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"Students need to walk a fine line between their work and that of others, and this book helps them walk that line, providing specific methods and techniques for introducing, explaining, and integrating other voices with their own ideas." -Libby Miles, University of Rhode Island
"'They Say I I Say' reveals the language of academic writing in
a way that students seem to understand and incorporate more easily than they do with other writing books. Instead of a list of don'ts, the book provides a catalog of do's, which is always more effective." -Amy Lea Clemons, Francis Marion University
"Hands down it's the best composition book I've ever come across." -Michael Jauchen, Colby~Sawyer College
"Explains not just what good writing is but why it matters and why 'academic writing' even exists. Goes beyond the theoret- ical to the very practical, giving specific examples and illustra- tions of why it's important to make certain moves in writing." -Heather McPherson, University of Minnesota
" 'They Say I I Say' teaches students to use their own voices--to
move from depending on the texts they read to conversing with those texts, from agreeing with the author to questioning what he or she says."
-Pat Sherbert, National Math and Science Initiative
"A well-organized, readable book that walks students through tricky concepts easily." -Eric Hudak, University of Texas at Arlington
"Clear, fun to read, and students like it. The readings are inter- esting." -Morani Kornberg~ Weiss, University at Buffalo
"Demystifies the process of argumentation, draws back the cur- tain on what writers do." -Jaclyn Lutke, Indiana University-Purdue University Indianapolis
"THEY SAY ......... I SAY"
The Moves That Matter in Academic Writing
WITH READINGS
Second Edition ---@r-
ELEV E N
"I TAKE YOUR POINT"
Entering Class Discussions
-@r-
HAvE YOU EVER been in a class discussion that feels less like a genuine meeting of the minds than like a series of discrete, disconnected monologues? You make a comment, say, that seems provocative to you, but the classmate who speaks after you makes no reference to what you said, instead going off in an entirely different direction. Then, the classmate who speaks next makes no reference either to you or to any one else, mak- ing it seem as if everyone in the conversation is more interested in their own ideas than in actually conversing with anyone else. We like to think that the principles this book advances can help improve class discussions, which increasingly include vari- ous forms of online communication. Particularly important for class discussion is the point that our own ideas become more cogent and powerful the more responsive we are to others, and the more we frame our claims not in isolation but as responses to what others before us have said. Ultimately, then, a good face- to-face classroom discussion (or online communication) doesn't just happen spontaneously. It requires the same sorts of disciplined moves and practices used in many writing situations, particularly that of identifying to what and to whom you are responding.
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EL EVEN "I TAKE YOUR POINT"
BE EVEN MORE EXPLICIT THAN You WouLD BE IN WRITING
Because listeners in an oral discussion can't go back and reread what you just said, they are more easily overloaded than are readers of a print text. For this reason, in a class discussion you will do well to take some extra steps to help listeners follow your train of thought. ( 1) When you make a comment, limit yourself to one point only though you can elaborate on this point, fleshing it out with examples and evidence. If you feel you must make two points, either unite them under one larger umbrella point, or make one point first and save the other for later. Trying to bundle two or more claims into one comment can result in neither getting the attention it deserves. (2) Use metacommentary to highlight your key point so that listeners can readily grasp it.
~ In other words, what I'm trying to get at here is
~ My point is this: ~-~-----
~ My point, though , is not .. --- -~-~ -- -- ~ , but
~ This distinction is important because
TWELVE
"WHAT'S MOTIVATING THIS WRITER?"
Reading for the Conversation
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"WHAT IS THE AUTHOR'S ARGUMENT? What is he or she trying to say?" For many years, these were the first questions we would ask our classes in a discussion of an assigned reading. The discussion that resulted was often halting, as our students struggled to get a handle on the argument, but eventually, after some awkward silences, the class would come up with some- thing we could all agree was an accurate summary of the author's main thesis. Even after we'd gotten over that hurdle, however, the discussion would often still seem forced, and would limp along as we all struggled with the question that nat- urally arose next: Now that we had determined what the author was saying, what did we ourselves have to say? For a long time we didn't worry much about these halting discussions, justifying them to ourselves as the predictable result of assigning difficult, challenging readings. Several years ago, however, as we started writing this book and began thinking about writing as the art of entering conversations, we latched onto the idea of leading with some different questions: "What other argument(s) is the writer responding to?" "Is the writer
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