Video Notes: Critical Reading and the Writing Process

Time management and active reading

  • Set specific, scheduled times to work on each class (time management is essential for second-year students).
  • Plan reads before class and after class to prevent pile-ups.
  • Read with purpose: when you encounter an unfamiliar word, Google it; when a person’s name appears, Google them to understand why the author referenced them.
  • The goal is to become a critical/academic reader: study the author’s intentions, purposes, and the rhetorical situation surrounding the text.
  • Rhetorical situation (who, what, where, when, why, how) determines how you read and what you look for in the text.
  • Audience matters: the audience shapes vocabulary, explanations, and examples used by the author; understanding audience helps you interpret the text more accurately.

Critical reading and the rhetorical context

  • Reading deeply helps you understand why the author chose certain words or references and what they intend to accomplish.
  • Critical reading involves questioning the author’s purpose and the impact on readers.
  • Example: considering how a director or creator’s choices convey messages to different audiences.
  • The same idea applies to pop culture and media: understanding why certain terms or scenes are included requires researching the broader context.
  • The act of researching beyond surface meaning builds the ability to analyze and write critically.

Word meaning over time and cultural references

  • Words can change meaning over time; keep track of evolving definitions to avoid misinterpretation.
  • Example discussions include:
    • The word “woke”: originated as “awake/aware” but shifted through political contexts, affecting how different media outlets portray it depending on audience.
    • The word “aura”: once meant a vibe or cloud around someone; now popularized in different contexts (e.g., online communities and memes).
  • Google and contextual research help you understand how a term is used in a given discourse and why its meaning changes.
  • Memes and media references often require research to trace origins and intent.

Reading to write: building a writer’s toolkit

  • Reading widely exposes you to diverse ideas, genres, and approaches; you absorb techniques you can adapt in your own writing.
  • If you like a concept or style, you may imitate it in your own work; if you don’t, you’ll avoid it.
  • The practice enhances your sensitivity to authorial choices and audience expectations.

Rhetorical situation and appeals

  • Understanding the rhetorical situation helps you decide which appeals and what kind of evidence to use.
  • Rhetorical appeals typically include ethos, pathos, and logos (the classic trio), and they guide how you structure evidence and arguments.
  • The who, what, when, where, why, and how of a text influence your approach to analysis and what kinds of support are appropriate.

Writing with a purpose: thesis-driven essays

  • A thesis expresses your opinion or claim about the topic, and your essay should prove that thesis.
  • The prompt should guide your thesis and evidence choices.
  • Use words from the prompt in your thesis and supporting paragraphs to align your argument with the assignment.
  • Avoid first-person and second-person pronouns (I, we, you) in this class to keep the focus on the author and argument rather than the writer.
  • Do not pose questions in the essay; instead, answer the prompt clearly through evidence and argument.
  • If you reference a quotation, place it in the appropriate section (usually not in the introduction unless it’s a definitional quote) and use quotes as evidence rather than as your opening hook.
  • Your thesis should be the last sentence of the introduction, after you’ve provided necessary background information.

Structure of a five-paragraph essay

  • The five-paragraph essay consists of:
    • Introductory paragraph: background information, context, and the thesis (last sentence).
    • Body paragraphs: three paragraphs, each supporting a specific point that connects to the thesis.
    • Conclusion: restates the thesis and summarizes key points, sometimes offering a final remark.
  • The intro should not begin with a hook or a quoted sentence in this course; background information is preferred to set up the thesis.
  • The thesis should be stated explicitly and should reflect the argument about the author/text, not personal opinions in the opening sentence.
  • The body paragraphs must each start with a topic sentence that serves as a mini-thesis for that paragraph and connects to the overall thesis.
  • Each body paragraph should be a minimum of five sentences; anything shorter is not a paragraph in this course.
  • The conclusion must: restate the thesis, summarize the key points, and, if possible, offer a final thought or call to thought.
  • Avoid rhetorical questions in the essay; they can undermine direct argument and rely on the reader to draw conclusions instead of presenting evidence.
  • Use appropriate evidence for the discipline: data/charts for economics/business, analysis/quotations/definitions for English, etc.
  • Paragraphs should be cohesive and directly tied to the thesis. Each paragraph should reference words or concepts from the thesis to maintain focus.
  • The three body paragraphs provide the three supporting points that collectively prove the thesis.
  • Remember: the essay’s purpose is to answer the prompt, not just fill pages.

extFive−paragraphstructure:Intro(1),Body(3),Conclusion(1)ext{Five-paragraph structure: Intro (1), Body (3), Conclusion (1) }
extTotalparagraphs=1+3+1=5ext{Total paragraphs} = 1 + 3 + 1 = 5
extBodyparagraphminimumlength=5extsentencesperparagraphext{Body paragraph minimum length} = 5 ext{ sentences per paragraph}

The writing process (chapter four): stages and mindset

  • Writing is a process, not a one-and-done task; it often involves looping back to earlier stages.
  • Stages (as described in the session):
    • Brainstorming: gather information, generate ideas, plan your approach. Different teachers may require different prewriting activities (free writing, bubble maps, outlines).
    • Drafting: write freely (the “kitchen sink” phase), then start organizing and refining as you draft. The speaker emphasizes working hard in the drafting stage to minimize later work.
    • Revision and editing: adjust content, flow, and structure; punctuation and mechanics become less important than making sure the argument makes sense and evidence is solid. The speaker prioritizes substance over punctuation; however, revisions should still address clarity and coherence.
    • Publishing: final submission and due date; the culmination of all prior work.
  • The speaker uses cooking metaphors to illustrate the process:
    • Brainstorming = gathering ingredients and planning the recipe before cooking.
    • Drafting = putting everything on the page (the kitchen sink) and making initial arrangements.
    • Revision = tweaking arguments and structure; the statement of the idea matters more than minor punctuation.
    • Publishing = serving the final dish and meeting the deadline.
  • A common misconception is that writing is linear; in reality, the process often involves revisiting earlier stages.
  • A practical tip: put significant effort into the drafting stage to reduce heavy revision later; early, substantial drafts facilitate better feedback and more efficient editing.
  • The instructor emphasizes that rough drafts should be substantial; minimal drafts limit the feedback you can receive and the improvements possible.
  • The role of feedback: use feedback to refine future drafts and reduce the amount of revision needed later.

Detailed notes about the five-paragraph format and paragraph mechanics

  • Each paragraph (intro, body paragraphs, conclusion) has a distinct job:
    • Introduction: introduces the topic and provides necessary background information; ends with the thesis statement.
    • Body paragraphs: each has a topic sentence (mini-thesis) that ties back to the main thesis and supports the argument with evidence.
    • Conclusion: reiterates the thesis and summarizes the main points, potentially leaving the reader with something to think about.
  • Paragraph structure (bare minimum):
    • Introduction with background information and a thesis as the last sentence.
    • Three body paragraphs, each with a topic sentence and supporting details.
    • A concluding paragraph that restates the thesis and key points.
  • Length requirements: body paragraphs must have a minimum of five sentences; other paragraph lengths may vary but the specified minimums ensure adequate support.
  • The instructor’s emphasis on the substance of revision over punctuation (
    e.g., semicolons) reinforces that clear argument and logical coherence matter more than superficial grammar at the draft stage.

Week two homework and class logistics

  • Read Gloria Anzaldúa’s How to Take a Walk (week two assignment); the text is long and may require half of the reading to be completed before class.
  • Printing the Go Down as a Text (the Gloria Anzaldúa piece) is recommended because annotating is easier on paper and you will be using this text for approximately one month of study and writing.
  • If you print the text, you can highlight and margin-note; some campus centers offer free printing, such as La Casita or the Black Rose Resource Center.
  • The instructor will upload translations to help with language switching (e.g., sections transitioning between English and Spanish); however, students are encouraged to translate portions themselves to deepen understanding of the author’s language choices.
  • The text will be used for Essay One, so having a printed copy will be advantageous for extended analysis and annotation.
  • The instructor will be absent on Thursday; a reminder will be given in class for those who forget.
  • Students are encouraged to Google sources and references from the text to better understand contextual and authorial intent (e.g., quoted authors, historical context).

Quick glossary and practical reminders

  • Rhetorical situation: the situational context that affects how a text should be read and analyzed (the who, what, where, when, why, and how).
  • Ethos, Pathos, Logos: standard categories of rhetorical appeals used to persuade or inform an audience.
  • Thesis: the central claim or argument that the essay will prove. It should be explicit and present in the introduction, typically as the last sentence.
  • Topic sentence: the opening sentence of a body paragraph that previews the paragraph’s main idea and ties to the thesis.
  • Posture toward the prompt: always align your writing with the assignment’s prompt and use language from the prompt in your thesis to demonstrate alignment.
  • Avoiding first/second person pronouns: keeps the focus on the argument and author rather than on the writer.
  • Use of evidence: choose data, quotes, analysis, or definitions based on the class and topic (economics vs English, etc.).
  • Anticipate audience: tailor explanations and examples to the audience’s expectations and background knowledge.
  • The importance of asking and answering questions: in academic writing, questions should be answered through analysis and evidence rather than left as rhetorical questions.

Real-world implications and ethical/philosophical notes

  • Critical reading and understanding the rhetorical context empower you to discern bias, propaganda, and competing viewpoints in media and popular culture.
  • Recognizing how words change meaning over time helps in evaluating political rhetoric and cultural debates (e.g., debates around “woke” and social justice terms).
  • The practices taught here—research, context awareness, and evidence-based argument—support responsible citizenship and informed opinion formation.

Quick study prompts you can use while reading

  • What is the author trying to achieve with this word or reference? What is the purpose?
  • Who is the intended audience, and how does that affect language and examples?
  • What is the rhetorical situation, and which appeals are most relevant?
  • How does this text connect to broader cultural or historical contexts?
  • What evidence does the author use, and is it persuasive for the given audience?
  • How would you structure an essay to respond to the prompt using a thesis-driven approach?