Why does everything have to be an argument?

by Elliot Schiff

My first year of college, in Expos and other humanities classes, I would get this feedback from my instructors: “Elliot, could you make your thesis statement more argumentative?” Or, “Elliot, this is a good paragraph but it’s missing an argumentative topic sentence.” I couldn’t help but think, “Why does everyone think this argument thing is so great?” It felt like everyone in an academic position of power over me had met in some room and decided unanimously that argument is good and we like argument. Why?

I’ll give you two answers, one theoretical and one practical. These are answers that I’ve come to understand through my experience as a writer, a student, and a tutor.

Imagine that there’s a national academic conference of experts on bouncy balls (maybe there is? maybe there should be…). Who knows what they’d look like or be wearing — probably elbow patches, they’re academics after all, they’ve got a public image to maintain. These are the people the world relies on to understand what’s important about the science of the very very important and ever-confounding bouncy ball. The conference gathers. They’ve got a huge stack of papers to peer review. It’s gonna be a long day.

“Bouncy Balls are Often Made of Rubber,” the first paper is titled. Not off to a great start. The contents of the paper are not any better. As a matter of fact, it’s just that sentence repeated over and over: “Bouncy balls are often made of rubber.” We know this, the experts cry. For ten pages. A prank. For some reason, some punk has decided to make fun of the very serious field of Bouncy Ball Studies.

Time to peer review another paper. This one’s called “From Handheld Toy to Exercise Ball: How Highly Elastic Rubber Spheres Went from Mere Distraction to Lifestyle and Fitness Craze.” We know this! The experts protest once more. Of course they know that the handheld toy led to the exercise ball that brought abs of steel to office workers across America. But then they read the paper: it makes specific claims they haven’t seen before. The paper’s fundamental argument is that the exercise ball’s former life as a plaything led to success and predated the gamifying of fitness to make it more fun. Here’s an argument! The stakes of the conversation are about what we think about when we think about bouncy rubber spheres, but also the history of American fitness culture.

This is all made up — and wildly oversimplified. But in the second paper on the history of bouncy balls, the author is making an argument. Simply put, when you make an argument, you are contributing something new to the conversation. That’s why your instructors keep asking you to be argumentative at every turn: it’s the best way to ensure that you’ll contribute something to a broader academic conversation. How cool is that! This is the theoretical answer to the question, “Why argument?”

The practical answer to “why argument” is that a highly argumentative paper is an easier paper to structure and revise. Think back to those bouncy ball papers. If you had to write a paper whose thesis statement was, “Bouncy balls are often made of rubber,” how the heck would you structure that thing? What evidence would you put where–and why? What would you even analyze? On the other hand, if your thesis was that the exercise ball rose to prominence in American offices not only because of its fitness benefits but because of its origins in play, now you’re cooking with gas. You would probably start with a history of the bouncy ball: its invention, its absolutely unanimous popularity — frankly its dominance over the toy market and the imaginations and Christmas wish-lists of American youth. Then, you would probably do the same with the exercise ball, a markedly different product, even though it’s largely the same material. You’d look at the marketing of the exercise ball, partnerships with offices, the history of office labor in the U.S. You’d find primary sources about the exercise ball as a replacement for the chair and compare those to firsthand accounts of the joy of the bouncy ball. And then you would be able to prove your point: the exercise ball really did rise to popularity in American offices because it is inextricable from its roots as a fun toy. Then you’d do some cultural analysis to connect this idea to the current ubiquity of gamified fitness.

This is not that great of a paper. I admit it. It’s also totally made up. But it helps me prove my point: see how much easier it is to structure a more argumentative paper? With a highly argumentative thesis, your natural wheels of logic start to turn, and moments where you’d otherwise be pulling your hair out over the right place to make a sub-claim or offer a piece of evidence suddenly become much easier.

This logic of the argumentative thesis making your life easier applies on the micro level (topic sentence) just as much as the macro (thesis statement). A paragraph with a non-argumentative topic sentence could often contain just about anything, but a paragraph with a highly argumentative topic sentence must contain evidence and analysis to prove the point outlined in the topic sentence. The same is true with the thesis statement: often, with a non-argumentative thesis statement, just about anything could be in the paper. Let’s make that very weak bouncy ball thesis a little better: “The bouncy ball’s shift from leather to rubber shows the use of post-WWII use of military materials in the toy sector.” If this is true (I have no idea), chances are that bouncy ball experts already know this. But because this thesis is slightly more argumentative than the original, you know that the paper will have to contain a discussion of military materials being repurposed in the civilian sector. That’s more focused and more specific than a paper focused only on the fact that bouncy balls are made of rubber, which increases the likelihood that the paper will say something new.

Structure: Four Warning Signs

by James Fuller

A good structure is often a clear sign of a good argument.  On the flip-side, a weak structure is often one of the most obvious signs of a weak argument.  If one or more of the following is true of your structure, you may want to reconsider the thesis, examples, or logical progression of your paper.

These aren’t hard and fast rules.  You may find that one of the following is true of your structure, but your discipline or some special feature of your argument makes it OK.  However, if your paper bears one of these signs, you have a good reason to take a long, critical look at it.

This semester, I took English 192 with Elaine Scarry.  Before setting us loose to write our final paper, Professor Scarry gave us two pieces of advice.  The first two warning signs are an expansion on that advice.  The second two warning signs I draw from my own experience as a writing tutor.

WARNING SIGNS

1. The structure of your paper exactly follows the structure of the text you are writing about.  For example, if you are writing about Moby-Dick, you might notice that each paragraph addresses a subsequent chapter.  This is a worrisome sign.  It may mean that you are allowing Moby-Dick’s narrative to determine the structure of your paper.

This may seem like a reasonable way to structure your paper, but your structure should be determined by the logical progression of your argument, not the order of the text you are writing on.  When you start a new paragraph, you should ask yourself, “What would develop develop my argument and prove my point?” not “What comes next in the plot?”

If you are worried that readers won’t be able to follow your argument if they don’t know the entire plot of Moby-Dick, then your argument may be too broad.  In most text based essays, you should focus on local, specific observations that can be situated with a small amount of narrative context.

2. You address multiple texts, and each text has its own discrete section of the essay.  For example, the first half of your paper addresses Mill’s On Liberty, and the second half of your paper addresses Hobbes’ Leviathan.

Again, this may seem like a reasonable structure.  However, in most essays that ask you to address multiple texts, you will want to bring these texts into dialog rather than treating each separately. Instead of having one section on one thinker and one on another, try organizing your paper around the points you want to make about both texts.

In the end of the day, you may find that your thesis is best served by giving each text its own section.  However, you must be certain that you have a single argument that brings the texts into relation with one another.  The “first A then B” structure should be a deliberate argumentative choice, not the default.

3. Your paper has unexplained transitions.  Common examples include “Before addressing W, I must address X,” “This leads me to Y,” and “I will now address Z.”  The problem with these transitions is that they proclaim a logical order without explaining it.  Why do you need to address X before W?  How does the previous paragraph lead you to Y?  Why are you addressing Z at this point in your essay?  The answers to these questions may be clear to you, but they may not be clear to your audience.

You should aim for substantive transitions that explain the relationship between what you have been discussing and what you are going to discuss.  Substantive transitions will help you make a cohesive argument because they will force you to reflect on why you are addressing certain points in a certain order.  If your essay has many unexplained transitions, you may need to reconsider the overall structure of your argument.

4. Your body paragraphs could occur in any order.  In other words, there is no good reason that you address one thing before another.  If this is true of your essay, you may be listing examples rather than making a sustained argument.

Even if your paper involves multiple examples of the same phenomenon, each example should bring out new aspects of the phenomenon or nuance your position.  If an example does neither of these things, you may want to delete it.

The Four Parts of a Lens Essay Argument

by Emily Hogin

One of the most common prompts I see at the Writing Center is the “lens essay.” A lens essay brings two texts in dialogue with one another in a very particular way. It asks you to use Text B – the lens – to illuminate something you didn’t already know about Text A.

How Not to Argue a Lens Essay

A lens essay is not a list of differences and similarities between two texts. The following are some (exaggerated) examples of a bad argument for a lens essay I’ve come across at the Writing Center:

Even though one is philosophy and the other is a novel, both Text A and Text B talk about the imagination.

This first thesis statement notes a similarity between the two texts that will likely be obvious to readers of the text. It doesn’t use one text to illuminate anything about the other.

While both Text A and Text B argue that human nature is unchangeable, Text A asserts that humans are inherently good and Text B asserts that humans are inherently bad.

This thesis makes a claim about each text but doesn’t say anything about them in relation to each other.

Text A, a poem, does a better job of communicating the emotional struggles of living with HIV than Text B, a statistical report, because a poem allows readers to identify emotionally with other people while statistics are more abstract and cold.

This third thesis statement does make an argument that connects both texts, but again fails to use one text to tell us something we don’t already know about the other text.

Here is an illustration of what an effective lens essay will look like:

In my experience, a successful lens essay implies a certain kind of thought-process that has at least four parts:

(1) I read Text A

(2) I read Text B (my lens)

(3) I re-read Text A and noticed something I didn’t notice before

(4) That something turns out to carry consequences for my overall reading of Text A (thesis/argument)

(And if you really want to wow your reader, you’d add a final part:)

(5) Applying Text B (my lens) in this way also reveals something significant about Text B

When I say significance or consequences, I don’t mean that it has to alter the meaning of a text radically; it can be something small but important. For example, you might find that one element is a lot more important (or a lot less important) to the overall text than you had previously thought.

As an example, here is an excerpt from the introduction to my last lens essay:

The concept of the imagination is ambiguous throughout Venus in Furs: at times, the imagination appears as passive as a battleground that external forces fight to occupy and control; at other times, the imagination appears to drive the action as if it is another character. Any theory of sexuality that seeks to explain Venus in Furs thus must be able to explain the ambiguity over the imagination. Foucault’s theory of the inescapable knowledge-power of sexuality comes close to being able to explain Sacher-Masoch’s ambiguous concept of the imagination, but applying Foucault in this way highlights Foucault’s own difficulty situating the imagination within his theory.

You can see my lens essay thought-process in just these three sentences:

(1) I read Venus in Furs (Text A) and noticed that the imagination is ambiguous

(2) I read Foucault (Text B, my lens) (3) to better understand the imagination in Venus in Furs

(4) Foucault helped explain why an ambiguous imagination is an appropriate way to look at sexuality

but (5) applying Foucault to the imagination tells me that Foucault’s own theory is challenged when he has to account for the imagination.

Once you have an argument for a lens essay, you will have to structure your paper in a way that allows this lens essay thought-process to come across. This means that each of your topic sentences should refer back to this thought-process. Even if you need a paragraph that discusses one of the texts primarily, your topic sentence should justify why you’re doing that. Your complicated and interesting thesis will likely require you to move back and forth between Text A and Text B (your lens).

Of course, your argument will depend on your assignment, but I’ve found this four-part approach successful in a number of courses where the assignment asked me to bring two texts in dialogue with one another.