A Blueprint For Composition

tarihinde gönderildi - Son değiştirilme


Once the writer has acquired the prime materials to set forth the quintessential literary masterpiece, what often besets is the notion that a matter that started out with the best of intention has quickly splattered into a behemoth of a chore. In order to tame the heap into manageable morsels of accomplishment, this segment will layout the elements of inertia behind elaboration of superlative verse.

English Composition

Given the option to choose among a theme, a transitional phrase, a context which element defines a crucial requirement for pristine craftsmanship of essay fluency?

In all fairness, a question directed at three different people will inevitably yield three different outcomes. As such, all three options (or any permutation thereof) are equally viable answers to the question as presented. The question points to a larger issue that looms over each writer. A writer that is at ease with a thematic approach will, undoubtedly, pick the first option as the correct choice. A writer with a penchant for nuance will manifest his argument with words befitting, marking the second option without hesitation. A writer who is versed in history, science, or art will remain true to his nature and begin to weave reams over reams of verbosity at people, places, and periods–confidently casting his vote for the last option.

The theme is a standard by which the author delineates his argument, honing the statements toward the point under consideration. It is usually revealed early in the draft, occasionally prods at the reader throughout the body of the text and, by the point of closure, is well-defined and encourages the reader to seek out prevalent viewpoints standing idle with agility. Assuming the writer has exceeded the objective, the theme then persists and permeates.

The transitional phrase is the stream that induces thought by keeping prior remarks within sight and hinting at their relevance into forthright directions. All elementary squabbles aside, the writer definitively has his lot to fill. What would be the grounds for acclamation or provocativeness of novel were it not for the context–one might ponder–The Grapes of Wrath by John Steinbeck without a Great Depression; A Tale of Two Cities by Charles Dickens without a revolution; War and Peace by Leo Tolstoy without an aristocracy; remove the ambiance, and you thwart the longing to conceive the narrative, no matter how formidable your inventory of utterance.

First and foremost, the novice and seasoned writer have no doubt been formally exposed to or have adequately applied the standard outline along the path from creativity phase to drafting phase to revision phase, adroitly toward the final refinement stage of the writing process. At the very least, the outline provides a starting point, a midsection (or two or three or more), and closure. Among them, several, if not, orders upon layers of discarded or probable clusters of notation for consideration, contemplation, or contrivance. As the proverbial square one that the outline ought to represent, it is the home base, the dirigible for the stormy voyage that awaits every author. Without it, all editing complications will inevitably exacerbate the deadline, causing even minor setbacks to appear insurmountable; in the strictest sense, incomprehensible. Most students would concur, any counterpart to literature recognizes it as none other than the checklist; in pilot nomenclature, in business protocol, countless other professions.

Any point in the drafting process can benefit from variations, whether indirect or formal, of outlining. Most professional writers can perform all the necessary portions of drafting, admittedly, within the confines of their mind. Nonetheless, it goes without saying that even the writer that adheres to his own talents, can often be swayed by the need to make annotations, on paper, with pen, by keyboard. Their willingness and devotion is overshadowed only by those who bypass that procedure with the modern writing tablet—the word processor; only to be outdone by the writer who carves his craft with a myriad of Post-It paper. The question remains, once having committed to using the outline, of where to find the words, the meaning, the correlations, and the categories of expression that govern language as pretense to conventional communication.

Begin by securing a reputable version of any standard dictionary and an exhaustive brand of thesaurus. As a reference, each text alone serves to enrich the context thereby making light of seemingly obscure concepts, in the process; endearing the writer and the reader, alike. Both texts work in unison to blossom the literary impulse; in concert with an outline, the artistic end product truly and vibrantly emerges. By employing them, as a starting point, as a propellant of thought, you stand to lose nothing—to gain everything.

With reference books tucked away and thoughts hastily inscribed on paper or forged on screen, the writer would no doubt feel justifiably liberated. Except that, manuscripts are likely to undergo a series of disappointing rejections and stand to be debunked for one reason or the other. The writing phase is the primary portion of a much more intricate endeavor. It precedes the proofreading stage which verifies the effort started in the earlier phases of composition.

The next requirement strives to identify common writing methods for refinement of drafts. Notably, the demarcation of principle approaches to proofreading as the prime objective for improving the narrative effect of the essay. Most writing effort is devoted succinctly to the penning and subsequent submittal of the assignment. Period. Ask one student to revamp a draft for clarity or organization and you may notice apprehension or disdain. Ask another student the same activity and you may be handed a masterpiece in the making.

In the latter, the draft is ripe for encouragement, effusing lines of reasoning that stand ready to be commanded into territory unknown. In the former, the draft has reached a plateau whose only release has been inexplicably eclipsed. In this instance, diffusion by the instructor is perhaps the only outlet for the student. Assuming the impasse is the result of misguided inquiry, the best recourse is to formulate new questions that spawn from the reading, the problem, or any relevant digression of topic.

In the second instance, the writer has committed to a vision, harnessed the workmanship, and now openly gives the content its due diligence by exposing it to the scrutiny of the audience. The audience thereby points out lapse of judgment, expressive flaw, narrow reasoning, so on, so forth. Ideally, the writer competently redresses the intention and consequently realigns the substance beneath the narrative. This cycle of proving the thesis is limited only by the will and wont of the course constituent.

It behooves each type of writer, therefore, to perform perfunctory levels of proofing in order to make progress or to see the matter through to the end. Take the draft assignment and read many times over for fluency, error, substance, voice: at slower pace, by whisper, or in bellow. When the draft is read by another person, it provides an insight into discrepancies not immediately apparent to the author, in all facets of grammar. A draft that has stifled from lack of textual momentum can more than likely benefit from complementary sources that reverberate by providing a more thorough examination of the topic—in a depth of field that cannot be ascertained solely from the classroom textbook. To that end, reward being proportional to the amount of force exerted, duly applies, as it does among other disciplines that abound.


From a pragmatic point of view, this clearly exemplifies basic writing elements that nudge at the writer, novice or expert, at every stage of composition. When deciding what to write, consider the following: the historical framework, the nature of being, the sciences, the arts, all equally viable pursuits worth penning. Irrefutably still, the feeble assemblage of evidence to support the monologue is a labor of love, so to speak. In figuring the progression of one idea over the next, the writer learns to capture the audience through his unique mode of expression, seamlessly etching insights or sowing seeds into the mind and soul of the reader. It is inevitable for subtle nuances to be subsumed along the way to the final journal entry. Nonetheless, the literary enthusiast knows that the best manuscripts speak volumes–beneath a vocal stream and beyond the limit of thought.


By: Luis Freire

Article also posted at:




İlan Edilmiş 29 Kasım, 2017

L. Freire

Academic Mentor

I train individuals in meeting their academic and career goals by providing a teaching environment through the highest quality of theoretical, practical and professional instruction. Support academic organizations in maintaining a successful, efficient and ethical operation within the community. I am a Rutgers University graduate who works one-on-one with university or professional communities. I ...

Sonraki Makale

10 Steps On How To Develop A Business Properly