I’m Just Sayin’ - Words Count

Drum roll, please...this is my 100th blog entry!

I would like to take a moment to thank all of you for your loyal readership. It's been a blast merging my two favorite interests, writing and waves. I'm looking forward to surfing the waves of writing with you for many more entries to come.

As final exams are upon us, this will be my last entry until January. So, I thought I would leave you with a parting thought on the importance of words.

At the end of the page, writers should ask a question: “What have I actually said?”

Instead of turning in an essay that you’ve packed with generalities to get to the required five or so pages, the above question is one you should ask and then answer honestly. Even if it is somewhat traditional (but still wrong) for students to resort to writing essays that say less than they could - like playing an air guitar - the time spent for the writer and the reader should be considered too valuable  to waste in vague verbosity . Thought, reason, analysis of the subject matter, are they clearly present in your essay?

One way to find out is to read your paper aloud or have a friend read it aloud to you. If you find yourself saying “Huh?” after hearing a sentence, you should definitely think about revising. When we listen, we tend to filter out extra words and statements that are not essential for us to understand the message. Sometimes just reading a long essay silently won’t tell you if there are sections that have become confusing during the writing process - draft after draft.

If you think you’ve made a valid point and used an excellent example, double check to make sure that your reader can see it immediately  (without saying the word “Huh?”) Concentrate on making your words count, not just on a word count.

Sometimes when I’m beach combing, I spot something shiny and think maybe it is a treasure that has washed up from long ago and far away.  When I look more closely, the pirate’s gold I thought I saw turns out to be a trick of the sunlight on the sand and my imagination at work. Once you’ve written your essay, you should also look closely to be certain your words really and truly express your ideas in a cogent fashion. Read what you write for meaning so that you can revise statements that are vague or misleading or not as rich in meaning as you’d like.

Best of luck on your finals!

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

In Other Words (Putting it Nicely)

Cartoonists in particular use a series of symbols (*#*^ %*) to indicate “bad” language, leaving it to the reader’s imagination to fill in the blankety-blank. Good manners - and censors - cause the cartoonists and other writers to use euphemisms, i.e., polite expressions in place of vulgar or crude ones. Instead of using words that might upset others, they use polite words that mean the same thing but do not offend anyone. Euphemisms are useful (necessary at times) to keep your reader from saying “eww” or “yuck” in disgust or to prevent your reader from blushing in embarrassment.   At times in your college writing, you may need to discuss a subject that requires tact, and you will probably rely on euphemisms to do so.

If, for instance, you were to write a literary analysis of Carrie, A Girl of the Streets, you would probably use expressions such as lady of the evening or even prostitute instead of more commonly used words, not included here. You are saying the same thing about the character but avoiding rude language.  Another time you may choose to use euphemisms is if you are writing an argumentative paper and talking about those whose opinion differs from yours. You may choose to say that they are mistaken, misguided, or unaware instead of calling them stupid ignoramuses (or worse), even if that’s what you think they are. You have remained polite and gently said that those who disagree with you are incorrect (as in dead wrong) but you have not resorted to name-calling.

Finally, euphemisms can also be used to make statements that shelter the reader from reality. One time we tend to substitute milder words is when we talk about death. We may say a person has crossed over, passed away, or expired because saying the person is dead seems overly harsh. We speak of earthly remains rather than corpses. Less serious than death (and all the ways to say dead without saying dead) in normal, everyday conversations, we use euphemisms to put a bit of spin on the facts, choosing alternate words to lighten a truth on occasion. I may not want to be blunt enough to call someone a liar when he describes his fifty-foot tall roaring  fat wave,  but I might say euphemistically that the dude stretches the truth a bit (by like  thirty or forty feet maybe).

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

 

Quick Fixes

Comma splices and run-on sentences have one thing in common: they need stronger punctuation. Three quick ways to fix either - comma splice or run on - depend on the above mentioned stronger punctuation.

The following diagrams may help you to remember three basic options you have.

1. Use a semicolon between the two sentences, especially when the ideas are closely related:

Sentence; sentence.

2. Use a comma and then a conjunction between the two sentences, both, not just the comma:

Sentence, and (but, nor, for, etc.) sentence.

3. End one sentence with a punctuation mark, usually a period (not always- what if you are asking a question?) and begin the next sentence with a capital letter.

Sentence. Capital letter of first word of new sentence.

Definite punctuation between sentences provides clarity for the reader. A lack of punctuation can and does lead to confusion.

One way to keep in mind that the right punctuation is in place between sentences is visual. All three of the above solutions actually look larger than a tiny comma or no punctuation at all between sentences.

You might also think of it as the difference between hoping your boat left untied at the dock will not float away (run on, or no punctuation); tying your boat to the dock with a slight piece of string (comma splice); or using a solid rope to keep the boat in place (correct punctuation). Your chances of finding your boat when you go back to it are better with the stronger connections to the dock. Your odds of giving your readers a clear idea of what you say are much, much better with good punctuation.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Essential, Non-essential, and the Comma

Even if there is no need for a colorful design on a surfboard since it won’t change the basic utility of the board, it is often nice to have one anyway (maybe stylized birds or fish in shades of green, yellow, and blue with a few strong black or red lines for a sharp contrast) .

In sentences, some information is like a surf board design, extra bits of information added for interest but not necessary for the basic meaning of the sentence. There is, big surprise here, a punctuation rule for essential and non-essential phrases and clauses, AKA restrictive/nonrestrictive clauses or phrases.

To quickly determine whether or not to punctuate a clause or phrase, one rule of thumb, so to speak, might be to just place your thumb over a group of words in a sentence, perhaps qualifying adjective or adverb phrases or clauses with colorful descriptions. If the sentence reads clearly and makes perfect sense without the group of words covered by your thumb, then set off the temporarily hidden words with commas. The clause or phrase is not essential and doesn’t restrict the meaning of the sentence. A couple of examples - destined, I hope, to appear in my mind soon - should help clarify all I’ve said so far:

The sunlight glinting on the waves, much like tiny touches of starlight, fascinated her. (Nonrestrictive, Nonessential)

The sunlight glinting on the waves fascinated her because it reminded her of starlight. (Essential, Restrictive)

In the second example, a necessary reason is given for her fascination – because it reminded her of starlight. In the first, the same idea of starlight is not necessary for the sentence to make sense, although it also tells the reader why she was fascinated.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

The Signpost Principle

When traveling to the beach, the way is littered with signposts. With these signposts, I know where the beach is, and I understand the rules and conventions to follow when I’m there. These signs may include warnings such as “Stop”, “Lifeguard on Duty”, or other messages that I must understand and follow.

This same principle applies when introducing quotes into the body of an essay. It’s very easy to simply cut and paste a quote into your essay and simply leave it there. However, doing this creates many problems for the essay. Your reader will need signposts to navigate through your essay.

Many people know the classic line “Quoth the raven, ‘Nevermore’” (Poe 48). Now imagine there were no introduction. “Nevermore.” This is what is called a dumped quote.

We read the quote, but we don’t understand what it shows us. Who is saying this? What does it prove to your audience?

In the original uncut quote, we know the raven is saying “Nevermore”. We don’t know necessarily why the raven says this, but by introducing the quote, we understand there’s a context behind it. The writer’s task is to explain this context to the reader and show why this quote matters to the argument.

The best way to avoid a dumped quote is by introducing your quote with a short phrase or a statement. For instance, perhaps Wright Stone claims that “the seagulls were quiet on the beach today.” Alternately, a short phrase can also work. Therefore, according to Stone, “the seagulls were quiet on the beach today.”

While those are the simplest ways, you need not mention your author in the body of the sentence at all. Even though the waves were strong and steady, “the seagulls were quiet on the beach today” (Stone). By placing these signposts, the argument becomes clear; the reader understands what the quote proves, who is quoted, and how the quote’s context fits with your argument.

As a parting note, always remember to follow up any quote with thorough analysis. It isn’t enough simply to drop the quote into your paper. You must show how the quote backs up any claims that you’ve made with solid logical reasoning. A supporting paragraph should always introduce the quote, lead into the quote carefully, and then explain what the quote means to your argument.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Stealing Thunder

In this universe, there actually exist people who love details and enjoy citing references. I am not one of them but do see the absolute necessity of saying where information or a quotation originates when it is not something of my own.

The question for writers who use another’s material, ideas, words, etc., is when is it necessary to cite the original author. The answer to that question is that if the information used in an essay is paraphrased, summarized or quoted, a citation is in order.

While it may be difficult to imagine owning an idea, the fact remains that intellectual property involves ownership.  To remain honest, a writer has to credit his sources; otherwise, he may be deemed a plagiarist.

Below is a paragraph from an original source and works cited entry, followed by examples of summarizing, paraphrasing, and quoting.

Original source material:

John Dennis, English critic and playwright, invented a new way of simulating the sound of thunder on stage and used the method in one of his plays, Appius and Virginia. Dennis "made" thunder by using "troughs of wood with stops in them" instead of the large mustard bowls usually employed. The thunder was a great success, but Dennis's play was a dismal failure. The manager at Drury Lane, where the play was performed, canceled its run after only a few performances. A short time later, Dennis returned to Drury Lane to see Shakespeare's Macbeth. As he sat in the pit, he was horrified to discover that his method of making thunder was being used. Jumping to his feet, Dennis screamed at the audience, "That's my thunder, by God! The villains will not play my play but they steal my thunder."

“Origins of Sayings-Steal My Thunder.” Trivia-Library.com. 2004. Web. 30 October 2012.

 Summary:

According to the web site Trivia-Library.com, the phrase “Steal my thunder” originated in 1709 when John Dennis’ play Appius and Virginia failed, but his technique for making the sound of thunder was used in a more successful theatrical enterprise, Shakespeare’s Macbeth (“Origins”).

Paraphrase:

Dennis was in the audience when Macbeth was performed and was shocked to hear his own invention used as a sound effect in the play (“Origins”).

Direct quote (quote within a quote):

Dennis allegedly “…screamed at the audience, ‘That’s my thunder….The villains will not play my play but they steal my thunder’” (qtd. in “Origins”).  

The Internet has much information on the ins and outs of citing sources, both for in-text (parenthetical) citations and the works cited pages most instructors require. The SWC also provides handouts on the subject.

The main idea to remember is that writers actually do own their words. When we repeat what they have said to illustrate, make a point,  or support an idea in an essay, it is up to us to make sure our readers know that we have used someone else’s ideas or words by citing the original author. No one should have his thunder taken from him, not without giving him full credit for the booming sounds.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Connections, Conjunctions, and Commas

Conjunctions connect. The two-word sentence that begins this short paragraph and this blog should help you remember the purpose of conjunctions. You can use conjunctions to connect words, phrases, or clauses.  In some instances, you’ll need commas along with conjunctions, not always though.

If a sentence has double subjects, double verbs, or double adjectives, etc., commas are not required, as you can see in the next sentence:

“The dude and dudette (double subject) smiled and talked (double verb) about the grand and glorious (double adjective) waves.”

There is no reason to put commas between the doubles since the conjunctions alone tell us they are connected.

If I had written the example sentence with more than two of each (subjects, verbs, and adjectives), I would also use commas to connect the words in each list along with a conjunction to indicate where the list ends, right before the final word.

A few grammarians disagree, saying we don’t need a comma before the last word in a list, but most say we do need the comma for clarity. With several subjects, verbs, and adjectives, the sentence reads as follows:

“The dude, dudette, and their friend smiled, talked, and laughed about the grand, glorious, and perfect waves.”

Conjunctions also connect phrases. For instance, the conjunction but  connects two adverb phrases that signify time in the following sentence:

“Before going to the beach but after realizing he’d forgotten his board, the novice surfer decided to head home to start the day completely over.”  

Again, I do not need a comma to separate the two adverb phrases. The one comma in the sentence indicates a long introductory phrase (“Before going to the beach”), another use of commas entirely, another blog perhaps.

When conjunctions connect two simple sentences, AKA independent clauses, to form compound sentences, commas have to be added. Each simple sentence could stand alone, totally independent, not needing other parts of speech as support; but using a conjunction to join the two defines the sentence as compound, like this one:

“The surfer who had forgotten his board felt embarrassed, and he looked nervously at the dude and dudette as they went on and on about the grand and glorious waves.”

A comma before the conjunction is essential to connect – and separate – the two independent clauses. If you don’t use a conjunction between two simple sentences, you’ll wind up with a comma splice, an entirely avoidable mistake.

In addition, each of the conjunctions {FANBOY (for, and, nor, but, etc.)  } has a meaning of its own. If a writer chooses the wrong conjunction, logic and meaning may suffer.

If I write that the surfer headed to the beach but planned to surf, the sentence does not make perfect sense; however, the sentence does make sense if I write that the surfer headed to the beach and planned to surf.

I bet the next time he decides to surf, he’ll put his board in the wagon before leaving and then enjoy the grand and glorious waves, just like the dude and dudette.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Like Magic

Punctuation used correctly almost disappears from the page because the reader just doesn’t notice it.  Incorrect punctuation, however, can jump off the page as if the font is ten times bigger than the rest of the text, especially when a professor reads the composition.

It is even possible that students have difficulty learning how to use punctuation correctly due to its disappearing act in professional writing, virtually disappearing anyway. Punctuation should be unobtrusive, though. Writers want their readers to notice what they say, not how they’ve used commas, etc.  Few book reviews, if any at all, mention how neatly and nicely an author placed question marks or semicolons.

One way to get past the tendency to slide right over punctuation when reading is to stop now and then and really look at the punctuation marks a professional writer has used. Seeing correct examples, truly seeing them, will enable you to recall how someone else punctuated sentences when you are writing your own.

It is sort of like looking inside the magician’s hat to find out where the rabbit is hidden. Noticing why a passage reads well, something to do with the practically invisible punctuation, can serve by example when it comes time for you to write. You may not get extra credit in class for perfect punctuation, but you won’t find deductions from your grade either.

It’s more productive, and maybe even more instructive, to notice how an expert rides a wave than to critique the dude who wipes out all the time. If we can see how something is done correctly, we’ll be less likely to make mistakes ourselves.

To appear effortless, like a magician who pulls a rabbit from his hat or a surfer soaring over the gulf water on the crest of a wave, takes preliminary work. Knowledge and skill come before the flawless execution of the magic act or the Ride. 

I wonder if there’s a surfing magician who can manage to produce a seagull from thin air while . . . , or maybe that would be way too much expertise in one place and one time.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

It's Alive! It's Alive!

Long, long ago, or maybe not that long, if you heard something was going viral, you’d head away from whatever it was as fast and as far as you could flee. Now you’re likely to check YouTube to see for yourself what the big deal is.

Words change as we use them, dropping one meaning and picking up another. Languages, like living organisms, adjust to their environments.

A word may be like a jellyfish with long separate tentacles reaching out from the body’s center (in English, often a Latin or Greek root). In order not to be stung by choosing a word that doesn’t quite mean what you intend, it’s a good idea to check before using the latest version of a word.

How is it that words change? Often, words put on new tentacles simply because people use them to mean other than what they once meant. For instance, the word awesome has fallen by the wayside a bit. It used to mean inspiring awe, a very powerful emotion. Lately, it is used synonymously with neat, cool, very good, something much milder than the earlier meaning. 

In the case of another word,  -bad - a reversal occurred some time ago, which led to people using the word bad to mean good. I don’t know bad’s dictionary status at the moment, but I bet good and bad are not yet synonymous in the official list of words and meanings.  In time, the status of bad meaning good may change, but by that time the slang will probably have gone out of style.

It does happen now and then that a new word or phrasing or usage becomes part of the official lexicon. When a person or group coins a word and the word goes viral among the population, the newly minted word (or different definition) can find a home in the dictionary, at least until it changes to some other form entirely. I just checked, and bad is still “rotten, harmful,  incorrect, wicked, unpleasant,” etc.,  until definition number 17, at which time it is defined as “extremely good” (Encarta Dictionary).

In a living language, one awesome aspect has to be the liveliness of our speech, the way our words change with us over time.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

What You Say

Some say that the real purpose of writing is to communicate and that the form the communication takes is secondary to the message, the content. There is no doubt that people who value the message over the form of the message make a valid point; and I am certain that no one should stop writing just because subject/verb agreement is a mystery or comma rules seem silly.

However, the reality is that a writer who wishes to have his message heard has to pay attention to commonly accepted rules of grammar. To have others listen and take the message seriously, the writer does need to use language that aligns with accepted practice.

What happens if a writer plans to tell a story about people who do not value traditional grammar standards? What is the right approach if the people the writer chooses to depict do not speak in compliance with the rules and regulations dictated by grammarians over the centuries? Rest assured, there is a way to handle non-standard grammar in a grammatically correct manner.

For an example, let’s consider two hypothetical authors who write about peer group communication among dedicated surfers.

Mr. Impeccable, the first writer, has a style that is formal, erudite, and leaned. He pays obsessive attention to perfect grammar, too. Without using non-standard grammar, not even in examples of surfer dialogue, he fails to depict realistically a group of surfers who communicate in slang, Dude, for the most part.

On the other hand, Ms. Free Writer, the second writer, is easy going, relaxed, and informal. She is not concerned with absolute purity when it comes to grammar. She includes an absolute ton of surfer slang in her composition, showing how the surfers communicate with each other in a true-to-life way.  If she doesn’t watch out for ungrammatical constructions, though, her essay might become unreadable because what she has to say heads totally out to sea, her meaning adrift in an ocean of errors.

Either writer can do a good job with the topic of surfers’ slang by merging standard and non-standard English. When they quote surfers, they should go for the surfers’ distinct style of speech; and when they talk about how surfer slang developed or continue a story, they should stick to Standard English.

Many writers do include dialects, slang, particular ways of talking in their writing; and the most successful ones do so without being grammar snobs at all. They achieve a balance between getting the message across in easily understood Standard English and using other modes of speech as a way to bring their characters to life.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

A Walk Through the Sand

Writing a literary analysis can seem like a barefoot walk through the sand on a hot summer day. You may not feel sure of your footing when you take a step, and there will always be that pressure to move quickly through it.

Like any form of writing, literary analysis has its own rules. These rules are meant to give structure to literary writing that anyone can understand and follow.

A literary essay should be written in third person and present tense. Always refer to the literary work in terms of “he,” “she,” or “they.” You should normally avoid the use of “you,” but especially when writing about literature.

Likewise, refer to the events in the literary work as if they’re happening now. There may be times where the past tense can be useful, such as when referring to previous back story or the story’s historical context. However, any action that is directly shown in a story should be discussed in the present tense.

In general, refer to the author by last name after first mentioning him or her. So if I were discussing William Shakespeare, I’d bring up his full name to the audience once and then call him “Shakespeare” through the rest of the essay.

Most importantly, a literary analysis should never summarize the text. Assume that your audience is reasonably familiar with the work you’re discussing. Explain just enough to give context to your argument, so that your audience understands what you’re trying to prove. A literary essay should show how you interpret the text, not simply retell the story.

While this may sound demanding, literary analysis looks more overwhelming than it really is. With time and practice, the rules of literary writing become easier to navigate.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Fun with Punctuation

In honor of Grammar Boot Camp, I thought I would dedicate this entry to one of my favorite topics: punctuation.

Punctuating sentences can become an occasion for a writer’s personal style, even providing moments now and then for a bit of flair. Just because there are set rules governing the use of punctuation marks, particularly in formal essays, that doesn’t mean punctuation can’t be somewhat fun at times.

While a strict grammarian might be horrified (?_?) by carefree punctuation like that used in text messaging, punctuation marks can still be used to convey perfectly correct meaning with verve.

The following examples indicate some ways to do so:  

·         parentheses to include something like  an actor’s aside (an added bit of information,  not necessarily crucial to the sentence)

·         dashes—to speed the reader along to the next idea

·         ellipses…to indicate that something is omitted

·         semi-colons connect the reader to the next closely related sentence; in fact, semi-colons can be used to enhance the coherence of your ideas.

·         commas, usually used to make the reader pause momentarily

·         sudden exclamation points to emphasize  ideas (use sparingly!)

·         periods to signify the end of one sentence before a capital letter starts the next.

·         what about question marks for rhetorical questions to lead the reader to ponder?

Rules govern the uses of punctuation. Paying attention to tiny marks on the page (details, details) often liberates writers and lets them express their ideas creatively. Although formal papers (as noted above) do not welcome symbolic punctuation as text messaging does, opportunities galore remain for punctuation to increase the vitality and style of essays.

English is a versatile language, its dots, dashes, colons, parentheses, etc., included. Just as there are dynamics of style in surfing, choosing the wave, the timing, and the balanced stance, there are times when a writer can use punctuation powerfully as well as correctly.                               

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!



First Impressions

When I’m meeting new people at the beach, I like to let them know who I am quickly. Since they don’t know who I am yet, I want them to know important details about me. So I might tell them my name, how often I surf, the beaches I visit, the kinds of waves I like, or anything else that might be useful to them. Because these new friends are just meeting me for the first time, it’s safe to assume that they won’t know anything about me at first. I want to be helpful to my new friends, so I briefly give them what they need to know.

The same is true when you’re writing an introductory paragraph. Many people get easily frightened by the blank page and feel like they don’t know where to begin writing. This is normal. However, once you start writing, the blank space becomes smaller and easier to manage.

The purpose of the introduction is to introduce your main idea to your audience. In an introductory paragraph, you’ll generally want to mention your topic to the reader. If there’s any important background information that the audience needs to know, it’s a good idea to explain it briefly so they can follow the conversation. Eventually, you may want to end your intro with your thesis statement, which explains why you’re writing the essay and the message you want them to receive.

When deciding what information to include, think about the needs of your audience. Unless you know that the audience you’re writing for understands your topic, always be clear with your explanations. When in doubt, assume that you’re meeting your reader for the first time and that they don’t know anything about your topic. Just as in a conversation, make sure that your purpose is clear and that your reader is interested in what you have to say.

Remember, the introduction is your first impression to the reader, so always put your best foot forward.

Speaking of first impressions, here is a shot of what greets students who enter the Stone Writing Center.

We hope our first impression speaks welcome. Come by and let us know what you think.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

After Brainstorms

Circles with words inside them and connected to other words - how can brainstorming be used once the ideas are drawn and written on the page? One possibility is to turn a brainstorming session into an outline and then derive a thesis from the two. I’ll start with a cluster map, one brainstorming technique:

I plan to write a short paper, a few paragraphs about stress and the times people can feel the effects of stress. My first thoughts in the outer circles include a couple of concrete nouns, actual places - work and school, and also a couple of abstract nouns - life and time. Already, I see that I need details and examples for the two concrete nouns - work and school; and I’ve also thought of using time and life as cohesive ideas throughout the paper as well as a major part of my thesis. Just as an example, my next circles are in the format of a flow chart:

My brain has already jumped ahead to a possible conclusion – spend some time at the beach to enjoy life – but that will still help me write an outline, at least a working outline for now as I think further about a thesis. A diagram with some pizzazz suits my mood, even if a real brainstorming session would probably be more consistent in the type of figures or graphics used:

As I sketch out a working outline, I know that there will be additions, revisions, more ideas to come before the essay is written. For now, though, a general idea of how the essay can be planned is all I need to get started.

Working Outline:

 I.                    Introduction

Tentative Thesis:  Although juggling work and school can cause stress, taking time to relax - perhaps by heading directly to the beach to renew energy - helps keep life in balance.

II.         Causes of stress

A. School

    1. Papers due

    2. Reading assignments

B. Work

    1. Finances

   2. Coworkers

III.        Coping with stress

             A. Time management

 B. Relaxation and renewal

   IV.     Conclusion

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Welcoming a New Semester from a New Location

A glorious summertime at the beach must recede to memory as fall begins anew with a return to literature and essays and thoughts of grammar. I’m ready to enjoy a fresh start, a new semester. To emphasize the beginning of a new academic year, the Stone Writing Center is up and running in a brand new location: the 4th floor of the White Library on the East Campus of Del Mar College. We welcome returning students and students who are attending Del Mar College for the first time this fall with hopes that all will visit the SWC. The 4th floor of the White Library provides a spacious, inviting environment in which to conduct the many services that the SWC offers.  

Students who have already visited the SWC report that their writing does improve, along with their grades, because they find here the opportunity to discuss their papers with Writing Consultants who know and love writing and can assist students with the process of writing. In addition to in-person advice about writing, the SWC also provides computers for students to use, Boot Camps for any who have questions about grammar, on-line tutoring, and one-hour labs. Student Assistants at the SWC are happy to answer questions and to schedule appointments.

All of us are here to make your college experience more productive, more enjoyable and even easier. Call (361) 698-1364 or come by the 4^th floor of the White Library to find a warm and friendly atmosphere which is conducive to creativity, a place where writing becomes one of the best of your college experiences, as it should be.

Don’t forget to read a few blogs, too, ones posted previously and more to come this semester. Information about grammar and writing may not be quite as much fun as surfing the waves and relaxing on the beach, but it has its moments.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Overcoming Sensory Deprivation

When taking a stroll on the beach, I always relax and absorb the details around me. I hear the soft rustling of the wind, feel the grains of white sand scrape against my feet, and inhale the fresh scent of the ocean. I don’t simply go to the beach. Instead, I become one with my environment. I understand the beach, and become aware of everything going on during my time there.


Writing a narrative essay works in much the same way. A narrative presents a snapshot in time, where it illustrates a place or sequence of events. Think of this as telling an autobiographical story set during a certain place and time during your life. However, a narrative must do more than simply tell what happened; it must also bring that setting to life for your readers.

A good narrative enriches the senses, and allows the reader to visualize what the setting is like. To do this, the writer uses words that invoke the five senses. While we can never taste the salty sea air or feel the blazing heat of a tropical sun if we’ve never experienced them, we can imagine what it’s like to be there. Sensory detail allows the reader to imagine what it was like to share that experience and immerse the reader into the narrative. The writer must open the door to the reader’s imagination.

Before you sit down to write the essay, relive the experience in your own memory. Try to recall, as much as you can, what the experience was like. Think in terms of each of the five senses, and try to remember details that appeal to the senses. Visual details are useful, but try to imagine any memorable smells or flavors or sounds as well. If it helps, make notes about what details you’d like to use. If you have references, such as photos or video recordings, make use of those as needed.

When actually writing the essay, you want to translate your mental picture of the event into written form. One way to do this is by using vivid descriptive words, such as adjectives and adverbs, to create detail. It’s not enough to say that the wave reached the shore. The wave might be a sickly green, or a serene blue, depending on the circumstances. By using strong details, the picture becomes more distinct in the reader’s mind.

Another way to create a vivid mental image is to use strong active verbs. Avoid using “to be” verbs if possible, since those tend to weaken the narrative. Use verbs that show action and movement. For instance, “the wind buffeted the tumbleweed across the desolate plain. The furious waves crashed against the forlorn rocks.” A good action verb can bring a scene to life and create a dramatic moment, instead of a still, lifeless picture.

When writing a narrative essay, remember to tell your story with vivid detail. Through careful and precise word choice, the narrative should come to life and engage the reader.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Rephrasing

“Killer waves!” says Roxy.

“Gotcha,” says the dude.

Most of us have heard that we should write the way we talk, but the way we talk is often not what we need for college writing because we’re filling in blanks and using phrases or slang easily understood by our friends.

Academic writing requires a different way of speaking, and there are conventions used for college essays that are not typical of everyday speech (or writing emails, letters, notes, diaries, or Tweets.)

The following ideas may help to transmogrify a paper from casual to college level.

•Remove contractions – use "do not" instead of "don’t," for example.
•Replace slang with other words that have the same meaning.
•Use third person pronouns (he, she, they, them, it, etc.) instead of second person pronouns (you, your, yourself).
•Omit unnecessary words, filler: Well, as I was saying about extra words, it might be good to delete them.
•Triple check all punctuation. You may also need to review other grammar rules, which is worth the time it takes.

Translating from a casual style to a college level style may be simpler than it initially seems.

“The waves are suitable for surfing,” Roxy observed.

“I understand,” replied her friend.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Tiny Mistakes

Details, the small bits that can easily be overlooked, may turn an A paper into a B or a C paper. A few typos here, an extra comma there, an omitted word or two, and the superlative sentence you composed in your mind has landed on the page in a less than stellar form, perhaps as a fragment or run on.

Our minds are very kind to us when we read our own writing, sometimes even automatically correcting errors for us, at least as far as we perceive; sadly, though, the corrections our minds make for us do not change a typo on the page at all. We think we’ve spelled a word correctly, used the right punctuation, but the fact is that in the real world, the error remains unless we actually see it and change it.

It is necessary to go outside general habits of mind when editing/proofreading a paper. Hyper vigilance, super consciousness, something akin to the Zen of writing is needed to find tiny mistakes.

Reading your own writing as if someone else entirely wrote the paper allows you to achieve an objective state of mind. Expecting errors and searching every line for them is another way to become extra aware. And even then, more is required to find and fix all minuscule mistakes – you have to look at every letter of every word, too.

Tedious as such attention to detail may seem, you might turn it into a sort of game, a challenge. You could keep score for a few papers by noting how many errors you made, found, and corrected to see if the number of errors decreases as your ability to find them increases.

There’s no need to go to excruciating extremes (like reading every word from the right to left to check spelling - unless you really and truly want to do so). Still, taking time to verify what is and isn’t actually on the page does matter. Likewise, if I just think I’ve packed corn chips for the seagulls before I head to the beach, they’d all be disappointed if I made the mistake of not actually having tasty treats ready to toss their way.

Give your writing a second and third look, double and triple check it to make sure the clear and perfect sentences you have composed in your thoughts are, in fact, on the page exactly as you think they are.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

Who is Cheating Whom?

Nearly every student has heard of plagiarism, which is copying another’s work without giving that person credit; but for anyone tempted to cut corners and cheat in that manner (someone unaware of Turnitin.com evidently), there is one important question to ask. Who is actually being cheated?

College students pay for their education. If they do not do the work assigned and do not learn what their instructors teach, what have they bought for their money? A degree?

The above answer does not suffice. If the student has gotten by and not gotten the education the degree represents, there is a good chance that jobs down the road might turn out to be short term. Employers hire those with qualifications, expecting them to know something or to be able to learn the skills required for the job. A student who has wasted college years by plagiarizing is likely to find a struggle ahead in any chosen career.

When students do not do their own work, they do not gain from their college classes. They do not learn the material, and they do not learn how to learn either.

If I decided to try a new surfing technique, what could I possibly accomplish by finding someone else to go through the trial and error of figuring out how it is done? The short answer is that I gain nothing at all. The same holds true for anyone who does not do whatever work is required to master a new skill or remember new information.

Happily, students here – even those who do know about Turnitin.com - are just too smart to waste their opportunities on plagiarism, which is a shortcut leading directly to a dead end. They value the time they spend on their education, knowing that when they do hold degrees in their hands, they will have earned them. When they go forward to their careers, they succeed because they have learned to learn and gained a good education by virtue of their own effort along the way.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!

The Wonder of Multilingualism

Normally, we don’t think about grammar as we talk and probably do so when we write only when there’s a question of correct form. Grammar involves the total use of a language, how words combine to form sentences; it is not simply a question of right vs. wrong usage or vocabulary. Those who are multilingual have greater awareness of grammatical structures in languages than the rest of us because they shift from one language system to another.

It’s awesome to understand and speak more than one language, but duality can present problems for those who write in a language other than their first or primary language. Phrasing in one language can be completely correct, totally acceptable, but then turn out to be deemed incorrect in a different language—the use of double negatives, for instance. In English, a double negative is outlawed, verboten, not right at any time. In Spanish, applying emphasis through the double negative form is acceptable, at times expected or required. Another example is that articles (a, an, and the) in the English language don’t identify gender, but in French, articles do indicate the gender of a noun. Is the surfboard "la" or "le"?

Considering the examples mentioned above, a student who is in the process of learning a new language realizes quickly that word-for-word translations are not always going to work, at least not precisely as planned. The grammar of one language may be unlike the grammar of the next one, resulting in some confusion or stylistic awkwardness.

One way to figure out how to go from one language to the other is to actively and consciously compare grammars, how each language handles specific parts of speech. Knowing where languages differ in adjective, adverb, subject, verb placement, etc., should help increase the bilingual or multilingual student’s ability to move from one language to another.

In sum, the study of grammar (in the sense of how words are used to form sentences) is essential to the student who wishes to be in command of more than one language. Finding points of comparison and differences gives one who studies different languages at a structural level an edge when it comes time to write in the new language. Simpler ways to master an additional language involve concentrated listening, maybe opting for the captions on TV programs in the new language, and just conversing in the new language at every opportunity in order to become familiar with its nuances.

Since surfer slang is not actually a foreign language, no matter what my composition professor said about my first college essay, I look with complete admiration at those who do speak more than one language and wonder at their intellectual feats.

See you next time the breeze is cool, the sun is up, and the waves roll into view! ‘Til then, hang ten!