What Do Instructors Really Want?

Some instructors may say they have no particular expectations for student papers. This is partly true. College instructors do not usually have one right answer in mind or one right approach to take when they assign a paper topic. They expect you to engage in critical thinking and decide for yourself what you are saying and how to say it. But in other ways college instructors do have expectations, and it is important to understand them. Some expectations involve mastering the material or demonstrating critical thinking. Other expectations involve specific writing skills. Most college instructors expect certain characteristics in student writing. Here are general principles you should follow when writing essays or student “papers.” (Some may not be appropriate for specific formats such as lab reports.)

Title the paper to identify your topic. This may sound obvious, but it needs to be said. Some students think of a paper as an exercise and write something like “Assignment 2: History 101” on the title page. Such a title gives no idea about how you are approaching the assignment or your topic. Your title should prepare your reader for what your paper is about or what you will argue. (With essays, always consider your reader as an educated adult interested in your topic. An essay is not a letter written to your instructor.) Compare the following:

Incorrect: Assignment 2: History 101

Correct: Why the New World Was Not “New”

It is obvious which of these two titles begins to prepare your reader for the paper itself. Similarly, don’t make your title the same as the title of a work you are writing about. Instead, be sure your title signals an aspect of the work you are focusing on:

Incorrect: Catcher in the Rye

Correct: Family Relationships in Catcher in the Rye

Address the terms of the assignment. Again, pay particular attention to words in the assignment that signal a preferred approach. If the instructor asks you to “argue” a point, be sure to make a statement that actually expresses your idea about the topic. Then follow that statement with your reasons and evidence in support of the statement. Look for any signals that will help you focus or limit your approach. Since no paper can cover everything about a complex topic, what is it that your instructor wants you to cover?

Finally, pay attention to the little things. For example, if the assignment specifies “5 to 6 pages in length,” write a five- to six-page paper. Don’t try to stretch a short paper longer by enlarging the font (12 points is standard) or making your margins bigger than the normal one inch (or as specified by the instructor). If the assignment is due at the beginning of class on Monday, have it ready then or before. Do not assume you can negotiate a revised due date.

In your introduction, define your topic and establish your approach or sense of purpose. Think of your introduction as an extension of your title. Instructors (like all readers) appreciate feeling oriented by a clear opening. They appreciate knowing that you have a purpose for your topic—that you have a reason for writing the paper. If they feel they’ve just been dropped into the middle of a paper, they may miss important ideas. They may not make connections you want them to make.

Build from a thesis or a clearly stated sense of purpose. Many college assignments require you to make some form of an argument. To do that, you generally start with a statement that needs to be supported and build from there. Your thesis is that statement; it is a guiding assertion for the paper. Be clear in your own mind of the difference between your topic and your thesis. The topic is what your paper is about; the thesis is what you argue about the topic. Some assignments do not require an explicit argument and thesis, but even then you should make clear at the beginning your main emphasis, your purpose, or your most important idea.

Develop ideas patiently. You might, like many students, worry about boring your reader with too much detail or information. But college instructors will not be bored by carefully explained ideas, well-selected examples, and relevant details. College instructors, after all, are professionally devoted to their subjects. If your sociology instructor asks you to write about youth crime in rural areas, you can be sure he or she is interested in that subject.

In some respects, how you develop your paper is the most crucial part of the assignment. You’ll win the day with detailed explanations and well-presented evidence—not big generalizations. For example, anyone can write something broad (and bland) like “The constitutional separation of church and state is a good thing for America”—but what do you really mean by that? Specifically? Are you talking about banning “Christmas trees” from government property—or calling them “holiday trees” instead? Are you arguing for eliminating the tax-free status of religious organizations? Are you saying that American laws should never be based on moral values? The more you really dig into your topic—the more time you spend thinking about the specifics of what you really want to argue and developing specific examples and reasons for your argument—the more developed your paper will be. It will also be much more interesting to your instructor as the reader. Remember, those grand generalizations we all like to make (“America is the land of the free”) actually don’t mean much at all until we develop the idea in specifics. (Free to do what? No laws? No restrictions like speed limits? Freedom not to pay any taxes? Free food for all? What do you really mean when you say American is the land of the “free”?)

Integrate—do not just “plug in”—quotations, graphs, and illustrations. As you outline or sketch out your material, you will think things like “this quotation can go here” or “I can put that graph there.” Remember that a quotation, graph, or illustration does not make a point for you. You make the point first and then use such material to help back it up. Using a quotation, a graph, or an illustration involves more than simply sticking it into the paper. Always lead into such material. Make sure the reader understands why you are using it and how it fits in at that place in your presentation.

Build clear transitions at the beginning of every paragraph to link from one idea to another. A good paper is more than a list of good ideas. It should also show how the ideas fit together. As you write the first sentence of any paragraph, have a clear sense of what the prior paragraph was about. Think of the first sentence in any paragraph as a kind of bridge for the reader from what came before.

Document your sources appropriately. If your paper involves research of any kind, indicate clearly the use you make of outside sources. If you have used those sources well, there is no reason to hide them. Careful research and the thoughtful application of the ideas and evidence of others is part of what college instructors value. (We address specifics about documentation later on.)

Carefully edit your paper. College instructors assume you will take the time to edit and proofread your essay. A misspelled word or an incomplete sentence may signal a lack of concern on your part. It may not seem fair to make a harsh judgment about your seriousness based on little errors, but in all writing, impressions count. Since it is often hard to find small errors in our own writing, always print out a draft well before you need to turn it in. Ask a classmate or a friend to review it and mark any word or sentence that seems “off” in any way. Although you should certainly use a spell-checker, don’t assume it can catch everything. A spell-checker cannot tell if you have the right word. For example, these words are commonly misused or mixed up:

• there, their, they’re
• its, it’s
• effect, affect
• complement, compliment

Your spell-checker can’t help with these. You also can’t trust what a “grammar checker” (like the one built into the Microsoft Word spell-checker) tells you—computers are still a long way from being able to fix your writing for you!

Turn in a clean hard copy. Some instructors accept or even prefer digital papers, but do not assume this. Most instructors want a paper copy and most definitely do not want to do the printing themselves. Present your paper in a professional (and unfussy) way, using a staple or paper clip on the left top to hold the pages together (unless the instructor specifies otherwise). Never bring your paper to class and ask the instructor, “Do you have a stapler?” Similarly, do not put your paper in a plastic binder unless the instructor asks you to.

The Writing Process

Writing instructors distinguish between process and product. The expectations described here all involve the “product” you turn in on the due date. Although you should keep in mind what your product will look like, writing is more involved with how you get to that goal. “Process” concerns how you work to actually write a paper. What do you actually do to get started? How do you organize your ideas? Why do you make changes along the way as you write? Thinking of writing as a process is important because writing is actually a complex activity. Even professional writers rarely sit down at a keyboard and write out an article beginning to end without stopping along the way to revise portions they have drafted, to move ideas around, or to revise their opening and thesis. Professionals and students alike often say they only realized what they wanted to say after they started to write. This is why many instructors see writing as a way to learn. Many writing instructors ask you to submit a draft for review before submitting a final paper. To roughly paraphrase a famous poem, you learn by doing what you have to do.

How Can I Make the Process Work for Me?

No single set of steps automatically works best for everyone when writing a paper, but writers have found a number of steps helpful. Your job is to try out ways that your instructor suggests and discover what works for you. As you’ll see in the following list, the process starts before you write a word. Generally there are three stages in the writing process:

1. Preparing before drafting (thinking, brainstorming, planning, reading, researching, outlining, sketching, etc.)—sometimes called “prewriting” (although you are usually still writing something at this stage, even if only jotting notes)
2. Writing the draft
3. Revising and editing

Involved in these three stages are a number of separate tasks—and that’s where you need to figure out what works best for you.

Because writing is hard, procrastination is easy. Don’t let yourself put off the task. Use the time management strategies described in Chapter 2 “Staying Motivated, Organized, and On Track”. One good approach is to schedule shorter time periods over a series of days—rather than trying to sit down for one long period to accomplish a lot. (Even professional writers can write only so much at a time.) Try the following strategies to get started:

• Discuss what you read, see, and hear. Talking with others about your ideas is a good way to begin to achieve clarity. Listening to others helps you understand what points need special attention. Discussion also helps writers realize that their own ideas are often best presented in relation to the ideas of others.
• Use e-mail to carry on discussions in writing. An e-mail exchange with a classmate or your instructor might be the first step toward putting words on a page.
• Brainstorm. Jot down your thoughts as they come to mind. Just write away, not worrying at first about how those ideas fit together. (This is often called “free writing.”) Once you’ve written a number of notes or short blocks of sentences, pause and read them over. Take note of anything that stands out as particularly important to you. Also consider how parts of your scattered notes might eventually fit together or how they might end up in a sequence in the paper you’ll get to later on.
• Keep a journal in which you respond to your assigned readings. Set aside twenty minutes or so three times a week to summarize important texts. Go beyond just summarizing: talk back about what you have been reading or apply the reading to your own experience. See Chapter 5 “Reading to Learn” for more tips on taking notes about your readings.
• Ask and respond in writing to “what,” “why,” and “how” questions. Good questions prompt productive writing sessions. Again, “what” questions will lead to descriptions or summaries; “why” and “how” questions will lead you to analyses and explanations. Construct your own “what,” “why,” and “how” questions and then start answering them.
• In your notes, respond directly to what others have written or said about a topic you are interested in. Most academic writing engages the ideas of others. Academic writing carries on a conversation among people interested in the field. By thinking of how your ideas relate to those of others, you can clarify your sense of purpose and sometimes even discover a way to write your introduction.

All of these steps and actions so far are “prewriting” actions. Again, almost no one just sits down and starts writing a paper at the beginning—at least not a successful paper! These prewriting steps help you get going in the right direction. Once you are ready to start drafting your essay, keep moving forward in these ways:

• Write a short statement of intent or outline your paper before your first draft. Such a road map can be very useful, but don’t assume you’ll always be able to stick with your first plan. Once you start writing, you may discover a need for changes in the substance or order of things in your essay. Such discoveries don’t mean you made “mistakes” in the outline. They simply mean you are involved in a process that cannot be completely scripted in advance.
• Write down on a card or a separate sheet of paper what you see as your paper’s main point or thesis. As you draft your essay, look back at that thesis statement. Are you staying on track? Or are you discovering that you need to change your main point or thesis? From time to time, check the development of your ideas against what you started out saying you would do. Revise as needed and move forward.
• Reverse outline your paper. Outlining is usually a beginning point, a road map for the task ahead. But many writers find that outlining what they have already written in a draft helps them see more clearly how their ideas fit or do not fit together. Outlining in this way can reveal trouble spots that are harder to see in a full draft. Once you see those trouble spots, effective revision becomes possible.
• Don’t obsess over detail when writing the draft. Remember, you have time for revising and editing later on. Now is the time to test out the plan you’ve made and see how your ideas develop. The last things in the world you want to worry about now are the little things like grammar and punctuation—spend your time developing your material, knowing you can fix the details later.
• Read your draft aloud. Hearing your own writing often helps you see it more plainly. A gap or an inconsistency in an argument that you simply do not see in a silent reading becomes evident when you give voice to the text. You may also catch sentence-level mistakes by reading your paper aloud.

What’s the Difference between Revising and Editing?

Some students think of a draft as something that they need only “correct” after writing. They assume their first effort to do the assignment resulted in something that needs only surface attention. This is a big mistake. A good writer does not write fast. Good writers know that the task is complicated enough to demand some patience. “Revision” rather than “correction” suggests seeing again in a new light generated by all the thought that went into the first draft. Revising a draft usually involves significant changes including the following:

• Making organizational changes like the reordering of paragraphs (don’t forget that new transitions will be needed when you move paragraphs)
• Clarifying the thesis or adjustments between the thesis and supporting points that follow
• Cutting material that is unnecessary or irrelevant
• Adding new points to strengthen or clarify the presentation

Editing and proofreading are the last steps following revision. Correcting a sentence early on may not be the best use of your time since you may cut the sentence entirely. Editing and proofreading are focused, late-stage activities for style and correctness. They are important final parts of the writing process, but they should not be confused with revision itself. Editing and proofreading a draft involve these steps:

• Careful spell-checking. This includes checking the spelling of names.
• Attention to sentence-level issues. Be especially attentive to sentence boundaries, subject-verb agreement, punctuation, and pronoun referents. You can also attend at this stage to matters of style.

Remember to get started on a writing assignment early so that you complete the first draft well before the due date, allowing you needed time for genuine revision and careful editing.

What If I Need Help with Writing?

Writing is hard work. Most colleges provide resources that can help you from the early stages of an assignment through to the completion of an essay. Your first resource may be a writing class. Most students are encouraged or required to enroll in a writing class in their first term, and it’s a good idea for everyone. Use everything you learn there about drafting and revising in all your courses.

Tutoring services. Most colleges have a tutoring service that focuses primarily on student writing. Look up and visit your tutoring center early in the term to learn what service is offered. Specifically check on the following:

1. Do you have to register in advance for help? If so, is there a registration deadline?
2. Are appointments required or encouraged, or can you just drop in?
3. Are regular standing appointments with the same tutor encouraged?
4. Are a limited number of sessions allowed per term?
5. Are small group workshops offered in addition to individual appointments?
6. Are specialists available for help with students who have learned English as a second language?

Three points about writing tutors are crucial:

1. Writing tutors are there for all student writers—not just for weak or inexperienced writers. Writing in college is supposed to be a challenge. Some students make writing even harder by thinking that good writers work in isolation. But writing is a social act. A good paper should engage others.
2. Tutors are not there for you to “correct” sentence-level problems or polish your finished draft. They will help you identify and understand sentence-level problems so that you can achieve greater control over your writing. But their more important goals often are to address larger concerns like the paper’s organization, the fullness of its development, and the clarity of its argument. So don’t make your first appointment the day before a paper is due, because you may need more time to revise after discussing the paper with a tutor.
3. Tutors cannot help you if you do not do your part. Tutors respond only to what you say and write; they cannot enable you to magically jump past the thinking an assignment requires. So do some thinking about the assignment before your meeting and be sure to bring relevant materials with you. For example, bring the paper assignment. You might also bring the course syllabus and perhaps even the required textbook. Most importantly, bring any writing you’ve done in response to the assignment (an outline, a thesis statement, a draft, an introductory paragraph). If you want to get help from a tutor, you need to give the tutor something to work with.

Teaching assistants and instructors. In a large class, you may have both a course instructor and a teaching assistant (TA). Seek help from either or both as you draft your essay. Some instructors offer only limited help. They may not, for example, have time to respond to a complete draft of your essay. But even a brief response to a drafted introduction or to a question can be tremendously valuable. Remember that most TAs and instructors want to help you learn. View them along with tutors as part of a team that works with you to achieve academic success. Remember the tips you learned in Chapter 7 “Interacting with Instructors and Classes” for interacting well with your instructors.

Writing Web sites and writing handbooks. Many writing Web sites and handbooks can help you along every step of the way, especially in the late stages of your work. You’ll find lessons on style as well as information about language conventions and “correctness.” Not only should you use the handbook your composition instructor assigns in a writing class, but you should not sell that book back at the end of the term. You will need it again for future writing. For more help, become familiar with a good Web site for student writers. There are many, but one we recommend is maintained by the Dartmouth College Writing Center at http://www.dartmouth.edu/~writing/materials/student/index.html.

Plagiarism—and How to Avoid It

Plagiarism is the unacknowledged use of material from a source. At the most obvious level, plagiarism involves using someone else’s words and ideas as if they were your own. There’s not much to say about copying another person’s work: it’s cheating, pure and simple. But plagiarism is not always so simple. Notice that our definition of plagiarism involves “words and ideas.” Let’s break that down a little further.

Words. Copying the words of another is clearly wrong. If you use another’s words, those words must be in quotation marks, and you must tell your reader where those words came from. But it is not enough to make a few surface changes in wording. You can’t just change some words and call the material yours; close, extended paraphrase is not acceptable. For example, compare the two passages that follow. The first comes from Murder Most Foul, a book by Karen Halttunen on changing ideas about murder in nineteenth-century America; the second is a close paraphrase of the same passage:

The new murder narratives were overwhelmingly secular works, written by a diverse array of printers, hack writers, sentimental poets, lawyers, and even murderers themselves, who were displacing the clergy as the dominant interpreters of the crime.


The murder stories that were developing were almost always secular works that were written by many different sorts of people. Printers, hack writers, poets, attorneys, and sometimes even the criminals themselves were writing murder stories. They were the new interpreters of the crime, replacing religious leaders who had held that role before.

It is easy to see that the writer of the second version has closely followed the ideas and even echoed some words of the original. This is a serious form of plagiarism. Even if this writer were to acknowledge the author, there would still be a problem. To simply cite the source at the end would not excuse using so much of the original source.

Ideas. Ideas are also a form of intellectual property. Consider this third version of the previous passage:

At one time, religious leaders shaped the way the public thought about murder. But in nineteenth-century America, this changed. Society’s attitudes were influenced more and more by secular writers.

This version summarizes the original. That is, it states the main idea in compressed form in language that does not come from the original. But it could still be seen as plagiarism if the source is not cited. This example probably makes you wonder if you can write anything without citing a source. To help you sort out what ideas need to be cited and what not, think about these principles:

Common knowledge. There is no need to cite common knowledge. Common knowledge does not mean knowledge everyone has. It means knowledge that everyone can easily access. For example, most people do not know the date of George Washington’s death, but everyone can easily find that information. If the information or idea can be found in multiple sources and the information or idea remains constant from source to source, it can be considered common knowledge. This is one reason so much research is usually done for college writing—the more sources you read, the more easily you can sort out what is common knowledge: if you see an uncited idea in multiple sources, then you can feel secure that idea is common knowledge.

Distinct contributions. One does need to cite ideas that are distinct contributions. A distinct contribution need not be a discovery from the work of one person. It need only be an insight that is not commonly expressed (not found in multiple sources) and not universally agreed upon.

Disputable figures. Always remember that numbers are only as good as the sources they come from. If you use numbers like attendance figures, unemployment rates, or demographic profiles—or any statistics at all—always cite your source of those numbers. If your instructor does not know the source you used, you will not get much credit for the information you have collected.

Everything said previously about using sources applies to all forms of sources. Some students mistakenly believe that material from the Web, for example, need not be cited. Or that an idea from an instructor’s lecture is automatically common property. You must evaluate all sources in the same way and cite them as necessary.

Forms of Citation

You should generally check with your instructors about their preferred form of citation when you write papers for courses. No one standard is used in all academic papers. You can learn about the three major forms or styles used in most any college writing handbook and on many Web sites for college writers:

• The Modern Language Association (MLA) system of citation is widely used but is most commonly adopted in humanities courses, particularly literature courses.
• The American Psychological Association (APA) system of citation is most common in the social sciences.
• The Chicago Manual of Style is widely used but perhaps most commonly in history courses.

Many college departments have their own style guides, which may be based on one of the above. Your instructor should refer you to his or her preferred guide, but be sure to ask if you have not been given explicit direction.