Project 1

PROF NOTES ON WRITER'S VOICE FOR PROJECT 1 NARRATIVE ARGUMENT

Hi there! Here are some "prof notes" to help you with Project 1:

You will be writing a STORY.  yes, a NARRATIVE.  

You will be the NARRATOR!  

This is a SHORT PAPER (2 pages double-spaced minimum--yes, you can go over that, but every line you go over had better be worth reading!  If it's still good, I'm still reading. ;)

BECAUSE this is a SHORT PAPER, you cannot write an autobiographical essay (and that's NOT the purpose).  You must choose an event, a "happening," that you witnessed and/or experienced and that tells an argument on its own--without hitting the reader over the head with a blatant thesis statement.  

So.... that means you will NOT have a thesis such as "this narrative argues that friends should show up in times of need because friendship can be one of life's most fulfilling relationships."  NO -- instead, your STORY ILLUSTRATING that argues for itself.

You want your readers to finish READING YOUR STORY AND STOP, LOOK UP, AND SAY, "WOW -- THAT WAS A POWERFUL STORY ABOUT ______ THAT ARGUES THE IMPORTANCE OF ____"

As Chapter 9 encourages us, FOCUS ON SIMPLY TELLING A STORY IN A POWERFUL WAY --to illustrate a human experience in ways that speak powerful to others who may see it differently if they witness the HUMAN STORYTELLING perspective in sharing it.

DO NOT SKIP YOUR READINGS THIS WEEK!

Chapter 2 gives some EXCELLENT foundational information about two key argument theorists (Kenneth Burke, known for theories of identification and consubstantiation, and Carl Rogers, known for Rogerian rhetoric).  YOU NEED TO BE TAKING NOTES ON EVERY CHAPTER, even if brief ones based on keywords and contributors -- because guess what??--YOU CAN USE THESE NOTES WHEN YOU WRITE YOUR FINAL REFLECTION PAPER FOR YOUR EFOLIO IN THIS COURSE! and save yourself lots of time in December!

GUIDANCE on what you should be taking notes on in Chapter 2, for example: how generative arguments differ from "regular old arguments"; definition of identification, definition of "frame," how identification can also occur due to collective efforts AGAINST something (see Page 25), and the dangers of identification "gone bad" (pandering, scapegoating, blame game, exaggeration, and fearmongering); list of common frames on Page 27 (these could help you with your own topics throughout the semester! -- spend time thinking about which ones in that purpose table are IMPORTANT to you and why!; the importance of sounding reasonable, fair, and positive (see George Lakoff, Page 28); use of metaphors, stories, anecdotes, hypothetical examples, fables, parables; definition of Rogerian argument and its 4 steps (Page 33); the importance of consensus and dissensus (avoiding silencing or apathy) in our world of communication (see Page 35).

YES, TAKE NOTES ON YOUR READING.  CHAPTER 2, FOR EXAMPLE, will help you with more than one paper this semester!  You may need to use the 4 steps of Rogerian argument, for example, in your proposal paper later!

I will offer bonus points at the end of the semester for proof of careful, originally written notes.  (If you are actually reading this, then you know about this opportunity! ha)

FEEL FREE TO TEXT ME AT 2106218852 if you have a question about your topic for P1 before posting it on Thursday.  

Chapter 9 is your "map" for harnessing the power of narrative arguments, including the methods of development that may work best for the particular story that YOU have to tell!  Read it closely, including the examples at the end! There may be a quiz coming up!