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How to Write a Term PaperThis guide is designed to support you as you use electronic and print resources to:
All steps of the research process will be illustrated by examples that follow the creation of a research paper exploring Toni Morrison's novel Beloved. You will be able to track the development of a thesis from initial questions asked during the reading of Beloved to the documentation of material researched to develop that thesis. First, a definition of terms: 1. Researcha. "The purpose of research is not simply to retrieve data, but to participate in a conversation about it" (Brent 109). In addition to being a scholarly investigation, research is a social activity intended to create new knowledge. b. Because your purpose is to create new knowledge while recognizing those scholars whose existing work has helped you in this pursuit, you are honor bound never to commit the following academic sins: 1) Plagiarism: Literally "kidnapping," involving the use of someone else's words as if they were your own (Gibaldi 6). To avoid plagiarism you must document direct quotations, paraphrases, and original ideas not your own. 2) Recycling: Rehashing material you already know thoroughly or, without your professor's permission, submitting a paper that you have completed for another course. 3) Premature cognitive commitment: Academic jargon for deciding on a thesis too soon and then seeking information to serve that thesis rather than embarking on a genuine search for new knowledge. 2. Literary Research a. Literary research is your response to the questions that you ask while experiencing the world the author or poet has created. These questions may concern such elements as character, style, setting, theme, or literary movement. b. Your original text, the literary work you have studied first hand, is called the primary source. Those works that present information as well as the opinions and ideas of other scholars are called secondary sources. c. During literary research, you return again and again to the primary source to choose the material you wish to discuss, or to compare and contrast to other authors or works. You also return to the primary source to evaluate the critical statements of literary scholars. Choose a Topic"Do not hunt for subjects, let them choose you, not you them." 1. Choosing a topic is the first step in the pursuit of a thesis. Below is a logical progression from topic to thesis: a. Close reading of the primary text, aided by a reading journal b. Growing awareness of interesting qualities within the primary text c. Choosing a topic for research d. Asking productive questions that help explore and evaluate a topic e. Creating a research hypothesis f. Revising and refining a hypothesis to form a working thesis 2. First, and most important, identify what qualities in the primary source pique your imagination and curiosity, and send you on a search for answers. This process of identification can be facilitated through the use of the reading journal. a. A reading journal is a permanent record of your immediate and candid responses to a piece of literature. b. In your journal, record spontaneously those quotations, ideas, questions, observations, and associations that move you, the reader. Also record the page where you can later find the source of your responses. c. Excerpts from a journal kept while reading Toni Morrison's Beloved:
3. Below is a brief description of productive questions asked by critical thinkers. Each question is followed by a definition and a response. These kinds of questions may be used to explore and evaluate a topic. a. Knowledge: Who, what, when, where, how. Question: Where is 124 located? Response: 124 Bluestone Road is in Ohio, on the route taken by fleeing slaves. b. Comprehension: Awareness of a work's organization and pertinent ideas and facts. Question: Why is Sethe's story told in bits and pieces rather than in clear chronological order? Response: Sethe tells a sliver of memory and then retreats from the pain of remembering. The reader has to wait for the story of Sweet Home, where she lived as a slave, and of 124 to unfold gradually. Beloved calls these memories Sethe's "diamonds," an implication of her place in Sethe's past and of the value of memories. c. Analysis: Separation of the whole into parts. Question: Why are there so many seemingly disconnected female voices? Response: There seems to be a variety of female voices in Beloved: Sethe's, the living black community's, and dead slaves'.... I wonder how the voices will join and how they will affect life at 124. d. Synthesis: Combining those parts into a meaningful whole. Synthesis is especially effective when it results in new insights. Question: Are the voices in the yard of 124, those voices that wash over Sethe, the combined voices of all black women in the novel? Have they come to save her and exorcise the horror from 124? Response: p. 261: "... the voices of women searched for the right combination, the key, the code, the sound that broke the back of words. ... It broke over Sethe and she trembled like the baptized in its wash." e. Evaluation: development of opinions, judgments, criticisms, or decisions Question: Does the story begin and end at 124 because it is the unifying element in the novel? Is this where Sethe's damnation or redemption is told and played out? What role does Sweet Home play in shaping lives? Response: I think I'll explore the role of 124 and of Sweet Home in the lives of the women as a possible thesis for my research. f. Application: Use of information, ideas, opinions, insights to create a research product that offers new, interesting, and personally satisfying knowledge. Question: How can I use my journal entries to guide me in my first steps towards formal research? Response: Because my journal entries focus on the role of 124 in the narration of Sethe's story, I'll 1) reread Beloved for more details regarding the house 2) research views on the role of 124 and Sweet Home in the novel 3) see if I have enough pertinent and interesting information to create a paper that explores available scholarship and offers new insights. Conclusion: Topic — The role of houses in Beloved and the way they shape women's lives 4. Skimming reference works such as encyclopedias, books, critical essays and periodical articles can help you choose a topic that evolves into a hypothesis, which in turn may lead to a thesis. For an example of a relevant encyclopedia, use a key word search as you explore Merriam Webster's Encyclopedia of Literature. a. One approach to skimming involves reading the first paragraph of a secondary source to locate and evaluate the author's thesis. Then for a general idea of the work's organization and major ideas read the first and last sentence of each paragraph. Read the conclusion carefully, as it usually presents a summary (Barnet and Bedau 19). b. Below is an example of skimming the first and last paragraphs of a critical essay found in the Literature Resource Center's Source Database: Contemporary Literary Criticism Select. 1) Locate the essay about Toni Morrison's novel, Nameless Ghosts: Possession and Dispossession in Beloved. 2) Skimming the first paragraph produces words like "ancestry," "matrilineal," "mothers," "daughters," "memory," "biblical," "myths," and "folklore" Promising words, as the topic is; In Beloved, the role of houses in women's lives. 3) The essay's thesis seems to focus on the relationship between generations of women: enslaved, freed, alive, and dead. 4) The last paragraph begins with the phrase "how to live in the present without canceling out an excruciatingly painful past." The essay may relate to the topic. Writing a bibliographical card and reading the essay more carefully appear to be sound decisions. Crafting a Thesis1. Very often a chosen topic is too broad for focused research. You must revise it until you have a working hypothesis, that is, a statement of an idea or an approach with respect to the primary source that could form the basis for your thesis. 2. The following is an example of how to develop first a working hypothesis and then a working thesis related to Beloved: a. Topic: The role of Sweet Home and of 124 Bluestone Road in women's lives b. Question: What roles do the houses play in specific characters' lives? Working Hypothesis: The houses in Beloved both affect and reflect the lives of the women who live in them. c. Do not commit too soon to any one hypothesis. Use it as a divining rod or a first step that will take you to new information that may inspire you to revise your hypothesis. Be flexible. Give yourself time to explore possibilities. The hypothesis you create will mature and shift as you write and rewrite your paper. New questions will send you back to old and on to new material. Remember, this is the nature of research — it is more a spiraling or iterative activity than a linear one. d. Test your working hypothesis to be sure it is 1) broad enough to promise a variety of resources. 2) narrow enough for you to research in depth. 3) original enough to interest you and your readers. 4) worthwhile enough to offer information and insights of substance. e. The following are specific questions asked while refining a hypothesis related to a research paper on Beloved: 1) Am I too broad in considering all women living in Sweet Home and in 124 Bluestone Road? Should I focus only on black women? 2) Should I explore the lives of women of different generations? Would the lives of Baby Suggs, Sethe, Denver, and Beloved, grandmother, mother and daughters, give me an interesting intergenerational point of view? f. The questions asked above lead to the following hypothesis: In Beloved, Sweet Home and 124 Bluestone Road affect the lives of Baby Suggs, Sethe, Denver and Beloved. 3. Now it is time to craft your thesis, your revised and refined hypothesis. A thesis is a declarative sentence that a. focuses on one well-defined idea b. makes an arguable assertion; it is capable of being supported c. prepares your readers for the body of your paper and foreshadows the conclusion. 4. Below is a thesis crafted after a careful consideration of the above hypothesis: In Beloved, the spiritual and physical enslavement of Baby Suggs, Sethe, Denver and Beloved is shaped by chattel slavery and reflected in the houses at Sweet Home and on Bluestone Road. Evaluate Your Thesis and Sources1. Remember, like your hypothesis, your thesis is not carved in stone. You are in charge. If necessary, revise it during the research process. 2. As you research, continue to evaluate both your thesis for practicality, originality, and promise as a search tool, and secondary sources for relevance and scholarliness. The following are questions to ask during research: a. Are there many journal articles and entire books devoted to the thesis, suggesting that the subject has been covered so thoroughly that there may be nothing new to say? b. Does the thesis lead to stimulating, new insights? c. Are appropriate sources available? Is there a variety of sources available so that the bibliography or works cited page will reflect different kinds of sources? d. Which sources are too broad for my thesis? Which resources too narrow ? e. Who is the author of the secondary source? Does the critic's background suggest that he/she is qualified? 3. After crafting a thesis, consider one of the following two approaches to writing a research paper. a. Excited about your thesis and eager to begin? 1) Return to the primary source to find support for your thesis. 2) Organize ideas and begin writing your first draft. 3) After writing the first draft, turn to the authorities for their support of your ideas. In the appropriate places, cite these sources. 4) Document facts and opinions from secondary sources. 5) Remember, secondary sources are no substitute for original thought b. Confused about where to start? 1) Use your thesis to direct you to appropriate secondary sources. 2) These secondary sources will help you clarify your position and find a direction for your paper. 3) Keep a work-in-progress bibliography. You may not use all the sources you record, but you cannot be sure which ones you will eventually discard. 4) Create a working outline as you research. This outline will, of course, change as you delve more deeply into your subject. A Variety of Information Sources"A mind that is stretched to a new idea never returns to its original dimension." — Oliver Wendell Holmes
Your thesis and your working outline are the primary compasses that will help you navigate the variety of sources available. 1. In "Introduction to the Library" (5-6) the MLA Handbook for Writers of Research Papers suggests you become familiar with the library you will be using by: a. taking a tour or enrolling for a brief introductory lecture, b. referring to the library's publications describing its resources, c. introducing yourself and your project to the reference librarian (5) 2. The MLA Handbook also lists guides for the use of libraries (5). Among them are: a. Jean Key Gates, Guide to the Use of Libraries and Information Sources (7th ed., New York: McGraw, 1994). b. Thomas Mann, A Guide to Library Research Methods (New York: Oxford UP, 1987). 3. Online Central Catalog a. Today most libraries have their holdings listed on a computer. b. The online catalog may offer Internet sites, Web pages and databases that relate to the university's curriculum. It may also include academic journals and online reference books. c. Below are three search techniques commonly used online: 1) Index Search: Although online catalogs may differ slightly from library to library, the most common listings are by a) Subject Search: Enter the author's name for books and article written about the author. b) Author Search: Enter an author's name for works written by the author, including collections of essays the author may have written about his/her own works. c) Title Search: Enter a title for the screen to list all the books the library carries with that title. 2) Key Word Search/Full-text Search: a) A one-word search, e.g., ‘Morrison,' will produce an overwhelming number of sources, as it will call up any entry that includes the name ‘Morrison.' b) To focus more narrowly on your subject, add one or more key words, e.g., "Toni Morrison, Beloved, criticism." c) Be sure to use precise key words. 3) Boolean Search: a) Boolean Search techniques use words such as "and," "or," and "not," which clarify the relationship between key words, thus narrowing the search. b) This kind of search is described fully in the Literature Resource Center under Search Engine Tips: General Tips. 4. Print Resources (Some may be offered online or on CD-ROM at your library): a. Gale Literary Criticism Series: 1) Contemporary Literary Criticism (CLC): Authors now living or who died after December 31, 1959. 2) Twentieth-Century Literary Criticism (TCLC): Authors who died between 1900 and 1959. 3) Nineteenth-Century Literature Criticism (NCLC): Authors who died between 1800 and 1899. 4) Literature Criticism From 1400 To 1800 (LC) and Shakespearean Criticism (SC): Authors who died between 1400 and 1799. 5) Classical And Medieval Literature Criticism (CMLC): Authors who died before 1400. 6) Drama Criticism (DC): Dramatists. 7) Poetry Criticism (PC): Poets 8) Short Story Criticism (SSC): Short story writers. 9) Black Literature Criticism (BLC): Black writers of the past two hundred years. 10) Hispanic Literature Criticism (HLC): Hispanic writers of the late nineteenth and twentieth centuries. 11) Native North American Literature (NNAL): Native North American writers and orators of the eighteenth, nineteenth, and twentieth centuries. 12) World Literature Criticism, 1500 to the Present (WLC): Major authors from the Renaissance to the present. b. MLA International Bibliography 1) MLA publishes two books yearly that provide bibliographic information concerning literary works. The first book lists works in five areas: literature in English, literature in other languages, linguistics, general literature and related topics, and folklore. The second book is a subject index of the first (Gibaldi 13). 2) Obtain a list of the periodicals in the library's collection. Check titles in the MLA International Bibliography against the library's holdings. This precaution will save you the frustration of searching for periodicals that are not available. 5. Electronic Resources: a. Literature Resource Center (LRC): Many of the above mentioned Gale Series are available within the Literature Resource Center's searches listed below. 1) Author Search 2) Title Search 3) Genre Search 4) Literary Movement/Time Period Search 5) Literary Themes Search 6) Essays on Publishing Companies 7) Essays on Literary Topics 8) Custom Search b. Gale Literary Databases: The following databases available on GaleNet. (http://galenet.gale.com) LRC incorporates databases 1-3 1) Contemporary Authors: Provides complete biographical and bibliographical information and references on approximately 100,000 U.S. and international authors. 2) Contemporary Literary Criticism Select: An extensive collection of critical essays on contemporary writers — each entry also contains a biographical/critical introduction, a list of principal works and sources for further study. 3) Dictionary of Literary Biography: Documents the lives and careers of authors from all eras and genres — provides biographies, critical studies, bibliographies and sources for further reading. 4) DISCovering Authors Modules: A student-focused source for biographical, bibliographical and critical information on 1,260 of the world's most-studied novelists, poets and dramatists, including significant coverage of multicultural, popular and genre authors. 5) DISCovering Most-Studied Authors: A student-focused source for biographical, bibliographical and critical information on the 380 authors most frequently studied in North American high schools and colleges, including significant coverage of key novelists, poets, dramatists and short story writers. c. MLA International Bibliography, available online and on CD-ROM (Gibladi 13): 1) This source includes citations from 1963 on, adding new records ten times per year; approximately 45,000 records annually. (http://medusa.prod.oclc.org) 2) The standard way to search this database is through author, title and subject (Gibaldi 14). 3) Ask a librarian for a list of the periodicals available in your library. You will want to be sure the journal is available before beginning a search through the library"s periodical collection. d. Free Sources on the Internet 1) Library of Congress: "LOC offers a wide variety of online databases and Internet resources. In addition, the LOC provides an easy-to-use gateway for searching other institutions online catalogs and extensive links to resources on the Internet" Library of Congress Research Tools. 2) There are many Web pages devoted to individual authors. Some are unofficial fan sites and as such may not be appropriate resources for a scholarly paper, but they may contain ideas for topics and provide interesting information about your author. For example, a web page on Toni Morrison includes her views on the possible impeachment proceedings of President Clinton. While these views are not pertinent to the writing of a paper on Beloved, they do offer insights into Morrison's view on contemporary politics. Try entering an author's name on any of the popular search engines, such as Google, Excite, Yahoo, Alta Vista and many others. Take Efficient NotesKeeping complete and accurate bibliography and note cards during the research process is a time (and sanity) saving practice. 1. If you have ever needed a book or pages within a book only to discover that an earlier researcher has failed to return it or torn pages from your source, you understand the need to remind students that honor among scholars demands respect for materials as well as for ideas. 2. Bibliography and note cards: Every researcher has a favorite method for taking notes. Below are some suggestions to customize for your own use. a. Bibliography cards 1) There may be far more books and articles listed than you have time to read, so be selective when choosing a reference. Take information from works that clearly relate to your thesis, remembering that you may not use them all. 2) Use a smaller or a different color card from the one used for taking notes. 3) Write a bibliography card for every source. 4) Number the bibliography cards. On the note cards, use the number rather than the author's name and the title. It's faster. 5) Another method for recording a working bibliography, of course, is to create your own database. Adding, removing, and alphabetizing titles is a simple process. Be sure to save often and to create a back-up file. 6) A bibliography card should include all the information a reader needs to locate that particular source for further study. 7) Most of the information required for a book entry (Gibaldi 112): a) Author's name b) Title of a part of the book [preface, chapter titles, etc.] c) Title of the book d) Name of the editor, translator, or compiler e) Edition used f) Number(s) of the volume(s) used g) Name of the series h) Place of publication, name of the publisher, and date of publication i) Page numbers j) Supplementary bibliographic information and annotations 8) Most of the information required for an article in a periodical (Gibaldi 141): a) Author's name b) Title of the article c) Name of the periodical d) Series number or name (if relevant) e) Volume number (for a scholarly journal) f) Issue number (if needed) g) Date of publication h) Page numbers i) Supplementary information 9) For information on how to cite other sources refer to the MLA Handbook b. Notes cards 1) Take notes in ink on either uniform note cards or uniform slips of paper. The slips of paper are easier to carry if you are working on a very long paper 2) Devote each note card to a single topic identified at the top. Write only on one side. Later, you may want to use the back to add notes or personal observations. 3) Include the number of the page(s) where you found the information. You will want the page number(s) later for documentation, and you may also want page number(s)to verify your notes. 4) Most novice researchers write too much. Condense. Abbreviate. You are striving for substance, not quantity. 5) Keep direct quotations at a minimum. If you must quote, use ellipses (...) wherever possible. Be sure to copy patiently word for word. Save time. Be accurate when you first take notes. Quote from the original source, if possible. A secondary source may have misquoted the original. 6) Suggestions for condensing information: a) Summary: A summary is intended to provide the gist of an essay. Do not weave in the author's choice phrases. Read the information first and then condense the main points in your own words. This practice will help you avoid the copying that leads to plagiarism. Summarizing also helps you both analyze the text you are reading and evaluate its strengths and weaknesses (Barnet and Bedau 13). b) Outline: Use to note a series of points. c) Paraphrase: Do not quote words and phrases from the original. Simplify the language and list the ideas in the same order. A paraphrase is as long as the original. Paraphrasing is helpful when you are struggling with a particularly difficult passage. d) Combination: Blend the above techniques. 7) Be sure to include your own insights or flashes of brilliance. Ralph Waldo Emerson warns you to "Look sharply after your thoughts. They come unlooked for, like a new bird seen on your trees, and, if you turn to your usual task, disappear...." To differentiate these insights from those of the source you are reading, initial them as your own. (When the following examples of note cards include the researcher's insights, they will be followed by the initials N. R.) 8) Run a hardcopy of a promising essay. Highlight key sentences and passages and make marginal notes. Note those areas that apply specifically to your thesis. 9) When you have finished researching your thesis and you are ready to write your paper, organize your cards according to topic. 10. As you research, create a working outline that includes the note card headings and explores a logical order for presenting them in your paper. 3. Below are examples of bibliography and note cards compiled while researching Beloved. Formats follow the MLA Handbook for Writers. For more examples of MLA style for bibliography and note cards, refer to the above handbook a. Thesis: Both the spiritual and physical enslavement of Baby Suggs, Sethe, Denver, and Beloved are shaped by chattel slavery and reflected in their houses at Sweet Home and on Bluestone Road. b. Bibliography card : A book by a single author # 1 Otten, Terry, The Crime Of Innocence in the Fiction of Toni Morrison. Literary Frontiers Edition, #13. Columbia: University of Missouri Press, 1989. c. Note cards from above source: #1 [bibliog. cd #] spiritual state of women [topic] p. 81: T. M. deals with good and evil and their relationship. She explores the ability of an evil system like slavery to corrupt slave owner and slave; both carry responsibility for action. #2 isolation of 124 p. 92 In all TM's novels isolation from the community leads to tragedy: necessary to reconnect for "recovery of order and wholeness." d. Bibliography card: A work in an anthology compiled by two editors #2 Henderson, Mae G. "Response" to "There Is No More Beautiful Way" by Houston A. Baker Jr. in Afro-American Literary Study in the 1990s. Eds. Houston A. Baker Jr. and Patricia Redmond. Chicago: University of Chicago Press, 1992, 155-163. e. Note card from the above source: #2 Afro-Amer. writers break with traditional role of home p. 161 Henderson responds to Baker's view of the role of place in Afro-American literature. African-American women break with traditional views of space. If a home can be a place of growth and maternal nurturing, it can also be a place of destruction. 124 is a place where Baby Suggs nurtures, where Sethe nurtures and murders, and where Beloved, Denver and Sethe enter into a struggle for survival. Beloved must be driven out and Denver must find the courage to leave the front porch. N. R. f. Bibliography card for a book by two authors: #3 Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press. 1984. g. Note card from the above source: #3 Houses as prisons/ agoraphobia and anorexia p. 85. 19th century women wrote about imprisonment and escape in novel after novel. Ironically, houses were depicted as both "woman's place" and a prison. In the lives if these trapped women's agoraphobia and anorexia are closely associated with their imprisonment. h. #4 Horvitz, Deborah. "Nameless Ghosts: Possession and Dispossession in Beloved." Studies in American Fiction, Vol. 17, No. 2, Autumn, 1989, pp. 157-67. Republished in Literature Resource Center. Gale. (1 January 1999). i. Note card from the above source: #4. Connections between and among generations of slave women pp. 1-2 Although the ghost of Beloved represents all the slave women who have never had a voice, she is not limited to being a symbol. She is "rooted in a particular story and is the embodiment of specific members of Sethe's family." She is the spirit of all women dragged on board a slave ship, of Sethe's hanged mother, of Sethe's murdered child, and of all the black women who try to trace their roots back to Africa. No wonder 124 is so filled with pain and anger! N.R. Begin and Organize a Research Paper"Life is not free from itsforms." — Wallace Stevens
Where to begin? You may be one of those eager researchers described earlier. If so, inspired by your thesis, you have already begun writing your paper. If, however, you still feel overwhelmed and are staring at a blank page, you are not alone. Many students find writing the first sentence to be the most daunting part of the entire research process. "The best antidote to writer's block is — to write" (Klauser 15). 1. Be creative. Cluster (Rico 28-49). a. Clustering is a form of brainstorming. Sometimes called a web, the cluster forms a design that may suggest a natural organization for a paper. b. Like a sun, the generating idea or topic lies at the center of the web. From it radiate words, phrases, sentences and images that in turn attract other words, phrases, sentences and images. c. The following outline suggested by the above web may change often during the writing of the paper, but it is a beginning. I. Introduction II. General history of slavery. III. The impact of slavery on Baby Suggs before she lived at 124 IV. Sethe's mother and slavery V. Sethe's life at Sweet Home VI. Sethe's flight from Sweet Home VII. 124 Bluestone Road A. Baby Suggs B. Sethe C. Denver D. Beloved E. Past generations of enslaved women F. Contemporary black Community VIII. Conclusion 2. Start directly with your outline. a. If clustering is not a technique that works for you, turn to the working outline you created during the research process. b. If you have not already done so, group your note cards according to topic headings. Compare them to your outline's major points. If necessary, change the outline to correspond with the headings on the note cards. c. If any area seems weak because of a scarcity of facts or opinions, go back to your primary and/or secondary sources for more information or consider deleting that heading. Your outline should have approximately the same amount of information in each area. 3. Once you have written a working outline, consider two different methods for organizing it. a. Deduction: 1) A process of development that moves from the general to the specific. Deduction is the most commonly used form of organization for a research paper on literature. 2) The thesis statement is the generalization that leads to the specific support provided by primary and secondary sources. 3) The thesis is stated early in the paper. The body of the paper then proceeds to provide the facts, examples, and analogies that flow logically from that thesis.
A brief outline of the body of the paper: 1) Describe the historical elements of slavery in North America and its impact on the lives of slave women in particular. Explore the effect of chattel slavery on life at Sweet Home, Kentucky. 2) Analyze the consequences of life at Sweet Home upon 124 Bluestone Road, Ohio, and upon the spirit and body of each of the three generations of women who live there. 3) The thesis contains key words that are reflected in the outline. These key words become a unifying element throughout the paper, as they reappear in the detailed paragraphs that support and develop the thesis. 4) The conclusion of the paper circles back to the thesis, which is now far more meaningful because of the deductive development that supports it. b. Chronological order 1) A process that follows a plot with a traditional time line or that unravels a plot line that includes such elements as flashbacks. 2) A chronological organization is useful for a paper that explores cause and effect. 4. Now it's time to write the first sentence of the first draft of the first paragraph. a. Writing the first draft of an introductory paragraph is like writing in water. You will probably revise it again and again. Knowing this, plunge ahead. Below are a few guidelines for creating a mature introduction: 1) Begin with a "compelling condition or situation" (Sorenson 151). The first sentence of the following introduction to the paper on Beloved is designed to interest the reader. By ending the paragraph with the thesis, the writer leaves the reader with a clear indication of the paper's direction. The introduction is a kind of funnel, with the narrow end (the thesis) ushering the reader into the body of the paper.
2) Begin with an anecdote that sets the stage for the content of the paper (151).
3) Use a quotation that reflects the theme of the paper or that is drawn from the primary source itself (151).
b. In addition to presenting the thesis, the introduction also suggests the general organization of the paper. Parenthetical DocumentationThe work cited page, a list of primary and secondary sources, is not sufficient documentation to acknowledge the ideas, facts, and opinions you have included within your text. The MLA Handbook for Writers of Research Papers describes an efficient parenthetical style of documentation to be used within the body of your paper. 1. Guidelines for parenthetical documentation: a. "References to the text must clearly point to specific sources in the list of works cited" (Gibaldi 184). b. Try to use parenthetical documentation as little as possible. For example, when you cite an entire work, it is preferable to include the author's name in the text.
c. The author's last name followed by the page number is usually enough for an accurate identification of the source in the works cited list. 2. The following examples illustrate the most common kinds of documentation. a. Documenting a quotation:
b. Documenting a paraphrase:
c. If the works cited page lists more than one work by the same author, include within the parentheses an abbreviated form of the appropriate title.
d. You may, of course, include the title in your sentence, making it unnecessary to add an abbreviated title in the citation.
Prepare a Works Cited Page1. There are a variety of titles for the page that lists primary and secondary sources (Gibaldi 106-107). a. A Works Cited page lists those works you have cited within the body of your paper. The reader need only refer to it for the necessary information required for further independent research. b. Bibliography means literally a description of books. Because your research may involve the use of periodicals, films, etc. "Works Cited" is a more precise descriptive term. c. An Annotated Bibliography or Annotated Works Cited page offers brief descriptions of the works listed. d. A Works Consulted page lists those works you have used but not cited. 2. As with other elements of a research paper there are specific guidelines for the placement and the appearance of the Works Cited page. The following guidelines comply with MLA style: a. The Work Cited page is placed at the end of your paper and numbered consecutively with the body of your paper. b. Center the title and place it 1 inch from the top of your page. Do not quote or underline the title. c. Double space the entire page, both within and between entries. d. The entries are arranged alphabetically by the author's last name or by the title of the article or book being cited. If the title begins with an article (a, an, the) alphabetize by the next word. e. If you cite two or more works by the same author, list the titles in alphabetical order. Begin every entry after the first with three hyphens followed by a period. f. All entries begin at the left margin but subsequent lines are indented five spaces. g. Be sure that each entry cited on the Work Cited page corresponds to a specific citation within your paper. h. Refer to the the MLA Handbook for Writers of Research Papers (104- 182) for detailed descriptions of Work Cited entries. i. Below is a Works Cited page that would follow a research paper on Beloved. It illustrates the most commonly cited entries. NOTE: Information in brackets is not included in the final document. Writer's last name Works Cited
Make sure to ask your professor about citing these sources and which style to use. For guidelines, examples and links to sources on citing online databases, see How to Cite InfoTrac and GaleNet Sources. Draft and Revise a Research Paper"There are days when the result is so bad that no fewer than five revisions are required. In contrast, when I'm greatly inspired, only four revisions are needed." — John Kenneth Galbraith
1. Try freewriting your first draft. a. Freewriting is a discovery process during which the writer freely explores a topic. Let your creative juices flow. In Writing without Teachers, Peter Elbow asserts that "[a]lmost everybody interposes a massive and complicated series of editings between the time words start to be born into consciousness and when they finally come off the end of the pencil or typewriter [or word processor] onto the page" (5). b. Do not let your internal judge interfere with this first draft. If you stop to check spelling, punctuation, or grammar, you are allowing editing to disrupt the flow of creative energy. c. When material you have researched comes easily to mind, include it. Add a quick citation, one you can come back to later to check for form, and get on with your discovery. 2. Subsequent drafts focus on writing a paper that flows smoothly, supports fully, and speaks clearly and interestingly. a. Create a smooth flow of words, ideas and paragraphs. 1) Rearrange paragraphs for a logical progression of information. 2) Transition is essential if you want your reader to follow you smoothly from introduction to conclusion. a) Transitional words and phrases are the tiny stitches that provide coherence within your paper. External transition: Words and phrases that are added to a sentence as overt signs of transition are obvious and effective, but should not be overused, as they may draw attention to themselves and away from ideas. Examples of external transition are "however," "then," "next," "therefore." "first," "moreover,' and "on the other hand." Internal transition is more subtle. Key words in the introduction become golden threads when they appear in the paper's body and conclusion. When the writer hears a key word repeated too often, however, she/he replaces it with a synonym or a pronoun. Below are examples of internal transition. No longer interested in the fate of Sethe and her children, Baby Suggs, Holy withdraws to her bed and waits for Death. Chattel slavery has finally broken her spirit. Her only request is for patches of color. Grown weary of a world dominated by gray, she longs for a bit of lavender or yellow. For Denver, however, there is no escape. Lonely and afraid, she must survive without the grandmother who has been her only comfort. b) Transitional sentences create a flow from paragraph to paragraph. They include individual words, phrases, or clauses that refer to previous ideas and that point ahead to new ones. They are usually placed at the end or at the beginning of a paragraph. Below are examples of transitional sentences. A sentence that creates a transition from the sample introduction to the first paragraph of the paper: Before exploring the effects of slavery on the women of Sweet Home and 124, / one must first consider the effects of slavery upon black women in general. The first underlined clause points back to the thesis, which, was the last sentence in the introduction. The second underlined clause points ahead to the body of the paper, which will begin by summarizing the effects of slavery on black women. A sentence that creates transition from a discussion of the fate of Baby Suggs to an exploration of the conflicts in Sethe's life: Baby Suggs falters when she sees the scars on Sethe's back; for her they symbolize the horrors of slavery inflicted on one more generation of black women. The use of Baby Suggs' name points the reader back to the preceding section of the paper and connects it to the next section, one that will explore Sethe's life as a slave at Sweet Home. c) A transitional paragraph is designed to conduct your reader from one part of the paper to another. It may be only a few sentences long. b. Each paragraph of the body of the paper should contain adequate support for its one governing idea. c. Speak clearly. 1) Tone: The paper's tone, whether formal, ironic, or humorous, should be appropriate for the audience and the subject. 2) Voice: Keep you language honest. Your paper should sound like you. Understand, paraphrase, absorb, and express in your own words the information you have researched. Avoid phony language. 3) Sentence formation: When you polish your sentences, read them aloud for word choice and word placement. Be concise. According to Wallace Stevens, an American poet, "Life is the elimination of what is dead." So is good writing. Strunk and White in The Elements of Style advise the writer to "omit needless words" (23). First, however, you must recognize them. d. Keep yourself and your reader interested. 1) First, deliver on your promises. Be sure the body of your paper fulfills the promise of the introduction. 2) Avoid the obvious. Offer new insights. Reveal the unexpected. 3) Craft your conclusion as carefully as you have your introduction. Conclusions are not merely the repetition of your thesis. The conclusion of a research paper is a synthesis of the information presented in the body. Your research has led you to conclusions and opinions that have helped you understand your thesis more deeply and more clearly. Lift your reader to the full level of understanding that you have achieved. 3. Revision means "to look again." a. Find a peer reader to read your paper with you present. Or, visit your college or university's writing lab. Guide your reader's responses by asking specific questions. Are you unsure of the logical order of your paragraphs? Do you want to know whether you have supported all opinions adequately? Are you concerned about punctuation or grammar? Ask that these issues be addressed. You are in charge. b. Here are some techniques that may prove helpful when you are revising alone or with a reader. 1) When you edit for spelling errors read the sentences backwards. This procedure will help you look closely at individual words. 2) Always read your paper aloud. Hearing your own words puts them in a new light. Listen to the flow of ideas and of language. Decide whether or not the voice sounds honest and the tone is appropriate to the purpose of the paper and to your audience. 3) Listen for awkward or lumpy wording. Find the one right word, Eliminate needless words. Combine sentences. 4) Avoid passive voice. "Beloved was buried without a name." is less energetic than "Sethe buried her baby without a name." 5) Be ruthless. If an idea doesn't serve your thesis, banish it, even if it's one of your favorite bits of prose. 6) In the margins, write the major topic of each paragraph. By outlining after you have written the paper, you are once again evaluating your paper's organization. 4. Ask your professor for guidelines on the paper's final form or refer to The MLA Handbook (pp. 264-65). Some general guidelines: a. Use paper that is 8 1/2" by 11". b. Double-space. c. On the first page, in the left margin, 1" from the top, type Your name Your professor or instructor's name The course name and number The date of submission d. On every subsequent page type your last name and the page number in the right margin 1/2" from the top. e. Create 1" margins on the top, bottom and sides of the page.
Works Cited in this GuideBarnet, Sylvan, and Hugo Bedau. Critical Thinking, Reading, and Writing: A Brief Guide to Argument. Boston: Bedford, 1993. Brent, Doug. Reading as Rhetorical Invention: Knowledge,Persuasion and the Teaching of Research-Based Writing. Urbana: NCTE, 1992. Elbow, Peter. Writing without Teachers. New York: Oxford University Press, 1973. Gibladi, Joseph. MLA Handbook for Writers of Research Papers. 4th ed. New York: Modern Language Association, 1995. Klauser, Henriette Anne. Writing on Both Sides of the Brain: Breakthrough Techniques for People Who Write. Philadelphia: Harper, 1986. Rico, Gabriele Lusser, Writing the Natural Way: Using Right Brain Techniques to Release Your Expressive Powers. Los Angeles: Houghton, 1983. Sorenson, Sharon. The Research Paper: A Contemporary Approach. New York: AMSCO, 1994. Strunk, William, Jr., and E. B. White. The Elements of Style. 3rd ed. New York: MacMillan, 1979.
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