Orwell Essay Writing: Approach

To Think More Clearly

Let’s spend the week experimenting with how you write the essay that follows that post. Look to Google Classroom for the formal assignment, and then start with this quotation from Piet Hein:

Art is solving problems that cannot be formulated before they have been solved. The shaping of the question is part of the answer.

That echoes Paul Graham, whose “Age of the Essay” tells us what writing should do (emphasis mine):

To understand what a real essay is, we have to reach back into history again, though this time not so far. To Michel de Montaigne, who in 1580 published a book of what he called “essais.” He was doing something quite different from what lawyers do, and the difference is embodied in the name. Essayer is the French verb meaning “to try” and an essai is an attempt. An essay is something you write to try to figure something out.

Figure out what? You don’t know yet. And so you can’t begin with a thesis, because you don’t have one, and may never have one. An essay doesn’t begin with a statement, but with a question. In a real essay, you don’t take a position and defend it. You notice a door that’s ajar, and you open it and walk in to see what’s inside.

If all you want to do is figure things out, why do you need to write anything, though? Why not just sit and think? Well, there precisely is Montaigne’s great discovery. Expressing ideas helps to form them. Indeed, helps is far too weak a word. Most of what ends up in my essays I only thought of when I sat down to write them. That’s why I write them.

And we’ll throw in Joan Didion’s “Why I Write,” too, which adds another perspective:

It took me some years to discover what I was.

Which was a writer.

By which I mean not a “good” writer or a “bad” writer but simply a writer, a person whose most absorbed and passionate hours are spent arranging words on pieces of paper. Had my credentials been in order I would never have become a writer. Had I been blessed with even limited access to my own mind there would have been no reason to write. I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.

Right now, you have a subject for the essay you are writing. You have potential prompts and possible directions to take. You may have jumped into putting words on the page, and you may have only just finished reading that preparatory post1; regardless, you are at the relative start of the writing process.

Now you need a clear and precise approach to the subject at hand. You need an interesting question to ask or a unique perspective to explore. Paul Graham compares this, in “The Age of the Essay,” to a river finding its way to the sea; Virginia Woolf, in Moments of Being, compares it to a “shock” that drives her to “put the severed parts together”:

I hazard the explanation that a shock is at once in my case followed by the desire to explain it. I feel that I have had a blow; but it is not, as I thought as a child, simply a blow from an enemy hidden behind the cotton wool of daily life; it is or will become a revelation of some order; it is a token of some real thing behind appearances; and I make it real by putting it into words. It is only by putting it into words that I make it whole; this wholeness means that it has lost its power to hurt me; it gives me, perhaps because by doing so I take away the pain, a great delight to put the severed parts together. Perhaps this is the strongest pleasure known to me.

Come up with your approach. What question will drive your process? What is your perspective as you begin? What’s interesting or inventive or curious about your thinking as you start writing? What are you trying to learn?

Ask me questions and share ideas below.


  1. If you fall into the camp that hasn’t done the prep work, keep that to yourself until you’ve caught up, and recognize the danger of making poor choices over and over again: Eventually, you are what you do. 

ETA Essay: Next Steps

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The coffee is a crucial step.

At this point, you should have chosen an essay from the collection, One Hundred Great Essays, and gotten approval from your teachers to study that particular text. You should also have shared your choice through this Google Form and as part of a conversation on our Google+ Community. Before you move on, read through the comments on Google+. If you see a text that looks more interesting or engaging, you can still switch. After Friday, however, you really shouldn’t switch, because it will mean redoing a lot of work.


Bishop Composition: Step #1


Now you begin the emulation-through-analysis process. Over the next few days, you need to analyze your chosen text and begin drafting your own essay. That starts with what the collection itself provides, which comes in two parts:

  1. Before each essay is an overview of what the essay says and how it is written.
  2. After each essay is a set of questions about what the essay says and how it is written.

Here is an example of #1, from an essay called “Shooting an Elephant,” by George Orwell:

 

Click to enlarge.

Click to enlarge.

In this introduction, you are given much of what you would need to emulate Orwell’s writing:

  • “Orwell conveys his ambivalence…” | Your essay, too, could convey ambivalence. Click here for the definition.
  • “His language holds nothing back…” | You, too, could write that strongly about your subject.
  • “At the climactic moment of the essay, Orwell describes in harrowing detail…” | If you were writing a narrative like this, you could focus on “harrowing detail” at the climax. (Here is the definition of harrowing.)
  • “Orwell has so slowed the pace of the essay as to create a cinematic effect of slow motion…” | You, too, could slow down a single moment in your essay, attempting to emulate the way Orwell does it.

And so on. The introduction is essentially a rhetorical analysis of the essay, which means it is also a blueprint for emulation. Then you have the questions that come at the end:

Click to enlarge.

Click to enlarge.

Depending on your chosen essay, these questions may or may not help. The last question is usually a prompt that you could use to emulate the author directly, so if you are feeling lost, use that question to get started. The other questions tend to ask you to look at particular choices the author makes, some of which you could emulate.

Your first assignment is to work your way through the introduction and concluding questions for your essay. We will review how to do this in class on Thursday, December 1; if you are absent, you will be able to sit with your teachers when you return to go over your essay and how these framing assignments help you analyze the text.


Bishop Composition: Step #2


The next part of the writing process requires you to work together and with your teachers to learn the analysis tool known as SOAPSTONE:

The Ultimate SOAPSTONE Analysis Guide for AP Exams

Ignore all the mentions of the AP exam. This is the best guide to SOAPSTONE analysis and planning that you will find. The original College Board explanation is here, and you should read it, as well. Then you can:

  1. Apply SOAPSTONE to the essay you have read. Write a paragraph or so for each element.
  2. Begin to brainstorm about your essay, using SOAPSTONE to outline. Again, you’ll write a paragraph or so for each element.

We will review how to do this in class on Friday, December 2, and again on Monday, December 5; if you are absent, you will be able to sit with your teachers when you return to go over SOAPSTONE and apply it to your own work.


Using Google+


We will take as much time as necessary for these two Bishop Composition steps. The initial plan is to use December 1, 2, and 5 to work in class. If your teacher is with another student, you should post questions either here, in the comment section of this post, or on Google+:

https://plus.google.com/u/0/communities/117716758051277289443

Posting good questions creates evidence for grade abatement, as does answering questions effectively.