by Leonard Owens III; Tim Bishop; and Scott Ortolano is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Readings on Writing

What is Academic Writing?

Lennie l. irvin, chapter description.

This chapter explores the task of writing in college. It details common myths about academic writing and the importance of developing a “writer’s sense” within the writing situation. It identifies features of the complex “literacy task” college writing assignments require and decodes elements of the academic writing situation that students frequently struggle with: in particular, the nature of argument and analysis in college writing tasks. The chapter outlines three common types of writing assignments college writers might expect to receive and offers advice on how to address them. It closes by detailing particular textual features commonly expected in academic essays.

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You may also download this chapter from Parlor Press or WAC Clearinghouse.

Writing Spaces is published in partnership with Parlor Press and WAC Clearinghouse .

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What is "Academic" Writing?

Written by L. Lennie Irvin

Introduction: The Academic Writing Task

As a new college student, you may have a lot of anxiety and questions about the writing you’ll do in college. That word “academic,” especially, may turn your stomach or turn your nose. However, with this first year composition class, you begin one of the only classes in your entire college career where you will focus on learning to write. Given the importance of writing as a communication skill, I urge you to consider this class as a gift and make the most of it. But writing is hard, and writing in college may resemble playing a familiar game by completely new rules (that often are unstated). This chapter is designed to introduce you to what academic writing is like, and hopefully ease your transition as you face these daunting writing challenges.

So here’s the secret. Your success with academic writing depends upon how well you understand what you are doing as you write and then how you approach the writing task. Early research done on college writers discovered that whether students produced a successful piece of writing depended largely upon their representation of the writing task. The writers’ mental model for picturing their task made a huge difference. Most people as they start college have wildly strange ideas about what they are doing when they write an essay, or worse—they have no clear idea at all. I freely admit my own past as a clueless freshman writer, and it’s out of this sympathy as well as twenty years of teaching college writing that I hope to provide you with something useful. So grab a cup of coffee or a diet coke, find a comfortable chair with good light, and let’s explore together this activity of academic writing you’ll be asked to do in college. We will start by clearing up some of those wild misconceptions people often arrive at college possessing. Then we will dig more deeply into the components of the academic writing situation and nature of the writing task.

Myths about Writing

Though I don’t imagine an episode of MythBusters will be based on the misconceptions about writing we are about to look at, you’d still be surprised at some of the things people will believe about writing. You may find lurking within you viral elements of these myths—all of these lead to problems in writing.

Myth #1: The “Paint by Numbers” myth

Myth #2: Writers only start writing when they have everything fgured out

Myth #3: Perfect first drafts

Myth #4: Some got it; I don’t—the genius fallacy

Myth #5: Good grammar is good writing

Myth #6: The Five-Paragraph Essay

Myth #7: Never use “I”

The Academic Writing Situation

When we speak, we inhabit the communication situation bodily in three dimensions, but in writing we are confined within the twodimensional setting of the flat page (though writing for the web—or multimodal writing—is changing all that). Writing resembles having a blindfold over our eyes and our hands tied behind our backs: we can’t see exactly whom we’re talking to or where we are. Separated from our audience in place and time, we imaginatively have to create this context. Our words on the page are silent, so we must use punctuation and word choice to communicate our tone. We also can’t see our audience to gauge how our communication is being received or if there will be some kind of response. It’s the same space we share right now as you read this essay. Novice writers often write as if they were mumbling to themselves in the corner with no sense that their writing will be read by a reader or any sense of the context within which their communication will be received.

What’s the moral here? Developing your “writer’s sense” about communicating within the writing situation is the most important thing you should learn in freshman composition. Figure 1, depicting the writing situation, presents the best image I know of describing all the complexities involved in the writing situation.

Chart that depicts how social, physical, and cultural context influence the writer

Looking More Closely at the “Academic Writing” Situation

Who’s your audience? Primarily the professor and possibly your classmates (though you may be asked to include a secondary outside audience).
What’s the occasion or context? An assignment given by the teacher within a learning context and designed to have you learn and demonstrate your learning.
What’s your message? It will be your learning or the interpretation gained from your study of the subject matter.
What’s your purpose? To show your learning and get a good grade (or to accomplish the goals of the writing assignment).
What documents/genres are used? The essay is the most frequent type of document used.

What are usually called ‘writing assignments’ in college might more accurately be called ‘literacy tasks’ because they require much more than the ability to construct correct sentences or compose neatly organized paragraphs with topic sentences. . . . Projects calling for high levels of critical literacy in college typically require knowledge of research skills, ability to read complex texts, understanding of key disciplinary concepts, and strategies for synthesizing, analyzing, and responding critically to new information, usually within a limited time frame. (3–4)

Knowledge of Research Skills

The Ability to Read Complex Texts

The Understanding of Key Disciplinary Concepts

Strategies for Synthesizing, Analyzing, and Responding Critically to New Information

In College, Everything’s an Argument: A Guide for Decoding College Writing Assignments

Academic Writing Is an Argument

Academic Writing Is an Analysis

So what does it mean to analyze? One way to think of an analysis is that it asks you to seek How and Why questions much more than What questions. An analysis involves doing three things:

Engage in an open inquiry where the answer is not known at first (and where you leave yourself open to multiple suggestions).
Identify meaningful parts of the subject.
Examine these separate parts and determine how they relate to each other.

Three Common Types of College Writing Assignments

The Closed Writing Assignment

Is Creon a character to admire or condemn?
Does your advertisement employ techniques of propaganda, and if so what kind?
Was the South justified in seceding from the Union?
In your opinion, do you believe Hamlet was truly mad?

The Semi-Open Writing Assignment

Discuss the role of law in Antigone.
Explain the relationship between character and fate in Hamlet.
Compare and contrast the use of setting in two short stories.
Show how the Fugitive Slave Act influenced the Abolitionist Movement.

The Open Writing Assignment

Analyze the role of a character in Dante’s The Inferno.
What does it mean to be an “American” in the 21st Century?
Analyze the influence of slavery upon one cause of the Civil War.
Compare and contrast two themes within Pride and Prejudice .

Picking and Limiting a Writing Topic

Let’s talk about both of these challenges: picking a topic and limiting it. Remember how I said these kinds of essay topics expect you to choose what to write about from a solid understanding of your subject? As you read and review your subject matter, look for things that interest you. Look for gaps, puzzling items, things that confuse you, or connections you see. Something in this pile of rocks should stand out as a jewel: as being “do-able” and interesting. (You’ll write best when you write from both your head and your heart.) Whatever topic you choose, state it as a clear and interesting question. You may or may not state this essay question explicitly in the introduction of your paper (I actually recommend that you do), but it will provide direction for your paper and a focus for your claim since that claim will be your answer to this essay question. For example, if with the Dante topic you decided to write on Virgil, your essay question might be: “What is the role of Virgil toward the character of Dante in The Inferno?” The thesis statement, then, might be this: “Virgil’s predominant role as Dante’s guide through hell is as the voice of reason.” Crafting a solid essay question is well worth your time because it charts the territory of your essay and helps you declare a focused thesis statement.

Three Characteristics of Academic Writing

Clear evidence in writing that the writer(s) have been persistent, open-minded, and disciplined in study. (5)
The dominance of reason over emotions or sensual perception. (5)
An imagined reader who is coolly rational, reading for information, and intending to formulate a reasoned response. (7)

Your professor wants to see these three things in your writing when they give you a writing assignment. They want to see in your writing the results of your efforts at the various literacy tasks we have been discussing: critical reading, research, and analysis. Beyond merely stating opinions, they also want to see an argument toward an intelligent audience where you provide good reasons to support your interpretations.

The Format of the Academic Essay

Characteristics of the Critical Essay

It is an argument, persuasion essay that in its broadest sense MAKES A POINT and SUPPORTS IT. (We have already discussed this argumentative nature of academic writing at length.)
The point (“claim” or “thesis”) of a critical essay is interpretive in nature. That means the point is debatable and open to interpretation, not a statement of the obvious. The thesis statement is a clear, declarative sentence that often works best when it comes at the end of the introduction.
Organization: Like any essay, the critical essay should have a clear introduction, body, and conclusion. As you support your point in the body of the essay, you should “divide up the proof,” which means structuring the body around clear primary supports (developed in single paragraphs for short papers or multiple paragraphs for longer papers).
Support: (a) The primary source for support in the critical essay is from the text (or sources). The text is the authority, so using quotations is required. ( b) The continuous movement of logic in a critical essay is “assert then support; assert then support.” No assertion (general statement that needs proving) should be left without specific support (often from the text(s)). (c) You need enough support to be convincing. In general, that means for each assertion you need at least three supports. This threshold can vary, but invariably one support is not enough.
A critical essay will always “document” its sources, distinguishing the use of outside information used inside your text and clarifying where that information came from (following the rules of MLA documentation style or whatever documentation style is required).
Whenever the author moves from one main point (primary support) to the next, the author needs to clearly signal to the reader that this movement is happening. This transition sentence works best when it links back to the thesis as it states the topic of that paragraph or section.
A critical essay is put into an academic essay format such as the MLA or APA document format.
Grammatical correctness: Your essay should have few if any grammatical problems. You’ll want to edit your final draft carefully before turning it in.

How did what you wrote in high school compare to what you have/will do in your academic writing in college?
Think of two different writing situations you have found yourself in. What did you need to do the same in those two situations to place your writing appropriately? What did you need to do differently?
Think of a writing assignment that you will need to complete this semester. Who’s your audience? What’s the occasion or context? What’s your message? What’s your purpose? What documents/genres are used? How does all that compare to the writing you are doing in this class?

Works Cited

This essay was written by L. Lennie Irvin and published in Writing Spaces: Readings on Writing , Volume 1, a peer-reviewed open textbook series for the writing classroom; it appears here with minor changes. This material is licensed under a  Creative Commons Attribution 3.0 International License . Please keep this information on this material if you use, adapt, and/or share it.

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Thus, the Guide shows student writers how to employ scholarly writing practices as demonstrated by the readings, while the readings invite students to engage with scholarly content. COMMENTS “Academic Writing, Real World Topics promises to be an ideal resource for college-level writing instruction. For students, the organization of the book will be helpful as it guides them through the process of writing and then provides real examples of writing in different disciplines. For instructors, the pairing of those examples with the writing process will simplify classroom instruction and allow for focus on particular issues relevant to the students. 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The topics are compelling, and the concise introduction to academic writing is thorough and easily digested. This book will function not only for introductory writing sequences and WAC courses, but also for first-year seminars and other introductory surveys. There is simply no better book that I have seen for introducing students to both college-level writing and academic discourses more generally. I recommend it for instructors who wish to engage their students in productive scholarly writing and discussion, and also for those who strive for broader and deeper intellectual activity.” — Tamuira Reid, New York University “What excites me about Academic Writing, Real World Topics is that this book is unapologetically smart, contemporary, and multi-disciplinary. It does a great job at presenting the anatomy of an argument as well as providing examples from a range of disciplines. Throughout, the book emphasizes the connection between logic, grammar, and rhetoric. The result is a systematic approach that makes students aware of how authors use language to create ideas. The emphasis on language in this text will ensure that students develop the reading and writing skills necessary to strive in college—something every text promises but rarely delivers. Finally, it is worth reiterating that the readings consist of contemporary essays in political science, sociology, education, information technology, and literary theory. This will engage students in the issues as well as prepare them as academic writers.” — Jacob Singer, Professor of Academic Writing Comments from students using Real World Topics “Academic Writing: Real World Topics is a book that boldly discusses the real-world problems that the new generation is now facing … The book helped me, as a student, to organize my thoughts on the emerging global culture through the lenses of renowned scholars. 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“What Is “Academic” Writing?” by Lennie Irvin Essay (Critical Writing)

In a 2010 article by Lennie Irvin entitled “What Is “Academic” Writing?” the author introduces freshmen to what academic writing in college is and how to be prepared for it. First, Irvin identifies the common misconceptions about writing that students tend to accept. Irvin then continues, highlighting the importance of developing a “writer’s sense” so that one could communicate their ideas to their audience successfully. Second, Irvin analyzes the codes and conventions that one should be aware of, and take into consideration when writing. Third, Irvin explores the elements of writing a “literacy task.”

According to the author, a student should be aware of their professor’s expectations and understand what the instructor wants to be accomplished while doing a task. Fourth, Irvin explains what a literacy task is. He states that a literacy task is both an argument and an analysis. Fifth, Irvin identifies the common types of college writing assignments.

He claims that the main types of writing assignments are closed writing assignments, semi-open writing assignments, and open writing assignments. Sixth, Irvin speaks about the challenge of picking a topic and limiting it. He stresses the importance of looking for topics that are interesting to the student, as certain writing assignments require the learner to choose what to write about, which should be based on a sufficient understanding of the subject. Seventh, Irvin lists the expectations behind an academic writing assignment.

He claims that professors want to see positive outcomes of students’ good efforts at attempting their literacy tasks and that the learners’ argument has good reasons to justify it. Eighth, Irvin writes that academic essays should have a proper format. There are several characteristics that a good critical essay should have, such as an appropriate organization, adequate support of the claims, and grammatical correctness. Irvin then concludes by stating that the success of the students depends on their understanding and their chosen approach to a writing task.

Irvin, L. L. (2010). What is “academic” writing? In C. Lowe & P. Zemliansky (Eds.), Writing spaces: Readings on writing (Vol. 1, pp. 3-17). West Lafayette, IN: Parlor Press.

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What Is Academic Writing

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... For students to be competent in academic writing, they must pay close attention to, and have an awareness of, expectations set out by lecturers/teachers in order to produce writing of the required standard (Irvin, 2010). ...

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... …require the knowledge base of a particular discipline (Maguire, Reynolds, & Delahunt, 2013) or background knowledge of what to write (Irvin, 2010), followed by the knowledge of a particular text that has a social function and patterns of organization with a system of language… ...

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Writing Spaces: Readings on Writing Vol. I

(17 reviews)

Charlie Lowe, Grand Valley State University

Pavel Zemliansky, James Madison University

ISBN 13: 9781602351844

Publisher: WAC Clearinghouse

Language: English

Formats Available

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Learn more about reviews.

Reviewed by Jacqueline Cason, Professor of Writing, University of Alaska Anchorage on 1/3/21, updated 1/10/21

Comprehensiveness rating: 5 see less

The collection of essays offer a comprehensive range of options for supporting the work of college-level writers. It begins by exploring the open text movement explicitly; supports students in academic settings with help in breaking down their assignments; encourages writers to come to terms with their identity, the use of "I", and the interaction between self and sources when composing. I was delighted to see three essays focused on invention, which is where writing begins. Additionally, the volume includes articles on the value of Wikipedia, the role of digital spaces, and the nature of genres.

Content Accuracy rating: 5

The authors of individual essays are respected teacher-scholars in the field who cite writing research but never lose sight of the need to communicate disciplinary wisdom in accessible language.

Relevance/Longevity rating: 5

The collection of essays integrate theory and practice by using narrative techniques and exercises to bring the theory to life in the classroom. They elevate writing to a position worthy of close study, but always with an eye toward applied knowledge that puts writing into practice. .

Clarity rating: 5

Extremely accessible in language and concept. Both instructors and students will learn from the research and wisdom of these teacher-scholars and should be able to use the readings to engage in further inquiry into how writing begins, unfolds, and reaches out to audiences.

Consistency rating: 5

While not every essay is equally useful to my particular teaching needs, I would say that the quality of each essay is high caliber. The length, citation to authority, lively examples of writing at work in the classroom and beyond, and the narrative framework that invites readings in--all of these qualities are ingrained in each chapter.

Modularity rating: 5

While the collection as a whole provides a cumulative value, the individual essays could stand alone. This first volume is complemented by the second volume, and instructors could easily pick and choose the essays that best fit their classroom needs.

Organization/Structure/Flow rating: 5

The essays proceed from a broad scope toward more focused and specific writing issues. That could lend itself to a linear reading of chapters, but that is not necessary. For example, although the Dirks essay on navigating genres is positioned last, it might work very well early in a semester to communicate a core threshold concept that characterizes genre as a form of social action, providing exigence and a habituated relationship between author and audience.

Interface rating: 5

I appreciated the publication information and permissions for distribution right up front. The design of the documents lends itself to modularity and selective use.

Grammatical Errors rating: 5

Free of error.

Cultural Relevance rating: 4

Not culturally offensive, though not particularly rich in cultural content and context. It reflects mainstream academic context but could be complemented by additional readings that do address language barriers on our campuses.

I find the collection versatile. While the readings are accessible for freshman students, without dumbing down or condescending, I can imagine using selections for more advanced writing classes.

Reviewed by Kevin O'Donnell, Professor, East Tennessee State University on 4/26/19

Comprehensiveness rating: 4 see less

This book covers a lot of ground and brings a fresh approach to topics that most instructors will want to address in a first year college writing course. The general index is thorough and helpful. The 16 chapters/ essays here, taken as a whole, emphasize writing process and invention. There are excellent essays on wikipedia and on genre, respectively. However, some importatnt writing topics don't get discussed much, including structure/ organization. To be fair, it's hard to be "comprehensive" when the topic is writing. I plan on using this text, but will probably supplement it with select chapters from other texts in the open textbook network.

The text is well edited, and I didn't see any errors or problems in the 16 chapters/ essays which constitute the body of the text. I do have a few quibbles, though. I am confused about the title: This is "Writing Spaces: Readings on Writing Volume 1." I can't tell how this is different from "Volume 2." Usually, you should be able to tell from the title or subtitle what the different volumes are about. Perhaps Volume 2 is just "MORE Readings on Writing"? Also, the short introduction starts out unpromisingly with a confusing list of 11 bullet points in front of phrases that are not grammatically parallel. Throughout the rest of the text, though, the editing is very good.

It's almost 10 years old, but the text feels up to date. The chapters on Wikipedia and on genre still feel up-to-date. The chapter entitled "Collaborating Online" still works well -- apparently, Google Docs hasn't changed much over the past 10 years.

The clarity of the writing is a strength of this textbook.

Consistency rating: 4

It's a bit uneven across chapters. I would guess that at least a few of the 16 chapters/ essays included here were first written for other composition instructors, or even for comp theorists and academics, and then were revised for an audience of first-year college writing students. That's evident in the fact that a few of the chapters have residual academic/ pedagogic terminology. Nonetheless, the writing is clear throughout, and strongly edited from chapter to chapter, and I don't think college students need to be shielded from a smattering of pedagogical terminology. I also kind of like the idea that the students will get a glimpse into what their teachers are thinking.

The book is very modular. Each chapter stands on its own.

I was never really able to glom on to the principle behind the overall arrangement of the 16 chapters/ essays. But since each stands on its own, you can assign the chapters in any order, so I don't see this as a problem.

This is a 288 page pdf that prints out on 8-1/2" x 11" paper. The typography and layout are clear and appealing. No problems.

Except for one single grammatical misfire -- that bullet-pointed list on page 2 of the intro -- the text is well edited, with no other grammatical errors that I saw.

Cultural Relevance rating: 5

I did not notice any instances of cultural insensitivity. The examples drawn from literature and culture are reasonably inclusive throughout.

I appreciate the emphasis on process and invention. The genre approach feels fresh to me. The writing throughout is clear and thus serves as a model for good writing. I plan to adopt this text in Fall 2019 for a first-year composition class. I will supplement it with some more practical "how-to" readings about organization and revising for style and editing.

Reviewed by Leigh Graziano , Assistant Professor of English; Director of First-Year Writing, Western Oregon University on 2/19/19

Comprehensiveness is hard to define and is likely variable, but this text includes chapters on a wide range of writing topics that are very relevant to the first-year writing classroom, especially. Chapters include campus resources like the... read more

The chapters reflect current knowledge and best practices in the field of composition. There is no apparent bias. The chapters themselves make clear arguments supported with evidence and have the potential for good classroom discussion about students' own prior writing experiences.

This textbook is nine years old, but the content of its chapters is no less relevant today. I still assign these chapters regularly in my classes. Because the textbook is organized by chapters written by different authors, it would also be easy to just substitute a single chapter in the event that it was no longer relevant. It wouldn't require throwing out the entire textbook.

One of the key benefits of this textbook is that it translates composition theory into accessible language for students. The chapter on genre, for example, covers Bitzer's rhetorical situation and Devitt's theories about genre but in a way that students can access and follow. The examples within the chapters are current and specific, which helps make the concepts easy to follow. All disciplinary terms are defined and again given really clear illustrations. These are usually some of my students' favorite readings.

Unlike a traditional textbook written by a single author, there is some variation in approach, terminology, etc. because each chapter is written by a different author. I do think that the tone of the chapters remains consistent throughout; they are written for students, they talk to students, and they are very accessible for beginning college students. The small degree of difference between chapters has never been a problem for me or my students because this isn't a textbook that requires reading all the chapters, so the chapters you choose to assign can be really tailored to your course.

One of the benefits of this textbook is that each chapter is written by a different author and therefore meant to be read on its own. The textbook doesn't reference itself, so it gives teachers maximum freedom to assign the chapters that are most relevant to their course and the particular kinds of writing they're asking students to complete. Chapters can be assigned in any order and integrated into different stages of the course.

Organization/Structure/Flow rating: 3

There is no obvious design in the organization of the chapters. Each chapter covers a different topic related to writing, but there is no justification for the particular arrangement of chapters. This isn't a hinderance in how teachers can use this textbook, but it does differ from common classroom textbooks that have a very clear beginning and build from there. Those textbooks do require, however, that students mostly read the textbook in that order. The flexible organization of Writing Spaces lets teachers assign the chapters in any order that makes sense for their course.

There are no interface issues that I have ever encountered with this text. One benefit is that students can download each chapter individually as a PDF so that they can highlight and annotate as they read. All the chapters are hyperlinked so that students can go straight to the chapter they are assigned. They don't have to scroll through the entire book to find what they're looking for. My own experience using this text is that students are rarely confused with how to access the material.

No obvious errors.

Cultural Relevance rating: 3

I don't believe there is any material in the text that is insensitive or offensive, but it's also not super multicultural. It gives great instruction on writing in a variety of topics, but it might not be the most appealing for international students. Many of the examples are grounded in American culture. I hope future volumes will expand in this direction.

This is a great cost effective alternative to more expensive first-year writing textbooks. It grants a lot of freedom to the instructor to organize the course and their assignments in a way that makes sense and supplement with additional material that is relevant to the course. I've used many of these readings in a range of writing courses that I've taught. I highly recommend it.

Reviewed by Jeff Pruchnic, Associate Professor, Wayne State University on 12/7/18

Writing Spaces is a collection of chapters by various authors on a diverse range of topics (e.g., rhetorical analysis, inquiry-based writing, reflective writing, invention strategies). While what counts as "comprehensive" in a writing course is likely to vary by instructor and approach, this text does a wonderful job of including the standard topics you would expect to see in a quality first-year writing text as well several topics not as common (but welcome additions for at least this reviewer). The arrangement of the text as as series of topic-based chapters written by different authors has the advantage of including both a diversity of perspective as well as the option of assigning chapters out-of-order.

While some chapters take a strong perspective on writing-relevant issue (e.g., James Purdy's "Wikipedia is Good for You!"), the text is free of any clear bias and accurate to contemporary research on best practices in writing instruction.

The text (now about eight years past its initial publication) reads as relevant today. The arrangement of the chapters would also make it quite easy to skip or supplement any chapters that might age poorly in coming years.

While there are nineteen individual authors contributing to this text, all do a wonderful job of keeping the prose of the text accessible for a first-year writing class audience.

As this text is written by a number of authors and with chapters functioning as (generally) independent units (rather than components of a scaffolded or scaled series of readings), consistency of terminology and approach does vary a little more than that of a single-author textbook written in a more traditional format. That said, I did not find they variations to be contradictory or problematic in any way and do not expect them to lead to confusion on behalf of students.

A key feature of this book is the modularity of its chapters. In my first-year course, for instance, I have used one chapter ("Backpacks vs. Briefcases") without any of the accompanying chapters or context of the book as a whole.

Organization/Structure/Flow rating: 4

Organization is not is not as much of an issues for this text as the chapters move through different topics as opposed to each chapter building on or directly complementing earlier ones. That said, the organization works very well give this approach.

The text is very easy to navigate.

I did not detect any errors in grammar.

While the text does not show explicit attention to presenting a particularly diverse range of examples from different cultures, I would consider it on par or superior to most textbooks in this regard and it does not show any insensitivity in this area.

I think most first-year-writing instructors would find at least several of the chapters of *Writing Spaces* useful for their course and the structure of the text makes is very easy to choose whichever chapters might be best for your purposes without having to commit to using the entirety of the text.

Reviewed by Laurel Smith, Part-Time, Temporary Instructor, Century College on 6/20/17

Comprehensiveness rating: 3 see less

This text is striving for comprehensiveness. It is attempting to cover a lot of composition ground in 262 pages; however, because it is trying to cover so many topics, it does not go as in-depth as it could. It begins by addressing a first-year composition student entering a composition classroom on the first day of college. Many of the essays imagine this scenario, yet some of the later essays appear to address an advanced audience without covering enough of the middle ground needed to help them advance. The book contains a table of contents and a good index. More content is needed that focuses on the intermediate stages of writing.

The essays collected in this book are largely subjective. Numerous essays are opinion-based works about assignments or strategies that have worked for the authors as writers. These essays appear to be accurate. Some essays present information about inductive and deductive reasoning or argument structure, and the content of these essays is accurate.

Most of the information seems to have relevance and longevity. Occasionally, a dated phrase will appear, such as “on the WWW” (111), but this happens in most textbooks. The screenshots in the essay entitled “Collaborating Online: Digital Strategies for Group Work” may need to be updated over time.

Clarity rating: 4

Overall, the book needs more clarity as to its purpose and audience. Sometimes, it is writing to students, and sometimes it is writing to teachers. This is an issue that would affect first-year writers greatly because sometimes the advice given is really for instructors. For example, students would probably not know what they are supposed to do with “classroom activities” such as are discussed in “Reinventing Invention.” Another example is “Wikipedia Is Good for You!?” While it’s an interesting idea for instructors to assign students to write a Wikipedia article, this isn’t something the first-semester composition student is likely to undertake alone. This division of purpose and audience creates a lack of clarity in the authors’ sentences and language that might cause a first-year composition student to struggle.

Consistency rating: 3

This category is my biggest complaint with this book. The tone is inconsistent over the book and within the essays themselves. Many textbooks provide instructor materials. This book seems to be trying to avoid providing instructor materials by including them in the essays that are written towards students. This creates a dual audience, one that the authors switch between. This might not be clear to a first-year composition audience. For example, in “Reinventing Invention,” there is a section that reads like a case study of a classroom activity (112-116), which is labeled “Classroom Activity 1.” It seems almost as though it was originally written as a portion of an article. A student in a first-year composition course would have no control over the classroom activities conducted therein, and it reads like it was written for an instructor. Then the labels switch to “Group Activity 2” and then back to “Classroom Activity 3.” This is one example of several throughout the book.

Since there is no connective material between the essays, the book itself is very modular. Each essay tackles a specific topic, and there are few references among the essays within the book. The essays also have subheadings, so they could be assigned as smaller sections.

The essays could have been arranged more effectively. There is a block of three essays about invention that possibly should have come earlier. I also question some of the content’s effectiveness for a first-year composition student. Some of these essays are good ideas for instructors of first-year composition courses, but they couldn’t be assigned to first-year students. Some of these essays that seem more like idea-building for instructors are clearly addressed to students, though.

I used the PDF version, and I had no issues with reading any of the materials. The interface is excellent.

Grammatical Errors rating: 4

There are some small spelling errors, and these vary depending on the essay since each essay is written by a different author. Examples include you vs. your or important vs. importance. These are small oversights.

More work needs to be done with diversity and inclusive examples in this text. There are some small nods to cultural diversity, but it is mostly overlooked. I wouldn’t label any material offensive.

While I can see myself using a chapter or two, such as “What Is ‘Academic’ Writing?” this book cannot replace my current textbooks. I could use portions of it, but I couldn’t use it in its entirety. It doesn’t cover the subject of first-year composition comprehensively enough, nor does it offer enough hands-on, practical knowledge for students. It also cannot replace the “readings” portion of my current textbook which uses academic articles for building context around assigned paper topics. This book does provide some good essays for helping first-year students understand what college-level academic writing is, and it offers good context essays for specific assignments that a composition instructor might give students. Some of the essays that relate specifically to assignments I give could be valuable to my students when assigned outside of the overall book as individual modules.

This book also has potential value as a guide for composition course instructors in relation to assignment ideas and course instruction strategies.

Overall, the book needs to determine its audience—possibly provide resources for instructors in a separate section—and work from there, separating what is useful for students in a first-semester composition course, what is useful for instructors of a first-semester composition course, and what is useful for more advanced students. There is a lot of good material here that could be useful to each of these three categories of people, but it needs to be divided and re-shaped around specific audiences and purposes.

Reviewed by Zian Butler, English Instructor, Kansas State University on 8/21/16

Comprehensiveness Overall, this book could work to compliment other source material necessary for a variety of classroom settings. The text covers all areas an ideas necessary in order to be appropriate for the subject in question as well as provides an adequate index and glossary. The chapters are also helpful in providing works cited and questions for further analysis.

Content Accuracy rating: 4

Accuracy As with any piece of writing, the author brings to it their own bias depending on their choice of language and experiences. However, there appears to be no highly inaccurate content that stands out as inappropriate or highly unethical. Overall, good choices in the content itself - looks to be helpful to instructors and students alike.

Relevance/Longevity The content is on writing techniques that have been proven, time after time, to be efficient and they are presented by different perspectives as well and that keeps the relevance varied and interesting for the reader. Also, the chapters that tackle the importance of Wikipedia and the direction of Digital Collaborations help to keep the book relevant and informed on the different directions that the Humanities are headed into.

Clarity The prose, even though it seems to be written more towards the teacher/instructor, is accessible for a variety of readers. The text does a good job of providing the necessary context when introducing certain technical terms and it aims to engage the students to analyze their own writing techniques and how they can continually improve on them.

Consistency The chapters all play a role investigating different writing techniques and examples of language choice and styles. Overall it is excellent that each chapter has the opportunity to stand alone and be used by the instructor to teach varying levels of understanding/comprehension within classroom settings. Also, depending on the nature of the classroom the text can be used as a pedagogical tool for writers / educators at a higher level setting or classroom in order to help structure daily lesson plans and the like.

Modularity As mentioned before, the readily divisible sections make it so that chapters can be assigned at different points during a busy semester. The book works well to complement other reading assignments, examples, and activities.

Organization/Structure/Flow The text is clear enough in structure and the organization doesn't detract from an overall full grasp on the subject of writing. However, it is my opinion that the chapters on the Writing Center, Digital Emphasis, and Collaborations should have been last, instead of interspersed within the book. Usually, a first year writing class will focus on the "Do's" and "Don'ts" of academic writing, as well as the main objectives that need to be met in order to successfully complete an assignment and therefore won't cover much on the collaborative projects or digital work until the end (if at all). I would have more emphasis placed on the importance of peer workshops and the help of writing centers though in order to help students find extra motivation to reach outside of their own eyes and know that usually writing is a collaborative effort that takes more time than they realize.

Interface This digital book seems to work very well in regards to visibility, legibility, and overall scanning consistencies when moving from page to page. It is free of distracting interface issues or fonts. There are no major navigation issues or any distortions to the chapters or images.

Grammar Overall, the book has some minor grammatical errors, but nothing big that will distract from the reading experience or change the context of the ideas being presented within.

Cultural Relevance I would say that this text is culturally relevant to college educators and the students in first year writing classes. The examples or authors could have been more varies in order to meet a more diverse view and different challenges of writing outside of the usual but it doesn't offer any insensitive or offensive remarks.

Overall, I do believe that this volume could work very well as a companion to other source material within a writing class at a university level. It has a clear purpose that attempts to engage the student reader and writer in a different way through the choice of techniques and writing structures that they are already familiar with. However, I cannot see this book as a stand-alone text in a writing classroom that also has to find time to present the necessary material for students to understand a range of terminology, activities, and examples in order to meet the assignment guidelines throughout any given semester.

Reviewed by Lin Guo, English Language Specialist, Miami University on 8/21/16

Writing Spaces (Volume 1) covers a wide range of topics suitable for freshmen composition. The first noticeable characteristic is that the text directly addresses first-year college students, which draws the students into the text. Secondly, the text explains complex rhetorical concepts in a style that is easy to capture. For example, the first essay of “What is Academic Writing” by L. Lennie Irvin provides a good introduction to the basic terms such as academic writing situation and the format, a synopsis of the key skills required for the freshmen composition, and an illustration of college writing assignments. The third point worth mentioning is the discussion activities at the end of each essay, which provoke deep critical thinking by making connections, comparison and contrast and giving scenarios for students to practice writing. Last but not least, the text includes essays that pinpoint the issues that are often overlooked by students. For example, in “Taking Flight”, Susan E. Antlitz points out the importance of positioning one’s identity in the public context and gives practice advice with detailed examples on the invention process, which is applicable to the college students. However, I did not see texts that address the writing issues and challenges faced by ESL writers. I used Amy Tan’s “Mother Tongue” in my ENG109 class and it resonated well with non-native speakers. Also, future editions could add texts focusing on multimodal writing and visualizing texts. College students frequently have to complete digital projects, so it could be necessary to add these chapters.

The text is informative based on the practices and pedagogy. The explanation of the technical terms is accurate and expressed in a clear way. For example, the chart of Toulmin Model and the definition of the technical terms by Rebecca Jones are effective.

Relevance/Longevity rating: 4

Most of the articles deal with writing concepts, key terms, models and strategies will last for a long time. However, the articles on technology such as online collaboration tools might be updated later.

Speaking directly to the students, most writers express their ideas clearly and write in a style that is approachable. In addition, some article such as “So you’ve got a writing assignment” gives thorough directions on how to interpret college writing assignments; “Taking flight: The discussion of writing identity” provides explicit strategies to combat writing anxiety; “Finding your way in” offers clear, effective methods for invention. However, some of the essays do not provide guidance on how to write the essay beyond the techniques, or the discussion is too detailed to drown the readers.

The text has a consistent voice addressing the undergraduate students as the audience. Also, it provides a platform for writers to express their opinions from different perspectives and invites students to join the academic conversation with the awareness of multiple viewpoints. But the underlying theme of preparing students to transit from high school to college writing orchestrates the articles into a symphony.

Each chapter in Volume 1 could be used separately as a unit. Moreover, the website provides options of downloading the whole book or individual chapters, which makes it easier for teachers to reorganize the articles and form modules based on their course emphasis. Because I teach ENG109 freshman composition and rhetoric, I would like to begin with the “What is academic writing?” and “So you’ve got a writing assignment”, “From topic to presentation” as the introduction module of the basic terms in college writing, followed by the module of rhetorical analysis “Backpacks vs. Briefcases”, and then the module of argumentation “Finding the good argument”, the module of revision “Reflective writing and the revision process” and finally the module of using technology in writing “Wikipedia” and “Collaborative online”.

The overall organization of Wring Spaces is clear and well-structured from basic understanding of academic writing, assignments, writing process to more complex issues such as revision and technology. However, to improve the flow of ideas, certain chapters could be grouped together, such as “Taking flight: The discussion of writing identity” and “I need you to say I” that address the personal identity and voice. “Why visit your campus writing center” could be clustered with “Reflective writing and the revision process” that focuses on the stages of revising. The last chapter of “Navigating genres” could be put at the beginning as the basic introduction of college writing. The structure of most essays is clear with headings, subheadings, list and bullet points. The discussion questions reinforce the content of each chapter, but it would be better if some questions focus on essay structure, the specific steps to complete the writing assignment and ways to apply the strategies.

The overall interface is user-friendly, but it would be easier for students to locate a specific chapter if a hyperlink is inserted in the index.

I did not see significant grammar errors.

Writing Spaces has demonstrated cultural sensitivity throughout the volume. Several articles have referred to race, gender and ethnicity. More writers of different cultural and linguistic backgrounds will add strength to the volume. Especially the articles address the issues faced by multilingual college writers are in need.

Writing Spaces vol. 1 is a good supplemental reading book for college students in different disciplines. It gives students a clear picture of the basics in academic writing and also gives students explicit instruction as well as practical strategies to deal with a variety of issues. The accessibility of this book makes it a valuable resource for freshman writers.

Reviewed by Stacey Foster, Instructor, Pine Technical and Community College on 8/21/16

The text includes both theoretical discussions, on topics such as rhetorical strategy and plagiarism, and practical suggestions, on topics such as invention and reflection, for teachers of writing and students of writing to consider. The essays addressed other helpful topics including the possible differences between writing in high school and writing in college, the importance of visiting the writing center, strategies for understanding writing assignments, tactics to determine writing topics, ways to consider and incorporate peer review, and suggestions for working in groups – from assessing the assignment to presenting the assignment. Essays on documentation and more on specific genres may have been helpful. The contents page and index are useful and well organized. There is not a glossary. The different voices of the writers kept the reading engaging; however, some of the essays seemed to be geared toward an instructor as audience as compared to a student as audience.

I did not find any specific issues with content accuracy; although, the shift in intended audience at times made me wonder who the book is really for – students or instructors.

There are many concepts within the text that seem timeless: writing process, invention, peer review, writing centers, etc. I did wonder if the specific technologies noted in the essay on group work will be perpetual. Some of the examples are already dated, such as the Nadya Suleman one in “From Topic to Presentation” essay. The structure of the text, though, allows for easy update with future editions.

Overall, the different writings come through with clarity. Some of the essays included a conversational tone that students will find approachable. The use of specific examples throughout helps to bring the ideas beyond concepts and into a practical realm. There were only a couple of essays where clarity may be a concern: “Composing the Anthology” – it seemed questions remained unanswered as to the benefits in a first-year writing class – and “Wikipedia is Good for You?” – while I understood the concept, I’d steer away from using this in fear students may misinterpret.

Even though each essay comes through with a different voice and intended audience, there was consistency with terminology and framework. Taken as a whole, the text works to provide a foundation for writing concepts and theory and to take away some of the anxiousness associated with writing.

Because the text is comprised of individual essays written by different authors, there is automatic modularity. The text can be downloaded as a whole or as individual essays. The search feature of the pdf file and the index also provide easy access to specific concepts found within the differing essays – creating an opportunity to create ‘modules’ by combining parts of essays.

I might consider a reorganization of the essays to begin with theoretical concepts and funnel down to practical applications; however, the fact that each essay can be downloaded individually provides opportunity to create the desired order. The difference in intended audience also seemed to affect flow. The consistency of the ‘discussion questions’ at the end of the essays was appreciated.

I had no issues with the interface. The opening the options of pdf as a full text and as individual chapters occurred with ease. I appreciate that there are also softcover and e-book options.

Very, very few grammar or mechanic concerns.

The text did not appear to be culturally insensitive. More examples of cultures and social backgrounds could be included.

I look forward to incorporating many of the essays to balance the mode-based text I already use.

Reviewed by Brandy Hoffmann, English Faculty, Central Lakes College on 1/7/16

This text speaks to student writers in essay form rather than in the drier mode of a traditional, skills-based textbook. Writing Spaces offers practical advice, but, more importantly, it invites students into the conversation on common writing challenges, demystifying rather than merely presenting composition strategies. Some may find the discussions belabored, and sometimes they are, but mostly the essays shed new light on the academic writing experience. These essays seek to clear the air as well as help students write more effectively. I would assign several of these as readings--to complement other skills-based resources--in various first year writing courses that I teach. This text offers an index and table of contents.

Here is a summary of what I found useful/problematic, essay by essay (in order):

Introduction: The introduction almost feels like it’s written for an instructor, though it is supposedly geared to students. It would be more appropriate as a briefer prologue, or perhaps there should be a brief “how to use this textbook” letter written to instructors. It begins with an awkward multiple choice meant to engage students, but it didn’t quite make sense/work.

What is “Academic” Writing?: I appreciated the brief discussion of writing myths, and the overview of the “critical essay” writing commonly expected in college courses—the emphasis on these essays as “literary tasks” (focus on analysis and argumentation) rather than mere assignments or summaries was appreciated.

So You’ve Got a Writing Assignment: I would use the model walk-through of how to analyze an assignment with one of my own introductory writing assignments. We as instructors often assume students know how to read an assignment sheet—it seems obvious to us. But students struggle, and it would be worth spending time on this basic concept in a first year writing course (the chart on p. 26 is useful along with the series of questions students should ask themselves about an assignment, such as “Do I need an argument?”). I appreciated the essay’s discussion of writing anxiety, but I wish it would have more clearly addressed the fact that instructors have differing expectations (and that this can be frustrating), just to prepare them for this balancing act and to help them see that it’s all part of adapting to different writing situations.

The Inspired Writer vs. the Real Writer: Great concept, but the analysis is too thorough, with not enough practical application for students—perhaps written too much for composition/rhetoric peers rather than for a student audience; I appreciated the comp/rhet references, but I’m not sure my students would.

Backpacks vs. Briefcases: This essay, which addresses rhetorical analysis strategies, would have been more effective if it had offered more suggestions for writing a rhetorical analysis toward the end of the essay—along with more focus on applying techniques to the analysis of articles (that may be used for research, etc.).

From Topic to Presentation: Although the choice of subject matter (Nadya Suleman/fertility choices) is questionable, the model of the writing process and how to respond to feedback is helpful and thorough. The drafting discussion, including the emphasis on the “zero” draft, is effective.

Taking Flight: The discussion of writing identity (as individual and collective) is overall effective, as it addresses a common problem with students--connecting to topics (whether assigned or self-selected). The essay addresses the dilemma of writing for/with self and for/with others—particularly within academia; furthermore, interesting exercises are offered for getting students to come up with fresh research/writing topics. This piece loses me a little with its references to prayer, meditation, crystals, and role-playing, but students may find these suggestions refreshing. I enjoyed the sections on creativity/play, anxiety/procrastination, and working with (not against) distractions. Overall, great and varied ideas to address writer’s block.

Reinvention Invention: Students need loads of instruction on invention, and this essay provides strategies as well as context. A comment like “Learning to reimagine writing as an opportunity to create something original rather than as a duty to respond predictably can be challenging” should resonate with many students. The activity described on p. 121 for “Refining Topics for Research,” although elaborate, offers a practical series of steps for helping students with a common struggle—refining a topic idea into a more sophisticated research question/project. Overall, this essay offers a nice discussion on the importance of pre-writing, brainstorming, and taking time to incubate and evolve a topic.

“Finding Your Way In”: Offers an effective discussion of critical freewriting, flexible outlining, and bulleting strategies for invention. This essay complements the one that came before it in the text.

Why Visit your Campus Writing Center: The Web MD reference on pp. 151-52 seems awkward as a way to introduce the anxiety involved in visiting a tutor, but overall effective discussion in this essay for why to use tutors/how to use the service/what to be aware of. Maybe this essay should be placed at the end of the text? I appreciated short bullet list summary at the essay’s end but a set of numerical steps for “how to prepare” for an effective writing tutor experience would be a nice addition.

Finding the Good Argument: This essay offers a much needed discussion on the complexity of argumentation, yet it does so in a practical/usable way, unlike many in-depth argumentative writing textbooks that tend to complicate argumentation unnecessarily for first year writing students. I like the Jon Stewart clip and correlating activity. Great to see the caution against pro-con arguments. Argument is “multiple and complex”… yes. Inductive/deductive discussion is decent. The explanation of Toulmin is effective; the charting out of an argument on p. 171 provides a nice visual for students. The discussion of pragma-dialectics seems overly pedantic, not practical/applicable for many students--good concept but could be adapted to audience better or perhaps should be left out.

“I need you to say I’”: I really appreciated the extensive discussion of “I-less-ness” and using “I” in academic writing--a much needed discussion. I appreciated the use of examples to also show its acceptance in varying academic disciplines. The discussion of when to avoid “I” could perhaps be expanded, maybe commenting more so on the unnecessary “I believe/I feel/I think” often overused in student writing.

Reflective Writing and the Revision Process: A refreshing discussion (hard to find) on the importance of reflective writing as it relates to the writing process (especially revision). Nice examples of a reflective letter assignment. The essay could be broken down with more checklists/bullets instead of heavy paragraphing. I like the “How It Helps Me (the instructor) Help You” section and the emphasis on revision. Wikipedia is good for you!?: Interesting focus on

Wikipedia, which is likely a smart choice since it’s the “go-to” for many students, but I would clarify immediately that the suggestion is to NOT use it as a source but as a lead. Overall, the essay does a nice job of using Wikipedia to demonstrate the writing process, including illuminating the practice of peer review, with references such as “like a successful Wikipedian” you should…

Composing the Anthology: An Exercise in Patchwriting: Although an interesting article, it seems more appropriately geared to writing instructors--not students. Collaborating Online: This essay seems too specialized to be included in this compilation; maybe this would be better as a collaborative writing chapter with a section of it on online collaboration and tools. As is, I didn’t find it useful; however, I do not teach fully online writing courses at this time--an online instructor might find this essay more applicable. Navigating Genres: This essay offers an important definition of genre, and in a playful way (with references to country music, humor writing, and a practice exercise with a ransom note), helping students to understand what the term means and how to apply it.

As a whole, I find the text to be accurate. I have commented on certain content concerns in my commentary on each essay, above.

Many of the strategies and concepts addressed in this text are timeless, so the essays should be usable for some time. Some pop culture or current events references seem outdated, such as the sample with Nadya Suleman in “From Topic to Presentation.” The directive in “Finding the Good Argument” to “Think back to the coverage of the last major election cycle in 2008” (p. 157) seems like an outdated reference as well.

It is hard to comment on clarity, as each essay is written in a different voice. Some essays are definitely more clearly written for a student reader. Overall, each piece is fairly well-written, but a few of the voices feel out of sync with the work as a whole and could use editing for readability and appropriateness to a first year writing classroom. I comment on some specifics in the grammar section and above.

Perhaps a consistent documentation style should be used throughout the textbook? Unless the intention was to show different methods side by side. Overall, the message and themes were consistent, although the voices varied. It seemed like a similar writing philosophy and pedagogy drove the principles and strategies offered in this text.

p. 150: it seems a comma after “says” would be more accurate, to introduce quotation. In next paragraph, past tense is used to introduce quote. Perhaps this is intentional, or maybe it should be more consistent?

Modularity rating: 4

Yes, the text is written to be easily divisible for the most part. There are times when paragraphing and idea development seem heavy, but overall headings and subheadings were used effectively. Furthermore, the introduction reminds student readers that they can go to the website for a keyword search. The introduction seems a bit overly self-referential, which is why it should perhaps be a prologue or letter to intructors rather than an overt discussion fo the OER. The introduction isn't really an introduction to the text; it's an introduction to OER.

Effective repeat of title and author names at tops/bottoms of each page (title at top/author bottom). Although at first I found myself wanting chapter numbers, I realized that the lack of chapter numbers is likely intentional to allow more flexibility with the use of this OER--it makes it easily adaptable, etc.

I would have the “Finding Your way In” essay be more clearly titled in a way that highlights its effective discussion of planning/outlining/organizing, to distinguish it more so from the other invention essay in this text.

Interface rating: 4

Overall, very easy-to-nagivate text. I noticed no problems with display features.

Grammatical Errors rating: 3

p. 14: free means there is no need to for you to either p. 18: reference to “turn your nose” doesn’t quite fit p. 19 (wordy): We will start by clearing up some of those wild misconceptions people often arrive at college possessing.. p. 21 (Awkward prose): When we speak, we inhabit the communication situation bodily in three dimensions0 p. 24: italicize discuss in “interpret the word discuss in one way” (and other verbs when referencing directy throughout this chapter) p.35 (word choice/agonistic): It’s more of an agonistic kind of thing. p. 36 (akward reference): reference to “virtual MLK, Jr.” p. 65: As the example topics show, some them were p. 67 (akward wording): This essay’s goal is to support the position that exploiting multiple children harms them by skewing their experience of family and emotionally harming them. p. 129: To be consistent with MLA/APA suggestions, I would italicize New York Times. p. 135 (wordy): Critical freewriting encourages recursive thinking that enables you to create a body of ideas and to further decide which ones might be worth researching and which themes might work together in constructing a coherent, yet flexible pattern of ideas. P. 154: the mission states--use comma instead of colon to introduce quote. P/ 161: Paying more addition to the details of (should be paying more attention). p. 171: use of “others” seems awkward in paragraph under chart.

Examples overall could be more inclusive and varied. Although it wasn’t personally offensive to me, the suggestion toward prayer and meditation as a way to cope with writing anxiety seemed a bit off, in “Taking Flight.” In "The Inspired Writer," pp. 35-36 reference to “virtual MLK, Jr” seems off.

Overall, a high quality OER with lots of potential for use in the first year writing classroom.

Reviewed by Leane Flynn, English Instructor, Central Lakes College on 1/7/16

The first volume of Writing Spaces covers many topics that are essential to a first-year writing student's education, including an explication of academic writing, the writing process, and argumentation. The essays within the text dispel common myths about writers and writing, as well as offer practical strategies for students on topics like how to interpret a writing assignment.

Writing Spaces is not entirely comprehensive, however, as it largely ignores grammar and punctuation—areas in which first-year college writing students typically need support. Furthermore, an essay with special considerations for ELL students would be a helpful addition, as would an essay containing a discussion of specific rhetorical modes of development.

I did not notice any inaccuracies.

For the most part, Writing Spaces is built upon rhetorical principles that are not likely to change in the near future. However, essays containing references to technology could become outdated at some point.

Many of the essays within Writing Spaces use a personal tone that is largely geared toward college students. Complex terms are often defined for the reader, and relevant examples are used when appropriate. Overall, I believe students will find the essays accessible, useful, and relatively easy to read.

The textbook is consistent in terms of how it uses rhetorical concepts as well as its inclusion of discussion questions at the end of each essay.

I like that the essays can be downloaded individually or as a collection and that they can easily be assigned in an order that aligns with course objectives and student needs.

The organization is fine. As I mentioned, an instructor can easily make adjustments to the order of the essays as needed.

I had to enlarge a cartoon that was used in the Jones article in order to see it properly. Other than that, I did not experience any significant interface problems.

The text contains no obvious grammatical errors.

It would be helpful to include an essay that addresses ELL student concerns. Beyond that, I see no evidence of cultural insensitivity.

Reviewed by Brian Hull, Adjunct Professor Liberal Arts/Interdisciplinary Studies, Colorado State University, Fort Collins on 1/7/16

As anyone who as ever taught composition at the university level knows, teaching this subject matter is extraordinarily complex. Writing Spaces does an excellent job of covering the subject matter from multiple angles. From the nuts and bolts level of effective organization and writing according to MLA style guidelines to the more abstract, yet essential, questions of how to address questions of audience and purpose. The book rightly emphasizes that good writing in an academic setting hinges upon understanding an instructors guidelines and knowing what it is that needs to be achieved. Whether it's addressing creating a debatable thesis that serves as a paper's foundation or whether addressing the subtle nuances of when it's a appropriate to use the first person I when writing academically, Writing Spaces covers a lot of ground and provides a valuable source for academic writers.

Because this book is written in a flexible manner that takes into account the possibility that each instructor will come with his/her personal take, it succeeds in accurately describing the challenges faced by newcomers to academic writing. By describing possible scenarios such as writing a philosophy paper on ethics or a biology paper on genes, Writing Spaces does an excellent job of showing the malleable approach required in order to meet the unique demands that writing, in different genres and subject matters, places on writers.

Arranged in chapters that alternatively address the basics of composition or the more nuanced questions of style and taking ownership of one's intellectual ideas by breaking interdictions of using the personal I in writing, I'm convinced that Writing Spaces will remain an up-to-date and compelling sources for writers. If there are any chapters that are deemed less useful for a particular instructor, it would be easy to forego them or to add new information as an instructor sees fit.

Writing Spaces is very accessible and writing in a lively prose that is personable and addresses the writer as a living, thinking and emotional being who will undoubtedly face challenges, writer's block and all the uncertainty that goes along with the writing process. Rather than just glossing over these challenges Writing Spaces dares to address writing in a holistic manner that is both practical and psychologically relevant.

The book is consistent in the sense that it acknowledges that a writer has to approach writing like a battlefield on multiple fronts that engage students intellectually, creatively and emotionally.

The book is definitely "readymade" for teaching a freshman level composition class with sections that would be manageable to tackle in one or multiple class sessions. It is well organized and proceeds in logical manner.

The flow proceeds naturally from the basics of writing to more challenging aesthetic questions.

The books interface is simple and straightforward.

The book is grammatically sound.

Writing Spaces addresses the challenges of entering into an "alien discourse" that of academia. It acknowledges that it's a language that many writers will have to learn. Sarah Allen, when speaking about this new discourse, suggests that learning to write well will demand that students dive into subject matters like ethnicity, Marxism, gender etc. with openness and a willingness to learn about heterogenous perspectives.

As a professor who strives to raise the bar on writing for my own students, I'm glad to know that Writing Spaces is available as a source. It's pithy and full of valuable reminders of what it takes to write well.

Reviewed by Ben McCorkle, Associate Professor, The Ohio State University at Marion on 6/10/15

Writing Spaces is a fairly comprehensive collection of essays covering a variety of topics germane to the topic of writing and writing development in higher ed. Individual contributions to the collection cover topics ranging from: utilizing sources, incorporating informal web-surfing habits and strategies into research skills, collaborating with other writers, document design and formatting, developing brainstorming techniques, and cultivating critical thinking skills, among others. As a collection, it does a good job of covering most of the bases when it comes to writing: invention, arrangement, style, delivery.

This category is not entirely applicable, since many of the essays herein offer reflective, opinion-based takes on the role of writing in higher education. Nonetheless, it contains a lot of practical advice based on current best practices in composition studies pedagogy. Nothing in this strikes me as collection strikes me as irresponsible or badly conceived in terms of offering advice and instruction to students.

It seems to me that there are two basic categories of essay here: 1) the “time-proof” essays that deal with durable rhetorical concepts (strategies for brainstorming, cultivating the critical thinking practice of antithesis, promoting collaboration); 2) the essays that deal with ways of utilizing technology (searching for sources, using collaboration-enabling software). The latter category strikes me as a problem for longevity, although the focus on skills and strategies rather than the particular software makes them more valuable.

Absolutely. The goal of this volume (as well as its companion volume) is to write for an audience of undergraduates. Consequently, the language is overwhelmingly clear and concise, but not patronizing or condescending. In some cases, the selections have elements of humor/snark that I find refreshing (Stedman, Walker), and I imagine that students would also find many of these voices compelling, as models for emulation as well as voices of authority. As a collection, it makes a compelling case to students about the importance of writing in general, as well as the need to improve, means and methods by which that improvement occurs, and practical advice for students to develop writing skills regardless of discipline.

The collection has a consistency of voice throughout and does a good job of reaching undergraduate audience as intended. Overall design/layout of text is professional and functional. Given the nature of the volume (a collection of variously authored essays), each writer is drawing upon different terminologies and field-specific backgrounds (e.g., classical rhetoric, digital media studies, ethnographic concentrations, etc.). This works, as the overall goal of the collection is ultimately to situate writing studies within the broader context of college-level education, so multiple viewpoints and voices helps reinforce this underlying message.

Highlight: the text, as well as volume 1, are explicitly designed as modular collection: obviously, the essays are stand-alone pieces on their own right (written by different authors on distinct topics, with no real cross-talk referencing the other essays), and users have the option of either downloading the entire volume as a single PDF or downloading individual chapters as needed to supplement curriculum. For example, if I were teaching a composition course that highlighted classical rhetorical approaches to writing, I might download Krause’s “On the Other Hand: The Role of Antithetical Writing in First Year Composition Courses,” Charleton’s “The Complexity of Simplicity: Invention Potentials for Writing Students,” and DasBender’s “Critical Thinking in College Writing: From the Personal to the Academic.” Alternatively, if I were teaching a technology-focused course, excerpts by McClure, Reid, and Barton and Klint would be more suitable.

This category isn’t exactly applicable, in that this resource is a collection of essays by different authors on distinct writing-specific topics. Still, one criticism that one might levy is that certain topics could be clustered--for example, the volume includes a couple of essays that deal with collaboration that might be sequenced more closely together; the same might be said of the technology-focused essays. This didn’t strike me as an immediately pressing problem, though, as the collection lends itself to modularity (i.e., chapters can be downloaded separately).

Interface rating: 3

WC exists as a free PDF (or in print form at a price of XXX). Users have the option of downloading the entire volume as a single PDF (with hyperlinked TOC), or individual chapters. The latter option is particularly helpful for those instructors who might wish to incorporate selected excerpts into their own writing curriculum. PDFs travel well across a variety of devices and platforms, so that makes the collection potentially more accessible, although the file format does limit the “expressive regime” that the text might otherwise employ (e.g., animations and other multimedia content).

Few to none. (Looking over the entire collection *relatively* closely, I don’t recall noticing any.)

Certainly. Sensitivity with respect to identity politics is endemic to writing studies as a field--this collection reflects that sensitivity. In several instances in the collection, references to different ethnic and racial backgrounds are made in several spots throughout the volume. The majority of references point to racial/ethnic identity (i.e., no references to LGBQT, etc.).

Writing Spaces vol 2 is a valuable collection in its own right, but should be considered alonside the other WS products (vol. 1, the Web Writing Style Guide, and forthcoming volumes). Taken together, they offer a comprehensive body of work on cutting-edge writing studies pedagogy, as well as practical instruction for students writing in a variety of disciplinary contexts and media forms.

Reviewed by Karolyn Redoutey, Senior Academic Advisor/Instructor, University of Minnesota on 6/10/15

Instructors who might adopt this text need more organization in the Table of Contents. Here are some suggestions: Pre-writing: Bunn 71/Charleton 122/ Exploratory writing: (Reid3/Ramsdell 270/ perhaps Boyd) Essay Writing: Krause 71/ DasBender 37/ SAvini 52/Corcoran 24 /Kahn 175/Lynch 286 Reserach Driscoll 153/Haller 193/Rosenberg 210/ McClure 221/Stedman 242/ Walker 257 TEchnology and Research (Alex Reid 302, Barton-Klint 320 Group work Ingalls

Even though this is a modular text, you can see from the above suggestions, that what is offered is somewhat uneven. I believe there was only one essay that touched on peer review at all, important in any kind of writing. Some of the essays that are exploratory about how to write or get started don't connect well necessarily with how to do research. Is research writing the primary aim of this text? It is hard to know, since the text seems to lack identity right now as to its audience and the connections it needs to make from pre-writing to storytelling (?) essay writing (?) research writing (?) These are very different kinds of writing. Mastering one doesn't necessarily lead to proficiency in another. More connection of concepts from selection to selection might be needed. Also, what kind of audience is this book for? What kind of level of student? It seemed to be all over the place. ,. Perhaps less could be more in this regard, or better connections/organization.

I did not find any glaring inaccuracies. Since the text is not heavy on technology, and is more about applications of theoretical theories of writing, it is more a question of how the various styles affect communication. On p. 104, for example, I found he statement: "First-year writing is about making stuff up." This is an example of how some of the authors, especially,Reid, Corcoran, Kahn and Rosenberg write for a perceived audience that is adolescent, and I am not sure this is successful. It leads to interpretations of writing that aren't necessarily well-thought out. I thought this is the author attempting to appeal to students who didn't want to write. Co-incidentally, these authors also had long sentences, or meandering personal thoughts that really didn't add to the text. If you compare this kind of writing to the polished work of Ingalls and Krause, you see how much more comprehensively written the latter are ( and the offerings later in the text in general). I guess I am addressing the accuracy and acuity that comes through well thought-out approaches to instruction

Except for a few of the entries that are based in technology, the text could last quite a long time. Hopefully, Google Docs and other programs will be with us for a while.

Clarity rating: 3

I found some examples of writers stumbling over their sentences, as if the text was written pretty quickly and the deadline was nearing. This at times made the text less effective. I found this to be true especially of Reid, Corcoran and Kahn. With Reid's essay, to use as an example, the reliance on parenthesis and dashes made me feel as if she hadn't really done the final draft. The address to the student audience seemed rushed and made a lot of assumptions, as it did with Corcoran and Kahn. "Trading rules for freedom" (109) is not exactly how the student works in a research environment, and while I see the need for freedom, there needs to be some bridging essay that would help students go from free-writing to more polished writing. This is always a challenge, of course, On the other hand, Ingalls, Krause, Walker, and Lynch wrote essays that were beautifully clear and could be easily understood, since they had taken more time to think through steps and processes, and had a respectful, and considerate understanding of their audience ( not an imagined one).

As I have said, the writing largely in the first half of the text needs considerable re-writing. I found that that the essays on research were written more carefully generally. The essays on how to write, or how to generate writing,seemed to be less carefully written. The style was free and easy, but this often led to less effective paragraphs, lack of cohesion, and less effective writing models. Some of the authors were relying on the theories of composition gurus like Wendy Bishop, and others were relying more on their own ideas. The lack of consistency between the interpretations of other's work and writers who could really own their ideas often showed in the writing itself. Some of the essays seemed only half instructive, as if the author was not really grounded in what he or she was writing about. Again, it gets back to the purpose of the book, and its lack of big picture organization which could be resolved through better organization of overall contents

Modularity rating: 3

Yes, I see that this is a modular book, and I realize that any essay might be extracted at any time and fit into a course. Why, though, was a storytelling essay (270) and an essay on the essay ( 286)inserted into a grouping of essays on sources, MLA, and other research-related material toward the end of the text ?. These were well-written essays, but they would seem to relate to other kinds of writing offered in the text. Given how the text is organized, I would think composition instructors or any instructor would like some direction on how the text might be used. This book might be adopted, and/or adapted, more easily if it offered some bridging or direction, as I suggested in #1.

I think I have addressed the over- all structure and flow in #1; improvements could be made. Another problem in the book is not only the content, but the kind of student it attempts to address. Sometimes I felt authors were addressing students who perceived writing as "hard' or uncool, and the authors were trying to show how cool writing really was. Authors talked about their own difficulties, which I am not sure helped their work. Use of FYW and RLW, or whatever, were used to mimic texting mentality, I guess. So, part of the uneven flow at the sentence and paragraph level come from writers who are writing for a perceived audience who do not like writing. There are many examples that might be found here, but p. 184 is illustrative of this . This approach falls away later when writers write about research techniques. These writers seem more grounded toward a more mature audience. Again, there is a problem with identification of the kind of student the text is really addressing and why. Students who complete the essays on free-writing and essay writing aren't magically going to become more mature later, so some bridging or re-thinking might help this. An instructors can supply gaps in instruction, up to a point. More could be done with this in the text..

All the charts, etc, seem fine. I could not access the last essay (Beyond Black and White)

I found one typo on p. 45, ironically when the author was talking about modeling good writing. Most of the problems were related to style and revision, particularly long, drawn-out sentences where ideas sometimes stumbled over each other, and also problems with address. Some examples: p 63 could use some re-writing p 78 inconsistency in direct address p 87 referent in last paragraph p 88-90 had jargon and needed re-writing

Cultural Relevance rating: 2

An inference was made that President Obama is "divisive" figure on p.73. This is not the best way to characterize him, unless you also say that Congress is divisive too.... I did not like the inference there.. I found Paul Lynch's inclusion of Asian essays nice, in addition to his description of Montaigne. I found some of Savini's writing uneven, but I liked her inclusion of the picture of the woman from Nicaragua and her concern about how this might be perceived. Certainly more writers of color, topics relating to social justice, writers with disabilities who could present their own experience is much needed in this text. More welcoming could be extended to writers with diverse experience.

I have taught writing over a span of 30 years or so, and I can see how many of these individual offering might be useful. In its current condition, I would hesitate to use it. I think this text is one in a series. In the future, more care might be paid to creating a better contents page, an introduction on best applications, etc., even for seasoned instructors.

There may be permission problems, and other supplementary material that might be helpful for instructors to know, for instance, the Annie Dillard essay was missing from Das Bender's essay, and so this made the points less effective.

Some of the work, as I mentioned above, however, was well worth using.

Reviewed by Chris Edison, Graduate Assistant, University of Oklahoma on 1/12/15

This textbook presents complex rhetorical concepts in a language students would likely find approachable. This approachability is very attractive to me as an instructor. I especially appreciated how the book's chapters are scaffolded, beginning by asking students to think about "What is Academic Writing" (Ch. 2) and progressing to explore rhetorical analysis, audience awareness, the downfalls of treating argument as "war," making strategic use of Wikipedia, etc... Many of the chapters, besides offering students an accessible presentation of rhetorical concepts, also include suggested activities that would push students to develop procedural knowledge of the writing practices that work best for them (though I wish there were more of these activities). For example, chapter five pushes students to analyze rhetoric at work in the media by encouraging them to think, as Peter Elbow would have it, that argument is everywhere. As far as the index is concerned, I would imagine teachers could integrate indexed texts into their own lesson plans, and students would have a wide range of research options at the ready. That being said, I would like to have seen more attention paid to genres, perhaps another essay on that subject replacing one of the 'invention' chapters.

I found no issues with the book's accuracy, though I do wonder if, at times, the casual language might encourage inaccurate readings on the part of some students. I wonder if the strategic informality of this book's style might result in students adopting an informal approach to their composition classes and the work produced therein. This is not to say that the more casual style of this book is without merit (finding approachable material is a "must" in composition classes), only that I would like to see the book, at times, set higher expectations for the students who will read it. I usually found the book's language more problematic when it seemed unsupported by research - something I found to be problematic in chapter four, for example, where the argument about the inspired writer (vs. the real writer) is supported primarily by examples from the author's personal experience.

This book meets students where they are at in terms of students in today's world. If needed, individual chapters could be updated and/or replaced without affecting the organization of the book as a whole. There are a few instances where pop-cultural references will need to be updated, but I view this need as inevitable when finding concepts and examples to which students can relate.

The book's clarity is one of its strongest attributes. Terms are always defined. Students will no doubt find the book's language accessible - though I do think the book could be improved by including some essays that do more to challenge our students with more difficult readings. However, if teachers do wish to complement the book's content with more difficult reading material, many of the sources listed in the book's index would provide exactly that.

This book's terminology and framework are consistent. Ideas and concepts such as 'audience' are repeated in several chapters, a consistency that would push students to adapt their understanding of them to new contexts and arguments.

Modularity is not a problem with Writing Spaces. Chapters and even sections of chapters could be introduced at the instructor's discretion, depending on the scaffolding of lesson plans and student needs.

The topics in this book are ideally organized. Students are first familiarized with academic writing and the expectations associated with it and then progress to learn about - and practice - various stages of the writing process, from invention to self-reflection. I do wish the book included more questions at the end of chapters, as well as more procedural activities that push students to develop their own content/knowledge. To be clear, I do think the activities and questions already present in the book are helpful; but I would appreciate more focus on procedural activities and more extensive lists of questions.

I had no problems with the book's interface, and the option to download to scannable pdf files is a godsend (this would give students the ability to practice active reading techniques such as highlighting, underlining, marginal notes, etc.. electronically). I do wish hyperlinks within the text were "functional," as I had to copy and paste links to my browser in order to view them.

I found no grammar mistakes while reading Writing Spaces.

I did not find any examples of cultural insensitivity in the book. I would, however, like to see more content devoted to exploring how cultural insensitivities are maintained and even generated by the prestige often attached to "educated" forms of writing.

Reviewed by Linda Haynes, Assistant Director of Introductory Composition, Purdue University on 7/15/14

This text covers most of the topics that are important in a first-semester composition course. The principles of rhetoric that students need to understand and practice to write well in their college courses are presented with accessible language. The authors of the articles define terms well and explain why the material is important to learn (in college and beyond). Topics covered include how to do an effective peer review (with a strong example), writing and working in a group, and identifying and writing in genres (with excellent examples). The three chapters on invention seemed a bit redundant, but I found myself wanting to see more material like the articles on writing in the first person and writing reflection and revision (again, with excellent examples provided). I also appreciated the article on using the Writing Center. The index is comprehensive, but this book includes no glossary (which would be a helpful addition). In the introduction to "Composing the Anthology: An Exercise in Patchwriting" the author suggests that he will discuss the risks associated with patchwriting, but we don't get that information in this article. I would like to have seen a following article about using proper attribution. Many native speakers do not understand the benefits of working with multilingual writers, so another helpful chapter would have covered writers whose second language is English working collaboratively (or in peer reviews) with writers whose primary language is English.

The articles within this book appear to be accurate and unbiased.

This book is a collection of articles, a format which allows it to be easily updated as needed; I don't see obsolescence as being an issue. Future editions can easily include articles that cover current technologies that are being developed. As written, the articles are up-to-date.

The accessible prose in the articles of this book make it most attractive to me as an instructor. Getting students to read what I've assigned can be challenging when prose is perceived to be turgid. In this book students will find only inviting and interesting articles with introductions that pull them into the text, often with an explanation as to WHY they should continue to read the article. At the end of each article, students will find discussion questions, but these articles are interesting enough that I envision a good deal of open discussion without need for these prompts. All jargon and potentially unfamiliar terminology is defined. The authors offer accessible examples to further explain concepts.

Many composition textbooks (and most instructors) may refer to the same concepts using different terms, and a few authors in this book used terms I don't usually use; however, I did not find this to be a problem in this book. These authors all define terms so well that I could use this perceived inconsistency as a way to discuss language's flexibility and the importance of defining terms for our readers.

Chapters (articles) within this book could easily be assigned in any order depending on the needs of the curriculum and the needs of the students.

The organization of the book as a whole makes perfect sense, and readings could be assigned in the order the articles are presented. Each article does have a natural flow into the next. However, the articles could also be assigned independently--in any order depending on students' needs.

I viewed this book in Preview, and the graphics were a little fuzzy. Those included were helpful to enhance students' understanding of the texts. Navigating the book from a .pdf file was clunky. Again, I was viewing in Preview which students could also be using. (Not everyone has access to Acrobat Pro.) If instructors assign the articles in the order they are published, students could simply bookmark the readings as they go. Otherwise, students must go to the Table of Contents, note the page number and add 15 (to account for the cover and all introductory front pages that are included in the preview's pages), then select Contact Sheet from the View drop down menu, scroll to find the article they are assigned (page number + 15) and double click on that. Perhaps this is easier in Acrobat Pro, but having hyperlinks from the Table of Contents directly to the articles would be helpful. Another work-around would be to have students access the chapters/articles directly from the Parlor Press website where the Table of Contents does include hyperlinks to the individual chapters.

The articles in this book are well revised and proofread. I noticed no grammatical errors.

I noticed nothing culturally insensitive or offensive. However, I would have liked to see an article specifically about writers and cultural sensitivity, especially when students are writing collaboratively or working through peer reviews.

For the Fall 2014 semester, I will ask my mentor group of eight new composition instructors to use the articles in Writing Spaces, Volume 1 as supplemental readings in their First-Year Composition courses. I expect this book to help them immensely by replacing lectures with interesting readings that can be discussed in class. The instructors may then focus more on creating interactive writing exercises and assignments that relate to these readings. / / In addition, I will assign some of the articles for my Advanced Composition students as review material.

Reviewed by Sunyoung Kim, E-campus Korean Instructor, Oregon State University on 7/15/14

The text covers many areas of challenges and questions that the first year college students might encounter in writing at higher education.The text is written in narrative essay style which makes easy to read, yet the contents are informative. This textbook provides 17 chapters written by 17 different respective writers, which bring many aspects of subjects in writing.

The text provides external link to clarify the accuracy of each term

The text is written in a way to update/modify the content easily and straightforward to implement. The table of content leads student to each chapter for brief description and allows students to downloads the full PDF file for the text.

The text provides external links for each academic terms for accuracy and clarity, which makes resourceful for online textbook,

The text is internally consistent in terms of framework in general

The text is easily divisible into each chapter for the link to download or to browse description of each chapter. However, it would have been better to make hyperlink on external sources or citations for advanced search.

The text is presented in a consistent flow

The text is mostly free of interface issues except for external sources.

The text is peer reviewed and presented in narrative style,yet no significant grammatical errors found.

The text doesn't necessary provides examples that are inclusive of cultural diversity.

Reviewed by Melanie Senn, Lecturer, California Polytechnic State University on 7/15/14

The first thing I noticed about Writing Spaces was the comprehensive table of contents and the varied authors. I have been teaching a first-year writing course titled Writing and Rhetoric for almost a decade, and Lowe and Zemliansky have included pieces on every aspect of writing I touch on in my own classes--everything from using the first person (Ch. 12: I Need You to Say "I": Why First Person is Important in College Writing by Kate McKinney Maddalena) to utilizing the University Writing and Rhetoric Center (Ch. 10: Why Visit Your Campus Writing Center? by Ben Rafoth), which I require, to collaborating digitally in groups, another requirement in my class (Ch. 16: Collaborating Online: Digital Strategies for Group Work by Anthony T. Atkins). One particular chapter (Ch. 4: The Inspired Writer vs. the Real Writer by Sarah Allen) would be a perfect fit for anyone who does a Writer's History kind of assignment.

I found the text to be accurate and error-free with no discernible bias.

The text seems both timeless in the chapters that discuss the writing process (that never really changes, does it?) and other more contemporary chapters, such as a terrific chapter on the usefulness of Wikipedia (Ch. 14: Wikipedia Is Good for You!? by James P. Purdy). The text feels well-organized and seems like it would be easy to update.

I think most first-year writing students would find the prose and voice of the chapters accessible, yet intelligent and insightful.

The chapters seem consistent.

The text covers a wide range of topics without too much overlap or redundancy.

The book seems well-organized.

I found no problems with the interface; the articles are mostly writing, and in fact, my only concern with the text is that it is so much text, with so little visual media. But in that way the chapters themselves may serve as models for the students for the kind of writing they do in their writing classes.

I found no grammatical errors.

The text didn't have anything offensive that I could find. However, I'm not sure the text provides much variety in terms of race, ethnicities and backgrounds.

This text would be a good supplement in a writing class.

Introduction: Open Source Composition Texts Arrive for College Writers by Robert E. Cummings
What is Academic Writing by L. Lennie Irvin
So You've Got a Writing Assignment. Now What? by Corrine E. Hinton
The Inspired Writer vs. the Real Writer by Sarah Allen
Backpacks vs. Briefcases: Steps Toward Rhetorical Analysis by Laura Bolin Carroll
From Topic to Presentation: Making Choices to Develop Your Writing by Beth L. Hewett
Taking Flight: Connecting Inner and Outer Realities during Invention by Susan E. Antlitz
Reinventing Invention: Discovery and Investment in Writing by Michelle D. Trim and Megan Lynn Isaac
"Finding Your Way In": Invention as Inquiry Based Learning in First Year Writing by Steven Lessner and Collin Craig
Why Visit Your Campus Writing Center? by Ben Rafoth
Finding the Good Argument OR Why Bother With Logic? by Rebecca Jones
I Need You to Say “I”: Why First Person is Important in College Writing by Kate McKinney Maddalena
Reflective Writing and the Revision Process: What Were You Thinking? by Sandra Giles
Wikipedia Is Good for You!? by James P. Purdy
Composing the Anthology: An Exercise in Patchwriting by Christopher Leary
Collaborating Online: Digital Strategies for Group Work by Anthony T. Atkins
Navigating Genres by Kerry Dirk

Ancillary Material

About the book.

Volumes in Writing Spaces: Readings on Writing offer multiple perspectives on a wide-range of topics about writing, much like the modelmade famous by Wendy Bishop's “The Subject Is . . .” series. In eachchapter, authors present their unique views, insights, and strategies forwriting by addressing the undergraduate reader directly. Drawing ontheir own experiences, these teachers-as-writers invite students to joinin the larger conversation about developing nearly every aspect of thecraft of writing. Consequently, each essay functions as a standalonetext that can easily complement other selected readings in writing orwriting-intensive courses across the disciplines at any level.

About the Contributors

Dr. Charlie Lowe is an assistant professor in the Department of Writing at Grand Valley State University where he teaches first year composition, professional writing, and web design, and he is a strong advocate of open source software adoption and open access publishing.

Dr. Pavel Zemliansky is an associate professor and graduate coordinator in the School of Writing, Rhetoric, and Technical Communication at James Madison University where he teaches courses in composition, rhetoric, and professional communication.

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Chapter 3: The Writing Process, Composing, and Revising

Deeper Reading: “What Is Academic Writing?”

Lennie Irvin

“What is Academic Writing” written by Lennie Irvine can be found here .

In this essay, Irvine aims to provide an in-depth explanation of all of the things that academic, college-level reading and writing are. You, a first year college student, are his audience. His purpose is to demystify the expectations that you will face in both your Composition courses (English 100, 100, and 102) and other writing-based courses. To achieve that purpose, he discusses some of the ways in which college reading and writing may be different from the writing that you have done previously. He outlines some myths about what writing is and what writers do. He defines typical genres of writing that you will be asked to produce in college and offers strategies and suggestions for approaching writing assignments in a critical way.

ENG 100/101/102 at Cleveland State University by Lennie Irvin is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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168 What Is “Academic” Writing?

Lennie Irvin

Introduction: The Academic Writing Task

So here’s the secret. Your success with academic writing depends upon how well you understand what you are doing as you write and then how you approach the writing task. Early research done on college writers discovered that whether students produced a successful piece of writing depended largely upon their representation of the writing task. The writers’ mental model for picturing their task made a huge difference. Most people as they start college have wildly strange ideas about what they are doing when they write an essay, or worse—they have no clear idea at all. I freely admit my own past as a clueless freshman writer, and it’s out of this sympathy as well as twenty years of teaching college writing that I hope to provide you with something useful. So grab a cup of coffee or a diet coke, find a comfortable chair with good light, and let’s explore together this activity of academic writing you’ll be asked to do in college. We will start by clearing up some of those wild misconceptions people often arrive at college possessing. Then we will dig more deeply into the components of the academic writing situation and nature of the writing task.

Myths about Writing

Myth #1: The “Paint by Numbers” myth

Myth #2: Writers only start writing when they have everything figured out

Myth #3: Perfect first drafts

Myth #4: Some got it; I don’t—the genius fallacy

Myth #5: Good grammar is good writing

Myth #6: The Five Paragraph Essay

Myth #7: Never use “I”

The Academic Writing Situation

What’s the moral here? Developing your “writer’s sense” about communicating within the writing situation is the most important thing you should learn in freshman composition.

Figure 1, depicting the writing situation, presents the best image I know of describing all the complexities involved in the writing situation.

Looking More Closely at the “Academic Writing” Situation

What are usually called ‘writing assignments’ in college might more accurately be called ‘literacy tasks’ because they require much more than the ability to construct correct sentences or compose neatly organized paragraphs with topic sentences. . . . Projects calling for high levels of critical literacy in college typically require knowledge of research skills, ability to read complex texts, understanding of key disciplinary concepts, and strategies for synthesizing, analyzing, and responding critically to new information, usually within a limited time frame. (3–4)

Knowledge of Research Skills

The Ability to Read Complex Texts

The Understanding of Key Disciplinary Concepts

Strategies for Synthesizing, Analyzing, and Responding Critically to New Information

In College, Everything’s an Argument: A Guide for Decoding College Writing Assignments

Academic Writing Is an Argument

Academic Writing Is an Analysis

So what does it mean to analyze? One way to think of an analysis is that it asks you to seek How and Why questions much more than What questions. An analysis involves doing three things:

Engage in an open inquiry where the answer is not known at first (and where you leave yourself open to multiple suggestions)
Identify meaningful parts of the subject
Examine these separate parts and determine how they relate to each other

Three Common Types of College Writing Assignments

The Closed Writing Assignment

Is Creon a character to admire or condemn?
Does your advertisement employ techniques of propaganda, and if so what kind?
Was the South justified in seceding from the Union?
In your opinion, do you believe Hamlet was truly mad?

The Semi-Open Writing Assignment

Discuss the role of law in Antigone.
Explain the relationship between character and fate in Hamlet.
Compare and contrast the use of setting in two short stories.
Show how the Fugitive Slave Act influenced the Abolitionist Movement.

The Open Writing Assignment

Analyze the role of a character in Dante’s The Inferno.
What does it mean to be an “American” in the 21st Century?
Analyze the influence of slavery upon one cause of the Civil War.
Compare and contrast two themes within Pride and Prejudice.

Picking and Limiting a Writing Topic

Let’s talk about both of these challenges: picking a topic and limiting it. Remember how I said these kinds of essay topics expect you to choose what to write about from a solid understanding of your subject? As you read and review your subject matter, look for things that interest you. Look for gaps, puzzling items, things that confuse you, or connections you see. Something in this pile of rocks should stand out as a jewel: as being “do-able” and interesting. (You’ll write best when you write from both your head and your heart.) Whatever topic you choose, state it as a clear and interesting question. You may or may not state this essay question explicitly in the introduction of your paper (I actually recommend that you do), but it will provide direction for your paper and a focus for your claim since that claim will be your answer to this essay question. For example, if with the Dante topic you decided to write on Virgil, your essay question might be: “What is the role of Virgil toward the character of Dante in The Inferno?” The thesis statement, then, might be this: “Virgil’s predominant role as Dante’s guide through hell is as the voice of reason.” Crafting a solid essay question is well worth your time because it charts the territory of your essay and helps you declare a focused thesis statement.

Three Characteristics of Academic Writing

Clear evidence in writing that the writer(s) have been persistent, open-minded, and disciplined in study. (5)
The dominance of reason over emotions or sensual perception. (5)
An imagined reader who is coolly rational, reading for information, and intending to formulate a reasoned response. (7) Your professor wants to see these three things in your writing when they give you a writing assignment. They want to see in your writing the results of your efforts at the various literacy tasks we have been discussing: critical reading, research, and analysis. Beyond merely stating opinions, they also want to see an argument toward an intelligent audience where you provide good reasons to support your interpretations.

The Format of the Academic Essay

Characteristics of the Critical Essay

It is an argument, persuasion essay that in its broadest sense MAKES A POINT and SUPPORTS IT. (We have already discussed this argumentative nature of academic writing at length.)
The point (“claim” or “thesis”) of a critical essay is interpretive in nature. That means the point is debatable and open to interpretation, not a statement of the obvious. The thesis statement is a clear, declarative sentence that often works best when it comes at the end of the introduction.
Organization: Like any essay, the critical essay should have a clear introduction, body, and conclusion. As you support your point in the body of the essay, you should “divide up the proof,” which means structuring the body around clear primary supports (developed in single paragraphs for short papers or multiple paragraphs for longer papers).
Support: (a) The primary source for support in the critical essay is from the text (or sources). The text is the authority, so using quotations is required. ( b) The continuous movement of logic in a critical essay is “assert then support; assert then support.” No assertion (general statement that needs proving) should be left without specific support (often from the text(s)). (c) You need enough support to be convincing. In general, that means for each assertion you need at least three supports. This threshold can vary, but invariably one support is not enough.
A critical essay will always “document” its sources, distinguishing the use of outside information used inside your text and clarifying where that information came from (following the rules of MLA documentation style or whatever documentation style is required).
Whenever the author moves from one main point (primary support) to the next, the author needs to clearly signal to the reader that this movement is happening. This transition sentence works best when it links back to the thesis as it states the topic of that paragraph or section.
A critical essay is put into an academic essay format such as the MLA or APA document format.
Grammatical correctness: Your essay should have few if any grammatical problems. You’ll want to edit your final draft carefully before turning it in.

How did what you wrote in high school compare to what you have/will do in your academic writing in college?
Think of two different writing situations you have found yourself in. What did you need to do the same in those two situations to place your writing appropriately? What did you need to do differently?
Think of a writing assignment that you will need to complete this semester. Who’s your audience? What’s the occasion or context? What’s your message? What’s your purpose? What documents/genres are used? How does all that compare to the writing you are doing in this class?

Works Cited

Carroll, Lee Ann. Rehearsing New Roles: How College Students Develop as Writers . Carbondale: Southern Illinois UP, 2002. Print.

Thaiss, Chris and Terry Zawacki. Engaged Writers & Dynamic Disciplines: Research on the Academic Writing Life . Portsmouth: Boynton/Cook, 2006. Print.

About the Author

L. Lennie Irvin teaches first year writing at San Antonio College, and has been a community college writing teacher since 1989. He is the CoDirector of the San Antonio Writing Project, and a PhD Candidate in Technical Communication and Rhetoric at Texas Tech University (projected to finish 2010).

This work is licensed under the Creative Commons AttributionNoncommercial-Share Alike 3.0 United States License and is subject to the Writing Spaces Terms of Use. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-sa/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. To view the Writing Spaces Terms of Use, visit http://writingspaces. org/terms-of-use.

Write What Matters Copyright © 2020 by Liza Long; Amy Minervini; and Joel Gladd is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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What Is "Academic" Writing?

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Charles Lowe & Pavel Zemliansky Eds.
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L. Lennie Irvin

Introduction: The Academic Writing Task

As a new college student, you may have a lot of anxiety and questions about the writing you’ll do in college. * That word “academic,” especially, may turn your stomach or turn your nose. However, with this first year composition class, you begin one of the only classes in your entire college career where you will focus on learning to write. Given the importance of writing as a communication skill, I urge you to consider this class as a gift and make the most of it. But writing is hard, and writing in college may resemble playing a familiar game by completely new rules (that often are unstated). This chapter is designed to introduce you to what academic writing is like, and hopefully ease your transition as you face these daunting writing challenges.

So here’s the secret. Your success with academic writing depends upon how well you understand what you are doing as you write and then how you approach the writing task. Early research done on college writers discovered that whether students produced a successful piece of writing depended largely upon their representation of the writing task. The writers’ mental model for picturing their task made a huge difference. Most people as they start college have wildly strange ideas about what they are doing when they write an essay, or worse—they have no clear idea at all. I freely admit my own past as a clueless freshman writer, and it’s out of this sympathy as well as twenty years of teaching college writing that I hope to provide you with something useful. So grab a cup of coffee or a diet coke, find a comfortable chair with good light, and let’s explore together this activity of academic writing you’ll be asked to do in college. We will start by clearing up some of those wild misconceptions people often arrive at college possessing. Then we will dig more deeply into the components of the academic writing situation and nature of the writing task.

Myths About Writing

Myth #1: The “Paint by Numbers” myth

Myth #2: Writers only start writing when they have everything figured out

Myth #3: Perfect first drafts

Myth #4: Some got it; I don’t—the genius fallacy

Myth #5: Good grammar is good writing

Myth #6: The Five Paragraph Essay

Myth #7: Never use “I”

The Academic Writing Situation

What’s the moral here? Developing your “writer’s sense” about communicating within the writing situation is the most important thing you should learn in freshman composition.

Figure 1, depicting the writing situation, presents the best image I know of describing all the complexities involved in the writing situation.

Looking More Closely at the “Academic Writing” Situation

What are usually called ‘writing assignments’ in college might more accurately be called ‘literacy tasks’ because they require much more than the ability to construct correct sentences or compose neatly organized paragraphs with topic sentences. . . . Projects calling for high levels of critical literacy in college typically require knowledge of research skills, ability to read complex texts, understanding of key disciplinary concepts, and strategies for synthesizing, analyzing, and responding critically to new information, usually within a limited time frame. (3–4)

Knowledge of Research Skills

The Ability to Read Complex Texts

The Understanding of Key Disciplinary Concepts

Strategies for Synthesizing, Analyzing, and Responding Critically to New Information

In College, Everything’s an Argument: A Guide for Decoding College Writing Assignments

Academic Writing Is an Argument

Academic Writing Is an Analysis

So what does it mean to analyze? One way to think of an analysis is that it asks you to seek How and Why questions much more than What questions. An analysis involves doing three things:

Engage in an open inquiry where the answer is not known at first (and where you leave yourself open to multiple suggestions)
Identify meaningful parts of the subject
Examine these separate parts and determine how they relate to each other

Three Common Types of College Writing Assignments

The Closed Writing Assignment

Is Creon a character to admire or condemn?
Does your advertisement employ techniques of propaganda, and if so what kind?
Was the South justified in seceding from the Union?
In your opinion, do you believe Hamlet was truly mad?

The Semi-Open Writing Assignment

Discuss the role of law in Antigone.
Explain the relationship between character and fate in Hamlet.
Compare and contrast the use of setting in two short stories.
Show how the Fugitive Slave Act influenced the Abolitionist Movement.

The Open Writing Assignment

Analyze the role of a character in Dante’s The Inferno.
What does it mean to be an “American” in the 21st Century?
Analyze the influence of slavery upon one cause of the Civil War.
Compare and contrast two themes within Pride and Prejudice .

These kinds of writing assignments require you to decide both your writing topic and you claim (or thesis). Which character in the Inferno will I pick to analyze? What two themes in Pride and Prejudice will I choose to write about? Many students struggle with these types of assignments because they have to understand their subject matter well before they can intelligently choose a topic. For instance, you need a good familiarity with the characters in The Inferno before you can pick one. You have to have a solid understanding defining elements of American identity as well as 21 st century culture before you can begin to connect them. This kind of writing assignment resembles riding a bike without the training wheels on. It says, “You decide what to write about.” The biggest decision, then, becomes selecting your topic and limiting it to a manageable size.

Picking and Limiting a Writing Topic

Let’s talk about both of these challenges: picking a topic and limiting it. Remember how I said these kinds of essay topics expect you to choose what to write about from a solid understanding of your subject? As you read and review your subject matter, look for things that interest you. Look for gaps, puzzling items, things that confuse you, or connections you see. Something in this pile of rocks should stand out as a jewel: as being “do-able” and interesting. (You’ll write best when you write from both your head and your heart.) Whatever topic you choose, state it as a clear and interesting question. You may or may not state this essay question explicitly in the introduction of your paper (I actually recommend that you do), but it will provide direction for your paper and a focus for your claim since that claim will be your answer to this essay question. For example, if with the Dante topic you decided to write on Virgil, your essay question might be: “What is the role of Virgil toward the character of Dante in The Inferno?” The thesis statement, then, might be this: “Virgil’s predominant role as Dante’s guide through hell is as the voice of reason.” Crafting a solid essay question is well worth your time because it charts the territory of your essay and helps you declare a focused thesis statement.

Three Characteristics of Academic Writing

Clear evidence in writing that the writer(s) have been persistent, open-minded, and disciplined in study. (5)
The dominance of reason over emotions or sensual perception. (5)
An imagined reader who is coolly rational, reading for information, and intending to formulate a reasoned response. (7)

Your professor wants to see these three things in your writing when they give you a writing assignment. They want to see in your writing the results of your efforts at the various literacy tasks we have been discussing: critical reading, research, and analysis. Beyond merely stating opinions, they also want to see an argument toward an intelligent audience where you provide good reasons to support your interpretations.

The Format of the Academic Essay

Characteristics of the Critical Essay

It is an argument, persuasion essay that in its broadest sense MAKES A POINT and SUPPORTS IT. (We have already discussed this argumentative nature of academic writing at length.)
The point (“claim” or “thesis”) of a critical essay is interpretive in nature. That means the point is debatable and open to interpretation, not a statement of the obvious. The thesis statement is a clear, declarative sentence that often works best when it comes at the end of the introduction.
Organization: Like any essay, the critical essay should have a clear introduction, body, and conclusion. As you support your point in the body of the essay, you should “divide up the proof,” which means structuring the body around clear primary supports (developed in single paragraphs for short papers or multiple paragraphs for longer papers).
Support: (a) The primary source for support in the critical essay is from the text (or sources). The text is the authority, so using quotations is required. ( b) The continuous movement of logic in a critical essay is “assert then support; assert then support.” No assertion (general statement that needs proving) should be left without specific support (often from the text(s)). (c) You need enough support to be convincing. In general, that means for each assertion you need at least three supports. This threshold can vary, but invariably one support is not enough.
A critical essay will always “document” its sources, distinguishing the use of outside information used inside your text and clarifying where that information came from (following the rules of MLA documentation style or whatever documentation style is required).
Whenever the author moves from one main point (primary support) to the next, the author needs to clearly signal to the reader that this movement is happening. This transition sentence works best when it links back to the thesis as it states the topic of that paragraph or section.
A critical essay is put into an academic essay format such as the MLA or APA document format.
Grammatical correctness: Your essay should have few if any grammatical problems. You’ll want to edit your final draft carefully before turning it in.

Works Cited

Carroll, Lee Ann. Rehearsing New Roles: How College Students Develop as Writers . Carbondale: Southern Illinois UP, 2002. Print.

Thaiss, Chris and Terry Zawacki. En gaged Writers & Dynamic Disciplines: Research on the Academic Writing Life. Portsmouth: Boynton/Cook, 2006. Print.

What are you looking for?

Suggested search, alumnus jaren lewison, star of ‘never have i ever,’ to deliver 2024 usc dornsife commencement address.

Jaren Lewison has been an actor much of his young life. Most recently, he garnered acclaim for his role as Ben Gross on the hit Netflix series Never Have I Ever , much of which he filmed while studying psychology at the USC Dornsife College of Letters, Arts and Sciences.

On May 10, Lewison will take on a different role, this time as the commencement speaker for his alma mater’s graduation ceremonies on Allyson Felix Field May 10 at 11 a.m. and 2:30 p.m. He will also receive the USC Dornsife Distinguished Alumni Medallion in recognition of his achievements as a USC Dornsife graduate.

Academic and acting achievement

When Lewison first stepped foot on USC’s University Park Campus as a freshman in the fall of 2019, few of his fellow students could have predicted what lay in store for him. He’d held roles in several television shows, including the children’s program Barney & Friends , as well as movies, but the previous summer had brought him what would become his breakout role.

Never Have I Ever debuted in April 2020 to both popular and critical acclaim, putting the spotlight on its bright young cast, including Lewison. The series would go on to film three more seasons.

Along the way, Lewison earned his psychology degree, with a minor in forensics and criminality, finishing in just three years, a remarkable achievement considering the demands of both his studies and filming. And he graduated summa cum laude.

“Our students exemplify what it means to learn and do simultaneously. Jaren’s ability to apply his coursework to his professional career is a great example of this Dornsife trait,” said Emily Anderson, college dean of undergraduate education at USC Dornsife. “I commend him for his accomplishments, and I know our graduates will be inspired by what he has done.”

Lewison credits his teachers and those close to him with helping him find the right balance. “Support from my friends and my family sort of kept me afloat,” he said, “especially when I was kind of going crazy with so much to do.”

The Dallas native says his major lends to his process in portraying an actor, providing insight into how people behave with one another and the world. “I think that it just informs you on motivations and behavior,” he said. “You understand the world around you and how you interact in it and how others interact with it. And I think that as an actor, that’s really what you’re doing. You’re just understanding people and then it gets filmed.”

Lewison says, in fact, that his overall experience and the broad opportunities available at USC Dornsife helped him “be as well-rounded as possible,” something he values for himself and his career. “You collaborate with people, you understand different perspectives, and you do that to formulate a collaborative effort.”

More information about the USC Dornsife commencement ceremonies can be found at dornsife.usc.edu/commencement/ .

A fascination with history has this alumna digging up roots, from wood fossils to plant-based burgers with an earth sciences degree, earth sciences isn’t just for earth.

Commencement
campus news
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What is academic writing by l. lennie irvin.

The Open Textbook Library has a PDF version of a book entitled Writing Spaces: Readings on Writing Vol. I. Its second essay is “What is Academic Writing,” by L. Lennie Irvin. Access and read this . (I would paste it in, but it would lose images and formatting.)

What is Academic Writing from the online text Writing Spaces: Readings on Writing Vol. I. Authored by : Charlie Lowe, Grand Valley State University Pavel Zemliansky, James Madison University. Provided by : Open Textbook Library. Located at : https://open.umn.edu/opentextbooks/BookDetail.aspx?bookId=45 . Project : Center for Open Education. License : CC BY-NC: Attribution-NonCommercial

COMMENTS

PDF What Is "Academic" Writing?
What Is "Academic" Writing? by L. Lennie Irvin This essay is a chapter in Writing Spaces: Readings on Writing, Volume 1, a peer-reviewed open textbook series for the writing classroom, and is published through Parlor Press. The full volume and individual chapter downloads are available for free from the following sites:
1 Lennie Irvin's "What is Academic Writing?"
In this first chapter, Irvin defines academic writing for students new to the genre and identifies some common misconceptions (like never using the "I" pronoun). The chapter further explores the importance of understanding the academic writing situation for each assignment, and the literary tasks students are frequently asked to perform on the college level.
Thinking Deeper: Lennie L. Irvin, "What Is 'Academic' Writing?"
Lennie L. Irvin Introduction: The Academic Writing Task. As a new college student, you may have a lot of anxiety and questions about the writing you'll do in college.* That word "academic," especially, may turn your stomach or turn your nose. However, with this first year composition class, you begin one of the only classes in your entire ...
Lennie Irvin: "What Is "Academic" Writing?" Summary
Irvin (n.d.) emphasizes the fact that there are numerous sources of the research, and they all should be used for a paper to become relevant. Nevertheless, a writer should also differentiate between credible and other sources. Finally, Irvin (n.d.) also introduces current demands to an academic article and outlines the importance of their ...
Deeper Reading: "What Is Academic Writing?"
Lennie Irvin "What is Academic Writing" written by Lennie Irvine can be found here. In this essay, Irvine aims to provide an in-depth explanation of all of the things that academic, college-level reading and writing are. You, a first year college student, are his audience. His purpose is to demystify the expectations that you will face in ...
PDF What Is "Academic" Writing?
What Is "Academic" Writing? by L. Lennie Irvin This essay is a chapter in Writing Spaces: Readings on Writing, Volume 1, a peer-reviewed open textbook series for the writing classroom, and is published through Parlor Press. The full volume and individual chapter downloads are available for free from the following sites:
"What Is Academic Writing?"
"What Is Academic Writing?" by Lennie Irvin is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted. Powered by Pressbooks
What is Academic Writing?
Chapter Description. This chapter explores the task of writing in college. It details common myths about academic writing and the importance of developing a "writer's sense" within the writing situation. It identifies features of the complex "literacy task" college writing assignments require and decodes elements of the academic ...
What is Academic Writing by L. Lennie Irvin
What is Academic Writing by L. Lennie Irvin. The Open Textbook Library has a PDF version of a book entitled Writing Spaces: Readings on Writing Vol. I. Its second essay is "What is Academic Writing," by L. Lennie Irvin. Access and read this . (I would paste it in, but it would lose images and formatting.)
PDF What Is "Academic" Writing?
What Is "Academic" Writing? by L. Lennie Irvin This essay is a chapter in Writing Spaces: Readings on Writing, Volume 1, a peer-reviewed open textbook series for the writing classroom, and is published through Parlor Press. The full volume and individual chapter downloads are available for free from the following sites:
What is "Academic" Writing?
What is "Academic" Writing? Written by L. Lennie Irvin. Introduction: The Academic Writing Task. As a new college student, you may have a lot of anxiety and questions about the writing you'll do in college. That word "academic," especially, may turn your stomach or turn your nose. However, with this first year composition class, you begin ...
(PDF) What Is " Academic " Writing
What Is "Academic" Writing? by L. Lennie Irvin This essay is a chapter in Writing Spaces: Readings on Writing, Volume 1, a peer-reviewed open textbook series for the writing classroom, and is published through Parlor Press. The full volume and individual chapter downloads are available for free from the following sites: • Writing Spaces ...
1.2: What is Academic Writing
What Is "Academic" Writing? by L. Lennie Irvin. Introduction: The Academic Writing Task. As a new college student, you may have a lot of anxiety and questions about the writing you'll do in college.* That word "academic," especially, may turn your stomach or turn your nose. However, with this first year composition class, you begin ...
"What Is "Academic" Writing?" by Lennie Irvin
Third, Irvin explores the elements of writing a "literacy task.". According to the author, a student should be aware of their professor's expectations and understand what the instructor wants to be accomplished while doing a task. Fourth, Irvin explains what a literacy task is. He states that a literacy task is both an argument and an ...
(Open Access) What Is Academic Writing (2017)
Lennie Irvin. 31 Dec 2016 -. TL;DR: The Readings on Writing, Volume 1, a peer-reviewed open textbook series for the writing classroom, is published through Parlor Press as mentioned in this paper. The full volume and individual chapter downloads are available for free from the following sites: View 7 related papers.
Writing Spaces: Readings on Writing Vol. I
For example, the first essay of "What is Academic Writing" by L. Lennie Irvin provides a good introduction to the basic terms such as academic writing situation and the format, a synopsis of the key skills required for the freshmen composition, and an illustration of college writing assignments. The third point worth mentioning is the ...
Writing and Grammar Resource
Writing Critical Summaries Response/Think Pieces-- example Close Reading Strategies Annotation Guide Crossing the Bridge from Reading to Writing. ESL Writer Guides. Using Articles . Essay Basics. What is Academic Writing? Critical Essay Model Essay Essay Form Leads: Introductions Organization Development Development Outline
Deeper Reading: "What Is Academic Writing?"
Lennie Irvin "What is Academic Writing" written by Lennie Irvine can be found here. In this essay, Irvine aims to provide an in-depth explanation of all of the things that academic, college-level reading and writing are. You, a first year college student, are his audience. His purpose is to demystify the expectations that you will face in ...
What Is "Academic" Writing-L. Lennie Irvin
About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features NFL Sunday Ticket Press Copyright ...
What Is "Academic" Writing?
Lennie Irvin. Introduction: The Academic Writing Task. As a new college student, you may have a lot of anxiety and questions about the writing you'll do in college.* That word "academic," especially, may turn your stomach or turn your nose. However, with this first year composition class, you begin one of the only classes in your entire ...
What Is "Academic" Writing?
L. Lennie Irvin. Introduction: The Academic Writing Task. As a new college student, you may have a lot of anxiety and questions about the writing you'll do in college. ... Looking More Closely at the "Academic Writing" Situation. Writing in college is a fairly specialized writing situation, and it has developed its own codes and ...
How To Improve Your Academic Writing Style
Writing academically comes easily to very few. Many authors view the formality and precision required in academic communication as constraints on their expression. But, whilst there are strict rules and conventions, it is still possible to find your own voice and write original, engaging content.
Irvin- What is Academic writing (pdf)
Subscribe to unlock this document and more. L. Lennie Irvin 8 Academic writing is always a form of evaluation that asks you to dem- onstrate knowledge and show proficiency with certain disciplinary skills of thinking, interpreting, and presenting. Writing the paper is never "just" the writing part. To be successful in this kind of writing, you ...
Jaren Lewison to deliver 2024 USC Dornsife commencement address
Jaren Lewison has been an actor much of his young life. Most recently, he garnered acclaim for his role as Ben Gross on the hit Netflix series Never Have I Ever, much of which he filmed while studying psychology at the USC Dornsife College of Letters, Arts and Sciences.. On May 10, Lewison will take on a different role, this time as the commencement speaker for his alma mater's graduation ...
What is Academic Writing by L. Lennie Irvin
What is Academic Writing by L. Lennie Irvin. The Open Textbook Library has a PDF version of a book entitled Writing Spaces: Readings on Writing Vol. I. Its second essay is "What is Academic Writing," by L. Lennie Irvin. Access and read this . (I would paste it in, but it would lose images and formatting.)

1 Lennie Irvin’s “What is Academic Writing?”

About the Author

Share This Book

Thinking Deeper: Lennie L. Irvin, “What Is ‘Academic’ Writing?”

What Is “Academic” Writing?

Myths about Writing

Looking More Closely at the “Academic Writing” Situation

Knowledge of Research Skills

The Ability to Read Complex Texts

The Understanding of Key Disciplinary Concepts

Strategies for Synthesizing, Analyzing, and Responding Critically to New Information

In College, Everything’s an Argument: A Guide for Decoding College Writing Assignments

Academic Writing Is an Argument

Academic Writing Is an Analysis

Three Common Types of College Writing Assignments

The Closed Writing Assignment

The Semi-Open Writing Assignment

The Open Writing Assignment

Picking and Limiting a Writing Topic

Three Characteristics of Academic Writing

The Format of the Academic Essay

Characteristics of the Critical Essay

Works Cited

Share This Book

What is Academic Writing?

Alternate Downloads:

What is "Academic" Writing?

Introduction: The Academic Writing Task

Myths about Writing

The Academic Writing Situation

Looking More Closely at the “Academic Writing” Situation

Knowledge of Research Skills

The Ability to Read Complex Texts

The Understanding of Key Disciplinary Concepts

Strategies for Synthesizing, Analyzing, and Responding Critically to New Information

In College, Everything’s an Argument: A Guide for Decoding College Writing Assignments

Academic Writing Is an Argument

Academic Writing Is an Analysis

Three Common Types of College Writing Assignments

The Closed Writing Assignment

The Semi-Open Writing Assignment

The Open Writing Assignment

Picking and Limiting a Writing Topic

Three Characteristics of Academic Writing

The Format of the Academic Essay

Characteristics of the Critical Essay

Works Cited

What Is " Academic " Writing

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168 What Is “Academic” Writing?

Introduction: The Academic Writing Task

Myths about Writing

The Academic Writing Situation

Looking More Closely at the “Academic Writing” Situation

Knowledge of Research Skills

The Ability to Read Complex Texts

The Understanding of Key Disciplinary Concepts

Strategies for Synthesizing, Analyzing, and Responding Critically to New Information

In College, Everything’s an Argument: A Guide for Decoding College Writing Assignments

Academic Writing Is an Argument

Academic Writing Is an Analysis

Three Common Types of College Writing Assignments

The Closed Writing Assignment

The Semi-Open Writing Assignment

The Open Writing Assignment

Picking and Limiting a Writing Topic

Three Characteristics of Academic Writing