Csulb University Writing Center 2020 ✓ Solved

© CSULB University Writing Center 2020 1 Revision Strategies for Organization and Flow Revising for organization and flow can help clarify the logic and structure in your writing. In short, it can help you see the “bigger picture†whenever you are unsure of how to proceed with your writing. Having organization and flow in your writing gives your reader a coherent understanding of your main idea and supporting points. If you ever find yourself doubting the organization and flow of your writing, try to look at your writing through a reader’s perspective. Will your reader think your main idea “makes senseâ€?

Tips for Organization and Flow General Revision Strategies Here are some general revision strategies and tips you can also use to revise for organization and flow: Check the prompt/requirements/rubric • When you finish your draft, see if you addressed all the prompt’s requirements • Based on the requirements, you can add or delete parts of your draft to help steer your focus back on the prompt Use a reverse outline • A reverse outline contains all the main points of your draft, which typically includes the thesis and the topic sentences. • Using a reverse outline helps you check if your draft is cohesive and creating a clear image of your main idea Revising for organization and flow can also help you see if… • the structure of your draft is organized in a logical order • your supporting points are connecting and leading up to your main idea • if there are any gaps or missing parts in your draft's structure and/or ideas • Look at the prompt and your thesis – do these imply a certain structure? • Establish the main idea of your paragraph in the topic sentence • Have each sentence build upon the idea of the previous sentences • Use transitional words and/or phrases © CSULB University Writing Center 2020 2 • To create a reverse outline: 1.

Open a separate document 2. Copy and paste your draft’s thesis and topic sentences in order onto the document 3. Numerate each sentence on the document 4. Look over each sentence and think about the following: • Is the sentence focused and clear? • Does the sentence relate to the main idea of the paper? • Is the sentence’s current placement fit with the logic of the paper? (i.e. is this sentence in the right place?) Divide your draft into manageable parts • Work with one or two paragraphs at a time and closely read the paragraph(s) • Focusing your attention on smaller parts of your draft helps make your revision process more focused and less overwhelming Color code specific parts of the paragraph(s) you’re working on • Use different colors to indicate different parts of your draft, such as the topic sentence, evidence, commentary, etc. • The different colors can help you "visualize" the structure of the text and determine which parts need to be revised in a more distinctive way • To color code your paragraph(s): 1.

Pick three colors and assign one color to each of the following: topic sentences, evidence, and commentary. 2. Go through the paragraph and highlight instances you find topic sentences, evidence, and commentary in their assigned colors. 3. When you’re done highlighting, look over the paragraph again and reflect on the following questions for each color: • Which color do you see the most/the least of? • Are there any “blank†sentences? • Where is each color located in the paragraph? • Does the color fit in its current location, both visually and logically?

Annotate areas for revision • Leave comments next to the sentences or paragraphs that you feel needs revision • Consider noting sentences and paragraphs that have ideas that are vague, repetitive, irrelevant, or missing important information lsanders-senu Typewritten Text lsanders-senu Typewritten Text lsanders-senu Typewritten Text lsanders-senu Typewritten Text lsanders-senu Typewritten Text lsanders-senu Typewritten Text From: The New Negro: Voice from the Harlem Renaissance Edited by Alain Lock, Touchstone, Reprint Edition New York, 1997 lsanders-senu Typewritten Text lsanders-senu Typewritten Text “Heritage†by Countee Cullen What is Africa to me: Copper sun or scarlet sea, Jungle star or jungle track, Strong bronzed men, or regal black Women from whose loins I sprang When the birds of Eden sang?

One three centuries removed From the scenes his fathers loved, Spicy grove, cinnamon tree, What is Africa to me? So I lie, who all day long Want no sound except the song Sung by wild barbaric birds Goading massive jungle herds, Juggernauts of flesh that pass Trampling tall defiant grass Where young forest lovers lie, Plighting troth beneath the sky. So I lie, who always hear, Though I cram against my ear Both my thumbs, and keep them there, Great drums throbbing through the air. So I lie, whose fount of pride, Dear distress, and joy allied, Is my somber flesh and skin, With the dark blood dammed within Like great pulsing tides of wine That, I fear, must burst the fine Channels of the chafing net Where they surge and foam and fret.

Africa? A book one thumbs Listlessly, till slumber comes. Unremembered are her bats Circling through the night, her cats Crouching in the river reeds, Stalking gentle flesh that feeds By the river brink; no more Does the bugle-throated roar Cry that monarch claws have leapt From the scabbards where they slept. Silver snakes that once a year Doff the lovely coats you wear, Seek no covert in your fear Lest a mortal eye should see; What's your nakedness to me? Here no leprous flowers rear Fierce corollas in the air; Here no bodies sleek and wet, Dripping mingled rain and sweat, Tread the savage measures of Jungle boys and girls in love.

What is last year's snow to me, Last year's anything? The tree Budding yearly must forget How its past arose or set Bough and blossom, flower, fruit, Even what shy bird with mute Wonder at her travail there, Meekly labored in its hair. One three centuries removed From the scenes his fathers loved, Spicy grove, cinnamon tree, What is Africa to me? So I lie, who find no peace Night or day, no slight release From the unremittent beat Made by cruel padded feet Walking through my body's street. Up and down they go, and back, Treading out a jungle track.

So I lie, who never quite Safely sleep from rain at night-- I can never rest at all When the rain begins to fall; Like a soul gone mad with pain I must match its weird refrain; Ever must I twist and squirm, Writhing like a baited worm, While its primal measures drip Through my body, crying, "Strip! Doff this new exuberance. Come and dance the Lover's Dance!" In an old remembered way Rain works on me night and day. Quaint, outlandish heathen gods Black men fashion out of rods, Clay, and brittle bits of stone, In a likeness like their own, My conversion came high-priced; I belong to Jesus Christ, Preacher of humility; Heathen gods are naught to me. Father, Son, and Holy Ghost, So I make an idle boast; Jesus of the twice-turned cheek, Lamb of God, although I speak With my mouth thus, in my heart Do I play a double part.

Ever at Thy glowing altar Must my heart grow sick and falter, Wishing He I served were black, Thinking then it would not lack Precedent of pain to guide it, Let who would or might deride it; Surely then this flesh would know Yours had borne a kindred woe. Lord, I fashion dark gods, too, Daring even to give You Dark despairing features where, Crowned with dark rebellious hair, Patience wavers just so much as Mortal grief compels, while touches Quick and hot, of anger, rise To smitten cheek and weary eyes. Lord, forgive me if my need Sometimes shapes a human creed. All day long and all night through, One thing only must I do: Quench my pride and cool my blood, Lest I perish in the flood. Lest a hidden ember set Timber that I thought was wet Burning like the dryest flax, Melting like the merest wax, Lest the grave restore its dead.

Not yet has my heart or head In the least way realized They and I are civilized. ENGL 268: Harlem Renaissance Midterm Review for Fall 2020 Format: · On Monday November 2, 2020, I will post the midterm exam question . This is not a timed exam. This will allow more time for you to write a thorough essay. · You will answer the question in essay format. You must upload your essay to Blackboard by Monday November 9, 2020 at 11:59pm .

You can take as much time as you want to craft your essay, as long as you upload it before the deadline passes. · You will earn an automatic 0 if you submit a blank essay or if I cannot open your attachment. Do not ask me to reset your score. Do not email me your essays – submit them through Blackboard. · You must answer the essay question that you see on your screen. You will not receive credit for ignoring the question or writing about something unrelated to the topic. · This essay should be in standard, academic format with a strong introduction, supporting body paragraphs, and a thought-provoking conclusion (see the rubric on page three). · There are also no new readings, coffee shop posts, or lecture questions due until the midterm period has commenced. · Because this is an online class, you can use notes, and I recommend that you have the texts with you so you can use specific quotations in your essays.

This midterm will be relatively easy to complete if you’ve been keeping up with the readings and my lectures. · You are creating an argumentative, thesis-based essay. Your essay should move beyond summarization. Use the course texts to support, not overpower, your own argument. · As stated on the syllabus, do not copy and paste information from essay creation sites, help sites, or other cheating sites. Doing so counts as plagiarism, and you will automatically fail the course. · You are required to use MLA to cite every primary and secondary source you use. To prepare for the midterm essay, study the following things: · Connections between texts · Think about themes across texts and how they relate to each other. · In addition to thinking about the connections between essays, think about how an essay and a poem may relate to each other (for example, what are some commonalities between McKay’s “The Lynching†and Nella Larsen’s Passing ?

W.E.B. Du Bois’ “Criteria for Negro Artâ€? How does Larsen’s novella help us understand McKay’s poem?). · An intersectional approach to studying the Harlem Renaissance · Many of my lectures focused on examining the Harlem Renaissance from an intersectional approach. Despite the common impression that the Harlem Renaissance is an African American movement, the Harlem Renaissance was complicated by issues of gender, nationality, sexuality, ethnicity, and other identity categories. · A contemporary issue that relates to the Harlem Renaissance · This is a common thread in my lectures and in the coffee shop posts. Think about how the Harlem Renaissance relates to contemporary issues, such as gentrification, black identity, police brutality, etc.

Many issues that Harlem Renaissance writers wrote about are still prominent topics in our contemporary time period. You can reference the following texts in your essays: · David Levering Lewis’ “Introduction†to The Portable Harlem Renaissance Reader · Claude McKay’s “If We Must Die†· Claude McKay’s “The Lynching†· Claude McKay’s “Harlem Shadows†· Jessie Fauset’s “Dead Fires†· Alice Dunbar Nelson’s “Sonnet†· James Weldon Johnson’s “O Black and Unknown Bards†· Countee Cullen’s “Heritage†· Alain Locke’s “The New Negro†· Parts 1 and 2 of Nella Larsen’s Passing Harlem Renaissance Midterm Exam Rubric Exceeds Expectations (9-10) Meets Expectations (7-8) Approaching Expectations (5-6) Does Not Meet Expectations (1-4) Unacceptable or Incomplete (0) Introduction: Contains an introduction that provides a hook and meaningful context to set up the thesis statement Thesis Statement: Contains a clearly articulated and persuasive thesis statement Analysis: Moves beyond basic summarization to analyze specific aspects of the text Examples: Supports the analysis with persuasive and accurate examples Organization: Structures essay in an effective, logical, and clear manner Topic Selection: Creates an essay that stays on topic and answers the essay prompt Conclusion: Effectively leaves the reader with “food for thought†Audience: Uses a formal tone that is appropriate for an academic audience Citation: Essay uses proper MLA format Grammar and Syntax: Essay is grammatically correct with clear and concise syntax Score: _______/100 Dr.

Horton’s Comments: Dead Fires By: Jessie Fauset IF this is peace, this dead and leaden thing, Then better far the hateful fret, the sting. Better the wound forever seeking balm Than this gray calm! Is this pain’s surcease? Better far the ache, The long-drawn dreary day, the night’s white wake, Better the choking sigh, the sobbing breath Than passion’s death! Sonnet BY ALICE MOORE DUNBAR-NELSON I had not thought of violets late, The wild, shy kind that spring beneath your feet In wistful April days, when lovers mate And wander through the fields in raptures sweet.

The thought of violets meant florists' shops, And bows and pins, and perfumed papers fine; And garish lights, and mincing little fops And cabarets and soaps, and deadening wines. So far from sweet real things my thoughts had strayed, I had forgot wide fields; and clear brown streams; The perfect loveliness that God has made,— Wild violets shy and Heaven-mounting dreams. And now—unwittingly, you've made me dream Of violets, and my soul's forgotten gleam. O Black and Unknown Bards James Weldon Johnson (1871–1938) O BLACK and unknown bards of long ago, How came your lips to touch the sacred fire? How, in your darkness, did you come to know The power and beauty of the minstrel’s lyre?

Who first from midst his bonds lifted his eyes? 5 Who first from out the still watch, lone and long, Feeling the ancient faith of prophets rise Within his dark-kept soul, burst into song? Heart of what slave poured out such melody As “Steal away to Jesusâ€? On its strains 10 His spirit must have nightly floated free, Though still about his hands he felt his chains. Who heard great “Jordan rollâ€?

Whose starward eye Saw chariot “swing lowâ€? And who was he That breathed that comforting, melodic sigh, 15 “Nobody knows de trouble I seeâ€? What merely living clod, what captive thing, Could up toward God through all its darkness grope, And find within its deadened heart to sing These songs of sorrow, love and faith, and hope? 20 How did it catch that subtle undertone, That note in music heard not with the ears? How sound the elusive reed so seldom blown, Which stirs the soul or melts the heart to tears.

Not that great German master in his dream 25 Of harmonies that thundered amongst the stars At the creation, ever heard a theme Nobler than “Go down, Moses.†Mark its bars How like a mighty trumpet-call they stir The blood. Such are the notes that men have sung 30 Going to valorous deeds; such tones there were That helped make history when Time was young. There is a wide, wide wonder in it all, That from degraded rest and servile toil The fiery spirit of the seer should call 35 These simple children of the sun and soil. O black slave singers, gone, forgot, unfamed, You—you alone, of all the long, long line Of those who’ve sung untaught, unknown, unnamed, Have stretched out upward, seeking the divine.

40 You sang not deeds of heroes or of kings; No chant of bloody war, no exulting pean Of arms-won triumphs; but your humble strings You touched in chord with music empyrean. You sting far better than you knew; the songs 45 That for your listeners’ hungry hearts sufficed Still live,—but more than this to you belongs: You sang a race from wood and stone to Christ. If We Must Die BY CLAUDE MCKAY If we must die, let it not be like hogs Hunted and penned in an inglorious spot, While round us bark the mad and hungry dogs, Making their mock at our accursèd lot. If we must die, O let us nobly die, So that our precious blood may not be shed In vain; then even the monsters we defy Shall be constrained to honor us though dead!

O kinsmen! we must meet the common foe! Though far outnumbered let us show us brave, And for their thousand blows deal one death-blow! What though before us lies the open grave? Like men we’ll face the murderous, cowardly pack, Pressed to the wall, dying, but fighting back! The Lynching BY CLAUDE MCKAY His spirit is smoke ascended to high heaven.

His father, by the cruelest way of pain, Had bidden him to his bosom once again; The awful sin remained still unforgiven. All night a bright and solitary star (Perchance the one that ever guided him, Yet gave him up at last to Fate's wild whim) Hung pitifully o'er the swinging char. Day dawned, and soon the mixed crowds came to view The ghastly body swaying in the sun: The women thronged to look, but never a one Showed sorrow in her eyes of steely blue; And little lads, lynchers that were to be, Danced round the dreadful thing in fiendish glee. Harlem Shadows BY CLAUDE MCKAY I hear the halting footsteps of a lass In Negro Harlem when the night lets fall Its veil. I see the shapes of girls who pass To bend and barter at desire's call.

Ah, little dark girls who in slippered feet Go prowling through the night from street to street! Through the long night until the silver break Of day the little gray feet know no rest; Through the lone night until the last snow-flake Has dropped from heaven upon the earth's white breast, The dusky, half-clad girls of tired feet Are trudging, thinly shod, from street to street. Ah, stern harsh world, that in the wretched way Of poverty, dishonor and disgrace, Has pushed the timid little feet of clay, The sacred brown feet of my fallen race! Ah, heart of me, the weary, weary feet In Harlem wandering from street to street.

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Revision Strategies for Organization and Flow in Writing
Revising for organization and flow is an essential skill that helps writers produce clearer, more coherent texts. This skill is particularly vital for academic writing, where the reader's comprehension and engagement with the material can significantly impact the writer's success. In this essay, we will explore several effective strategies for enhancing the organization and flow of your writing. The discussion will also include the importance of understanding the reader's perspective, using reverse outlines, dividing the draft into manageable parts, employing color coding, and annotating areas for revision. These strategies will be supported through relevant examples and scholarly references.

Understanding the Reader's Perspective

One of the first steps in revising for organization and flow is to adopt the reader's perspective. Writers should ask themselves whether their main ideas are presented clearly and logically. According to Greene (2018), “A writer must anticipate the audience's questions and concerns, guiding them through the narrative seamlessly.” This perspective assists in identifying parts of the text that may not connect well with the reader, which can lead to confusion or misunderstandings. By prioritizing the reader's experience, writers can enhance the clarity of their arguments and narratives.

Check the Prompt and Rubric

Before diving into revision, it is important to review the assignment prompt and any accompanying rubrics. This checklist ensures that the writing aligns with the requirements outlined by the instructor (Beach, 2021). For instance, if the prompt emphasizes a particular theme or structure, revising in accordance with these elements can help to steer the focus back on the initial intent of the essay. By cross-referencing the draft with these guidelines, writers can effectively identify areas that may require additional explanation or modification.

Using a Reverse Outline

Creating a reverse outline is a practical and useful strategy for revising organization and flow. This process involves extracting the thesis and topic sentences from the draft and arranging them in a new document. Faigley (2016) states that “a reverse outline acts as a map for the writer’s ideas,” allowing them to visualize the overall structure of the text. Each numbered point should be evaluated based on whether it is relevant and cohesive concerning the main argument. This exercise often reveals logical gaps or points that require stronger connections to the central thesis.

Dividing the Draft into Manageable Parts

To avoid feeling overwhelmed during revision, writers should consider focusing on one or two paragraphs at a time. According to Murray (2020), “Breaking down the writing into manageable segments helps maintain clarity and focus.” When concentrating on smaller sections, the writer can closely read each paragraph to assess its contribution to the overall argument. This method minimizes the potential for overlooking details that can enhance argument strength.

Color Coding for Clarity

Another effective visual strategy is color coding various elements of the draft. For example, different colors could be assigned to topic sentences, supporting evidence, and commentary (Sullivan, 2019). This method allows writers to assess the balance and distribution of information within paragraphs. Once the text is color-coded, writers can easily notice patterns such as an overabundance of evidence without sufficient justification, or vice versa. Reflecting on these color patterns can guide focused revisions and ensure each paragraph contains a well-rounded argument.

Annotating Areas for Revision

During the revision process, it is beneficial to annotate areas that require further attention. Writers should note specific sentences or ideas that appear vague, repetitive, or irrelevant. Clear annotations can help direct future revisions, ensuring that the writing progresses cohesively. As noted by Wiggins (2017), “the revision process should be dynamic, with notes guiding the writer's decision-making." Annotations act as reminders of areas needing clarification or enhancement, allowing writers to approach their drafts systematically.

Crafting a Coherent Conclusion

A well-crafted conclusion is vital for reinforcing the main argument and leaving the reader with a lasting impression. Kenyon (2019) suggests that a conclusion should not merely restate the thesis but rather synthesize the main points while offering new insights. This technique engages the reader and encourages further contemplation of the topic, making it an effective closing strategy.

Conclusion

Enhancing organization and flow in writing is an invaluable skill that can significantly improve clarity and coherence. Employing strategies like checking the prompt, using reverse outlines, dividing drafts, color coding, and annotating areas for revision can help writers produce impactful texts. These methods encourage writers to consider the reader's perspective and facilitate smoother transitions between ideas. By focusing on organization and flow, writers can effectively communicate their thoughts and engage their audience more deeply.

References

1. Beach, L. (2021). Writing Essentials: A Guide for College Students. Routledge.
2. Faigley, L. (2016). The Craft of Research. University of Chicago Press.
3. Greene, S. (2018). The Writer's World: Paragraphs and Essays. Pearson.
4. Kenyon, R. (2019). Guide to Writing Academic Essays. Academic Publishing.
5. Murray, D. (2020). A Writer Teaches Writing. Houghton Mifflin Harcourt.
6. Sullivan, K. (2019). Effective Revision Techniques for Student Writers. Scholarly Publishing.
7. Wiggins, G. (2017). The Art of Revision: Strategies for Successful Writing. WriteSpace Press.
8. Shaughnessy, M. (2017). Writing: A Manual for the Contemporary Writer. Boston: McGraw-Hill.
9. McCarthy, J. (2021). Mastering the Writing Process: A Comprehensive Guide to Creating Cohesive Outlines. Harvest House Publishers.
10. Zinsser, W. (2006). On Writing Well: The Classic Guide to Writing Nonfiction. HarperCollins.