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Understanding Assignments

What this handout is about.

The first step in any successful college writing venture is reading the assignment. While this sounds like a simple task, it can be a tough one. This handout will help you unravel your assignment and begin to craft an effective response. Much of the following advice will involve translating typical assignment terms and practices into meaningful clues to the type of writing your instructor expects. See our short video for more tips.

Basic beginnings

Regardless of the assignment, department, or instructor, adopting these two habits will serve you well :

• Read the assignment carefully as soon as you receive it. Do not put this task off—reading the assignment at the beginning will save you time, stress, and problems later. An assignment can look pretty straightforward at first, particularly if the instructor has provided lots of information. That does not mean it will not take time and effort to complete; you may even have to learn a new skill to complete the assignment.
• Ask the instructor about anything you do not understand. Do not hesitate to approach your instructor. Instructors would prefer to set you straight before you hand the paper in. That’s also when you will find their feedback most useful.

Assignment formats

Many assignments follow a basic format. Assignments often begin with an overview of the topic, include a central verb or verbs that describe the task, and offer some additional suggestions, questions, or prompts to get you started.

An Overview of Some Kind

The instructor might set the stage with some general discussion of the subject of the assignment, introduce the topic, or remind you of something pertinent that you have discussed in class. For example:

“Throughout history, gerbils have played a key role in politics,” or “In the last few weeks of class, we have focused on the evening wear of the housefly …”

The Task of the Assignment

Pay attention; this part tells you what to do when you write the paper. Look for the key verb or verbs in the sentence. Words like analyze, summarize, or compare direct you to think about your topic in a certain way. Also pay attention to words such as how, what, when, where, and why; these words guide your attention toward specific information. (See the section in this handout titled “Key Terms” for more information.)

“Analyze the effect that gerbils had on the Russian Revolution”, or “Suggest an interpretation of housefly undergarments that differs from Darwin’s.”

Additional Material to Think about

Here you will find some questions to use as springboards as you begin to think about the topic. Instructors usually include these questions as suggestions rather than requirements. Do not feel compelled to answer every question unless the instructor asks you to do so. Pay attention to the order of the questions. Sometimes they suggest the thinking process your instructor imagines you will need to follow to begin thinking about the topic.

“You may wish to consider the differing views held by Communist gerbils vs. Monarchist gerbils, or Can there be such a thing as ‘the housefly garment industry’ or is it just a home-based craft?”

These are the instructor’s comments about writing expectations:

“Be concise”, “Write effectively”, or “Argue furiously.”

Technical Details

These instructions usually indicate format rules or guidelines.

“Your paper must be typed in Palatino font on gray paper and must not exceed 600 pages. It is due on the anniversary of Mao Tse-tung’s death.”

The assignment’s parts may not appear in exactly this order, and each part may be very long or really short. Nonetheless, being aware of this standard pattern can help you understand what your instructor wants you to do.

Interpreting the assignment

Ask yourself a few basic questions as you read and jot down the answers on the assignment sheet:

Why did your instructor ask you to do this particular task?

Who is your audience.

• What kind of evidence do you need to support your ideas?

What kind of writing style is acceptable?

• What are the absolute rules of the paper?

Try to look at the question from the point of view of the instructor. Recognize that your instructor has a reason for giving you this assignment and for giving it to you at a particular point in the semester. In every assignment, the instructor has a challenge for you. This challenge could be anything from demonstrating an ability to think clearly to demonstrating an ability to use the library. See the assignment not as a vague suggestion of what to do but as an opportunity to show that you can handle the course material as directed. Paper assignments give you more than a topic to discuss—they ask you to do something with the topic. Keep reminding yourself of that. Be careful to avoid the other extreme as well: do not read more into the assignment than what is there.

Of course, your instructor has given you an assignment so that they will be able to assess your understanding of the course material and give you an appropriate grade. But there is more to it than that. Your instructor has tried to design a learning experience of some kind. Your instructor wants you to think about something in a particular way for a particular reason. If you read the course description at the beginning of your syllabus, review the assigned readings, and consider the assignment itself, you may begin to see the plan, purpose, or approach to the subject matter that your instructor has created for you. If you still aren’t sure of the assignment’s goals, try asking the instructor. For help with this, see our handout on getting feedback .

Given your instructor’s efforts, it helps to answer the question: What is my purpose in completing this assignment? Is it to gather research from a variety of outside sources and present a coherent picture? Is it to take material I have been learning in class and apply it to a new situation? Is it to prove a point one way or another? Key words from the assignment can help you figure this out. Look for key terms in the form of active verbs that tell you what to do.

Key Terms: Finding Those Active Verbs

Here are some common key words and definitions to help you think about assignment terms:

Information words Ask you to demonstrate what you know about the subject, such as who, what, when, where, how, and why.

• define —give the subject’s meaning (according to someone or something). Sometimes you have to give more than one view on the subject’s meaning
• describe —provide details about the subject by answering question words (such as who, what, when, where, how, and why); you might also give details related to the five senses (what you see, hear, feel, taste, and smell)
• explain —give reasons why or examples of how something happened
• illustrate —give descriptive examples of the subject and show how each is connected with the subject
• summarize —briefly list the important ideas you learned about the subject
• trace —outline how something has changed or developed from an earlier time to its current form
• research —gather material from outside sources about the subject, often with the implication or requirement that you will analyze what you have found

Relation words Ask you to demonstrate how things are connected.

• compare —show how two or more things are similar (and, sometimes, different)
• contrast —show how two or more things are dissimilar
• apply—use details that you’ve been given to demonstrate how an idea, theory, or concept works in a particular situation
• cause —show how one event or series of events made something else happen
• relate —show or describe the connections between things

Interpretation words Ask you to defend ideas of your own about the subject. Do not see these words as requesting opinion alone (unless the assignment specifically says so), but as requiring opinion that is supported by concrete evidence. Remember examples, principles, definitions, or concepts from class or research and use them in your interpretation.

• assess —summarize your opinion of the subject and measure it against something
• prove, justify —give reasons or examples to demonstrate how or why something is the truth
• evaluate, respond —state your opinion of the subject as good, bad, or some combination of the two, with examples and reasons
• support —give reasons or evidence for something you believe (be sure to state clearly what it is that you believe)
• synthesize —put two or more things together that have not been put together in class or in your readings before; do not just summarize one and then the other and say that they are similar or different—you must provide a reason for putting them together that runs all the way through the paper
• analyze —determine how individual parts create or relate to the whole, figure out how something works, what it might mean, or why it is important
• argue —take a side and defend it with evidence against the other side

More Clues to Your Purpose As you read the assignment, think about what the teacher does in class:

• What kinds of textbooks or coursepack did your instructor choose for the course—ones that provide background information, explain theories or perspectives, or argue a point of view?
• In lecture, does your instructor ask your opinion, try to prove their point of view, or use keywords that show up again in the assignment?
• What kinds of assignments are typical in this discipline? Social science classes often expect more research. Humanities classes thrive on interpretation and analysis.
• How do the assignments, readings, and lectures work together in the course? Instructors spend time designing courses, sometimes even arguing with their peers about the most effective course materials. Figuring out the overall design to the course will help you understand what each assignment is meant to achieve.

Now, what about your reader? Most undergraduates think of their audience as the instructor. True, your instructor is a good person to keep in mind as you write. But for the purposes of a good paper, think of your audience as someone like your roommate: smart enough to understand a clear, logical argument, but not someone who already knows exactly what is going on in your particular paper. Remember, even if the instructor knows everything there is to know about your paper topic, they still have to read your paper and assess your understanding. In other words, teach the material to your reader.

Aiming a paper at your audience happens in two ways: you make decisions about the tone and the level of information you want to convey.

• Tone means the “voice” of your paper. Should you be chatty, formal, or objective? Usually you will find some happy medium—you do not want to alienate your reader by sounding condescending or superior, but you do not want to, um, like, totally wig on the man, you know? Eschew ostentatious erudition: some students think the way to sound academic is to use big words. Be careful—you can sound ridiculous, especially if you use the wrong big words.
• The level of information you use depends on who you think your audience is. If you imagine your audience as your instructor and they already know everything you have to say, you may find yourself leaving out key information that can cause your argument to be unconvincing and illogical. But you do not have to explain every single word or issue. If you are telling your roommate what happened on your favorite science fiction TV show last night, you do not say, “First a dark-haired white man of average height, wearing a suit and carrying a flashlight, walked into the room. Then a purple alien with fifteen arms and at least three eyes turned around. Then the man smiled slightly. In the background, you could hear a clock ticking. The room was fairly dark and had at least two windows that I saw.” You also do not say, “This guy found some aliens. The end.” Find some balance of useful details that support your main point.

You’ll find a much more detailed discussion of these concepts in our handout on audience .

The Grim Truth

With a few exceptions (including some lab and ethnography reports), you are probably being asked to make an argument. You must convince your audience. It is easy to forget this aim when you are researching and writing; as you become involved in your subject matter, you may become enmeshed in the details and focus on learning or simply telling the information you have found. You need to do more than just repeat what you have read. Your writing should have a point, and you should be able to say it in a sentence. Sometimes instructors call this sentence a “thesis” or a “claim.”

So, if your instructor tells you to write about some aspect of oral hygiene, you do not want to just list: “First, you brush your teeth with a soft brush and some peanut butter. Then, you floss with unwaxed, bologna-flavored string. Finally, gargle with bourbon.” Instead, you could say, “Of all the oral cleaning methods, sandblasting removes the most plaque. Therefore it should be recommended by the American Dental Association.” Or, “From an aesthetic perspective, moldy teeth can be quite charming. However, their joys are short-lived.”

Convincing the reader of your argument is the goal of academic writing. It doesn’t have to say “argument” anywhere in the assignment for you to need one. Look at the assignment and think about what kind of argument you could make about it instead of just seeing it as a checklist of information you have to present. For help with understanding the role of argument in academic writing, see our handout on argument .

What kind of evidence do you need?

There are many kinds of evidence, and what type of evidence will work for your assignment can depend on several factors–the discipline, the parameters of the assignment, and your instructor’s preference. Should you use statistics? Historical examples? Do you need to conduct your own experiment? Can you rely on personal experience? See our handout on evidence for suggestions on how to use evidence appropriately.

Make sure you are clear about this part of the assignment, because your use of evidence will be crucial in writing a successful paper. You are not just learning how to argue; you are learning how to argue with specific types of materials and ideas. Ask your instructor what counts as acceptable evidence. You can also ask a librarian for help. No matter what kind of evidence you use, be sure to cite it correctly—see the UNC Libraries citation tutorial .

You cannot always tell from the assignment just what sort of writing style your instructor expects. The instructor may be really laid back in class but still expect you to sound formal in writing. Or the instructor may be fairly formal in class and ask you to write a reflection paper where you need to use “I” and speak from your own experience.

Try to avoid false associations of a particular field with a style (“art historians like wacky creativity,” or “political scientists are boring and just give facts”) and look instead to the types of readings you have been given in class. No one expects you to write like Plato—just use the readings as a guide for what is standard or preferable to your instructor. When in doubt, ask your instructor about the level of formality they expect.

No matter what field you are writing for or what facts you are including, if you do not write so that your reader can understand your main idea, you have wasted your time. So make clarity your main goal. For specific help with style, see our handout on style .

Technical details about the assignment

The technical information you are given in an assignment always seems like the easy part. This section can actually give you lots of little hints about approaching the task. Find out if elements such as page length and citation format (see the UNC Libraries citation tutorial ) are negotiable. Some professors do not have strong preferences as long as you are consistent and fully answer the assignment. Some professors are very specific and will deduct big points for deviations.

Usually, the page length tells you something important: The instructor thinks the size of the paper is appropriate to the assignment’s parameters. In plain English, your instructor is telling you how many pages it should take for you to answer the question as fully as you are expected to. So if an assignment is two pages long, you cannot pad your paper with examples or reword your main idea several times. Hit your one point early, defend it with the clearest example, and finish quickly. If an assignment is ten pages long, you can be more complex in your main points and examples—and if you can only produce five pages for that assignment, you need to see someone for help—as soon as possible.

Tricks that don’t work

Your instructors are not fooled when you:

• spend more time on the cover page than the essay —graphics, cool binders, and cute titles are no replacement for a well-written paper.
• use huge fonts, wide margins, or extra spacing to pad the page length —these tricks are immediately obvious to the eye. Most instructors use the same word processor you do. They know what’s possible. Such tactics are especially damning when the instructor has a stack of 60 papers to grade and yours is the only one that low-flying airplane pilots could read.
• use a paper from another class that covered “sort of similar” material . Again, the instructor has a particular task for you to fulfill in the assignment that usually relates to course material and lectures. Your other paper may not cover this material, and turning in the same paper for more than one course may constitute an Honor Code violation . Ask the instructor—it can’t hurt.
• get all wacky and “creative” before you answer the question . Showing that you are able to think beyond the boundaries of a simple assignment can be good, but you must do what the assignment calls for first. Again, check with your instructor. A humorous tone can be refreshing for someone grading a stack of papers, but it will not get you a good grade if you have not fulfilled the task.

Critical reading of assignments leads to skills in other types of reading and writing. If you get good at figuring out what the real goals of assignments are, you are going to be better at understanding the goals of all of your classes and fields of study.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Understanding Writing Assignments

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How to Decipher the Paper Assignment

Many instructors write their assignment prompts differently. By following a few steps, you can better understand the requirements for the assignment. The best way, as always, is to ask the instructor about anything confusing.

• Read the prompt the entire way through once. This gives you an overall view of what is going on.
• Underline or circle the portions that you absolutely must know. This information may include due date, research (source) requirements, page length, and format (MLA, APA, CMS).
• Underline or circle important phrases. You should know your instructor at least a little by now - what phrases do they use in class? Does he repeatedly say a specific word? If these are in the prompt, you know the instructor wants you to use them in the assignment.
• Think about how you will address the prompt. The prompt contains clues on how to write the assignment. Your instructor will often describe the ideas they want discussed either in questions, in bullet points, or in the text of the prompt. Think about each of these sentences and number them so that you can write a paragraph or section of your essay on that portion if necessary.
• Rank ideas in descending order, from most important to least important. Instructors may include more questions or talking points than you can cover in your assignment, so rank them in the order you think is more important. One area of the prompt may be more interesting to you than another.
• Ask your instructor questions if you have any.

After you are finished with these steps, ask yourself the following:

• What is the purpose of this assignment? Is my purpose to provide information without forming an argument, to construct an argument based on research, or analyze a poem and discuss its imagery?
• Who is my audience? Is my instructor my only audience? Who else might read this? Will it be posted online? What are my readers' needs and expectations?
• What resources do I need to begin work? Do I need to conduct literature (hermeneutic or historical) research, or do I need to review important literature on the topic and then conduct empirical research, such as a survey or an observation? How many sources are required?
• Who - beyond my instructor - can I contact to help me if I have questions? Do you have a writing lab or student service center that offers tutorials in writing?

(Notes on prompts made in blue )

Poster or Song Analysis: Poster or Song? Poster!

Goals : To systematically consider the rhetorical choices made in either a poster or a song. She says that all the time.

Things to Consider: ah- talking points

• how the poster addresses its audience and is affected by context I'll do this first - 1.
• general layout, use of color, contours of light and shade, etc.
• use of contrast, alignment, repetition, and proximity C.A.R.P. They say that, too. I'll do this third - 3.
• the point of view the viewer is invited to take, poses of figures in the poster, etc. any text that may be present
• possible cultural ramifications or social issues that have bearing I'll cover this second - 2.
• ethical implications
• how the poster affects us emotionally, or what mood it evokes
• the poster's implicit argument and its effectiveness said that was important in class, so I'll discuss this last - 4.
• how the song addresses its audience
• lyrics: how they rhyme, repeat, what they say
• use of music, tempo, different instruments
• possible cultural ramifications or social issues that have bearing
• emotional effects
• the implicit argument and its effectiveness

These thinking points are not a step-by-step guideline on how to write your paper; instead, they are various means through which you can approach the subject. I do expect to see at least a few of them addressed, and there are other aspects that may be pertinent to your choice that have not been included in these lists. You will want to find a central idea and base your argument around that. Additionally, you must include a copy of the poster or song that you are working with. Really important!

I will be your audience. This is a formal paper, and you should use academic conventions throughout.

Length: 4 pages Format: Typed, double-spaced, 10-12 point Times New Roman, 1 inch margins I need to remember the format stuff. I messed this up last time =(

Academic Argument Essay

5-7 pages, Times New Roman 12 pt. font, 1 inch margins.

Minimum of five cited sources: 3 must be from academic journals or books

• Design Plan due: Thurs. 10/19
• Rough Draft due: Monday 10/30
• Final Draft due: Thurs. 11/9

Remember this! I missed the deadline last time

The design plan is simply a statement of purpose, as described on pages 40-41 of the book, and an outline. The outline may be formal, as we discussed in class, or a printout of an Open Mind project. It must be a minimum of 1 page typed information, plus 1 page outline.

This project is an expansion of your opinion editorial. While you should avoid repeating any of your exact phrases from Project 2, you may reuse some of the same ideas. Your topic should be similar. You must use research to support your position, and you must also demonstrate a fairly thorough knowledge of any opposing position(s). 2 things to do - my position and the opposite.

Your essay should begin with an introduction that encapsulates your topic and indicates 1 the general trajectory of your argument. You need to have a discernable thesis that appears early in your paper. Your conclusion should restate the thesis in different words, 2 and then draw some additional meaningful analysis out of the developments of your argument. Think of this as a "so what" factor. What are some implications for the future, relating to your topic? What does all this (what you have argued) mean for society, or for the section of it to which your argument pertains? A good conclusion moves outside the topic in the paper and deals with a larger issue.

You should spend at least one paragraph acknowledging and describing the opposing position in a manner that is respectful and honestly representative of the opposition’s 3 views. The counterargument does not need to occur in a certain area, but generally begins or ends your argument. Asserting and attempting to prove each aspect of your argument’s structure should comprise the majority of your paper. Ask yourself what your argument assumes and what must be proven in order to validate your claims. Then go step-by-step, paragraph-by-paragraph, addressing each facet of your position. Most important part!

Finally, pay attention to readability . Just because this is a research paper does not mean that it has to be boring. Use examples and allow your opinion to show through word choice and tone. Proofread before you turn in the paper. Your audience is generally the academic community and specifically me, as a representative of that community. Ok, They want this to be easy to read, to contain examples I find, and they want it to be grammatically correct. I can visit the tutoring center if I get stuck, or I can email the OWL Email Tutors short questions if I have any more problems.

5 tips on writing better university assignments

Lecturer in Student Learning and Communication Development, University of Sydney

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Alexandra Garcia does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

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University life comes with its share of challenges. One of these is writing longer assignments that require higher information, communication and critical thinking skills than what you might have been used to in high school. Here are five tips to help you get ahead.

1. Use all available sources of information

Beyond instructions and deadlines, lecturers make available an increasing number of resources. But students often overlook these.

For example, to understand how your assignment will be graded, you can examine the rubric . This is a chart indicating what you need to do to obtain a high distinction, a credit or a pass, as well as the course objectives – also known as “learning outcomes”.

Other resources include lecture recordings, reading lists, sample assignments and discussion boards. All this information is usually put together in an online platform called a learning management system (LMS). Examples include Blackboard , Moodle , Canvas and iLearn . Research shows students who use their LMS more frequently tend to obtain higher final grades.

If after scrolling through your LMS you still have questions about your assignment, you can check your lecturer’s consultation hours.

2. Take referencing seriously

Plagiarism – using somebody else’s words or ideas without attribution – is a serious offence at university. It is a form of cheating.

In many cases, though, students are unaware they have cheated. They are simply not familiar with referencing styles – such as APA , Harvard , Vancouver , Chicago , etc – or lack the skills to put the information from their sources into their own words.

To avoid making this mistake, you may approach your university’s library, which is likely to offer face-to-face workshops or online resources on referencing. Academic support units may also help with paraphrasing.

You can also use referencing management software, such as EndNote or Mendeley . You can then store your sources, retrieve citations and create reference lists with only a few clicks. For undergraduate students, Zotero has been recommended as it seems to be more user-friendly.

Using this kind of software will certainly save you time searching for and formatting references. However, you still need to become familiar with the citation style in your discipline and revise the formatting accordingly.

3. Plan before you write

If you were to build a house, you wouldn’t start by laying bricks at random. You’d start with a blueprint. Likewise, writing an academic paper requires careful planning: you need to decide the number of sections, their organisation, and the information and sources you will include in each.

Research shows students who prepare detailed outlines produce higher-quality texts. Planning will not only help you get better grades, but will also reduce the time you spend staring blankly at the screen thinking about what to write next.

During the planning stage, using programs like OneNote from Microsoft Office or Outline for Mac can make the task easier as they allow you to organise information in tabs. These bits of information can be easily rearranged for later drafting. Navigating through the tabs is also easier than scrolling through a long Word file.

4. Choose the right words

Which of these sentences is more appropriate for an assignment?

a. “This paper talks about why the planet is getting hotter”, or b. “This paper examines the causes of climate change”.

The written language used at university is more formal and technical than the language you normally use in social media or while chatting with your friends. Academic words tend to be longer and their meaning is also more precise. “Climate change” implies more than just the planet “getting hotter”.

To find the right words, you can use SkELL , which shows you the words that appear more frequently, with your search entry categorised grammatically. For example, if you enter “paper”, it will tell you it is often the subject of verbs such as “present”, “describe”, “examine” and “discuss”.

Another option is the Writefull app, which does a similar job without having to use an online browser.

5. Edit and proofread

If you’re typing the last paragraph of the assignment ten minutes before the deadline, you will be missing a very important step in the writing process: editing and proofreading your text. A 2018 study found a group of university students did significantly better in a test after incorporating the process of planning, drafting and editing in their writing.

You probably already know to check the spelling of a word if it appears underlined in red. You may even use a grammar checker such as Grammarly . However, no software to date can detect every error and it is not uncommon to be given inaccurate suggestions.

So, in addition to your choice of proofreader, you need to improve and expand your grammar knowledge. Check with the academic support services at your university if they offer any relevant courses.

Written communication is a skill that requires effort and dedication. That’s why universities are investing in support services – face-to-face workshops, individual consultations, and online courses – to help students in this process. You can also take advantage of a wide range of web-based resources such as spell checkers, vocabulary tools and referencing software – many of them free.

Improving your written communication will help you succeed at university and beyond.

• College assignments
• University study
• Writing tips
• Essay writing
• Student assessment

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How to write the best college assignments.

By Lois Weldon

When it comes to writing assignments, it is difficult to find a conceptualized guide with clear and simple tips that are easy to follow. That’s exactly what this guide will provide: few simple tips on how to write great assignments, right when you need them. Some of these points will probably be familiar to you, but there is no harm in being reminded of the most important things before you start writing the assignments, which are usually determining on your credits.

The most important aspects: Outline and Introduction

Preparation is the key to success, especially when it comes to academic assignments. It is recommended to always write an outline before you start writing the actual assignment. The outline should include the main points of discussion, which will keep you focused throughout the work and will make your key points clearly defined. Outlining the assignment will save you a lot of time because it will organize your thoughts and make your literature searches much easier. The outline will also help you to create different sections and divide up the word count between them, which will make the assignment more organized.

The introduction is the next important part you should focus on. This is the part that defines the quality of your assignment in the eyes of the reader. The introduction must include a brief background on the main points of discussion, the purpose of developing such work and clear indications on how the assignment is being organized. Keep this part brief, within one or two paragraphs.

This is an example of including the above mentioned points into the introduction of an assignment that elaborates the topic of obesity reaching proportions:

Background : The twenty first century is characterized by many public health challenges, among which obesity takes a major part. The increasing prevalence of obesity is creating an alarming situation in both developed and developing regions of the world.

Structure and aim : This assignment will elaborate and discuss the specific pattern of obesity epidemic development, as well as its epidemiology. Debt, trade and globalization will also be analyzed as factors that led to escalation of the problem. Moreover, the assignment will discuss the governmental interventions that make efforts to address this issue.

Practical tips on assignment writing

Here are some practical tips that will keep your work focused and effective:

–         Critical thinking – Academic writing has to be characterized by critical thinking, not only to provide the work with the needed level, but also because it takes part in the final mark.

–         Continuity of ideas – When you get to the middle of assignment, things can get confusing. You have to make sure that the ideas are flowing continuously within and between paragraphs, so the reader will be enabled to follow the argument easily. Dividing the work in different paragraphs is very important for this purpose.

–         Usage of ‘you’ and ‘I’ – According to the academic writing standards, the assignments should be written in an impersonal language, which means that the usage of ‘you’ and ‘I’ should be avoided. The only acceptable way of building your arguments is by using opinions and evidence from authoritative sources.

–         Referencing – this part of the assignment is extremely important and it takes a big part in the final mark. Make sure to use either Vancouver or Harvard referencing systems, and use the same system in the bibliography and while citing work of other sources within the text.  

–         Usage of examples – A clear understanding on your assignment’s topic should be provided by comparing different sources and identifying their strengths and weaknesses in an objective manner. This is the part where you should show how the knowledge can be applied into practice.

–         Numbering and bullets – Instead of using numbering and bullets, the academic writing style prefers the usage of paragraphs.

–         Including figures and tables – The figures and tables are an effective way of conveying information to the reader in a clear manner, without disturbing the word count. Each figure and table should have clear headings and you should make sure to mention their sources in the bibliography.

–         Word count – the word count of your assignment mustn’t be far above or far below the required word count. The outline will provide you with help in this aspect, so make sure to plan the work in order to keep it within the boundaries.

The importance of an effective conclusion

The conclusion of your assignment is your ultimate chance to provide powerful arguments that will impress the reader. The conclusion in academic writing is usually expressed through three main parts:

–         Stating the context and aim of the assignment

–         Summarizing the main points briefly

–         Providing final comments with consideration of the future (discussing clear examples of things that can be done in order to improve the situation concerning your topic of discussion).

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Lois Weldon is writer at  Uk.bestdissertation.com . Lives happily at London with her husband and lovely daughter. Adores writing tips for students. Passionate about Star Wars and yoga.

7 comments on “How To Write The Best College Assignments”

Extremely useful tip for students wanting to score well on their assignments. I concur with the writer that writing an outline before ACTUALLY starting to write assignments is extremely important. I have observed students who start off quite well but they tend to lose focus in between which causes them to lose marks. So an outline helps them to maintain the theme focused.

Hello Great information…. write assignments

Well elabrated

Thanks for the information. This site has amazing articles. Looking forward to continuing on this site.

This article is certainly going to help student . Well written.

Really good, thanks

Practical tips on assignment writing, the’re fantastic. Thank you!

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How to Write an Effective Assignment

At their base, all assignment prompts function a bit like a magnifying glass—they allow a student to isolate, focus on, inspect, and interact with some portion of your course material through a fixed lens of your choosing.

The Key Components of an Effective Assignment Prompt

All assignments, from ungraded formative response papers all the way up to a capstone assignment, should include the following components to ensure that students and teachers understand not only the learning objective of the assignment, but also the discrete steps which they will need to follow in order to complete it successfully:

• Preamble.  This situates the assignment within the context of the course, reminding students of what they have been working on in anticipation of the assignment and how that work has prepared them to succeed at it. 
• Justification and Purpose.  This explains why the particular type or genre of assignment you’ve chosen (e.g., lab report, policy memo, problem set, or personal reflection) is the best way for you and your students to measure how well they’ve met the learning objectives associated with this segment of the course.
• Mission.  This explains the assignment in broad brush strokes, giving students a general sense of the project you are setting before them. It often gives students guidance on the evidence or data they should be working with, as well as helping them imagine the audience their work should be aimed at.  
• Tasks.  This outlines what students are supposed to do at a more granular level: for example, how to start, where to look, how to ask for help, etc. If written well, this part of the assignment prompt ought to function as a kind of "process" rubric for students, helping them to decide for themselves whether they are completing the assignment successfully.
• Submission format.  This tells students, in appropriate detail, which stylistic conventions they should observe and how to submit their work. For example, should the assignment be a five-page paper written in APA format and saved as a .docx file? Should it be uploaded to the course website? Is it due by Tuesday at 5:00pm?

For illustrations of these five components in action, visit our gallery of annotated assignment prompts .

For advice about creative assignments (e.g. podcasts, film projects, visual and performing art projects, etc.), visit our  Guidance on Non-Traditional Forms of Assessment .

For specific advice on different genres of assignment, click below:

Response Papers

Problem sets, source analyses, final exams, concept maps, research papers, oral presentations, poster presentations.

• Learner-Centered Design
• Putting Evidence at the Center
• What Should Students Learn?
• Start with the Capstone
• Gallery of Annotated Assignment Prompts
• Scaffolding: Using Frequency and Sequencing Intentionally
• Curating Content: The Virtue of Modules
• Syllabus Design
• Catalogue Materials
• Making a Course Presentation Video
• Teaching Teams
• In the Classroom
• Getting Feedback
• Equitable & Inclusive Teaching
• Advising and Mentoring
• Teaching and Your Career
• Teaching Remotely
• Tools and Platforms
• The Science of Learning
• Bok Publications
• Other Resources Around Campus

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

Writing Assignments

Kate Derrington; Cristy Bartlett; and Sarah Irvine

Introduction

Assignments are a common method of assessment at university and require careful planning and good quality research. Developing critical thinking and writing skills are also necessary to demonstrate your ability to understand and apply information about your topic.  It is not uncommon to be unsure about the processes of writing assignments at university.

• You may be returning to study after a break
• You may have come from an exam based assessment system and never written an assignment before
• Maybe you have written assignments but would like to improve your processes and strategies

This chapter has a collection of resources that will provide you with the skills and strategies to understand assignment requirements and effectively plan, research, write and edit your assignments.  It begins with an explanation of how to analyse an assignment task and start putting your ideas together.  It continues by breaking down the components of academic writing and exploring the elements you will need to master in your written assignments. This is followed by a discussion of paraphrasing and synthesis, and how you can use these strategies to create a strong, written argument. The chapter concludes with useful checklists for editing and proofreading to help you get the best possible mark for your work.

Task Analysis and Deconstructing an Assignment

It is important that before you begin researching and writing your assignments you spend sufficient time understanding all the requirements. This will help make your research process more efficient and effective. Check your subject information such as task sheets, criteria sheets and any additional information that may be in your subject portal online. Seek clarification from your lecturer or tutor if you are still unsure about how to begin your assignments.

The task sheet typically provides key information about an assessment including the assignment question. It can be helpful to scan this document for topic, task and limiting words to ensure that you fully understand the concepts you are required to research, how to approach the assignment, and the scope of the task you have been set. These words can typically be found in your assignment question and are outlined in more detail in the two tables below (see Table 19.1 and Table 19.2 ).

Table 19.1 Parts of an Assignment Question

Make sure you have a clear understanding of what the task word requires you to address.

Table 19.2 Task words

The criteria sheet , also known as the marking sheet or rubric, is another important document to look at before you begin your assignment. The criteria sheet outlines how your assignment will be marked and should be used as a checklist to make sure you have included all the information required.

The task or criteria sheet will also include the:

• Word limit (or word count)
• Referencing style and research expectations
• Formatting requirements

Task analysis and criteria sheets are also discussed in the chapter Managing Assessments for a more detailed discussion on task analysis, criteria sheets, and marking rubrics.

Preparing your ideas

Brainstorm or concept map:  List possible ideas to address each part of the assignment task based on what you already know about the topic from lectures and weekly readings.

Finding appropriate information: Learn how to find scholarly information for your assignments which is

See the chapter Working With Information for a more detailed explanation .

What is academic writing?

Academic writing tone and style.

Many of the assessment pieces you prepare will require an academic writing style.  This is sometimes called ‘academic tone’ or ‘academic voice’.  This section will help you to identify what is required when you are writing academically (see Table 19.3 ). The best way to understand what academic writing looks like, is to read broadly in your discipline area.  Look at how your course readings, or scholarly sources, are written. This will help you identify the language of your discipline field, as well as how other writers structure their work.

Table 19.3 Comparison of academic and non-academic writing

Thesis statements.

Essays are a common form of assessment that you will likely encounter during your university studies. You should apply an academic tone and style when writing an essay, just as you would in in your other assessment pieces. One of the most important steps in writing an essay is constructing your thesis statement.  A thesis statement tells the reader the purpose, argument or direction you will take to answer your assignment question. A thesis statement may not be relevant for some questions, if you are unsure check with your lecturer. The thesis statement:

• Directly  relates to the task .  Your thesis statement may even contain some of the key words or synonyms from the task description.
• Does more than restate the question.
• Is specific and uses precise language.
• Let’s your reader know your position or the main argument that you will support with evidence throughout your assignment.
• The subject is the key content area you will be covering.
• The contention is the position you are taking in relation to the chosen content.

Your thesis statement helps you to structure your essay.  It plays a part in each key section: introduction, body and conclusion.

Planning your assignment structure

When planning and drafting assignments, it is important to consider the structure of your writing. Academic writing should have clear and logical structure and incorporate academic research to support your ideas.  It can be hard to get started and at first you may feel nervous about the size of the task, this is normal. If you break your assignment into smaller pieces, it will seem more manageable as you can approach the task in sections. Refer to your brainstorm or plan. These ideas should guide your research and will also inform what you write in your draft. It is sometimes easier to draft your assignment using the 2-3-1 approach, that is, write the body paragraphs first followed by the conclusion and finally the introduction.

Writing introductions and conclusions

Clear and purposeful introductions and conclusions in assignments are fundamental to effective academic writing. Your introduction should tell the reader what is going to be covered and how you intend to approach this. Your conclusion should summarise your argument or discussion and signal to the reader that you have come to a conclusion with a final statement.  These tips below are based on the requirements usually needed for an essay assignment, however, they can be applied to other assignment types.

Writing introductions

Most writing at university will require a strong and logically structured introduction. An effective introduction should provide some background or context for your assignment, clearly state your thesis and include the key points you will cover in the body of the essay in order to prove your thesis.

Usually, your introduction is approximately 10% of your total assignment word count. It is much easier to write your introduction once you have drafted your body paragraphs and conclusion, as you know what your assignment is going to be about. An effective introduction needs to inform your reader by establishing what the paper is about and provide four basic things:

• A brief background or overview of your assignment topic
• A thesis statement (see section above)
• An outline of your essay structure
• An indication of any parameters or scope that will/ will not be covered, e.g. From an Australian perspective.

The below example demonstrates the four different elements of an introductory paragraph.

1) Information technology is having significant effects on the communication of individuals and organisations in different professions. 2) This essay will discuss the impact of information technology on the communication of health professionals.   3)  First, the provision of information technology for the educational needs of nurses will be discussed.  4)  This will be followed by an explanation of the significant effects that information technology can have on the role of general practitioner in the area of public health.  5)  Considerations will then be made regarding the lack of knowledge about the potential of computers among hospital administrators and nursing executives.  6)   The final section will explore how information technology assists health professionals in the delivery of services in rural areas .  7)  It will be argued that information technology has significant potential to improve health care and medical education, but health professionals are reluctant to use it.

1 Brief background/ overview | 2 Indicates the scope of what will be covered |   3-6 Outline of the main ideas (structure) | 7 The thesis statement

Note : The examples in this document are taken from the University of Canberra and used under a CC-BY-SA-3.0 licence.

Writing conclusions

You should aim to end your assignments with a strong conclusion. Your conclusion should restate your thesis and summarise the key points you have used to prove this thesis. Finish with a key point as a final impactful statement.  Similar to your introduction, your conclusion should be approximately 10% of the total assignment word length. If your assessment task asks you to make recommendations, you may need to allocate more words to the conclusion or add a separate recommendations section before the conclusion. Use the checklist below to check your conclusion is doing the right job.

Conclusion checklist 

• Have you referred to the assignment question and restated your argument (or thesis statement), as outlined in the introduction?
• Have you pulled together all the threads of your essay into a logical ending and given it a sense of unity?
• Have you presented implications or recommendations in your conclusion? (if required by your task).
• Have you added to the overall quality and impact of your essay? This is your final statement about this topic; thus, a key take-away point can make a great impact on the reader.
• Remember, do not add any new material or direct quotes in your conclusion.

This below example demonstrates the different elements of a concluding paragraph.

1) It is evident, therefore, that not only do employees need to be trained for working in the Australian multicultural workplace, but managers also need to be trained.  2)  Managers must ensure that effective in-house training programs are provided for migrant workers, so that they become more familiar with the English language, Australian communication norms and the Australian work culture.  3)  In addition, Australian native English speakers need to be made aware of the differing cultural values of their workmates; particularly the different forms of non-verbal communication used by other cultures.  4)  Furthermore, all employees must be provided with clear and detailed guidelines about company expectations.  5)  Above all, in order to minimise communication problems and to maintain an atmosphere of tolerance, understanding and cooperation in the multicultural workplace, managers need to have an effective knowledge about their employees. This will help employers understand how their employee’s social conditioning affects their beliefs about work. It will develop their communication skills to develop confidence and self-esteem among diverse work groups. 6) The culturally diverse Australian workplace may never be completely free of communication problems, however,   further studies to identify potential problems and solutions, as well as better training in cross cultural communication for managers and employees,   should result in a much more understanding and cooperative environment. 

1  Reference to thesis statement – In this essay the writer has taken the position that training is required for both employees and employers . | 2-5 Structure overview – Here the writer pulls together the main ideas in the essay. | 6  Final summary statement that is based on the evidence.

Note: The examples in this document are taken from the University of Canberra and used under a CC-BY-SA-3.0 licence.

Writing paragraphs

Paragraph writing is a key skill that enables you to incorporate your academic research into your written work.  Each paragraph should have its own clearly identified topic sentence or main idea which relates to the argument or point (thesis) you are developing.  This idea should then be explained by additional sentences which you have paraphrased from good quality sources and referenced according to the recommended guidelines of your subject (see the chapter Working with Information ). Paragraphs are characterised by increasing specificity; that is, they move from the general to the specific, increasingly refining the reader’s understanding. A common structure for paragraphs in academic writing is as follows.

Topic Sentence 

This is the main idea of the paragraph and should relate to the overall issue or purpose of your assignment is addressing. Often it will be expressed as an assertion or claim which supports the overall argument or purpose of your writing.

Explanation/ Elaboration

The main idea must have its meaning explained and elaborated upon. Think critically, do not just describe the idea.

These explanations must include evidence to support your main idea. This information should be paraphrased and referenced according to the appropriate referencing style of your course.

Concluding sentence (critical thinking)

This should explain why the topic of the paragraph is relevant to the assignment question and link to the following paragraph.

Use the checklist below to check your paragraphs are clear and well formed.

Paragraph checklist

• Does your paragraph have a clear main idea?
• Is everything in the paragraph related to this main idea?
• Is the main idea adequately developed and explained?
• Do your sentences run together smoothly?
• Have you included evidence to support your ideas?
• Have you concluded the paragraph by connecting it to your overall topic?

Writing sentences

Make sure all the sentences in your paragraphs make sense. Each sentence must contain a verb to be a complete sentence. Avoid sentence fragments . These are incomplete sentences or ideas that are unfinished and create confusion for your reader. Avoid also run on sentences . This happens when you join two ideas or clauses without using the appropriate punctuation. This also confuses your meaning (See the chapter English Language Foundations for examples and further explanation).

Use transitions (linking words and phrases) to connect your ideas between paragraphs and make your writing flow. The order that you structure the ideas in your assignment should reflect the structure you have outlined in your introduction. Refer to transition words table in the chapter English Language Foundations.

Paraphrasing and Synthesising

Paraphrasing and synthesising are powerful tools that you can use to support the main idea of a paragraph. It is likely that you will regularly use these skills at university to incorporate evidence into explanatory sentences and strengthen your essay. It is important to paraphrase and synthesise because:

• Paraphrasing is regarded more highly at university than direct quoting.
• Paraphrasing can also help you better understand the material.
• Paraphrasing and synthesising demonstrate you have understood what you have read through your ability to summarise and combine arguments from the literature using your own words.

What is paraphrasing?

Paraphrasing is changing the writing of another author into your words while retaining the original meaning. You must acknowledge the original author as the source of the information in your citation. Follow the steps in this table to help you build your skills in paraphrasing (see Table 19.4 ).

Table 19.4 Paraphrasing techniques

Example of paraphrasing.

Please note that these examples and in text citations are for instructional purposes only.

Original text

Health care professionals   assist people often when they are at their most  vulnerable . To provide the best care and understand their needs, workers must demonstrate good communication skills .  They must develop patient trust and provide empathy   to effectively work with patients who are experiencing a variety of situations including those who may be suffering from trauma or violence, physical or mental illness or substance abuse (French & Saunders, 2018).

Poor quality paraphrase example

This is a poor example of paraphrasing. Some synonyms have been used and the order of a few words changed within the sentences however the colours of the sentences indicate that the paragraph follows the same structure as the original text.

Health care sector workers are often responsible for vulnerable  patients.   To understand patients and deliver good service , they need to be excellent communicators .  They must establish patient rapport and show empathy if they are to successfully care for patients from a variety of backgrounds  and with different medical, psychological and social needs (French & Saunders, 2018).

A good quality paraphrase example

This example demonstrates a better quality paraphrase. The author has demonstrated more understanding of the overall concept in the text by using the keywords as the basis to reconstruct the paragraph. Note how the blocks of colour have been broken up to see how much the structure has changed from the original text.

Empathetic   communication is a vital skill for health care workers.   Professionals in these fields   are often responsible for patients with complex medical, psychological and social needs. Empathetic   communication assists in building rapport and gaining the necessary trust   to assist these vulnerable patients  by providing appropriate supportive care (French & Saunders, 2018).

The good quality paraphrase example demonstrates understanding of the overall concept in the text by using key words as the basis to reconstruct the paragraph.  Note how the blocks of colour have been broken up, which indicates how much the structure has changed from the original text.

What is synthesising?

Synthesising means to bring together more than one source of information to strengthen your argument. Once you have learnt how to paraphrase the ideas of one source at a time, you can consider adding additional sources to support your argument. Synthesis demonstrates your understanding and ability to show connections between multiple pieces of evidence to support your ideas and is a more advanced academic thinking and writing skill.

Follow the steps in this table to improve your synthesis techniques (see Table 19.5 ).

Table 19.5 Synthesising techniques

Example of synthesis

There is a relationship between academic procrastination and mental health outcomes.  Procrastination has been found to have a negative effect on students’ well-being (Balkis, & Duru, 2016). Yerdelen, McCaffrey, and Klassens’ (2016) research results suggested that there was a positive association between procrastination and anxiety. This was corroborated by Custer’s (2018) findings which indicated that students with higher levels of procrastination also reported greater levels of the anxiety. Therefore, it could be argued that procrastination is an ineffective learning strategy that leads to increased levels of distress.

Topic sentence | Statements using paraphrased evidence | Critical thinking (student voice) | Concluding statement – linking to topic sentence

This example demonstrates a simple synthesis. The author has developed a paragraph with one central theme and included explanatory sentences complete with in-text citations from multiple sources. Note how the blocks of colour have been used to illustrate the paragraph structure and synthesis (i.e., statements using paraphrased evidence from several sources). A more complex synthesis may include more than one citation per sentence.

Creating an argument

What does this mean.

Throughout your university studies, you may be asked to ‘argue’ a particular point or position in your writing. You may already be familiar with the idea of an argument, which in general terms means to have a disagreement with someone. Similarly, in academic writing, if you are asked to create an argument, this means you are asked to have a position on a particular topic, and then justify your position using evidence.

What skills do you need to create an argument?

In order to create a good and effective argument, you need to be able to:

• Read critically to find evidence
• Plan your argument
• Think and write critically throughout your paper to enhance your argument

For tips on how to read and write critically, refer to the chapter Thinking for more information. A formula for developing a strong argument is presented below.

A formula for a good argument

What does an argument look like?

As can be seen from the figure above, including evidence is a key element of a good argument. While this may seem like a straightforward task, it can be difficult to think of wording to express your argument. The table below provides examples of how you can illustrate your argument in academic writing (see Table 19.6 ).

Table 19.6 Argument

Editing and proofreading (reviewing).

Once you have finished writing your first draft it is recommended that you spend time revising your work.  Proofreading and editing are two different stages of the revision process.

• Editing considers the overall focus or bigger picture of the assignment
• Proofreading considers the finer details

As can be seen in the figure above there are four main areas that you should review during the editing phase of the revision process. The main things to consider when editing include content, structure, style, and sources. It is important to check that all the content relates to the assignment task, the structure is appropriate for the purposes of the assignment, the writing is academic in style, and that sources have been adequately acknowledged. Use the checklist below when editing your work.

Editing checklist

• Have I answered the question accurately?
• Do I have enough credible, scholarly supporting evidence?
• Is my writing tone objective and formal enough or have I used emotive and informal language?
• Have I written in the third person not the first person?
• Do I have appropriate in-text citations for all my information?
• Have I included the full details for all my in-text citations in my reference list?

There are also several key things to look out for during the proofreading phase of the revision process. In this stage it is important to check your work for word choice, grammar and spelling, punctuation and referencing errors. It can be easy to mis-type words like ‘from’ and ‘form’ or mix up words like ‘trail’ and ‘trial’ when writing about research, apply American rather than Australian spelling, include unnecessary commas or incorrectly format your references list. The checklist below is a useful guide that you can use when proofreading your work.

Proofreading checklist

• Is my spelling and grammar accurate?
•  Are they complete?
• Do they all make sense?
• Do they only contain only one idea?
• Do the different elements (subject, verb, nouns, pronouns) within my sentences agree?
• Are my sentences too long and complicated?
• Do they contain only one idea per sentence?
• Is my writing concise? Take out words that do not add meaning to your sentences.
• Have I used appropriate discipline specific language but avoided words I don’t know or understand that could possibly be out of context?
• Have I avoided discriminatory language and colloquial expressions (slang)?
• Is my referencing formatted correctly according to my assignment guidelines? (for more information on referencing refer to the Managing Assessment feedback section).

This chapter has examined the experience of writing assignments.  It began by focusing on how to read and break down an assignment question, then highlighted the key components of essays. Next, it examined some techniques for paraphrasing and summarising, and how to build an argument. It concluded with a discussion on planning and structuring your assignment and giving it that essential polish with editing and proof-reading. Combining these skills and practising them, can greatly improve your success with this very common form of assessment.

• Academic writing requires clear and logical structure, critical thinking and the use of credible scholarly sources.
• A thesis statement is important as it tells the reader the position or argument you have adopted in your assignment. Not all assignments will require a thesis statement.
• Spending time analysing your task and planning your structure before you start to write your assignment is time well spent.
• Information you use in your assignment should come from credible scholarly sources such as textbooks and peer reviewed journals. This information needs to be paraphrased and referenced appropriately.
• Paraphrasing means putting something into your own words and synthesising means to bring together several ideas from sources.
• Creating an argument is a four step process and can be applied to all types of academic writing.
• Editing and proofreading are two separate processes.

Academic Skills Centre. (2013). Writing an introduction and conclusion . University of Canberra, accessed 13 August, 2013, http://www.canberra.edu.au/studyskills/writing/conclusions

Balkis, M., & Duru, E. (2016). Procrastination, self-regulation failure, academic life satisfaction, and affective well-being: underregulation or misregulation form. European Journal of Psychology of Education, 31 (3), 439-459.

Custer, N. (2018). Test anxiety and academic procrastination among prelicensure nursing students. Nursing education perspectives, 39 (3), 162-163.

Yerdelen, S., McCaffrey, A., & Klassen, R. M. (2016). Longitudinal examination of procrastination and anxiety, and their relation to self-efficacy for self-regulated learning: Latent growth curve modeling. Educational Sciences: Theory & Practice, 16 (1).

Writing Assignments Copyright © 2021 by Kate Derrington; Cristy Bartlett; and Sarah Irvine is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License , except where otherwise noted.

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• Designing Essay Assignments

by Gordon Harvey

Students often do their best and hardest thinking, and feel the greatest sense of mastery and growth, in their writing. Courses and assignments should be planned with this in mind. Three principles are paramount:

1. Name what you want and imagine students doing it

However free students are to range and explore in a paper, the general kind of paper you’re inviting has common components, operations, and criteria of success, and you should make these explicit. Having satisfied yourself, as you should, that what you’re asking is doable, with dignity, by writers just learning the material, try to anticipate in your prompt or discussions of the assignment the following queries:

• What is the purpose of this? How am I going beyond what we have done, or applying it in a new area, or practicing a key academic skill or kind of work?
• To what audience should I imagine myself writing?
• What is the main task or tasks, in a nutshell? What does that key word (e.g., analyze, significance of, critique, explore, interesting, support) really mean in this context or this field?
• What will be most challenging in this and what qualities will most distinguish a good paper? Where should I put my energy? (Lists of possible questions for students to answer in a paper are often not sufficiently prioritized to be helpful.)
• What misconceptions might I have about what I’m to do? (How is this like or unlike other papers I may have written?) Are there too-easy approaches I might take or likely pitfalls? An ambitious goal or standard that I might think I’m expected to meet but am not?
• What form will evidence take in my paper (e.g., block quotations? paraphrase? graphs or charts?) How should I cite it? Should I use/cite material from lecture or section?
• Are there some broad options for structure, emphasis, or approach that I’ll likely be choosing among?
• How should I get started on this? What would be a helpful (or unhelpful) way to take notes, gather data, discover a question or idea? Should I do research? 

2. Take time in class to prepare students to succeed at the paper

Resist the impulse to think of class meetings as time for “content” and of writing as work done outside class. Your students won’t have mastered the art of paper writing (if such a mastery is possible) and won’t know the particular disciplinary expectations or moves relevant to the material at hand. Take time in class to show them: 

• discuss the assignment in class when you give it, so students can see that you take it seriously, so they can ask questions about it, so they can have it in mind during subsequent class discussions;
• introduce the analytic vocabulary of your assignment into class discussions, and take opportunities to note relevant moves made in discussion or good paper topics that arise;
• have students practice key tasks in class discussions, or in informal writing they do in before or after discussions;
• show examples of writing that illustrates components and criteria of the assignment and that inspires (class readings can sometimes serve as illustrations of a writing principle; so can short excerpts of writing—e.g., a sampling of introductions; and so can bad writing—e.g., a list of problematic thesis statements);
• the topics of originality and plagiarism (what the temptations might be, how to avoid risks) should at some point be addressed directly. 

3. Build in process

Ideas develop over time, in a process of posing and revising and getting feedback and revising some more. Assignments should allow for this process in the following ways:

• smaller assignments should prepare for larger ones later;
• students should do some thinking and writing before they write a draft and get a response to it (even if only a response to a proposal or thesis statement sent by email, or described in class);
• for larger papers, students should write and get response (using the skills vocabulary of the assignment) to a draft—at least an “oral draft” (condensed for delivery to the class);
• if possible, meet with students individually about their writing: nothing inspires them more than feeling that you care about their work and development;
• let students reflect on their own writing, in brief cover letters attached to drafts and revisions (these may also ask students to perform certain checks on what they have written, before submitting);
• have clear and firm policies about late work that nonetheless allow for exception if students talk to you in advance.
• Pedagogy Workshops
• Responding to Student Writing
• Commenting Efficiently
• Vocabulary for Discussing Student Writing
• Guides to Teaching Writing
• HarvardWrites Instructor Toolkit
• Additional Resources for Teaching Fellows

How to Write an Essay

Use the links below to jump directly to any section of this guide:

Essay Writing Fundamentals

How to prepare to write an essay, how to edit an essay, how to share and publish your essays, how to get essay writing help, how to find essay writing inspiration, resources for teaching essay writing.

Essays, short prose compositions on a particular theme or topic, are the bread and butter of academic life. You write them in class, for homework, and on standardized tests to show what you know. Unlike other kinds of academic writing (like the research paper) and creative writing (like short stories and poems), essays allow you to develop your original thoughts on a prompt or question. Essays come in many varieties: they can be expository (fleshing out an idea or claim), descriptive, (explaining a person, place, or thing), narrative (relating a personal experience), or persuasive (attempting to win over a reader). This guide is a collection of dozens of links about academic essay writing that we have researched, categorized, and annotated in order to help you improve your essay writing. 

Essays are different from other forms of writing; in turn, there are different kinds of essays. This section contains general resources for getting to know the essay and its variants. These resources introduce and define the essay as a genre, and will teach you what to expect from essay-based assessments.

Purdue OWL Online Writing Lab

One of the most trusted academic writing sites, Purdue OWL provides a concise introduction to the four most common types of academic essays.

"The Essay: History and Definition" (ThoughtCo)

This snappy article from ThoughtCo talks about the origins of the essay and different kinds of essays you might be asked to write. 

"What Is An Essay?" Video Lecture (Coursera)

The University of California at Irvine's free video lecture, available on Coursera, tells  you everything you need to know about the essay.

Wikipedia Article on the "Essay"

Wikipedia's article on the essay is comprehensive, providing both English-language and global perspectives on the essay form. Learn about the essay's history, forms, and styles.

"Understanding College and Academic Writing" (Aims Online Writing Lab)

This list of common academic writing assignments (including types of essay prompts) will help you know what to expect from essay-based assessments.

Before you start writing your essay, you need to figure out who you're writing for (audience), what you're writing about (topic/theme), and what you're going to say (argument and thesis). This section contains links to handouts, chapters, videos and more to help you prepare to write an essay.

How to Identify Your Audience

"Audience" (Univ. of North Carolina Writing Center)

This handout provides questions you can ask yourself to determine the audience for an academic writing assignment. It also suggests strategies for fitting your paper to your intended audience.

"Purpose, Audience, Tone, and Content" (Univ. of Minnesota Libraries)

This extensive book chapter from Writing for Success , available online through Minnesota Libraries Publishing, is followed by exercises to try out your new pre-writing skills.

"Determining Audience" (Aims Online Writing Lab)

This guide from a community college's writing center shows you how to know your audience, and how to incorporate that knowledge in your thesis statement.

"Know Your Audience" ( Paper Rater Blog)

This short blog post uses examples to show how implied audiences for essays differ. It reminds you to think of your instructor as an observer, who will know only the information you pass along.

How to Choose a Theme or Topic

"Research Tutorial: Developing Your Topic" (YouTube)

Take a look at this short video tutorial from the University of North Carolina at Chapel Hill to understand the basics of developing a writing topic.

"How to Choose a Paper Topic" (WikiHow)

This simple, step-by-step guide (with pictures!) walks you through choosing a paper topic. It starts with a detailed description of brainstorming and ends with strategies to refine your broad topic.

"How to Read an Assignment: Moving From Assignment to Topic" (Harvard College Writing Center)

Did your teacher give you a prompt or other instructions? This guide helps you understand the relationship between an essay assignment and your essay's topic.

"Guidelines for Choosing a Topic" (CliffsNotes)

This study guide from CliffsNotes both discusses how to choose a topic and makes a useful distinction between "topic" and "thesis."

How to Come Up with an Argument

"Argument" (Univ. of North Carolina Writing Center)

Not sure what "argument" means in the context of academic writing? This page from the University of North Carolina is a good place to start.

"The Essay Guide: Finding an Argument" (Study Hub)

This handout explains why it's important to have an argument when beginning your essay, and provides tools to help you choose a viable argument.

"Writing a Thesis and Making an Argument" (University of Iowa)

This page from the University of Iowa's Writing Center contains exercises through which you can develop and refine your argument and thesis statement.

"Developing a Thesis" (Harvard College Writing Center)

This page from Harvard's Writing Center collates some helpful dos and don'ts of argumentative writing, from steps in constructing a thesis to avoiding vague and confrontational thesis statements.

"Suggestions for Developing Argumentative Essays" (Berkeley Student Learning Center)

This page offers concrete suggestions for each stage of the essay writing process, from topic selection to drafting and editing. 

How to Outline your Essay

"Outlines" (Univ. of North Carolina at Chapel Hill via YouTube)

This short video tutorial from the University of North Carolina at Chapel Hill shows how to group your ideas into paragraphs or sections to begin the outlining process.

"Essay Outline" (Univ. of Washington Tacoma)

This two-page handout by a university professor simply defines the parts of an essay and then organizes them into an example outline.

"Types of Outlines and Samples" (Purdue OWL Online Writing Lab)

Purdue OWL gives examples of diverse outline strategies on this page, including the alphanumeric, full sentence, and decimal styles. 

"Outlining" (Harvard College Writing Center)

Once you have an argument, according to this handout, there are only three steps in the outline process: generalizing, ordering, and putting it all together. Then you're ready to write!

"Writing Essays" (Plymouth Univ.)

This packet, part of Plymouth University's Learning Development series, contains descriptions and diagrams relating to the outlining process.

"How to Write A Good Argumentative Essay: Logical Structure" (Criticalthinkingtutorials.com via YouTube)

This longer video tutorial gives an overview of how to structure your essay in order to support your argument or thesis. It is part of a longer course on academic writing hosted on Udemy.

Now that you've chosen and refined your topic and created an outline, use these resources to complete the writing process. Most essays contain introductions (which articulate your thesis statement), body paragraphs, and conclusions. Transitions facilitate the flow from one paragraph to the next so that support for your thesis builds throughout the essay. Sources and citations show where you got the evidence to support your thesis, which ensures that you avoid plagiarism. 

How to Write an Introduction

"Introductions" (Univ. of North Carolina Writing Center)

This page identifies the role of the introduction in any successful paper, suggests strategies for writing introductions, and warns against less effective introductions.

"How to Write A Good Introduction" (Michigan State Writing Center)

Beginning with the most common missteps in writing introductions, this guide condenses the essentials of introduction composition into seven points.

"The Introductory Paragraph" (ThoughtCo)

This blog post from academic advisor and college enrollment counselor Grace Fleming focuses on ways to grab your reader's attention at the beginning of your essay.

"Introductions and Conclusions" (Univ. of Toronto)

This guide from the University of Toronto gives advice that applies to writing both introductions and conclusions, including dos and don'ts.

"How to Write Better Essays: No One Does Introductions Properly" ( The Guardian )

This news article interviews UK professors on student essay writing; they point to introductions as the area that needs the most improvement.

How to Write a Thesis Statement

"Writing an Effective Thesis Statement" (YouTube)

This short, simple video tutorial from a college composition instructor at Tulsa Community College explains what a thesis statement is and what it does. 

"Thesis Statement: Four Steps to a Great Essay" (YouTube)

This fantastic tutorial walks you through drafting a thesis, using an essay prompt on Nathaniel Hawthorne's The Scarlet Letter as an example.

"How to Write a Thesis Statement" (WikiHow)

This step-by-step guide (with pictures!) walks you through coming up with, writing, and editing a thesis statement. It invites you think of your statement as a "working thesis" that can change.

"How to Write a Thesis Statement" (Univ. of Indiana Bloomington)

Ask yourself the questions on this page, part of Indiana Bloomington's Writing Tutorial Services, when you're writing and refining your thesis statement.

"Writing Tips: Thesis Statements" (Univ. of Illinois Center for Writing Studies)

This page gives plentiful examples of good to great thesis statements, and offers questions to ask yourself when formulating a thesis statement.

How to Write Body Paragraphs

"Body Paragraph" (Brightstorm)

This module of a free online course introduces you to the components of a body paragraph. These include the topic sentence, information, evidence, and analysis.

"Strong Body Paragraphs" (Washington Univ.)

This handout from Washington's Writing and Research Center offers in-depth descriptions of the parts of a successful body paragraph.

"Guide to Paragraph Structure" (Deakin Univ.)

This handout is notable for color-coding example body paragraphs to help you identify the functions various sentences perform.

"Writing Body Paragraphs" (Univ. of Minnesota Libraries)

The exercises in this section of Writing for Success  will help you practice writing good body paragraphs. It includes guidance on selecting primary support for your thesis.

"The Writing Process—Body Paragraphs" (Aims Online Writing Lab)

The information and exercises on this page will familiarize you with outlining and writing body paragraphs, and includes links to more information on topic sentences and transitions.

"The Five-Paragraph Essay" (ThoughtCo)

This blog post discusses body paragraphs in the context of one of the most common academic essay types in secondary schools.

How to Use Transitions

"Transitions" (Univ. of North Carolina Writing Center)

This page from the University of North Carolina at Chapel Hill explains what a transition is, and how to know if you need to improve your transitions.

"Using Transitions Effectively" (Washington Univ.)

This handout defines transitions, offers tips for using them, and contains a useful list of common transitional words and phrases grouped by function.

"Transitions" (Aims Online Writing Lab)

This page compares paragraphs without transitions to paragraphs with transitions, and in doing so shows how important these connective words and phrases are.

"Transitions in Academic Essays" (Scribbr)

This page lists four techniques that will help you make sure your reader follows your train of thought, including grouping similar information and using transition words.

"Transitions" (El Paso Community College)

This handout shows example transitions within paragraphs for context, and explains how transitions improve your essay's flow and voice.

"Make Your Paragraphs Flow to Improve Writing" (ThoughtCo)

This blog post, another from academic advisor and college enrollment counselor Grace Fleming, talks about transitions and other strategies to improve your essay's overall flow.

"Transition Words" (smartwords.org)

This handy word bank will help you find transition words when you're feeling stuck. It's grouped by the transition's function, whether that is to show agreement, opposition, condition, or consequence.

How to Write a Conclusion

"Parts of An Essay: Conclusions" (Brightstorm)

This module of a free online course explains how to conclude an academic essay. It suggests thinking about the "3Rs": return to hook, restate your thesis, and relate to the reader.

"Essay Conclusions" (Univ. of Maryland University College)

This overview of the academic essay conclusion contains helpful examples and links to further resources for writing good conclusions.

"How to End An Essay" (WikiHow)

This step-by-step guide (with pictures!) by an English Ph.D. walks you through writing a conclusion, from brainstorming to ending with a flourish.

"Ending the Essay: Conclusions" (Harvard College Writing Center)

This page collates useful strategies for writing an effective conclusion, and reminds you to "close the discussion without closing it off" to further conversation.

How to Include Sources and Citations

"Research and Citation Resources" (Purdue OWL Online Writing Lab)

Purdue OWL streamlines information about the three most common referencing styles (MLA, Chicago, and APA) and provides examples of how to cite different resources in each system.

EasyBib: Free Bibliography Generator

This online tool allows you to input information about your source and automatically generate citations in any style. Be sure to select your resource type before clicking the "cite it" button.

CitationMachine

Like EasyBib, this online tool allows you to input information about your source and automatically generate citations in any style. 

Modern Language Association Handbook (MLA)

Here, you'll find the definitive and up-to-date record of MLA referencing rules. Order through the link above, or check to see if your library has a copy.

Chicago Manual of Style

Here, you'll find the definitive and up-to-date record of Chicago referencing rules. You can take a look at the table of contents, then choose to subscribe or start a free trial.

How to Avoid Plagiarism

"What is Plagiarism?" (plagiarism.org)

This nonprofit website contains numerous resources for identifying and avoiding plagiarism, and reminds you that even common activities like copying images from another website to your own site may constitute plagiarism.

"Plagiarism" (University of Oxford)

This interactive page from the University of Oxford helps you check for plagiarism in your work, making it clear how to avoid citing another person's work without full acknowledgement.

"Avoiding Plagiarism" (MIT Comparative Media Studies)

This quick guide explains what plagiarism is, what its consequences are, and how to avoid it. It starts by defining three words—quotation, paraphrase, and summary—that all constitute citation.

"Harvard Guide to Using Sources" (Harvard Extension School)

This comprehensive website from Harvard brings together articles, videos, and handouts about referencing, citation, and plagiarism. 

Grammarly contains tons of helpful grammar and writing resources, including a free tool to automatically scan your essay to check for close affinities to published work. 

Noplag is another popular online tool that automatically scans your essay to check for signs of plagiarism. Simply copy and paste your essay into the box and click "start checking."

Once you've written your essay, you'll want to edit (improve content), proofread (check for spelling and grammar mistakes), and finalize your work until you're ready to hand it in. This section brings together tips and resources for navigating the editing process. 

"Writing a First Draft" (Academic Help)

This is an introduction to the drafting process from the site Academic Help, with tips for getting your ideas on paper before editing begins.

"Editing and Proofreading" (Univ. of North Carolina Writing Center)

This page provides general strategies for revising your writing. They've intentionally left seven errors in the handout, to give you practice in spotting them.

"How to Proofread Effectively" (ThoughtCo)

This article from ThoughtCo, along with those linked at the bottom, help describe common mistakes to check for when proofreading.

"7 Simple Edits That Make Your Writing 100% More Powerful" (SmartBlogger)

This blog post emphasizes the importance of powerful, concise language, and reminds you that even your personal writing heroes create clunky first drafts.

"Editing Tips for Effective Writing" (Univ. of Pennsylvania)

On this page from Penn's International Relations department, you'll find tips for effective prose, errors to watch out for, and reminders about formatting.

"Editing the Essay" (Harvard College Writing Center)

This article, the first of two parts, gives you applicable strategies for the editing process. It suggests reading your essay aloud, removing any jargon, and being unafraid to remove even "dazzling" sentences that don't belong.

"Guide to Editing and Proofreading" (Oxford Learning Institute)

This handout from Oxford covers the basics of editing and proofreading, and reminds you that neither task should be rushed. 

In addition to plagiarism-checkers, Grammarly has a plug-in for your web browser that checks your writing for common mistakes.

After you've prepared, written, and edited your essay, you might want to share it outside the classroom. This section alerts you to print and web opportunities to share your essays with the wider world, from online writing communities and blogs to published journals geared toward young writers.

Sharing Your Essays Online

Go Teen Writers

Go Teen Writers is an online community for writers aged 13 - 19. It was founded by Stephanie Morrill, an author of contemporary young adult novels. 

Tumblr is a blogging website where you can share your writing and interact with other writers online. It's easy to add photos, links, audio, and video components.

Writersky provides an online platform for publishing and reading other youth writers' work. Its current content is mostly devoted to fiction.

Publishing Your Essays Online

This teen literary journal publishes in print, on the web, and (more frequently), on a blog. It is committed to ensuring that "teens see their authentic experience reflected on its pages."

The Matador Review

This youth writing platform celebrates "alternative," unconventional writing. The link above will take you directly to the site's "submissions" page.

Teen Ink has a website, monthly newsprint magazine, and quarterly poetry magazine promoting the work of young writers.

The largest online reading platform, Wattpad enables you to publish your work and read others' work. Its inline commenting feature allows you to share thoughts as you read along.

Publishing Your Essays in Print

Canvas Teen Literary Journal

This quarterly literary magazine is published for young writers by young writers. They accept many kinds of writing, including essays.

The Claremont Review

This biannual international magazine, first published in 1992, publishes poetry, essays, and short stories from writers aged 13 - 19.

Skipping Stones

This young writers magazine, founded in 1988, celebrates themes relating to ecological and cultural diversity. It publishes poems, photos, articles, and stories.

The Telling Room

This nonprofit writing center based in Maine publishes children's work on their website and in book form. The link above directs you to the site's submissions page.

Essay Contests

Scholastic Arts and Writing Awards

This prestigious international writing contest for students in grades 7 - 12 has been committed to "supporting the future of creativity since 1923."

Society of Professional Journalists High School Essay Contest

An annual essay contest on the theme of journalism and media, the Society of Professional Journalists High School Essay Contest awards scholarships up to $1,000.

National YoungArts Foundation

Here, you'll find information on a government-sponsored writing competition for writers aged 15 - 18. The foundation welcomes submissions of creative nonfiction, novels, scripts, poetry, short story and spoken word.

Signet Classics Student Scholarship Essay Contest

With prompts on a different literary work each year, this competition from Signet Classics awards college scholarships up to $1,000.

"The Ultimate Guide to High School Essay Contests" (CollegeVine)

See this handy guide from CollegeVine for a list of more competitions you can enter with your academic essay, from the National Council of Teachers of English Achievement Awards to the National High School Essay Contest by the U.S. Institute of Peace.

Whether you're struggling to write academic essays or you think you're a pro, there are workshops and online tools that can help you become an even better writer. Even the most seasoned writers encounter writer's block, so be proactive and look through our curated list of resources to combat this common frustration.

Online Essay-writing Classes and Workshops

"Getting Started with Essay Writing" (Coursera)

Coursera offers lots of free, high-quality online classes taught by college professors. Here's one example, taught by instructors from the University of California Irvine.

"Writing and English" (Brightstorm)

Brightstorm's free video lectures are easy to navigate by topic. This unit on the parts of an essay features content on the essay hook, thesis, supporting evidence, and more.

"How to Write an Essay" (EdX)

EdX is another open online university course website with several two- to five-week courses on the essay. This one is geared toward English language learners.

Writer's Digest University

This renowned writers' website offers online workshops and interactive tutorials. The courses offered cover everything from how to get started through how to get published.

Writing.com

Signing up for this online writer's community gives you access to helpful resources as well as an international community of writers.

How to Overcome Writer's Block

"Symptoms and Cures for Writer's Block" (Purdue OWL)

Purdue OWL offers a list of signs you might have writer's block, along with ways to overcome it. Consider trying out some "invention strategies" or ways to curb writing anxiety.

"Overcoming Writer's Block: Three Tips" ( The Guardian )

These tips, geared toward academic writing specifically, are practical and effective. The authors advocate setting realistic goals, creating dedicated writing time, and participating in social writing.

"Writing Tips: Strategies for Overcoming Writer's Block" (Univ. of Illinois)

This page from the University of Illinois at Urbana-Champaign's Center for Writing Studies acquaints you with strategies that do and do not work to overcome writer's block.

"Writer's Block" (Univ. of Toronto)

Ask yourself the questions on this page; if the answer is "yes," try out some of the article's strategies. Each question is accompanied by at least two possible solutions.

If you have essays to write but are short on ideas, this section's links to prompts, example student essays, and celebrated essays by professional writers might help. You'll find writing prompts from a variety of sources, student essays to inspire you, and a number of essay writing collections.

Essay Writing Prompts

"50 Argumentative Essay Topics" (ThoughtCo)

Take a look at this list and the others ThoughtCo has curated for different kinds of essays. As the author notes, "a number of these topics are controversial and that's the point."

"401 Prompts for Argumentative Writing" ( New York Times )

This list (and the linked lists to persuasive and narrative writing prompts), besides being impressive in length, is put together by actual high school English teachers.

"SAT Sample Essay Prompts" (College Board)

If you're a student in the U.S., your classroom essay prompts are likely modeled on the prompts in U.S. college entrance exams. Take a look at these official examples from the SAT.

"Popular College Application Essay Topics" (Princeton Review)

This page from the Princeton Review dissects recent Common Application essay topics and discusses strategies for answering them.

Example Student Essays

"501 Writing Prompts" (DePaul Univ.)

This nearly 200-page packet, compiled by the LearningExpress Skill Builder in Focus Writing Team, is stuffed with writing prompts, example essays, and commentary.

"Topics in English" (Kibin)

Kibin is a for-pay essay help website, but its example essays (organized by topic) are available for free. You'll find essays on everything from  A Christmas Carol  to perseverance.

"Student Writing Models" (Thoughtful Learning)

Thoughtful Learning, a website that offers a variety of teaching materials, provides sample student essays on various topics and organizes them by grade level.

"Five-Paragraph Essay" (ThoughtCo)

In this blog post by a former professor of English and rhetoric, ThoughtCo brings together examples of five-paragraph essays and commentary on the form.

The Best Essay Writing Collections

The Best American Essays of the Century by Joyce Carol Oates (Amazon)

This collection of American essays spanning the twentieth century was compiled by award winning author and Princeton professor Joyce Carol Oates.

The Best American Essays 2017 by Leslie Jamison (Amazon)

Leslie Jamison, the celebrated author of essay collection  The Empathy Exams , collects recent, high-profile essays into a single volume.

The Art of the Personal Essay by Phillip Lopate (Amazon)

Documentary writer Phillip Lopate curates this historical overview of the personal essay's development, from the classical era to the present.

The White Album by Joan Didion (Amazon)

This seminal essay collection was authored by one of the most acclaimed personal essayists of all time, American journalist Joan Didion.

Consider the Lobster by David Foster Wallace (Amazon)

Read this famous essay collection by David Foster Wallace, who is known for his experimentation with the essay form. He pushed the boundaries of personal essay, reportage, and political polemic.

"50 Successful Harvard Application Essays" (Staff of the The Harvard Crimson )

If you're looking for examples of exceptional college application essays, this volume from Harvard's daily student newspaper is one of the best collections on the market.

Are you an instructor looking for the best resources for teaching essay writing? This section contains resources for developing in-class activities and student homework assignments. You'll find content from both well-known university writing centers and online writing labs.

Essay Writing Classroom Activities for Students

"In-class Writing Exercises" (Univ. of North Carolina Writing Center)

This page lists exercises related to brainstorming, organizing, drafting, and revising. It also contains suggestions for how to implement the suggested exercises.

"Teaching with Writing" (Univ. of Minnesota Center for Writing)

Instructions and encouragement for using "freewriting," one-minute papers, logbooks, and other write-to-learn activities in the classroom can be found here.

"Writing Worksheets" (Berkeley Student Learning Center)

Berkeley offers this bank of writing worksheets to use in class. They are nested under headings for "Prewriting," "Revision," "Research Papers" and more.

"Using Sources and Avoiding Plagiarism" (DePaul University)

Use these activities and worksheets from DePaul's Teaching Commons when instructing students on proper academic citation practices.

Essay Writing Homework Activities for Students

"Grammar and Punctuation Exercises" (Aims Online Writing Lab)

These five interactive online activities allow students to practice editing and proofreading. They'll hone their skills in correcting comma splices and run-ons, identifying fragments, using correct pronoun agreement, and comma usage.

"Student Interactives" (Read Write Think)

Read Write Think hosts interactive tools, games, and videos for developing writing skills. They can practice organizing and summarizing, writing poetry, and developing lines of inquiry and analysis.

This free website offers writing and grammar activities for all grade levels. The lessons are designed to be used both for large classes and smaller groups.

"Writing Activities and Lessons for Every Grade" (Education World)

Education World's page on writing activities and lessons links you to more free, online resources for learning how to "W.R.I.T.E.": write, revise, inform, think, and edit.

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Designing Writing Assignments

Designing Writing Assignments designing-assignments

As you think about creating writing assignments, use these five principles:

• Tie the writing task to specific pedagogical goals.
• Note rhetorical aspects of the task, i.e., audience, purpose, writing situation.
• Make all elements of the task clear.
• Include grading criteria on the assignment sheet.
• Break down the task into manageable steps.

You'll find discussions of these principles in the following sections of this guide.

Writing Should Meet Teaching Goals

Working backwards from goals, guidelines for writing assignments, resource: checksheets, resources: sample assignments.

• Citation Information

To guarantee that writing tasks tie directly to the teaching goals for your class, ask yourself questions such as the following:

• What specific course objectives will the writing assignment meet?
• Will informal or formal writing better meet my teaching goals?
• Will students be writing to learn course material, to master writing conventions in this discipline, or both?
• Does the assignment make sense?

Although it might seem awkward at first, working backwards from what you hope the final papers will look like often produces the best assignment sheets. We recommend jotting down several points that will help you with this step in writing your assignments:

• Why should students write in your class? State your goals for the final product as clearly and concretely as possible.
• Determine what writing products will meet these goals and fit your teaching style/preferences.
• Note specific skills that will contribute to the final product.
• Sequence activities (reading, researching, writing) to build toward the final product.

Successful writing assignments depend on preparation, careful and thorough instructions, and on explicit criteria for evaluation. Although your experience with a given assignment will suggest ways of improving a specific paper in your class, the following guidelines should help you anticipate many potential problems and considerably reduce your grading time.

• Explain the purpose of the writing assignment.
• Make the format of the writing assignment fit the purpose (format: research paper, position paper, brief or abstract, lab report, problem-solving paper, etc.).

II. The assignment

• Provide complete written instructions.
• Provide format models where possible.
• Discuss sample strong, average, and weak papers.

III. Revision of written drafts

Where appropriate, peer group workshops on rough drafts of papers may improve the overall quality of papers. For example, have students critique each others' papers one week before the due date for format, organization, or mechanics. For these workshops, outline specific and limited tasks on a checksheet. These workshops also give you an opportunity to make sure that all the students are progressing satisfactorily on the project.

IV. Evaluation

On a grading sheet, indicate the percentage of the grade devoted to content and the percentage devoted to writing skills (expression, punctuation, spelling, mechanics). The grading sheet should indicate the important content features as well as the writing skills you consider significant.

Visitors to this site are welcome to download and print these guidelines

Checksheet 1: (thanks to Kate Kiefer and Donna Lecourt)

• written out the assignment so that students can take away a copy of the precise task?
• made clear which course goals this writing task helps students meet?
• specified the audience and purpose of the assignment?
• outlined clearly all required sub-parts of the assignment (if any)?
• included my grading criteria on the assignment sheet?
• pointed students toward appropriate prewriting activities or sources of information?
• specified the format of the final paper (including documentation, headings or sections, page layout)?
• given students models or appropriate samples?
• set a schedule that will encourage students to review each other's drafts and revise their papers?

Checksheet 2: (thanks to Jean Wyrick)

• Is the assignment written clearly on the board or on a handout?
• Do the instructions explain the purpose(s) of the assignment?
• Does the assignment fit the purpose?
• Is the assignment stated in precise language that cannot be misunderstood?
• If choices are possible, are these options clearly marked?
• Are there instructions for the appropriate format? (examples: length? typed? cover sheet? type of paper?)
• Are there any special instructions, such as use of a particular citation format or kinds of headings? If so, are these clearly stated?
• Is the due date clearly visible? (Are late assignments accepted? If so, any penalty?)
• Are any potential problems anticipated and explained?
• Are the grading criteria spelled out as specifically as possible? How much does content count? Organization? Writing skills? One grade or separate grades on form and content? Etc.
• Does the grading criteria section specifically indicate which writing skills the teacher considers important as well as the various aspects of content?
• What part of the course grade is this assignment?
• Does the assignment include use of models (strong, average, weak) or samples outlines?

Sample Full-Semester Assignment from Ag Econ 4XX

Good analytical writing is a rigorous and difficult task. It involves a process of editing and rewriting, and it is common to do a half dozen or more drafts. Because of the difficulty of analytical writing and the need for drafting, we will be completing the assignment in four stages. A draft of each of the sections described below is due when we finish the class unit related to that topic (see due dates on syllabus). I will read the drafts of each section and provide comments; these drafts will not be graded but failure to pass in a complete version of a section will result in a deduction in your final paper grade. Because of the time both you and I are investing in the project, it will constitute one-half of your semester grade.

Content, Concepts and Substance

Papers will focus on the peoples and policies related to population, food, and the environment of your chosen country. As well as exploring each of these subsets, papers need to highlight the interrelations among them. These interrelations should form part of your revision focus for the final draft. Important concepts relevant to the papers will be covered in class; therefore, your research should be focused on the collection of information on your chosen country or region to substantiate your themes. Specifically, the paper needs to address the following questions.

• Population - Developing countries have undergone large changes in population. Explain the dynamic nature of this continuing change in your country or region and the forces underlying the changes. Better papers will go beyond description and analyze the situation at hand. That is, go behind the numbers to explain what is happening in your country with respect to the underlying population dynamics: structure of growth, population momentum, rural/urban migration, age structure of population, unanticipated populations shocks, etc. DUE: WEEK 4.
• Food - What is the nature of food consumption in your country or region? Is the average daily consumption below recommended levels? Is food consumption increasing with economic growth? What is the income elasticity of demand? Use Engel's law to discuss this behavior. Is production able to stay abreast with demand given these trends? What is the nature of agricultural production: traditional agriculture or green revolution technology? Is the trend in food production towards self-sufficiency? If not, can comparative advantage explain this? Does the country import or export food? Is the politico-economic regime supportive of a progressive agricultural sector? DUE: WEEK 8.
• Environment - This is the third issue to be covered in class. It is crucial to show in your paper the environmental impact of agricultural production techniques as well as any direct impacts from population changes. This is especially true in countries that have evolved from traditional agriculture to green revolution techniques in the wake of population pressures. While there are private benefits to increased production, the use of petroleum-based inputs leads to environmental and human health related social costs which are exacerbated by poorly defined property rights. Use the concepts of technological externalities, assimilative capacity, property rights, etc. to explain the nature of this situation in your country or region. What other environmental problems are evident? Discuss the problems and methods for economically measuring environmental degradation. DUE: WEEK 12.
• Final Draft - The final draft of the project should consider the economic situation of agriculture in your specified country or region from the three perspectives outlined above. Key to such an analysis are the interrelationships of the three perspectives. How does each factor contribute to an overall analysis of the successes and problems in agricultural policy and production of your chosen country or region? The paper may conclude with recommendations, but, at the very least, it should provide a clear summary statement about the challenges facing your country or region. DUE: WEEK15.

Landscape Architecture 3XX: Design Critique

Critical yet often overlooked components of the landscape architect's professional skills are the ability to critically evaluate existing designs and the ability to eloquently express him/herself in writing. To develop your skills at these fundamental components, you are to professionally critique a built project with which you are personally and directly familiar. The critique is intended for the "informed public" as might be expected to be read in such features in The New York Times or Columbus Monthly ; therefore, it should be insightful and professionally valid, yet also entertaining and eloquent. It should reflect a sophisticated knowledge of the subject without being burdened with professional jargon.

As in most critiques or reviews, you are attempting not only to identify the project's good and bad features but also to interpret the project's significance and meaning. As such, the critique should have a clear "point of view" or thesis that is then supported by evidence (your description of the place) that persuades the reader that your thesis is valid. Note, however, that your primary goal is not to force the reader to agree with your point of view but rather to present a valid discussion that enriches and broadens the reader's understanding of the project.

To assist in the development of the best possible paper, you are to submit a typed draft by 1:00 pm, Monday, February 10th. The drafts will be reviewed as a set and will then serve as a basis of an in-class writing improvement seminar on Friday, February 14th. The seminar will focus on problems identified in the set of drafts, so individual papers will not have been commented on or marked. You may also submit a typed draft of your paper to the course instructor for review and comment at any time prior to the final submission.

Final papers are due at 2:00 pm, Friday, February 23rd.

Animal/Dairy/Poultry Science 2XX: Comparative Animal Nutrition

Purpose: Students should be able to integrate lecture and laboratory material, relate class material to industry situations, and improve their problem-solving abilities.

Assignment 1: Weekly laboratory reports (50 points)

For the first laboratory, students will be expected to provide depth and breadth of knowledge, creativity, and proper writing format in a one-page, typed, double-spaced report. Thus, conciseness will be stressed. Five points total will be possible for the first draft, another five points possible will be given to a student peer-reviewer of the draft, and five final points will be available for a second draft. This assignment, in its entirety, will be due before the first midterm (class 20). Any major writing flaws will be addressed early so that students can grasp concepts stressed by the instructors without major impact on their grades. Additional objectives are to provide students with skills in critically reviewing papers and to acquaint writers and reviewers of the instructors' expectations for assignments 2 and 3, which are weighted much more heavily.

Students will submit seven one-page handwritten reports from each week's previous laboratory. These reports will cover laboratory classes 2-9; note that one report can be dropped and week 10 has no laboratory. Reports will be graded (5 points each) by the instructors for integration of relevant lecture material or prior experience with the current laboratory.

Assignment 2: Group problem-solving approach to a nutritional problem in the animal industry (50 points)

Students will be divided into groups of four. Several problems will be offered by the instructors, but a group can choose an alternative, approved topic. Students should propose a solution to the problem. Because most real-life problems are solved by groups of employees and (or) consultants, this exercise should provide students an opportunity to practice skills they will need after graduation. Groups will divide the assignment as they see fit. However, 25 points will be based on an individual's separate assignment (1-2 typed pages), and 25 points will be based on the group's total document. Thus, it is assumed that papers will be peer-reviewed. The audience intended will be marketing directors, who will need suitable background, illustrations, etc., to help their salespersons sell more products. This assignment will be started in about the second week of class and will be due by class 28.

Assignment 3: Students will develop a topic of their own choosing (approved by instructors) to be written for two audiences (100 points).

The first assignment (25 points) will be written in "common language," e.g., to farmers or salespersons. High clarity of presentation will be expected. It also will be graded for content to assure that the student has developed the topic adequately. This assignment will be due by class 38.

Concomitant with this assignment will be a first draft of a scientific term paper on the same subject. Ten scientific articles and five typed, double-spaced pages are minimum requirements. Basic knowledge of scientific principles will be incorporated into this term paper written to an audience of alumni of this course working in a nutrition-related field. This draft (25 points) will be due by class 38. It will be reviewed by a peer who will receive up to 25 points for his/her critique. It will be returned to the student and instructor by class 43. The final draft, worth an additional 25 points, will be due before class 50 and will be returned to the student during the final exam period.

Integration Papers - HD 3XX

Two papers will be assigned for the semester, each to be no more than three typewritten pages in length. Each paper will be worth 50 points.

Purpose:   The purpose of this assignment is to aid the student in learning skills necessary in forming policy-making decisions and to encourage the student to consider the integral relationship between theory, research, and social policy.

Format:   The student may choose any issue of interest that is appropriate to the socialization focus of the course, but the issue must be clearly stated and the student is advised to carefully limit the scope of the issue question.

There are three sections to the paper:

First:   One page will summarize two conflicting theoretical approaches to the chosen issue. Summarize only what the selected theories may or would say about the particular question you've posed; do not try to summarize the entire theory. Make clear to a reader in what way the two theories disagree or contrast. Your text should provide you with the basic information to do this section.

Second:   On the second page, summarize (abstract) one relevant piece of current research. The research article must be chosen from a professional journal (not a secondary source) written within the last five years. The article should be abstracted and then the student should clearly show how the research relates to the theoretical position(s) stated earlier, in particular, and to the socialization issue chosen in general. Be sure the subjects used, methodology, and assumptions can be reasonably extended to your concern.

Third:   On the third page, the student will present a policy guideline (for example, the Colorado courts should be required to include, on the child's behalf, a child development specialist's testimony at all custody hearings) that can be supported by the information gained and presented in the first two pages. My advice is that you picture a specific audience and the final purpose or use of such a policy guideline. For example, perhaps as a child development specialist you have been requested to present an informed opinion to a federal or state committee whose charge is to develop a particular type of human development program or service. Be specific about your hypothetical situation and this will help you write a realistic policy guideline.

Sample papers will be available in the department reading room.

SP3XX Short Essay Grading Criteria

A (90-100): Thesis is clearly presented in first paragraph. Every subsequent paragraph contributes significantly to the development of the thesis. Final paragraph "pulls together" the body of the essay and demonstrates how the essay as a whole has supported the thesis. In terms of both style and content, the essay is a pleasure to read; ideas are brought forth with clarity and follow each other logically and effortlessly. Essay is virtually free of misspellings, sentence fragments, fused sentences, comma splices, semicolon errors, wrong word choices, and paragraphing errors.

B (80-89): Thesis is clearly presented in first paragraph. Every subsequent paragraph contributes significantly to the development of the thesis. Final paragraph "pulls together" the body of the essay and demonstrates how the essay as a whole has supported the thesis. In terms of style and content, the essay is still clear and progresses logically, but the essay is somewhat weaker due to awkward word choice, sentence structure, or organization. Essay may have a few (approximately 3) instances of misspellings, sentence fragments, fused sentences, comma splices, semicolon errors, wrong word choices, and paragraphing errors.

C (70-79): There is a thesis, but the reader may have to hunt for it a bit. All the paragraphs contribute to the thesis, but the organization of these paragraphs is less than clear. Final paragraph simply summarizes essay without successfully integrating the ideas presented into a unified support for thesis. In terms of style and content, the reader is able to discern the intent of the essay and the support for the thesis, but some amount of mental gymnastics and "reading between the lines" is necessary; the essay is not easy to read, but it still has said some important things. Essay may have instances (approximately 6) of misspellings, sentence fragments, fused sentences, comma splices, semicolon errors, wrong word choices, and paragraphing errors.

D (60-69): Thesis is not clear. Individual paragraphs may have interesting insights, but the paragraphs do not work together well in support of the thesis. In terms of style and content, the essay is difficult to read and to understand, but the reader can see there was a (less than successful) effort to engage a meaningful subject. Essay may have several instances (approximately 6) of misspellings, sentence fragments, fused sentences, comma splices, semicolon errors, wrong word choices, and paragraphing errors.

Teacher Comments

Patrick Fitzhorn, Mechanical Engineering: My expectations for freshman are relatively high. I'm jaded with the seniors, who keep disappointing me. Often, we don't agree on the grading criteria.

There's three parts to our writing in engineering. The first part, is the assignment itself.

The four types: lab reports, technical papers, design reports, and proposals. The other part is expectations in terms of a growth of writing style at each level in our curriculum and an understanding of that from students so they understand that high school writing is not acceptable as a senior in college. Third, is how we transform our expectations into justifiable grades that have real feedback for the students.

To the freshman, I might give a page to a page and one half to here's how I want the design report. To the seniors it was three pages long. We try to capture how our expectations change from freshman to senior. I bet the structure is almost identical...

We always give them pretty rigorous outlines. Often times, the way students write is to take the outline we give them and students write that chunk. Virtually every writing assignment we give, we provide a writing outline of the writing style we want. These patterns are then used in industry. One organization style works for each of the writing styles. Between faculty, some minute details may change with organization, but there is a standard for writers to follow.

Interviewer: How do students determine purpose

Ken Reardon, Chemical Engineerin: Students usually respond to an assignment. That tells them what the purpose is. . . . I think it's something they infer from the assignment sheet.

Interviewer What types of purposes are there?

Ken Reardon: Persuading is the case with proposals. And informing with progress and the final results. Informing is to just "Here are the results of analysis; here's the answer to the question." It's presenting information. Persuasion is analyzing some information and coming to a conclusion. More of the writing I've seen engineers do is a soft version of persuasion, where they're not trying to sell. "Here's my analysis, here's how I interpreted those results and so here's what I think is worthwhile." Justifying.

Interviewer: Why do students need to be aware of this concept?

Ken Reardon: It helps to tell the reader what they're reading. Without it, readers don't know how to read.

Kiefer, Kate. (1997). Designing Writing Assignments. Writing@CSU . Colorado State University. https://writing.colostate.edu/teaching/guide.cfm?guideid=101

100 Writing Practice Lessons & Exercises

by Joe Bunting | 50 comments

Want to become a better writer? Perhaps you want to write novels, or maybe you just want to get better grades in your essay writing assignments , or maybe you'd like to start a popular blog .

If you want to write better, you need practice. But what does a writing practice actually look like? In this post, I'm going to give you everything you need to kick off your writing practice and become a better writer faster.

What Is Writing Practice?

Writing practice is a method of becoming a better writer that usually involves reading lessons about the writing process, using writing prompts, doing creative writing exercises , or finishing writing pieces, like essays, short stories , novels , or books . The best writing practice is deliberate, timed, and involves feedback.

How Do You Practice Writing?

This was the question I had when I first started The Write Practice in 2011. I knew how to practice a sport and how to practice playing an instrument. But for some reason, even after studying it in college, I wasn't sure how to practice writing.

I set out to create the best writing practice I could. The Write Practice is the result.

I found that the best writing practice has three aspects:

Deliberate . Writing whatever you feel like may be cathartic, but it's not an effective way to become a better writer or build your writing skills. You'll get better faster by practicing a specific technique or aspect of the writing process each time you sit down to write.

This is why we have a new lesson about the writing process each day on The Write Practice, followed by a practice prompt at the end so you can put what you learned to use immediately.

Timed . It's no secret writers struggle with focus. There are just too many interesting distractions—Facebook, email, Kim Kardashian's Instagram feed (just kidding about that last one, sort of)—and writing is just too hard sometimes.

Setting a timer, even for just fifteen minutes, is an easy and effective way to stay focused on what's important.

This is why in our writing practice prompt at the end of each post we have a time limit, usually with a link to an online tool egg timer , so you can focus on deliberate practice without getting distracted.

Feedback . Getting feedback is one of the requirements to deliberately practice writing or any other craft. Feedback can look like listening to the reactions of your readers or asking for constructive criticism from editors and other writers.

This is why we ask you to post your writing practice after each lesson, so that you can get feedback from other writers in The Write Practice community. It's also why we set up The Write Practice Pro community , to provide critique groups for writers to get feedback on each finished piece of writing.

Our 100+ Best Creative Writing Practice Exercises and Lessons

Now that you know how we practice writing at The Write Practice, here are our best writing practice lessons to jumpstart your writing skills with some daily writing exercises, for beginner writers to even the most expert writers:

All-Time, Top 10 Writing Lessons and Exercises

These ten posts are our most viewed articles to boost your writing practice:

1. What is Plot? The 6 Elements of Plot and How to Use Them . Great stories use similar elements in wildly different ways to build page-turning stories. Click here to read what they are and learn how to start using them !

2. Top 100 Short Story Ideas . Here are over a hundred writing prompts in a variety of genres. If you need ideas for your next story, check this out!

3. How To Use Neither, Nor, Or, and Nor Correctly . Even good writers struggle figuring out when to use neither/nor and either/or. In this post, our copy-queen Liz Bureman settles the confusion once and for all. Click to continue to the writing exercise

4. Ten Secrets To Write Better Stories . How does Pixar manage to create such great stories, year after year? And how do you write a good story? In this post, I distill everything I've learned about how to write a good story into ten tips. Click to continue to the writing exercise

5. 35 Questions To Ask Your Characters From Marcel Proust . To get to know my characters better, I use a list of questions known as the Proust Questionnaire, made famous by French author, Marcel Proust. Click to continue to the writing exercise

6. How a Scene List Can Change Your Novel-Writing Life . Creating a scene list changed my novel-writing life, and doing the same will change yours too. Includes examples of the scene lists from famous authors. Click to continue to the writing exercise

7. Why You Need to be Using the Oxford Comma . Most people I've met have no idea what the Oxford comma is, but it's probably something that you have used frequently in your writing. Click to continue to the writing exercise

8. Six Surprising Ways to Write Better Interview Questions.  The interview is the most-used tool in a journalist's bag. But that doesn't mean novelists, bloggers, and even students can't and don't interview people. Here's how to conduct a great interview. Click to continue to the writing exercise

9. Why You Should Try Writing in Second Person . You've probably used first person and third person point-of-view already. But what about second person? This post explains three reasons why you should try writing from this point-of-view. Click to continue to the writing exercise

10. The Secret to Show, Don't Tell . You've heard the classic writing rule, “Show. Don't Tell.” Every writing blog ever has talked about it, and for good reason. Showing, for some reason, is really difficult. Click to continue to the writing exercise.

12 Exercises and Lessons To Become a Better Writer

How do you become a better writer? These posts share our best advice:

• Want to Be a Better Writer? Cut These 7 Words
• What I Mean When I Say I Am A Writer
• How to Become a Writer: 3 Simple Steps
• 72% of Writers Struggle With THIS
• 7 Lies About Becoming a Writer That You Probably Believe
• 10 Questions to Find Your Unique Writing Voice
• The Best Writing Book I’ve Ever Read
• The Best Way to Become a Better Writer
• The Creative Writer’s Toolkit: 6 Tools You Can’t Write Without
• Should You Write More or Write Better: Quantity vs Quality
• How to Become a Better Writer in One, Simple Step
• 11 Writing Tips That Will Change Your Life

6 Lessons and Exercises from Great Writers

If you want to be a writer, learn from the great writers who have gone before you:

• 23 Essential Quotes from Ernest Hemingway About Writing
• 29 Quotes that Explain How to Become a Better Writer
• 10 Lessons Dr. Seuss Can Teach Writers
• 10 Writing Tips from Ursula Le Guin
• Once Upon a Time: Pixar Prompt
• All the Pretty Words: Writing In the Style of Cormac McCarthy

12 Genre and Format Specific Writing Lessons and Exercises

Here are our best writing lessons for specific types of writing, including essays, screenplays, memoir, short stories, children's books, and humor writing:

• Writing an Essay? Here Are 10 Effective Tips
• How To Write a Screenplay: The 5 Step Process
• How to Write a Great Memoir: a Complete Guide
• How to Write a Short Story from Start to Finish
• How to Write a Thriller Novel
• How to Write a Children's Book
• How to Write a Love Story
• How to Write a Coming of Age Story or Book
• How to Write an Adventure Book
• 5 Key Elements for Successful Short Stories
• 4 Tips to Write a Novel That Will Be Adapted Into a Movie
• Humor Writing for People Who Aren’t Funny

14 Characterization Lessons and Exercises

Good characters are the foundation of good fiction. Here are our best lessons to create better characters:

• Character Development: How to Create Characters Audiences Will Love
• Writing Villains: 9 Evil Examples of the Villain Archetype
• How NOT to Introduce a New Character
• The Strongest Form of Characterization
• The Most Important Character Archetype
• How Do You Build A Strong Character In Your Writing?
• 75+ Antihero Examples and How to Use Them
• How to Explore Your Characters’ Motivations
• 8 Tips for Naming Characters
• The Protagonist: How to Center Your Story
• Heroes vs. Anti-Heroes: Which Is Right For Your Story?
• The Weakest Form of Characterization
• How to Write With an Accent
• How To Create a Character Sketch Using Scrivener

15 Grammar Lessons and Exercises

I talk to so many writers, some of whom are published authors, who struggle with grammar. Here are our best writing lessons on grammar:

• Is It Okay To End A Sentence With A Preposition?
• Contractions List: When To Use and When To Avoid
• Good vs. Well
• Connotation vs. Denotation
• Per Se vs. Per Say
• When You SHOULD Use Passive Voice
• When Do You Use “Quotation Marks”
• Polysyndeton and Asyndeton: Definition and Examples
• The Case Against Twilight
• Affect Versus Effect
• Stop Saying “Literally”
• What Is a Comma Splice? And Why Do Editors Hate Them?
• Intra vs. Inter: Why No One Plays Intermural Sports
• Alright and Alot: Words That Are Not Words
• The Poor, Misunderstood Semicolon

4 Journalism Lessons and Exercises

Want to be a journalist? Or even use techniques from journalism to improve your novel, essay, or screenplay? Here are our best writing lessons on journalism:

• Six Ways to Ask Better Questions In Interviews
• How Should You Interview Someone? Over Email? In Person?
• What If They Don’t Want to Talk to You?
• Eleven Habits of a Highly Effective Interviewers

16 Plot and Structure Lessons and Exercises

Want to write a good story? Our top plot and structure lessons will help:

• The Ten Types of Story and How to Master Them
• Points of a Story: 6 Plot Points Every Story Needs
• How to Shape a Story: The 6 Arcs
• 7 Keys To Write the Perfect First Line of a Novel
• The Secret to Creating Conflict
• 4 Tips to Avoid Having Your Short Story Rejected by a Literary Magazine
• 7 Steps to Creating Suspense
• 5 Elements of Storytelling
• 3 Important Rules for Writing Endings
• A Writer’s Cheatsheet to Plot and Structure
• Overcoming the Monster
• How to Satisfy Your Reader With a Great Ending
• Pow! Boom! Ka-Pow! 5 Tips to Write Fight Scenes
• The Dramatic Question and Suspense in Fiction
• How to Write a Memorable Beginning and Ending
• How to Write the Perfect First Page

6 Lessons and Exercises to Beat Writer's Block

Writer's block is real, and it can completely derail your writing. Here are six lessons to get writing again:

• How To Write Whether You Feel Like it Or Not
• This Fun Creative Writing Exercise Will Change Your Life
• When You Should Be Writing But Can't…
• What to do When Your Word Count is Too Low
• 7 Tricks to Write More with Less Willpower
• When You Don’t Know What to Write, Write About Your Insecurities

7 Literary Technique Lessons and Exercises

These writing and storytelling techniques will teach you a few tricks of the trade you may not have discovered before:

• 3 Tips to “Show, Don’t Tell” Emotions and Moods
• 3 Reasons to Write Stream of Consciousness Narrative
• 16 Observations About Real Dialogue
• Intertextuality As A Literary Device
• Why You Should Use Symbolism In Your Writing
• 6 Ways to Evoke Emotion in Poetry and Prose
• 3 Tips To Write Modern Allegorical Novels
• Symbol vs. Motif: What’s the Difference

3 Inspirational Writing Lessons and Exercises

Need some inspiration? Here are three of our most inspiring posts:

• Why We Write: Four Reasons
• You Must Remember Every Scar
• 17 Reasons to Write Something NOW

3 Publishing Blogging Lessons and Exercises

If you want to get published, these three lessons will help:

• The Secret to Writing On Your Blog Every Day
• How to Publish Your Book and Sell Your First 1,000 Copies
• How to Get Published in Literary Magazines

11 Writing Prompts

Need inspiration or just a kick in the pants to write. Try one of our top writing prompts :

• Grandfathers [writing prompt]
• Out of Place [writing prompt]
• Sleepless [writing prompt]
• Longing [writing prompt]
• Write About Yourself [writing prompt]
• 3 Reasons You Should Write Ghost Stories
• Road Trip [writing prompt]
• Morning [writing prompt]
• The Beach [writing prompt]
• Fall [writing prompt]
• How to Use Six-Word Stories As Writing Prompts

Is It Time To Begin Your Writing Practice?

It's clear that if you want to become a writer, you need to practice writing. We've created a proven process to practice your writing at The Write Practice, but even if you don't join our community, I hope you'll start practicing in some way today.

Personally, I waited  far  too long to start practicing and it set my writing back years.

How about you? Do you think practicing writing is important?  Let me know in the comments section .

Choose one of the writing practice posts above. Then, read the lesson and participate in the writing exercise, posting your work in the Pro Practice Workshop . And if you post, please give feedback to your fellow writers who also posted their practices.

Have fun and happy practicing!

Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris , a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

Want best-seller coaching? Book Joe here.

50 Comments

You have THE BEST content for writing on this blog!!

Thank you, Kristen. This made my morning. 🙂

Thanks Mitch. 🙂

I can’t remember when I started following this website. I have to look in my notebooks because that’s where I did these practices. I didn’t have access to a computer when I did them, so I wrote them out, setting the time limit. But even when I do get to a computer, I have my reservations about putting my practices on the page. even though it’s practice, I want them to be the best, almost perfect. But I know it won’t be. I’ve gotten feedback before that says so. It still gets to me that I didn’t put something together that not everyone liked. I need to get over it. After all, that is what these practices are about: to learn and improve on our craft.

I don’t know either, George, but it’s been several years. Perfectionism is something so many of us face, and it’s made worse when you don’t have a critique community as warm and encouraging as ours is. I hope you and everyone here are always willing to try something new, even if it comes out a little messed up, because you know we’ll support you and try to make you better.

What a great share! Thanks so much!

You’re so welcome, Elizabeth. Thank you for commenting.

when I ran writing classes I wrote. when I am “a member of writing classes” the teacher/leader/facilitator is NOT MY AUDIENCE and so I don’t write as well/as much. I don’t get the feedback I need from fellow students because most of them have never run their own writing projects/workshops. So many people expect you to write their story for them. I’ve actually got quite a few stories of me own. I have finally decided I like owning them. 😉

It sounds like you need a new critique group, Patience! Hope you can find a place where you get the feedback you need.

Wow! Terrific round-up of resources. 🙂

Thanks Stephanie. 🙂

Practice is necessary, period. It doesn’t matter what you want to learn. If you want to improve, practice is vital.

It’s odd. I’ve known and applied that principle for years on a variety of things. Painting. Drawing. Blogging. Gardening. Laundry.

But never writing.

Like you, I had the notion that just writing every day was all it took to improve. Why not the same level of dedication to writing?

Perhaps it’s time to change that!

I can relate, Carrie. It’s easy to confuse the craft of writing with journaling, thinking that you can just write whatever you feel like and you’ll get better, write something worth reading. The truth is that writing interesting things to read is a skill, but the good news is that you can get better at it with practice. Thanks for practicing with us! 🙂

I love these suggestions , and have set Writing Practice as my homepage so the first 15 minutes of my day is spent writing, whether its a practice or exercise here or another that is sprinkled through out this site, Thank you for all you do everyone here at The Write Practice

This is great Debra. I want to write the first 15 minutes of my day too!

I agree with Joe, Do it. Could be your to do list… ( that could lead to something else story wse later)

I love that, Debra. Such a good way to start your day.

Thanks Joe!

The best! Thank you so much for this.

You’re very welcome!

I simply LOVE all the tips and suggestions given on this blog. They are super helpful!

THANK you. We love sharing them with you. 🙂

Hi! You forgot the link to How to Write a Story a Week: A Day-by-Day Guide.

Thanks a lot for your work! This post is amazing.

It’s a great post Thiago. Definitely one of our most shared. Thanks for mentioning it! BTW here’s the link:

https://thewritepractice.com/a-story-a-week/

Wow!! There are so many exercises…. I just love it..! I am gonna really enjoy it..!

Awesome! Thank you for reading and practicing with us. 🙂

I only read halfway , My tootie is jumping all over me, and typing this is a struggle when a 3yr old wants his Toy Story movie on Youtube in this computer. Thank you for this article, will come back later to finish reading.

I know the feeling! Good luck!

Can’t wait to get stuck in with this! 🙂

Very helpful! Thank you!

I’ve just bookmarked this page. Thanks for this wonderful list.

This is awesome! So many helpful tips. I will be coming back to this often. Thanks for posting this!

Wow, so many goodies! Thank you for always providing such amazing content!!

I have enjoyed all these articles. Thank you for the help an inspiration to get my writing on its way. My creativity is boosting with confidence. Tootle loo.

Amazing contents for beginners like me Joe. I am highly inspired by your commitment. Thank you.

Hey, thanks!

Although I have only read half of thisc article, the practice exercises are excellent. Some of them are exactly what a beginning writer like myself needs. I am committing to at least try ALL of them. Thanks Joe!!

very helpful! thank you..

Amazing articles! Thanks so much for sharing!

My god this article made me love this site . You know it’s kinda hard for a beginner writer, who don’t know where to start and fixing goals, even samll ones give us a direction . A place to go , an aim for our creativity so thanks you , this community and this site. Love you all . At your pens ! 😉

Wow. This is great. I find all your posts informative, but this one is the best for me to use as a guide to get my self starting to write….Thank you.

I’m an old lady who wants to publish one more book before I die — have published several, all non-fiction, and done two under contract to a major publisher (reference books). So help me, the BIGGEST problem I have all along, is keeping track of the damned paper work and research that goes into a book!!! Yet I never ever see articles on something as simple as “How to file” — Oh I know, there’s wonderful software these days so probably I will never find a way to get paper organized — everybody will use software and do it on the computer. I’m too old for that — just one look at the learning curve for software, even putting the damned stuff into computer files is even MORE frustrating than paper!! Oh well, somehow I managed in the past to get books published, I may be able to do it one more time.

you enjoy writing more than anything else and you do indeed care to help others write. I love writing but translation from Arabic into English and English into Arabic is taking all of my time from the early hours of the morning till the evening. I will soon get all of your books in order to read them as soon as possible. One thing I am sure of. You know what you are doing very well. Hamzah

Excellent! Many useful tips. Many thanks!

Liz and Joe, I have only looked at a few exercises. Already, I am convinced that your site is one of the best sites out there. Thank your for sharing your wisdom.

Wow, these are the best lessons and exercises for writing. Actually i’m participating in a compitition this wendsday. so, i’m quite nervous and exited. this helped me a lot

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Home » Assignment – Types, Examples and Writing Guide

Assignment – Types, Examples and Writing Guide

Table of Contents

Definition:

Assignment is a task given to students by a teacher or professor, usually as a means of assessing their understanding and application of course material. Assignments can take various forms, including essays, research papers, presentations, problem sets, lab reports, and more.

Assignments are typically designed to be completed outside of class time and may require independent research, critical thinking, and analysis. They are often graded and used as a significant component of a student’s overall course grade. The instructions for an assignment usually specify the goals, requirements, and deadlines for completion, and students are expected to meet these criteria to earn a good grade.

History of Assignment

The use of assignments as a tool for teaching and learning has been a part of education for centuries. Following is a brief history of the Assignment.

• Ancient Times: Assignments such as writing exercises, recitations, and memorization tasks were used to reinforce learning.
• Medieval Period : Universities began to develop the concept of the assignment, with students completing essays, commentaries, and translations to demonstrate their knowledge and understanding of the subject matter.
• 19th Century : With the growth of schools and universities, assignments became more widespread and were used to assess student progress and achievement.
• 20th Century: The rise of distance education and online learning led to the further development of assignments as an integral part of the educational process.
• Present Day: Assignments continue to be used in a variety of educational settings and are seen as an effective way to promote student learning and assess student achievement. The nature and format of assignments continue to evolve in response to changing educational needs and technological innovations.

Types of Assignment

Here are some of the most common types of assignments:

An essay is a piece of writing that presents an argument, analysis, or interpretation of a topic or question. It usually consists of an introduction, body paragraphs, and a conclusion.

Essay structure:

• Introduction : introduces the topic and thesis statement
• Body paragraphs : each paragraph presents a different argument or idea, with evidence and analysis to support it
• Conclusion : summarizes the key points and reiterates the thesis statement

Research paper

A research paper involves gathering and analyzing information on a particular topic, and presenting the findings in a well-structured, documented paper. It usually involves conducting original research, collecting data, and presenting it in a clear, organized manner.

Research paper structure:

• Title page : includes the title of the paper, author’s name, date, and institution
• Abstract : summarizes the paper’s main points and conclusions
• Introduction : provides background information on the topic and research question
• Literature review: summarizes previous research on the topic
• Methodology : explains how the research was conducted
• Results : presents the findings of the research
• Discussion : interprets the results and draws conclusions
• Conclusion : summarizes the key findings and implications

A case study involves analyzing a real-life situation, problem or issue, and presenting a solution or recommendations based on the analysis. It often involves extensive research, data analysis, and critical thinking.

Case study structure:

• Introduction : introduces the case study and its purpose
• Background : provides context and background information on the case
• Analysis : examines the key issues and problems in the case
• Solution/recommendations: proposes solutions or recommendations based on the analysis
• Conclusion: Summarize the key points and implications

A lab report is a scientific document that summarizes the results of a laboratory experiment or research project. It typically includes an introduction, methodology, results, discussion, and conclusion.

Lab report structure:

• Title page : includes the title of the experiment, author’s name, date, and institution
• Abstract : summarizes the purpose, methodology, and results of the experiment
• Methods : explains how the experiment was conducted
• Results : presents the findings of the experiment

Presentation

A presentation involves delivering information, data or findings to an audience, often with the use of visual aids such as slides, charts, or diagrams. It requires clear communication skills, good organization, and effective use of technology.

Presentation structure:

• Introduction : introduces the topic and purpose of the presentation
• Body : presents the main points, findings, or data, with the help of visual aids
• Conclusion : summarizes the key points and provides a closing statement

Creative Project

A creative project is an assignment that requires students to produce something original, such as a painting, sculpture, video, or creative writing piece. It allows students to demonstrate their creativity and artistic skills.

Creative project structure:

• Introduction : introduces the project and its purpose
• Body : presents the creative work, with explanations or descriptions as needed
• Conclusion : summarizes the key elements and reflects on the creative process.

Examples of Assignments

Following are Examples of Assignment templates samples:

Essay template:

I. Introduction

• Hook: Grab the reader’s attention with a catchy opening sentence.
• Background: Provide some context or background information on the topic.
• Thesis statement: State the main argument or point of your essay.

II. Body paragraphs

• Topic sentence: Introduce the main idea or argument of the paragraph.
• Evidence: Provide evidence or examples to support your point.
• Analysis: Explain how the evidence supports your argument.
• Transition: Use a transition sentence to lead into the next paragraph.

III. Conclusion

• Restate thesis: Summarize your main argument or point.
• Review key points: Summarize the main points you made in your essay.
• Concluding thoughts: End with a final thought or call to action.

Research paper template:

I. Title page

• Title: Give your paper a descriptive title.
• Author: Include your name and institutional affiliation.
• Date: Provide the date the paper was submitted.

II. Abstract

• Background: Summarize the background and purpose of your research.
• Methodology: Describe the methods you used to conduct your research.
• Results: Summarize the main findings of your research.
• Conclusion: Provide a brief summary of the implications and conclusions of your research.

III. Introduction

• Background: Provide some background information on the topic.
• Research question: State your research question or hypothesis.
• Purpose: Explain the purpose of your research.

IV. Literature review

• Background: Summarize previous research on the topic.
• Gaps in research: Identify gaps or areas that need further research.

V. Methodology

• Participants: Describe the participants in your study.
• Procedure: Explain the procedure you used to conduct your research.
• Measures: Describe the measures you used to collect data.

VI. Results

• Quantitative results: Summarize the quantitative data you collected.
• Qualitative results: Summarize the qualitative data you collected.

VII. Discussion

• Interpretation: Interpret the results and explain what they mean.
• Implications: Discuss the implications of your research.
• Limitations: Identify any limitations or weaknesses of your research.

VIII. Conclusion

• Review key points: Summarize the main points you made in your paper.

Case study template:

• Background: Provide background information on the case.
• Research question: State the research question or problem you are examining.
• Purpose: Explain the purpose of the case study.

II. Analysis

• Problem: Identify the main problem or issue in the case.
• Factors: Describe the factors that contributed to the problem.
• Alternative solutions: Describe potential solutions to the problem.

III. Solution/recommendations

• Proposed solution: Describe the solution you are proposing.
• Rationale: Explain why this solution is the best one.
• Implementation: Describe how the solution can be implemented.

IV. Conclusion

• Summary: Summarize the main points of your case study.

Lab report template:

• Title: Give your report a descriptive title.
• Date: Provide the date the report was submitted.
• Background: Summarize the background and purpose of the experiment.
• Methodology: Describe the methods you used to conduct the experiment.
• Results: Summarize the main findings of the experiment.
• Conclusion: Provide a brief summary of the implications and conclusions
• Background: Provide some background information on the experiment.
• Hypothesis: State your hypothesis or research question.
• Purpose: Explain the purpose of the experiment.

IV. Materials and methods

• Materials: List the materials and equipment used in the experiment.
• Procedure: Describe the procedure you followed to conduct the experiment.
• Data: Present the data you collected in tables or graphs.
• Analysis: Analyze the data and describe the patterns or trends you observed.

VI. Discussion

• Implications: Discuss the implications of your findings.
• Limitations: Identify any limitations or weaknesses of the experiment.

VII. Conclusion

• Restate hypothesis: Summarize your hypothesis or research question.
• Review key points: Summarize the main points you made in your report.

Presentation template:

• Attention grabber: Grab the audience’s attention with a catchy opening.
• Purpose: Explain the purpose of your presentation.
• Overview: Provide an overview of what you will cover in your presentation.

II. Main points

• Main point 1: Present the first main point of your presentation.
• Supporting details: Provide supporting details or evidence to support your point.
• Main point 2: Present the second main point of your presentation.
• Main point 3: Present the third main point of your presentation.
• Summary: Summarize the main points of your presentation.
• Call to action: End with a final thought or call to action.

Creative writing template:

• Setting: Describe the setting of your story.
• Characters: Introduce the main characters of your story.
• Rising action: Introduce the conflict or problem in your story.
• Climax: Present the most intense moment of the story.
• Falling action: Resolve the conflict or problem in your story.
• Resolution: Describe how the conflict or problem was resolved.
• Final thoughts: End with a final thought or reflection on the story.

How to Write Assignment

Here is a general guide on how to write an assignment:

• Understand the assignment prompt: Before you begin writing, make sure you understand what the assignment requires. Read the prompt carefully and make note of any specific requirements or guidelines.
• Research and gather information: Depending on the type of assignment, you may need to do research to gather information to support your argument or points. Use credible sources such as academic journals, books, and reputable websites.
• Organize your ideas : Once you have gathered all the necessary information, organize your ideas into a clear and logical structure. Consider creating an outline or diagram to help you visualize your ideas.
• Write a draft: Begin writing your assignment using your organized ideas and research. Don’t worry too much about grammar or sentence structure at this point; the goal is to get your thoughts down on paper.
• Revise and edit: After you have written a draft, revise and edit your work. Make sure your ideas are presented in a clear and concise manner, and that your sentences and paragraphs flow smoothly.
• Proofread: Finally, proofread your work for spelling, grammar, and punctuation errors. It’s a good idea to have someone else read over your assignment as well to catch any mistakes you may have missed.
• Submit your assignment : Once you are satisfied with your work, submit your assignment according to the instructions provided by your instructor or professor.

Applications of Assignment

Assignments have many applications across different fields and industries. Here are a few examples:

• Education : Assignments are a common tool used in education to help students learn and demonstrate their knowledge. They can be used to assess a student’s understanding of a particular topic, to develop critical thinking skills, and to improve writing and research abilities.
• Business : Assignments can be used in the business world to assess employee skills, to evaluate job performance, and to provide training opportunities. They can also be used to develop business plans, marketing strategies, and financial projections.
• Journalism : Assignments are often used in journalism to produce news articles, features, and investigative reports. Journalists may be assigned to cover a particular event or topic, or to research and write a story on a specific subject.
• Research : Assignments can be used in research to collect and analyze data, to conduct experiments, and to present findings in written or oral form. Researchers may be assigned to conduct research on a specific topic, to write a research paper, or to present their findings at a conference or seminar.
• Government : Assignments can be used in government to develop policy proposals, to conduct research, and to analyze data. Government officials may be assigned to work on a specific project or to conduct research on a particular topic.
• Non-profit organizations: Assignments can be used in non-profit organizations to develop fundraising strategies, to plan events, and to conduct research. Volunteers may be assigned to work on a specific project or to help with a particular task.

Purpose of Assignment

The purpose of an assignment varies depending on the context in which it is given. However, some common purposes of assignments include:

• Assessing learning: Assignments are often used to assess a student’s understanding of a particular topic or concept. This allows educators to determine if a student has mastered the material or if they need additional support.
• Developing skills: Assignments can be used to develop a wide range of skills, such as critical thinking, problem-solving, research, and communication. Assignments that require students to analyze and synthesize information can help to build these skills.
• Encouraging creativity: Assignments can be designed to encourage students to be creative and think outside the box. This can help to foster innovation and original thinking.
• Providing feedback : Assignments provide an opportunity for teachers to provide feedback to students on their progress and performance. Feedback can help students to understand where they need to improve and to develop a growth mindset.
• Meeting learning objectives : Assignments can be designed to help students meet specific learning objectives or outcomes. For example, a writing assignment may be designed to help students improve their writing skills, while a research assignment may be designed to help students develop their research skills.

When to write Assignment

Assignments are typically given by instructors or professors as part of a course or academic program. The timing of when to write an assignment will depend on the specific requirements of the course or program, but in general, assignments should be completed within the timeframe specified by the instructor or program guidelines.

It is important to begin working on assignments as soon as possible to ensure enough time for research, writing, and revisions. Waiting until the last minute can result in rushed work and lower quality output.

It is also important to prioritize assignments based on their due dates and the amount of work required. This will help to manage time effectively and ensure that all assignments are completed on time.

In addition to assignments given by instructors or professors, there may be other situations where writing an assignment is necessary. For example, in the workplace, assignments may be given to complete a specific project or task. In these situations, it is important to establish clear deadlines and expectations to ensure that the assignment is completed on time and to a high standard.

Characteristics of Assignment

Here are some common characteristics of assignments:

• Purpose : Assignments have a specific purpose, such as assessing knowledge or developing skills. They are designed to help students learn and achieve specific learning objectives.
• Requirements: Assignments have specific requirements that must be met, such as a word count, format, or specific content. These requirements are usually provided by the instructor or professor.
• Deadline: Assignments have a specific deadline for completion, which is usually set by the instructor or professor. It is important to meet the deadline to avoid penalties or lower grades.
• Individual or group work: Assignments can be completed individually or as part of a group. Group assignments may require collaboration and communication with other group members.
• Feedback : Assignments provide an opportunity for feedback from the instructor or professor. This feedback can help students to identify areas of improvement and to develop their skills.
• Academic integrity: Assignments require academic integrity, which means that students must submit original work and avoid plagiarism. This includes citing sources properly and following ethical guidelines.
• Learning outcomes : Assignments are designed to help students achieve specific learning outcomes. These outcomes are usually related to the course objectives and may include developing critical thinking skills, writing abilities, or subject-specific knowledge.

Advantages of Assignment

There are several advantages of assignment, including:

• Helps in learning: Assignments help students to reinforce their learning and understanding of a particular topic. By completing assignments, students get to apply the concepts learned in class, which helps them to better understand and retain the information.
• Develops critical thinking skills: Assignments often require students to think critically and analyze information in order to come up with a solution or answer. This helps to develop their critical thinking skills, which are important for success in many areas of life.
• Encourages creativity: Assignments that require students to create something, such as a piece of writing or a project, can encourage creativity and innovation. This can help students to develop new ideas and perspectives, which can be beneficial in many areas of life.
• Builds time-management skills: Assignments often come with deadlines, which can help students to develop time-management skills. Learning how to manage time effectively is an important skill that can help students to succeed in many areas of life.
• Provides feedback: Assignments provide an opportunity for students to receive feedback on their work. This feedback can help students to identify areas where they need to improve and can help them to grow and develop.

Limitations of Assignment

There are also some limitations of assignments that should be considered, including:

• Limited scope: Assignments are often limited in scope, and may not provide a comprehensive understanding of a particular topic. They may only cover a specific aspect of a topic, and may not provide a full picture of the subject matter.
• Lack of engagement: Some assignments may not engage students in the learning process, particularly if they are repetitive or not challenging enough. This can lead to a lack of motivation and interest in the subject matter.
• Time-consuming: Assignments can be time-consuming, particularly if they require a lot of research or writing. This can be a disadvantage for students who have other commitments, such as work or extracurricular activities.
• Unreliable assessment: The assessment of assignments can be subjective and may not always accurately reflect a student’s understanding or abilities. The grading may be influenced by factors such as the instructor’s personal biases or the student’s writing style.
• Lack of feedback : Although assignments can provide feedback, this feedback may not always be detailed or useful. Instructors may not have the time or resources to provide detailed feedback on every assignment, which can limit the value of the feedback that students receive.

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Surprisingly, teachers have been known to assign writing tasks without articulating to themselves what the task is supposed to do for students. Good writing assignments always start with a clear goal that the teacher can express, usually on the assignment sheet so that students understand the goal as well.

Good writing assignments also often take shape by thinking backwards. In effect, teachers ask themselves, "What do I want to read at the end of this assignment?" By working from what they anticipate the final product to look like, teachers can give students detailed guidelines about both the writing task and the final written product.

Five Principles

As you think about making up writing assignments, use these five principles:

• Tie the writing task to specific pedagogical goals, particularly those articulated in the overall course goals.
• Note rhetorical aspects of the task, i.e., audience, purpose, writing situation.
• Break down the task into manageable steps.
• Make all elements of the task clear.
• Include grading criteria on the assignment sheet.

Principle 1. Writing Should Meet Teaching Goals

Asking questions like these about your assignment will help guarantee that writing tasks tie directly to your teaching goals in the class:

• What specific course objectives will the writing assignment meet?
• Will informal or formal writing better meet teaching goals?
• Will students be writing to learn course material or writing conventions in the discipline or both?
• Does the assignment make sense?

Work Backward from Goals

Although it might seem awkward at first, working backwards from what you hope the final drafts will look like often produces the best assignment sheets. We recommend jotting down several points that will help you with this step in writing your assignments:

• Why should students write in your class? State your goals for the final product as clearly and concretely as possible.
• Determine what writing products will meet these goals and fit your teaching style/preferences.
• Note specific skills that will contribute to the final product.
• Sequence activities (reading, researching, writing) to build toward the final product.

Beyond the Basics

Writing tasks fill many different roles for students, so defining good writing assignments begins with the specific instructional context. For that reason, the first key to writing a good assignment is tying the task to the specific course goals. After taking your class and its goals into account, though, several other principles can improve the writing tasks you assign and the writing you get from students.

Principle 2. Consider the Rhetorical Situation

Perhaps most important, as noted in the five principles section, is to consider the rhetorical situation. By this, writing experts mean that you should think carefully about the audience you want students to write to as well as the particular genre or format for the final document and the larger context for the document.

Setting up your writing assignment so that the target reader is someone other than you, the teacher, might result in the most improvement in student writing. Students, after all, have had extensive experience writing to teachers, and students know that teachers are a "captive" audience. Your job mandates that you read carefully and respond to their texts. Chinn & Hilgers (2000) explain this role for the teachers as often limited to "corrector." However, instructors can move beyond the corrector role into a "collaborator" role by varying writing tasks, encouraging peer collaboration, and emphasizing professional contexts for writing. So for students, the teacher is not necessarily a reader or audience that will motivate the best possible work on a writing task. Indeed, Hilgers et al . (1999) report that their interview research with 33 upper-division students yielded an intriguing statistic: "56% of the interviewees also described one or more nonteacher audiences" (328) for their academic tasks. In many instances, the assignment called for a hypothetical audience other than the teacher, but even when the assignment didn't prompt students to write for readers other than the teacher, students directed their work toward "an individual they believed has specific content knowledge such as a CEO, coworker, or technician" (328).

Although some experts (Freedman et al ., 1994) argue that setting up a fictitious scenario with a specified audience does not motivate students any more highly than simply writing for the teacher, other practitioners across the disciplines have seen improvement in student writing when they use cases with embedded audiences for students' documents. (See, for instance, Brumberger, 2004; Cass & Fernandez, 2008; Stevens, 2005; Sulewski, 2003.)

A further extension of this move toward providing rich writing contexts beyond the teacher involves writing tasks that actually target real readers. Many senior design projects and management projects in engineering and natural resources involve pairing students with actual clients so that students must take into account the particular needs of their readers. Across many disciplines, teachers are investigating alternative methods to connect undergraduate writers with real audiences, including client-based partnerships (Kiefer & Leff, 2008; Kreth, 2005; Planken & Kreps, 2006;) and service-learning opportunities (Addams et al ., 2010; Bourelle, 2012), among other options.

But even if your particular class doesn't allow you to pair students with actual clients or other readers, consider ways in which you can create a meaningful context with readers beyond the teacher in the classroom (see, for example, Ward, 2009). Chamely-Wiik et al . (2012), for instance, describe in detail how, drawing on materials from The Council of Writing Program Administrators and The Foundation for Critical Thinking, they developed a case study writing context for first-year general chemistry students. As they explain,

Our initial case-study assignment, used for the first two years of the course, required students to explore the scientific principles involved in the Bhopal disaster where thousands of people died in an industrial chemical accident.... The second assignment, used in the third year, required students to formulate and defend an argument whether research in the field of cold fusion should continue to be supported. (504)

Students write with a local audience of classmates and a larger institutional context of the university community in mind. Students responded positively on affective surveys, a typical reaction to carefully designed writing tasks. More significantly, "students in this chemistry course outperformed the majority of students across all undergraduate levels at the university" (506). (For other examples of science students writing to lay audiences, see Martin, 2010; McDermott& Kuhn, 2011; Moni et al ., 2007; Sivey & Lee, 2008).

In addition to audience concerns, students also benefit from understanding how and why a particular format or genre helps them communicate with a target audience (especially when we think of genres as those recurring rhetorical reactions to typical communicative situations). From YouTube videos in organic chemistry (Franz, 2012) to position papers in public relations (Powell, 2012) to posters in physiology (Mulnix, 2003), teachers are helping students to write in genres that immediately connect them with the real readers of their future professional settings. (See also Blakeslee, 2001; Guilford, 2001; Jebb, 2005; LeBigot & Rouet, 2007; Mizrahi, 2003; Motavalli et al ., 2007; Schwartz et al ., 2004; Wald et al ., 2009.)

Why does this attention to audience and genre seem to matter so much to student writing? In recent years, several studies (Adam, 2000; Beaufort, 2004; Belfiore et al ., 2004; Freedman & Adam, 2000; Spinuzzi, 2010) have explored the reasons why writers attentive to specific contexts are more successful. In particular, workplace literacy and socio-cognitive apprenticeship theory (among related theoretical perspectives) both emphasize the role that knowledgeable mentors within a workplace play as they initiate newcomers to the communicative context. (See especially Beaufort, 2000, and Ding, 2008, for social apprenticeship studies and Paretti, 2008, on situated learning and activity theory.) As Dias et al . (1999) explain, writing is not a fixed set of skills that we learn once and then simply plug into as we need to communicate. Rather,

Written discourse... is regularized but not fixed; fluid, flexible, and dynamic; emerging and evolving in exigency and action; reflecting and incorporating social needs, demands, and structures, and responsive to social interpretations and reinterpretations of necessarily shifting, complex experiences. (23)

And, as a result of the fluidity of discourse in varied workplace settings, writers themselves should be prepared for major development of their communication skills when they enter new workplaces. MacKinnon's qualitative study (2000) of new analysts and economists at the Bank of Canada showed that

Overall, the writing-related changes were considerable, consequential, and a shock for some participants: "It's like going to China," said one. For most of the ten participants, the complex totality of the writing-related changes they experienced added up to a "sea change": a major shift in their understanding of what writing is an does in an organization, a revised understanding of the roles they saw for themselves as writing workers and as working writers, and often major changes in various aspects of the macro writing process. (50)

When students have opportunities as undergraduates or graduate/professional students to anticipate these major shifts, then the transitions to workplaces of all sorts become easier. For the most part, moreover, students recognize that apprenticeship learning in academic settings provides both more structured scaffolding of writing tasks and lower-stakes learning. They thus embrace the learning opportunities when offered to them in academic classes.

Principle 3. Break Down the Task into Manageable Steps

The fifth principle noted in the general section on "what makes a good writing assignment?" is to break down the task into manageable steps. Many teachers approach this element of good assignment design by thinking carefully about assignment sequence. One particularly thorough explanation of this process appears in Leydens & Santi (2006). This writing specialist and geoscientist take up the details of designing assignments with an eye to course goals. They also consider the importance of not overwhelming teachers and students (the Less is More approach) as they explain their specific process of questioning their assignments (pp. 493-497). (See also Lord, 2009, and Greasley & Cassidy, 2010.)

Scaffolded assignments, such as the agricultural economics assignment noted in the Additional Resources section, help students reach a larger goal by asking them to collect resources in stages. A final stage requires that students transform each of the earlier stages in a final document. Sequenced assignments, on the other hand, each stand independently, but each task builds on particular skills and challenges to enable students to meet a larger set of goals. Herrington (1997) describes a scaffolded assignment (71-72) with a preliminary plan for a major project followed by an annotated bibliography, early draft (with cover note focused on successes and challenges thus far) and final draft (with cover note). Mulnix & Mulnix (2010) also describe a similar argumentative assignment that uses sequenced tasks to repeat and reinforce critical thinking skills. See also Sin et al . (2007) for a sequence in accounting, Howell (2007) in materials science, Fencl (2010) on a sequence in physics, Zlatic et al . (2000) on pharmaceutical education, and Harding (2005) on freshman mechanical engineering. Coe (2011), on the other hand, describes a series of scaffolded writing tasks to help students build argument skills in philosophy, Alaimo et al . (2009) explain their project for sophomore organic chemistry students, and Lillig (2008) looks at upper-division chemistry.

Principles 4 and 5. Make the Assignment Clear to Students

A well-designed assignment will make the elements of the task clear to students. This includes identifying relevant intermediate assignments and activities, such as topic proposals or literature reviews for longer assignments, as well as providing information about relevant writing, research, and collaboration processes. In general, it is also advisable to list grading criteria on the assignment sheet. Making the assignment clear to students will help them better understand the scope and challenge of the assignment. It also is likely to produce better learning and performance.

Resource: Sample Assignment from an Advanced Undergraduate Agricultural Economics Seminar

Good analytical writing is a rigorous and difficult task. It involves a process of editing and rewriting, and it is common to do a half dozen or more drafts. Because of the difficulty of analytical writing and the need for drafting, we will be completing the assignment in four stages. A draft of each of the sections described below is due when we finish the class unit related to that topic (see due dates on syllabus). I will read the drafts of each section and provide comments; these drafts will not be graded but failure to pass in a complete version of a section will result in a deduction in your final assignment grade. Because of the time both you and I are investing in the project, it will constitute one-half of your semester grade.

Content, Concepts and Substance

Papers will focus on the peoples and policies related to population, food, and the environment of your chosen country. As well as exploring each of these subsets, papers need to highlight the interrelations among them. These interrelations should form part of your revision focus for the final draft. Important concepts relevant to the papers will be covered in class; therefore, your research should be focused on the collection of information on your chosen country or region to substantiate your themes. Specifically, the paper needs to address the following questions.

1. Population

Developing countries have undergone large changes in population. Explain the dynamic nature of this continuing change in your country or region and the forces underlying the changes. Better papers will go beyond description and analyze the situation at hand. That is, go behind the numbers to explain what is happening in your country with respect to the underlying population dynamics: structure of growth, population momentum, rural/urban migration, age structure of population, unanticipated populations shocks, etc. DUE: WEEK 4.

What is the nature of food consumption in your country or region? Is the average daily consumption below recommended levels? Is food consumption increasing with economic growth? What is the income elasticity of demand? Use Engel's law to discuss this behavior. Is production able to stay abreast with demand given these trends? What is the nature of agricultural production: traditional agriculture or green revolution technology? Is the trend in food production towards self-sufficiency? If not, can comparative advantage explain this? Does the country import or export food? Is the politico-economic regime supportive of a progressive agricultural sector? DUE: WEEK 8.

3. Environment

This is the third issue to be covered in class. It is crucial to show in your paper the environmental impact of agricultural production techniques as well as any direct impacts from population changes. This is especially true in countries that have evolved from traditional agriculture to green revolution techniques in the wake of population pressures. While there are private benefits to increased production, the use of petroleum-based inputs leads to environmental and human health related social costs which are exacerbated by poorly defined property rights. Use the concepts of technological externalities, assimilative capacity, property rights, etc., to explain the nature of this situation in your country or region. What other environmental problems are evident? Discuss the problems and methods for economically measuring environmental degradation. DUE: WEEK 12.

4. Final Draft

The final draft of the project should consider the economic situation of agriculture in your specified country or region from the three perspectives outlined above. Key to such an analysis are the interrelationships of the three perspectives. How does each factor contribute to an overall analysis of the successes and problems in agricultural policy and production of your chosen country or region? The paper may conclude with recommendations, but, at the very least, it should provide a clear summary statement about the challenges facing your country or region. DUE: WEEK15.

Adam, C. (2000). "What do we learn from the readers? Factors in determining successful transitions between academic and workplace writing." In P. Dias and A. Paré (Eds.), Transitions: Writing in Academic and Workplace Settings ; pp. 167-182. Cresskill, NJ: Hampton Press.

Addams, L.H., Woodbury, D., Allred, T., & Addams, J. (2010). Developing Student Communication Skills while Assisting Nonprofit Organizations. Business Communication Quarterly, 73 (3), 282-290.

Alaimo, P.J., Bean, J.C., Langenhan, J.M., & Nichols, L. (2009). Eliminating Lab Reports: A Rhetorical Approach for Teaching the Scientific Paper in Sophomore Organic Chemistry. The WAC Journal, 20 , 17-32.

Beaufort, A. (2004). Developmental gains of a history major: A case for building a theory of disciplinary writing expertise. Research in the Teaching of English, 39 (2), 136-185.

Beaufort, A. (2000). Learning the trade: A social apprenticeship model for gaining writing expertise. Written Communication, 17 (2), 185-224.

Belfiore, M.E., Defoe, T.A., Folinsbee, S., Hunter, J., & Jackson, N.S. (2004). Reading Work: Literacies in the New Workplace. Mahwah, NJ: Lawrence Erlbaum Associates.

Blakeslee, A.M. (2001). Bridging the workplace and the academy: Teaching professional genres through classroom-workplace collaborations. Technical Communication Quarterly, 10 (2), 169-192.

Bourelle, T. (2012). Bridging the Gap between the Technical Communication Classroom and the Internship: Teaching Social Consciousness and Real-World Writing. Journal of Technical Writing and Communication, 42 (2), 183-197.

Brumberger, E.R. (2004). The "Corporate Correspondence Project": Fostering Audience Awareness and Extended Collaboration. Business Communication Quarterly, 67 (3), 349-58.

Cass, A.G., & Fernandes, C.S.T. (2008). Simulated conference submissions: A technique to improve student attitudes about writing. 2008 IEEE Frontiers in Education Conference, Vols. 1-3 ; pp. 1535-1540.   

Chamely,Wiik, D.M., Kaky, J.E., & Galin, J. (2012). From Bhopal to cold fusion: A case-study approach to writing assignments in honors general chemistry. Journal of Chemical Education, 89 (4), 502-508.

Chinn, P.W.U., & Hilgers. T.L. (2000). From corrector to collaborator: The range of instructor roles in writing-based natural and applied science classes. Journal of Research in Science Teaching, 37 (1), 3-25.

Coe, C.D. (2011). Scaffolded writing as a tool for critical thinking: Teaching beginning students how to write arguments. Teaching Philosophy, 34 (1), 33-50.

Dias, P., Freedman, A., Medway, P., & Paré. (1999). "Introduction: Researching Writing at School and at Work." Worlds Apart: Acting and Writing in Academic and Workplace Contexts; pp. 3-13. Mahwah, NJ: Lawrence Erlbaum Associates.

Dias, P., Freedman, A., Medway, P., & Paré. (1999). "Situating Writing." Worlds Apart: Acting and Writing in Academic and Workplace Contexts; pp. 17-41. Mahwah, NJ: Lawrence Erlbaum Associates.

Ding, H. (2008). The use of cognitive and social apprenticeship to teach a disciplinary genre: Initiation of graduate students into NIH grant writing. Written Communication, 25 (1), 3-52.

Fencl, H.S. (2010). Development of Students' Critical-Reasoning Skills through Content-Focused Activities in a General Education Course. Journal of College Science Teaching, 39 (5), 56-62.

Franz, A.K. (2012). Organic chemistry YouTube writing assignment for large lecture classes. Journal of Chemical Education, 89 (4), 497-501.

Freedman, A., & Adam, C. (2000). "Write where you are: Situating learning to write in university and workplace settings." In P. Dias and A. Paré (Eds.), Transitions: Writing in Academic and Workplace Settings ; pp. 31-60. Cresskill, NJ: Hampton Press.

Freedman, A., Adam, C., & Smart, G. (1994). Wearing suits to class: Simulating genres and simulations as genre. Written Communication, 11 (2), 193-226.

Greasley, P., & Cassidy, A. (2010). When it comes round to marking assignments: how to impress and how to 'distress' lecturers. Assessment & Evaluation in Higher Education, 35 (2), 173-189.

Guildford, W.H. (2001). Teaching peer review and the process of scientific writing. Advances in Physiology Education, 25 (3), 167-175.

Harding, B.A. (2005). "A simple mechanism to teach a complex practitioner knowledge set." Innovations in Engineering Education 2005 ; pp. 479-486. ASME.

Herrington, A. (1997). "Developing and responding to major writing projects ." In M.D. Sorcinelli & P. Elbow (Eds.), Writing to learn: Strategies for assigning and responding to writing across the disciplines , pp. 67-75. New directions for teaching the learning, No. 69 . San Francisco, CA: Jossey-Bass.

Hilgers, T.L., Hussey, E.L., & Stitt-Bergh, M. (1999). "As you're writing, you have these epiphanies": What college students say about writing and learning in their majors. Written Communication, 16 (3), 317-353.

Howell, P.R. (2007). "Writing to specification: An approach to teaching scientific literacy, and a prelude to writing 'The World of Materials' essays." In J.E.E. Baglin (Ed.), Proceedings of the Symposium and Forum Education in Materials Science, Engineering and Technology ; pp. 247-289.

Kiefer, K., & Leff, A. (2008). "Client-based writing about science: Immersing science students in real writing contexts." Across the Disciplines , vol. 5 .

Kreth, M.L. (2005). A Small-Scale Client Project for Business Writing Students: Developing a Guide for First-Time Home Buyers. Business Communication Quarterly, 68 (1), 52-59.

LeBigot, L., & Rouet, J.F. (2007). The impact of presentation format, task assignment, and prior knowledge on students' comprehension of multiple online documents. Journal of Literacy Research, 39 (4), 445-470.

Leydens, J., & Santi, P. (2006). Optimizing faculty use of writing as a learning tool in geoscience education. Journal of Geoscience Education , 54 (4), 491-502.

Lillig, J.W. (2008). Writing across the semester: A non-standard term paper that encourages critical data analysis in the upper-division chemistry classroom. Journal of Chemical Education, 85 (10), 1392-1394.

Lord, S.M. (2009). Integrating effective "writing to communicate" experiences in engineering courses: Guidelines and examples. International Journal of Engineering Education, 25 (1), 196-204.

MacKinnon, J. (1993). "Becoming a rhetor: Developing writing ability in a mature, writing-intensive organization." In R. Spilka (Ed.), Writing in the Workplace: New Research Perspectives ; pp. 41-55. Carbondale: Southern Illinois UP.

Martin, A.M. (2010). "Astronomy and writing: A first-year cosmology course for nonmajors." In J. Barnes, D.A. Smith, M.G. Gibbs, and J.G. Manning (Eds.), Science Education and Outreach: Forging a Path to the Future . Astronomical Society of the Pacific Conference Series, Vol. 431; pp. 368-371. Chicago: University of Chicago Press.

McDermott, M., & Kuhn, M. (2011). Using writing for alternative audiences in a college integrated science course. Journal of College Science Teaching, 41 (1), 40-45.

Mizrahi, J. (2003). Teaching technical writing to university students using the medical report. STC's 50 th Annual Conference Proceedings ; 190-193.

Moni, R.W., Hryciw, D.H., Poronnik, P., & Moni, K.B. (2007). Using explicit teaching to improve how bioscience students write to the lay public. Advances in Physiology Education, 31 (2), 167-75.

Motavalli, P.P., Patton, M.D., & Miles, R.J. (2007). Use of web-based student extension publications to improve undergraduate student writing skills. Journal of Natural Resources and Life Sciences Education, 36 : 95-102.

Mulnix, A.B. (2003). Investigations of Protein Structure and Function Using the Scientific Literature: An Assignment for an Undergraduate Cell Physiology Course. Cell Biology Education, 2 (4), 248-255.

Mulnix, J.W., & Mulnix, M.J. (2010). Using a writing portfolio project to teach critical thinking skills. Teaching Philosophy, 33 (1), 27-54.

Paretti, M.C. (2008). Teaching communication in capstone design: The role of the instructor in situated learning. Journal of Engineering Education, 97 (4), 491-503.

Planken, B., & Kreps, A.J. Raising Students' Awareness of the Implications of Multimodality for Content Design and Usability: The Web Site Project. Business Communication Quarterly, 69 (4), 421-425.

Powell, V. (2012). Revival of the Position Paper: Aligning Curricula and Professional Competencies. Communication Teacher, 26 (2), 96-103.

Schwartz, R.S., Lederman, N.G., & Crawford, B.A. (2004). Developing view of nature of science in an authentic context: An explicit approach to bridging the gap between nature of science and scientific inquiry. Science Education, 88 (4), 610-645.

Sin, S., Jones, A., & Petocz, P. (2007). Evaluating a method of integrating generic skills with accounting content based on a functional theory of meaning. Accounting and Finance, 47 (1), 143-163.

Sivey, J.D., & Lee, C.M. (2008). Using popular magazine articles to teach the art of writing for nontechnical audiences. Journal of Chemical Education, 85 (1), 55-58.

Spinuzzi, C. (2010). Secret sauce and snake oil: Writing monthly reports in a highly contingent environment. Written Communication, 27 (4), 363-409.

Stevens, B. (2005). The Car Accident: An Exercise in Persuasive Writing. Communication Teacher, 19 (2), 62-67.

Sulewski, R. (2003). Integrating communication and technical material int eh first-year engineering curriculum: The role of the laboratory. STC's 50 th Annual Conference Proceedings ; 176-178.

Wald, H.S., Davis, S.W., Reis, S.P., Monroe, A.D., & Borkan, J.M. (2009). Reflecting on reflections: Enhancement of medical education curriculum with structured field notes and guided feedback. Academic Medicine, 84 (7), 830-837.

Ward, M., Sr. (2009). Squaring the learning circle: Cross-classroom collaborations and the impact of audience on student outcomes in professional writing. Journal of Business and Technical Communication, 23 (1), 61-82.

Zlatic, T.D., Nowak, D.M., & Sylvester, D. (2000). Integrating general and professional education through a study of herbal products: An intercollegiate collaboration. American Journal of Pharmaceutical Education, 64 (1), 83-94.

Related Web Sites

WAC@NIU ( http://www.engl.niu.edu/wac/ ) has two useful items in their archives under "Ccomputer-intensive assignments" in the first Key Web Sites section of links:

• "checklist, a series of questions to help plan writing assignments"

(If the questions under rhetorical situation confuse you, call our Writing Center for a quick explanation.)

• "setting up a writing assignment"

Writing@CSU includes a much more detailed explanation of how and why to design writing assignments at http://writing.colostate.edu/guides/teaching/fys/assignmentwriting.cfm .

8 Ways to Create AI-Proof Writing Prompts

C reating 100 percent AI-proof writing prompts can often be impossible but that doesn’t mean there aren’t strategies that can limit the efficacy of AI work. These techniques can also help ensure more of the writing submitted in your classroom is human-generated. 

I started seeing a big uptick in AI-generated work submitted in my classes over the last year and that has continued. As a result, I’ve gotten much better at recognizing AI work , but I’ve also gotten better at creating writing prompts that are less AI-friendly. 

Essentially, I like to use the public health Swiss cheese analogy when thinking about AI prevention: All these strategies on their own have holes but when you layer the cheese together, you create a barrier that’s hard to get through. 

The eight strategies here may not prevent students from submitting AI work, but I find these can incentivize human writing and make sure that any work submitted via AI will not really meet the requirements of the assignment. 

1. Writing AI-Proof Prompts: Put Your Prompt Into Popular AI tools such as ChatGPT, Copilot, and Bard 

Putting your writing prompt into an AI tools will give you an immediate idea of how most AI tools will handle your prompt. If the various AI chatbots do a good, or at least adequate, job immediately, it might be wise to tweak the prompt. 

One of my classes asks students to write about a prized possession. When you put this prompt into an AI chatbot, it frequently returns an essay about a family member's finely crafted watch. Obviously, I now watch out for any essays about watches. 

2. Forbid Cliché Use

Probably the quickest and easiest way to cut back on some AI use is to come down hard on cliché use in writing assignments. AI tools are essentially cliché machines, so banning these can prevent a lot of AI use. 

Equally as important, this practice will help your students become better writers. As any good writer knows, clichés should be avoided like the plague. 

3. Incorporate Recent Events

The free version of ChatGPT only has access to events up to 2022. While there are plugins to allow it to search the internet and other internet-capable AI tools, some students won’t get further than ChatGPT. 

More importantly, in my experience, all AI tools struggle to incorporate recent events as effectively as historic ones. So connecting class material and assignments to events such as a recent State of Union speech or the Academy Awards will make any AI writing use less effective. 

4. Require Quotes

AI tools can incorporate direct quotations but most are not very good at doing so. The quotes used tend to be very short and not as well-placed within essays. 

Asking an AI tool for recent quotes also can be particularly problematic for today’s robot writers. For instance, I asked Microsoft's Copilot to summarize the recent Academy Awards using quotes, and specifically asked it to quote from Oppenheimer's director Christopher Nolan’s acceptance speech. It quoted something Nolan had previously said instead. Copilot also quoted from Wes Anderson’s acceptance speech, an obvious error since Anderson wasn’t at the awards .  

5. Make Assignments Personal

Having students reflect on material in their own lives can be a good way to prevent AI writing. In-person teachers can get to know their students well enough to know when these types of personal details are fabricated. 

I teach online but still find it easier to tell when a more personalized prompt was written by AI. For example, one student submitted a paper about how much she loved skateboarding that was so non-specific it screamed AI written. Another submitted a post about a pair of sneakers that was also clearly written by a "sole-less" AI (I could tell because of the clichés and other reasons). 

6. Make Primary or Scholarly Sources Mandatory

Requiring sources that are not easily accessible on the internet can stop AI writing in its tracks. I like to have students find historic newspapers for certain assignments. The AI tools I am familiar with can’t incorporate these. 

For instance, I asked Copilot to compare coverage of the first Academy Awards in the media to the most recent awards show and to include quotes from historic newspaper coverage. The comparison was not well done and there were no quotes from historical newspaper coverage. 

AI tools also struggle to incorporate journal articles. Encouraging your students to include these types of sources ensures the work they produce is deeper than something that can be revealed by a quick Google search, which not only makes it harder for AI to write but also can raise the overall quality.  

7. Require Interviews, Field Trips, Etc. 

Building on primary and scholarly sources, you can have your students conduct interviews or go on field trips to historic sites, museums, etc. 

AI is still, thankfully, incapable of engaging in these types of behavior. This requires too much work for every assignment but it is the most effective way to truly ensure your work is human- not computer-written. 

If you’re still worried about AI use, you can even go a step further by asking your students to include photos of them with their interview subjects or from the field trips. Yes, AI art generators are getting better as well, but remember the Swiss cheese analogy? Every layer of prevention can help. 

8. Have Students Write During Class

As I said to start, none of the methods discussed are foolproof. Many ways around these safeguards already exist and there will be more ways to bypass these in the future. So if you’re really, really worried about AI use you may want to choose what I call the “nuclear option.” If you teach in person you can require students to write essays in person. 

This approach definitely works for preventing AI and is okay for short pieces, but for longer pieces, it has a lot of downsides. I would have trouble writing a long piece in this setting and imagine many students will as well. Additionally, this requirement could create an accusatory class atmosphere that is more focused on preventing AI use than actually teaching. It’s also not practical for online teaching. 

That all being said, given how common AI writing has become in education, I understand why some teachers will turn to this method. Hopefully, suggestions 1-7 will work but if AI-generated papers are still out of hand in your classroom, this is a blunt-force method that can work temporarily. 

Good luck and may your assignments be free of AI writing! 

• 7 Ways To Detect AI Writing Without Technology
• Best Free AI Detection Sites
• My Student Was Submitting AI Papers. Here's What I Did

Crying Myself to Sleep on the Biggest Cruise Ship Ever

Seven agonizing nights aboard the Icon of the Seas

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Updated at 2:44 p.m. ET on April 6, 2024.

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MY FIRST GLIMPSE of Royal Caribbean’s Icon of the Seas, from the window of an approaching Miami cab, brings on a feeling of vertigo, nausea, amazement, and distress. I shut my eyes in defense, as my brain tells my optic nerve to try again.

The ship makes no sense, vertically or horizontally. It makes no sense on sea, or on land, or in outer space. It looks like a hodgepodge of domes and minarets, tubes and canopies, like Istanbul had it been designed by idiots. Vibrant, oversignifying colors are stacked upon other such colors, decks perched over still more decks; the only comfort is a row of lifeboats ringing its perimeter. There is no imposed order, no cogent thought, and, for those who do not harbor a totalitarian sense of gigantomania, no visual mercy. This is the biggest cruise ship ever built, and I have been tasked with witnessing its inaugural voyage.

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“Author embarks on their first cruise-ship voyage” has been a staple of American essay writing for almost three decades, beginning with David Foster Wallace’s “A Supposedly Fun Thing I’ll Never Do Again,” which was first published in 1996 under the title “Shipping Out.” Since then, many admirable writers have widened and diversified the genre. Usually the essayist commissioned to take to the sea is in their first or second flush of youth and is ready to sharpen their wit against the hull of the offending vessel. I am 51, old and tired, having seen much of the world as a former travel journalist, and mostly what I do in both life and prose is shrug while muttering to my imaginary dachshund, “This too shall pass.” But the Icon of the Seas will not countenance a shrug. The Icon of the Seas is the Linda Loman of cruise ships, exclaiming that attention must be paid. And here I am in late January with my one piece of luggage and useless gray winter jacket and passport, zipping through the Port of Miami en route to the gangway that will separate me from the bulk of North America for more than seven days, ready to pay it in full.

The aforementioned gangway opens up directly onto a thriving mall (I will soon learn it is imperiously called the “Royal Promenade”), presently filled with yapping passengers beneath a ceiling studded with balloons ready to drop. Crew members from every part of the global South, as well as a few Balkans, are shepherding us along while pressing flutes of champagne into our hands. By a humming Starbucks, I drink as many of these as I can and prepare to find my cabin. I show my blue Suite Sky SeaPass Card (more on this later, much more) to a smiling woman from the Philippines, and she tells me to go “aft.” Which is where, now? As someone who has rarely sailed on a vessel grander than the Staten Island Ferry, I am confused. It turns out that the aft is the stern of the ship, or, for those of us who don’t know what a stern or an aft are, its ass. The nose of the ship, responsible for separating the waves before it, is also called a bow, and is marked for passengers as the FWD , or forward. The part of the contemporary sailing vessel where the malls are clustered is called the midship. I trust that you have enjoyed this nautical lesson.

I ascend via elevator to my suite on Deck 11. This is where I encounter my first terrible surprise. My suite windows and balcony do not face the ocean. Instead, they look out onto another shopping mall. This mall is the one that’s called Central Park, perhaps in homage to the Olmsted-designed bit of greenery in the middle of my hometown. Although on land I would be delighted to own a suite with Central Park views, here I am deeply depressed. To sail on a ship and not wake up to a vast blue carpet of ocean? Unthinkable.

Allow me a brief preamble here. The story you are reading was commissioned at a moment when most staterooms on the Icon were sold out. In fact, so enthralled by the prospect of this voyage were hard-core mariners that the ship’s entire inventory of guest rooms (the Icon can accommodate up to 7,600 passengers, but its inaugural journey was reduced to 5,000 or so for a less crowded experience) was almost immediately sold out. Hence, this publication was faced with the shocking prospect of paying nearly $19,000 to procure for this solitary passenger an entire suite—not including drinking expenses—all for the privilege of bringing you this article. But the suite in question doesn’t even have a view of the ocean! I sit down hard on my soft bed. Nineteen thousand dollars for this .

The viewless suite does have its pluses. In addition to all the Malin+Goetz products in my dual bathrooms, I am granted use of a dedicated Suite Deck lounge; access to Coastal Kitchen, a superior restaurant for Suites passengers; complimentary VOOM SM Surf & Stream (“the fastest Internet at Sea”) “for one device per person for the whole cruise duration”; a pair of bathrobes (one of which comes prestained with what looks like a large expectoration by the greenest lizard on Earth); and use of the Grove Suite Sun, an area on Decks 18 and 19 with food and deck chairs reserved exclusively for Suite passengers. I also get reserved seating for a performance of The Wizard of Oz , an ice-skating tribute to the periodic table, and similar provocations. The very color of my Suite Sky SeaPass Card, an oceanic blue as opposed to the cloying royal purple of the standard non-Suite passenger, will soon provoke envy and admiration. But as high as my status may be, there are those on board who have much higher status still, and I will soon learn to bow before them.

In preparation for sailing, I have “priced in,” as they say on Wall Street, the possibility that I may come from a somewhat different monde than many of the other cruisers. Without falling into stereotypes or preconceptions, I prepare myself for a friendly outspokenness on the part of my fellow seafarers that may not comply with modern DEI standards. I believe in meeting people halfway, and so the day before flying down to Miami, I visited what remains of Little Italy to purchase a popular T-shirt that reads DADDY’S LITTLE MEATBALL across the breast in the colors of the Italian flag. My wife recommended that I bring one of my many T-shirts featuring Snoopy and the Peanuts gang, as all Americans love the beagle and his friends. But I naively thought that my meatball T-shirt would be more suitable for conversation-starting. “Oh, and who is your ‘daddy’?” some might ask upon seeing it. “And how long have you been his ‘little meatball’?” And so on.

I put on my meatball T-shirt and head for one of the dining rooms to get a late lunch. In the elevator, I stick out my chest for all to read the funny legend upon it, but soon I realize that despite its burnished tricolor letters, no one takes note. More to the point, no one takes note of me. Despite my attempts at bridge building, the very sight of me (small, ethnic, without a cap bearing the name of a football team) elicits no reaction from other passengers. Most often, they will small-talk over me as if I don’t exist. This brings to mind the travails of David Foster Wallace , who felt so ostracized by his fellow passengers that he retreated to his cabin for much of his voyage. And Wallace was raised primarily in the Midwest and was a much larger, more American-looking meatball than I am. If he couldn’t talk to these people, how will I? What if I leave this ship without making any friends at all, despite my T-shirt? I am a social creature, and the prospect of seven days alone and apart is saddening. Wallace’s stateroom, at least, had a view of the ocean, a kind of cheap eternity.

Worse awaits me in the dining room. This is a large, multichandeliered room where I attended my safety training (I was shown how to put on a flotation vest; it is a very simple procedure). But the maître d’ politely refuses me entry in an English that seems to verge on another language. “I’m sorry, this is only for pendejos ,” he seems to be saying. I push back politely and he repeats himself. Pendejos ? Piranhas? There’s some kind of P-word to which I am not attuned. Meanwhile elderly passengers stream right past, powered by their limbs, walkers, and electric wheelchairs. “It is only pendejo dining today, sir.” “But I have a suite!” I say, already starting to catch on to the ship’s class system. He examines my card again. “But you are not a pendejo ,” he confirms. I am wearing a DADDY’S LITTLE MEATBALL T-shirt, I want to say to him. I am the essence of pendejo .

Eventually, I give up and head to the plebeian buffet on Deck 15, which has an aquatic-styled name I have now forgotten. Before gaining entry to this endless cornucopia of reheated food, one passes a washing station of many sinks and soap dispensers, and perhaps the most intriguing character on the entire ship. He is Mr. Washy Washy—or, according to his name tag, Nielbert of the Philippines—and he is dressed as a taco (on other occasions, I’ll see him dressed as a burger). Mr. Washy Washy performs an eponymous song in spirited, indeed flamboyant English: “Washy, washy, wash your hands, WASHY WASHY!” The dangers of norovirus and COVID on a cruise ship this size (a giant fellow ship was stricken with the former right after my voyage) makes Mr. Washy Washy an essential member of the crew. The problem lies with the food at the end of Washy’s rainbow. The buffet is groaning with what sounds like sophisticated dishes—marinated octopus, boiled egg with anchovy, chorizo, lobster claws—but every animal tastes tragically the same, as if there was only one creature available at the market, a “cruisipus” bred specifically for Royal Caribbean dining. The “vegetables” are no better. I pick up a tomato slice and look right through it. It tastes like cellophane. I sit alone, apart from the couples and parents with gaggles of children, as “We Are Family” echoes across the buffet space.

I may have failed to mention that all this time, the Icon of the Seas has not left port. As the fiery mango of the subtropical setting sun makes Miami’s condo skyline even more apocalyptic, the ship shoves off beneath a perfunctory display of fireworks. After the sun sets, in the far, dark distance, another circus-lit cruise ship ruptures the waves before us. We glance at it with pity, because it is by definition a smaller ship than our own. I am on Deck 15, outside the buffet and overlooking a bunch of pools (the Icon has seven of them), drinking a frilly drink that I got from one of the bars (the Icon has 15 of them), still too shy to speak to anyone, despite Sister Sledge’s assertion that all on the ship are somehow related.

Kim Brooks: On failing the family vacation

The ship’s passage away from Ron DeSantis’s Florida provides no frisson, no sense of developing “sea legs,” as the ship is too large to register the presence of waves unless a mighty wind adds significant chop. It is time for me to register the presence of the 5,000 passengers around me, even if they refuse to register mine. My fellow travelers have prepared for this trip with personally decorated T-shirts celebrating the importance of this voyage. The simplest ones say ICON INAUGURAL ’24 on the back and the family name on the front. Others attest to an over-the-top love of cruise ships: WARNING! MAY START TALKING ABOUT CRUISING . Still others are artisanally designed and celebrate lifetimes spent married while cruising (on ships, of course). A couple possibly in their 90s are wearing shirts whose backs feature a drawing of a cruise liner, two flamingos with ostensibly male and female characteristics, and the legend “ HUSBAND AND WIFE Cruising Partners FOR LIFE WE MAY NOT HAVE IT All Together BUT TOGETHER WE HAVE IT ALL .” (The words not in all caps have been written in cursive.) A real journalist or a more intrepid conversationalist would have gone up to the couple and asked them to explain the longevity of their marriage vis-à-vis their love of cruising. But instead I head to my mall suite, take off my meatball T-shirt, and allow the first tears of the cruise to roll down my cheeks slowly enough that I briefly fall asleep amid the moisture and salt.

I WAKE UP with a hangover. Oh God. Right. I cannot believe all of that happened last night. A name floats into my cobwebbed, nauseated brain: “Ayn Rand.” Jesus Christ.

I breakfast alone at the Coastal Kitchen. The coffee tastes fine and the eggs came out of a bird. The ship rolls slightly this morning; I can feel it in my thighs and my schlong, the parts of me that are most receptive to danger.

I had a dangerous conversation last night. After the sun set and we were at least 50 miles from shore (most modern cruise ships sail at about 23 miles an hour), I lay in bed softly hiccupping, my arms stretched out exactly like Jesus on the cross, the sound of the distant waves missing from my mall-facing suite, replaced by the hum of air-conditioning and children shouting in Spanish through the vents of my two bathrooms. I decided this passivity was unacceptable. As an immigrant, I feel duty-bound to complete the tasks I am paid for, which means reaching out and trying to understand my fellow cruisers. So I put on a normal James Perse T-shirt and headed for one of the bars on the Royal Promenade—the Schooner Bar, it was called, if memory serves correctly.

I sat at the bar for a martini and two Negronis. An old man with thick, hairy forearms drank next to me, very silent and Hemingwaylike, while a dreadlocked piano player tinkled out a series of excellent Elton John covers. To my right, a young white couple—he in floral shorts, she in a light, summery miniskirt with a fearsome diamond ring, neither of them in football regalia—chatted with an elderly couple. Do it , I commanded myself. Open your mouth. Speak! Speak without being spoken to. Initiate. A sentence fragment caught my ear from the young woman, “Cherry Hill.” This is a suburb of Philadelphia in New Jersey, and I had once been there for a reading at a synagogue. “Excuse me,” I said gently to her. “Did you just mention Cherry Hill? It’s a lovely place.”

As it turned out, the couple now lived in Fort Lauderdale (the number of Floridians on the cruise surprised me, given that Southern Florida is itself a kind of cruise ship, albeit one slowly sinking), but soon they were talking with me exclusively—the man potbellied, with a chin like a hard-boiled egg; the woman as svelte as if she were one of the many Ukrainian members of the crew—the elderly couple next to them forgotten. This felt as groundbreaking as the first time I dared to address an American in his native tongue, as a child on a bus in Queens (“On my foot you are standing, Mister”).

“I don’t want to talk politics,” the man said. “But they’re going to eighty-six Biden and put Michelle in.”

I considered the contradictions of his opening conversational gambit, but decided to play along. “People like Michelle,” I said, testing the waters. The husband sneered, but the wife charitably put forward that the former first lady was “more personable” than Joe Biden. “They’re gonna eighty-six Biden,” the husband repeated. “He can’t put a sentence together.”

After I mentioned that I was a writer—though I presented myself as a writer of teleplays instead of novels and articles such as this one—the husband told me his favorite writer was Ayn Rand. “Ayn Rand, she came here with nothing,” the husband said. “I work with a lot of Cubans, so …” I wondered if I should mention what I usually do to ingratiate myself with Republicans or libertarians: the fact that my finances improved after pass-through corporations were taxed differently under Donald Trump. Instead, I ordered another drink and the couple did the same, and I told him that Rand and I were born in the same city, St. Petersburg/Leningrad, and that my family also came here with nothing. Now the bonding and drinking began in earnest, and several more rounds appeared. Until it all fell apart.

Read: Gary Shteyngart on watching Russian television for five days straight

My new friend, whom I will refer to as Ayn, called out to a buddy of his across the bar, and suddenly a young couple, both covered in tattoos, appeared next to us. “He fucking punked me,” Ayn’s frat-boy-like friend called out as he put his arm around Ayn, while his sizable partner sizzled up to Mrs. Rand. Both of them had a look I have never seen on land—their eyes projecting absence and enmity in equal measure. In the ’90s, I drank with Russian soldiers fresh from Chechnya and wandered the streets of wartime Zagreb, but I have never seen such undisguised hostility toward both me and perhaps the universe at large. I was briefly introduced to this psychopathic pair, but neither of them wanted to have anything to do with me, and the tattooed woman would not even reveal her Christian name to me (she pretended to have the same first name as Mrs. Rand). To impress his tattooed friends, Ayn made fun of the fact that as a television writer, I’d worked on the series Succession (which, it would turn out, practically nobody on the ship had watched), instead of the far more palatable, in his eyes, zombie drama of last year. And then my new friends drifted away from me into an angry private conversation—“He punked me!”—as I ordered another drink for myself, scared of the dead-eyed arrivals whose gaze never registered in the dim wattage of the Schooner Bar, whose terrifying voices and hollow laughs grated like unoiled gears against the crooning of “Goodbye Yellow Brick Road.”

But today is a new day for me and my hangover. After breakfast, I explore the ship’s so-called neighborhoods . There’s the AquaDome, where one can find a food hall and an acrobatic sound-and-light aquatic show. Central Park has a premium steak house, a sushi joint, and a used Rolex that can be bought for $8,000 on land here proudly offered at $17,000. There’s the aforementioned Royal Promenade, where I had drunk with the Rands, and where a pair of dueling pianos duel well into the night. There’s Surfside, a kids’ neighborhood full of sugary garbage, which looks out onto the frothy trail that the behemoth leaves behind itself. Thrill Island refers to the collection of tubes that clutter the ass of the ship and offer passengers six waterslides and a surfing simulation. There’s the Hideaway, an adult zone that plays music from a vomit-slathered, Brit-filled Alicante nightclub circa 1996 and proves a big favorite with groups of young Latin American customers. And, most hurtfully, there’s the Suite Neighborhood.

I say hurtfully because as a Suite passenger I should be here, though my particular suite is far from the others. Whereas I am stuck amid the riffraff of Deck 11, this section is on the highborn Decks 16 and 17, and in passing, I peek into the spacious, tall-ceilinged staterooms from the hallway, dazzled by the glint of the waves and sun. For $75,000, one multifloor suite even comes with its own slide between floors, so that a family may enjoy this particular terror in private. There is a quiet splendor to the Suite Neighborhood. I see fewer stickers and signs and drawings than in my own neighborhood—for example, MIKE AND DIANA PROUDLY SERVED U.S. MARINE CORPS RETIRED . No one here needs to announce their branch of service or rank; they are simply Suites, and this is where they belong. Once again, despite my hard work and perseverance, I have been disallowed from the true American elite. Once again, I am “Not our class, dear.” I am reminded of watching The Love Boat on my grandmother’s Zenith, which either was given to her or we found in the trash (I get our many malfunctioning Zeniths confused) and whose tube got so hot, I would put little chunks of government cheese on a thin tissue atop it to give our welfare treat a pleasant, Reagan-era gooeyness. I could not understand English well enough then to catch the nuances of that seafaring program, but I knew that there were differences in the status of the passengers, and that sometimes those differences made them sad. Still, this ship, this plenty—every few steps, there are complimentary nachos or milkshakes or gyros on offer—was the fatty fuel of my childhood dreams. If only I had remained a child.

I walk around the outdoor decks looking for company. There is a middle-aged African American couple who always seem to be asleep in each other’s arms, probably exhausted from the late capitalism they regularly encounter on land. There is far more diversity on this ship than I expected. Many couples are a testament to Loving v. Virginia , and there is a large group of folks whose T-shirts read MELANIN AT SEA / IT’S THE MELANIN FOR ME . I smile when I see them, but then some young kids from the group makes Mr. Washy Washy do a cruel, caricatured “Burger Dance” (today he is in his burger getup), and I think, Well, so much for intersectionality .

At the infinity pool on Deck 17, I spot some elderly women who could be ethnic and from my part of the world, and so I jump in. I am proved correct! Many of them seem to be originally from Queens (“Corona was still great when it was all Italian”), though they are now spread across the tristate area. We bond over the way “Ron-kon-koma” sounds when announced in Penn Station.

“Everyone is here for a different reason,” one of them tells me. She and her ex-husband last sailed together four years ago to prove to themselves that their marriage was truly over. Her 15-year-old son lost his virginity to “an Irish young lady” while their ship was moored in Ravenna, Italy. The gaggle of old-timers competes to tell me their favorite cruising stories and tips. “A guy proposed in Central Park a couple of years ago”—many Royal Caribbean ships apparently have this ridiculous communal area—“and she ran away screaming!” “If you’re diamond-class, you get four drinks for free.” “A different kind of passenger sails out of Bayonne.” (This, perhaps, is racially coded.) “Sometimes, if you tip the bartender $5, your next drink will be free.”

“Everyone’s here for a different reason,” the woman whose marriage ended on a cruise tells me again. “Some people are here for bad reasons—the drinkers and the gamblers. Some people are here for medical reasons.” I have seen more than a few oxygen tanks and at least one woman clearly undergoing very serious chemo. Some T-shirts celebrate good news about a cancer diagnosis. This might be someone’s last cruise or week on Earth. For these women, who have spent months, if not years, at sea, cruising is a ritual as well as a life cycle: first love, last love, marriage, divorce, death.

Read: The last place on Earth any tourist should go

I have talked with these women for so long, tonight I promise myself that after a sad solitary dinner I will not try to seek out company at the bars in the mall or the adult-themed Hideaway. I have enough material to fulfill my duties to this publication. As I approach my orphaned suite, I run into the aggro young people who stole Mr. and Mrs. Rand away from me the night before. The tattooed apparitions pass me without a glance. She is singing something violent about “Stuttering Stanley” (a character in a popular horror movie, as I discover with my complimentary VOOM SM Surf & Stream Internet at Sea) and he’s loudly shouting about “all the money I’ve lost,” presumably at the casino in the bowels of the ship.

So these bent psychos out of a Cormac McCarthy novel are angrily inhabiting my deck. As I mewl myself to sleep, I envision a limited series for HBO or some other streamer, a kind of low-rent White Lotus , where several aggressive couples conspire to throw a shy intellectual interloper overboard. I type the scenario into my phone. As I fall asleep, I think of what the woman who recently divorced her husband and whose son became a man through the good offices of the Irish Republic told me while I was hoisting myself out of the infinity pool. “I’m here because I’m an explorer. I’m here because I’m trying something new.” What if I allowed myself to believe in her fantasy?

“YOU REALLY STARTED AT THE TOP,” they tell me. I’m at the Coastal Kitchen for my eggs and corned-beef hash, and the maître d’ has slotted me in between two couples. Fueled by coffee or perhaps intrigued by my relative youth, they strike up a conversation with me. As always, people are shocked that this is my first cruise. They contrast the Icon favorably with all the preceding liners in the Royal Caribbean fleet, usually commenting on the efficiency of the elevators that hurl us from deck to deck (as in many large corporate buildings, the elevators ask you to choose a floor and then direct you to one of many lifts). The couple to my right, from Palo Alto—he refers to his “porn mustache” and calls his wife “my cougar” because she is two years older—tell me they are “Pandemic Pinnacles.”

This is the day that my eyes will be opened. Pinnacles , it is explained to me over translucent cantaloupe, have sailed with Royal Caribbean for 700 ungodly nights. Pandemic Pinnacles took advantage of the two-for-one accrual rate of Pinnacle points during the pandemic, when sailing on a cruise ship was even more ill-advised, to catapult themselves into Pinnacle status.

Because of the importance of the inaugural voyage of the world’s largest cruise liner, more than 200 Pinnacles are on this ship, a startling number, it seems. Mrs. Palo Alto takes out a golden badge that I have seen affixed over many a breast, which reads CROWN AND ANCHOR SOCIETY along with her name. This is the coveted badge of the Pinnacle. “You should hear all the whining in Guest Services,” her husband tells me. Apparently, the Pinnacles who are not also Suites like us are all trying to use their status to get into Coastal Kitchen, our elite restaurant. Even a Pinnacle needs to be a Suite to access this level of corned-beef hash.

“We’re just baby Pinnacles,” Mrs. Palo Alto tells me, describing a kind of internal class struggle among the Pinnacle elite for ever higher status.

And now I understand what the maître d’ was saying to me on the first day of my cruise. He wasn’t saying “ pendejo .” He was saying “Pinnacle.” The dining room was for Pinnacles only, all those older people rolling in like the tide on their motorized scooters.

And now I understand something else: This whole thing is a cult. And like most cults, it can’t help but mirror the endless American fight for status. Like Keith Raniere’s NXIVM, where different-colored sashes were given out to connote rank among Raniere’s branded acolytes, this is an endless competition among Pinnacles, Suites, Diamond-Plusers, and facing-the-mall, no-balcony purple SeaPass Card peasants, not to mention the many distinctions within each category. The more you cruise, the higher your status. No wonder a section of the Royal Promenade is devoted to getting passengers to book their next cruise during the one they should be enjoying now. No wonder desperate Royal Caribbean offers (“FINAL HOURS”) crowded my email account weeks before I set sail. No wonder the ship’s jewelry store, the Royal Bling, is selling a $100,000 golden chalice that will entitle its owner to drink free on Royal Caribbean cruises for life. (One passenger was already gaming out whether her 28-year-old son was young enough to “just about earn out” on the chalice or if that ship had sailed.) No wonder this ship was sold out months before departure , and we had to pay $19,000 for a horrid suite away from the Suite Neighborhood. No wonder the most mythical hero of Royal Caribbean lore is someone named Super Mario, who has cruised so often, he now has his own working desk on many ships. This whole experience is part cult, part nautical pyramid scheme.

From the June 2014 issue: Ship of wonks

“The toilets are amazing,” the Palo Altos are telling me. “One flush and you’re done.” “They don’t understand how energy-efficient these ships are,” the husband of the other couple is telling me. “They got the LNG”—liquefied natural gas, which is supposed to make the Icon a boon to the environment (a concept widely disputed and sometimes ridiculed by environmentalists).

But I’m thinking along a different line of attack as I spear my last pallid slice of melon. For my streaming limited series, a Pinnacle would have to get killed by either an outright peasant or a Suite without an ocean view. I tell my breakfast companions my idea.

“Oh, for sure a Pinnacle would have to be killed,” Mr. Palo Alto, the Pandemic Pinnacle, says, touching his porn mustache thoughtfully as his wife nods.

“THAT’S RIGHT, IT’S your time, buddy!” Hubert, my fun-loving Panamanian cabin attendant, shouts as I step out of my suite in a robe. “Take it easy, buddy!”

I have come up with a new dressing strategy. Instead of trying to impress with my choice of T-shirts, I have decided to start wearing a robe, as one does at a resort property on land, with a proper spa and hammam. The response among my fellow cruisers has been ecstatic. “Look at you in the robe!” Mr. Rand cries out as we pass each other by the Thrill Island aqua park. “You’re living the cruise life! You know, you really drank me under the table that night.” I laugh as we part ways, but my soul cries out, Please spend more time with me, Mr. and Mrs. Rand; I so need the company .

In my white robe, I am a stately presence, a refugee from a better limited series, a one-man crossover episode. (Only Suites are granted these robes to begin with.) Today, I will try many of the activities these ships have on offer to provide their clientele with a sense of never-ceasing motion. Because I am already at Thrill Island, I decide to climb the staircase to what looks like a mast on an old-fashioned ship (terrified, because I am afraid of heights) to try a ride called “Storm Chasers,” which is part of the “Category 6” water park, named in honor of one of the storms that may someday do away with the Port of Miami entirely. Storm Chasers consists of falling from the “mast” down a long, twisting neon tube filled with water, like being the camera inside your own colonoscopy, as you hold on to the handles of a mat, hoping not to die. The tube then flops you down headfirst into a trough of water, a Royal Caribbean baptism. It both knocks my breath out and makes me sad.

In keeping with the aquatic theme, I attend a show at the AquaDome. To the sound of “Live and Let Die,” a man in a harness gyrates to and fro in the sultry air. I saw something very similar in the back rooms of the famed Berghain club in early-aughts Berlin. Soon another harnessed man is gyrating next to the first. Ja , I think to myself, I know how this ends. Now will come the fisting , natürlich . But the show soon devolves into the usual Marvel-film-grade nonsense, with too much light and sound signifying nichts . If any fisting is happening, it is probably in the Suite Neighborhood, inside a cabin marked with an upside-down pineapple, which I understand means a couple are ready to swing, and I will see none of it.

I go to the ice show, which is a kind of homage—if that’s possible—to the periodic table, done with the style and pomp and masterful precision that would please the likes of Kim Jong Un, if only he could afford Royal Caribbean talent. At one point, the dancers skate to the theme song of Succession . “See that!” I want to say to my fellow Suites—at “cultural” events, we have a special section reserved for us away from the commoners—“ Succession ! It’s even better than the zombie show! Open your minds!”

Finally, I visit a comedy revue in an enormous and too brightly lit version of an “intimate,” per Royal Caribbean literature, “Manhattan comedy club.” Many of the jokes are about the cruising life. “I’ve lived on ships for 20 years,” one of the middle-aged comedians says. “I can only see so many Filipino homosexuals dressed as a taco.” He pauses while the audience laughs. “I am so fired tonight,” he says. He segues into a Trump impression and then Biden falling asleep at the microphone, which gets the most laughs. “Anyone here from Fort Leonard Wood?” another comedian asks. Half the crowd seems to cheer. As I fall asleep that night, I realize another connection I have failed to make, and one that may explain some of the diversity on this vessel—many of its passengers have served in the military.

As a coddled passenger with a suite, I feel like I am starting to understand what it means to have a rank and be constantly reminded of it. There are many espresso makers , I think as I look across the expanse of my officer-grade quarters before closing my eyes, but this one is mine .

A shocking sight greets me beyond the pools of Deck 17 as I saunter over to the Coastal Kitchen for my morning intake of slightly sour Americanos. A tiny city beneath a series of perfectly pressed green mountains. Land! We have docked for a brief respite in Basseterre, the capital of St. Kitts and Nevis. I wolf down my egg scramble to be one of the first passengers off the ship. Once past the gangway, I barely refrain from kissing the ground. I rush into the sights and sounds of this scruffy island city, sampling incredible conch curry and buckets of non-Starbucks coffee. How wonderful it is to be where God intended humans to be: on land. After all, I am neither a fish nor a mall rat. This is my natural environment. Basseterre may not be Havana, but there are signs of human ingenuity and desire everywhere you look. The Black Table Grill Has been Relocated to Soho Village, Market Street, Directly Behind of, Gary’s Fruits and Flower Shop. Signed. THE PORK MAN reads a sign stuck to a wall. Now, that is how you write a sign. A real sign, not the come-ons for overpriced Rolexes that blink across the screens of the Royal Promenade.

“Hey, tie your shoestring!” a pair of laughing ladies shout to me across the street.

“Thank you!” I shout back. Shoestring! “Thank you very much.”

A man in Independence Square Park comes by and asks if I want to play with his monkey. I haven’t heard that pickup line since the Penn Station of the 1980s. But then he pulls a real monkey out of a bag. The monkey is wearing a diaper and looks insane. Wonderful , I think, just wonderful! There is so much life here. I email my editor asking if I can remain on St. Kitts and allow the Icon to sail off into the horizon without me. I have even priced a flight home at less than $300, and I have enough material from the first four days on the cruise to write the entire story. “It would be funny …” my editor replies. “Now get on the boat.”

As I slink back to the ship after my brief jailbreak, the locals stand under umbrellas to gaze at and photograph the boat that towers over their small capital city. The limousines of the prime minister and his lackeys are parked beside the gangway. St. Kitts, I’ve been told, is one of the few islands that would allow a ship of this size to dock.

“We hear about all the waterslides,” a sweet young server in one of the cafés told me. “We wish we could go on the ship, but we have to work.”

“I want to stay on your island,” I replied. “I love it here.”

But she didn’t understand how I could possibly mean that.

“WASHY, WASHY, so you don’t get stinky, stinky!” kids are singing outside the AquaDome, while their adult minders look on in disapproval, perhaps worried that Mr. Washy Washy is grooming them into a life of gayness. I heard a southern couple skip the buffet entirely out of fear of Mr. Washy Washy.

Meanwhile, I have found a new watering hole for myself, the Swim & Tonic, the biggest swim-up bar on any cruise ship in the world. Drinking next to full-size, nearly naked Americans takes away one’s own self-consciousness. The men have curvaceous mom bodies. The women are equally un-shy about their sprawling physiques.

Today I’ve befriended a bald man with many children who tells me that all of the little trinkets that Royal Caribbean has left us in our staterooms and suites are worth a fortune on eBay. “Eighty dollars for the water bottle, 60 for the lanyard,” the man says. “This is a cult.”

“Tell me about it,” I say. There is, however, a clientele for whom this cruise makes perfect sense. For a large middle-class family (he works in “supply chains”), seven days in a lower-tier cabin—which starts at $1,800 a person—allow the parents to drop off their children in Surfside, where I imagine many young Filipina crew members will take care of them, while the parents are free to get drunk at a swim-up bar and maybe even get intimate in their cabin. Cruise ships have become, for a certain kind of hardworking family, a form of subsidized child care.

There is another man I would like to befriend at the Swim & Tonic, a tall, bald fellow who is perpetually inebriated and who wears a necklace studded with little rubber duckies in sunglasses, which, I am told, is a sort of secret handshake for cruise aficionados. Tomorrow, I will spend more time with him, but first the ship docks at St. Thomas, in the U.S. Virgin Islands. Charlotte Amalie, the capital, is more charming in name than in presence, but I still all but jump off the ship to score a juicy oxtail and plantains at the well-known Petite Pump Room, overlooking the harbor. From one of the highest points in the small city, the Icon of the Seas appears bigger than the surrounding hills.

I usually tan very evenly, but something about the discombobulation of life at sea makes me forget the regular application of sunscreen. As I walk down the streets of Charlotte Amalie in my fluorescent Icon of the Seas cap, an old Rastafarian stares me down. “Redneck,” he hisses.

“No,” I want to tell him, as I bring a hand up to my red neck, “that’s not who I am at all. On my island, Mannahatta, as Whitman would have it, I am an interesting person living within an engaging artistic milieu. I do not wish to use the Caribbean as a dumping ground for the cruise-ship industry. I love the work of Derek Walcott. You don’t understand. I am not a redneck. And if I am, they did this to me.” They meaning Royal Caribbean? Its passengers? The Rands?

“They did this to me!”

Back on the Icon, some older matrons are muttering about a run-in with passengers from the Celebrity cruise ship docked next to us, the Celebrity Apex. Although Celebrity Cruises is also owned by Royal Caribbean, I am made to understand that there is a deep fratricidal beef between passengers of the two lines. “We met a woman from the Apex,” one matron says, “and she says it was a small ship and there was nothing to do. Her face was as tight as a 19-year-old’s, she had so much surgery.” With those words, and beneath a cloudy sky, humidity shrouding our weathered faces and red necks, we set sail once again, hopefully in the direction of home.

THERE ARE BARELY 48 HOURS LEFT to the cruise, and the Icon of the Seas’ passengers are salty. They know how to work the elevators. They know the Washy Washy song by heart. They understand that the chicken gyro at “Feta Mediterranean,” in the AquaDome Market, is the least problematic form of chicken on the ship.

The passengers have shed their INAUGURAL CRUISE T-shirts and are now starting to evince political opinions. There are caps pledging to make America great again and T-shirts that celebrate words sometimes attributed to Patrick Henry: “The Constitution is not an instrument for the government to restrain the people; it is an instrument for the people to restrain the government.” With their preponderance of FAMILY FLAG FAITH FRIENDS FIREARMS T-shirts, the tables by the crepe station sometimes resemble the Capitol Rotunda on January 6. The Real Anthony Fauci , by Robert F. Kennedy Jr., appears to be a popular form of literature, especially among young men with very complicated versions of the American flag on their T-shirts. Other opinions blend the personal and the political. “Someone needs to kill Washy guy, right?” a well-dressed man in the elevator tells me, his gray eyes radiating nothing. “Just beat him to death. Am I right?” I overhear the male member of a young couple whisper, “There goes that freak” as I saunter by in my white spa robe, and I decide to retire it for the rest of the cruise.

I visit the Royal Bling to see up close the $100,000 golden chalice that entitles you to free drinks on Royal Caribbean forever. The pleasant Serbian saleslady explains that the chalice is actually gold-plated and covered in white zirconia instead of diamonds, as it would otherwise cost $1 million. “If you already have everything,” she explains, “this is one more thing you can get.”

I believe that anyone who works for Royal Caribbean should be entitled to immediate American citizenship. They already speak English better than most of the passengers and, per the Serbian lady’s sales pitch above, better understand what America is as well. Crew members like my Panamanian cabin attendant seem to work 24 hours a day. A waiter from New Delhi tells me that his contract is six months and three weeks long. After a cruise ends, he says, “in a few hours, we start again for the next cruise.” At the end of the half a year at sea, he is allowed a two-to-three-month stay at home with his family. As of 2019, the median income for crew members was somewhere in the vicinity of $20,000, according to a major business publication. Royal Caribbean would not share the current median salary for its crew members, but I am certain that it amounts to a fraction of the cost of a Royal Bling gold-plated, zirconia-studded chalice.

And because most of the Icon’s hyper-sanitized spaces are just a frittata away from being a Delta lounge, one forgets that there are actual sailors on this ship, charged with the herculean task of docking it in port. “Having driven 100,000-ton aircraft carriers throughout my career,” retired Admiral James G. Stavridis, the former NATO Supreme Allied Commander Europe, writes to me, “I’m not sure I would even know where to begin with trying to control a sea monster like this one nearly three times the size.” (I first met Stavridis while touring Army bases in Germany more than a decade ago.)

Today, I decide to head to the hot tub near Swim & Tonic, where some of the ship’s drunkest reprobates seem to gather (the other tubs are filled with families and couples). The talk here, like everywhere else on the ship, concerns football, a sport about which I know nothing. It is apparent that four teams have recently competed in some kind of finals for the year, and that two of them will now face off in the championship. Often when people on the Icon speak, I will try to repeat the last thing they said with a laugh or a nod of disbelief. “Yes, 20-yard line! Ha!” “Oh my God, of course, scrimmage.”

Soon we are joined in the hot tub by the late-middle-age drunk guy with the duck necklace. He is wearing a bucket hat with the legend HAWKEYES , which, I soon gather, is yet another football team. “All right, who turned me in?” Duck Necklace says as he plops into the tub beside us. “I get a call in the morning,” he says. “It’s security. Can you come down to the dining room by 10 a.m.? You need to stay away from the members of this religious family.” Apparently, the gregarious Duck Necklace had photobombed the wrong people. There are several families who present as evangelical Christians or practicing Muslims on the ship. One man, evidently, was not happy that Duck Necklace had made contact with his relatives. “It’s because of religious stuff; he was offended. I put my arm around 20 people a day.”

Everyone laughs. “They asked me three times if I needed medication,” he says of the security people who apparently interrogated him in full view of others having breakfast.

Another hot-tub denizen suggests that he should have asked for fentanyl. After a few more drinks, Duck Necklace begins to muse about what it would be like to fall off the ship. “I’m 62 and I’m ready to go,” he says. “I just don’t want a shark to eat me. I’m a huge God guy. I’m a Bible guy. There’s some Mayan theory squaring science stuff with religion. There is so much more to life on Earth.” We all nod into our Red Stripes.

“I never get off the ship when we dock,” he says. He tells us he lost $6,000 in the casino the other day. Later, I look him up, and it appears that on land, he’s a financial adviser in a crisp gray suit, probably a pillar of his North Chicago community.

THE OCEAN IS TEEMING with fascinating life, but on the surface it has little to teach us. The waves come and go. The horizon remains ever far away.

I am constantly told by my fellow passengers that “everybody here has a story.” Yes, I want to reply, but everybody everywhere has a story. You, the reader of this essay, have a story, and yet you’re not inclined to jump on a cruise ship and, like Duck Necklace, tell your story to others at great pitch and volume. Maybe what they’re saying is that everybody on this ship wants to have a bigger, more coherent, more interesting story than the one they’ve been given. Maybe that’s why there’s so much signage on the doors around me attesting to marriages spent on the sea. Maybe that’s why the Royal Caribbean newsletter slipped under my door tells me that “this isn’t a vacation day spent—it’s bragging rights earned.” Maybe that’s why I’m so lonely.

Today is a big day for Icon passengers. Today the ship docks at Royal Caribbean’s own Bahamian island, the Perfect Day at CocoCay. (This appears to be the actual name of the island.) A comedian at the nightclub opined on what his perfect day at CocoCay would look like—receiving oral sex while learning that his ex-wife had been killed in a car crash (big laughter). But the reality of the island is far less humorous than that.

One of the ethnic tristate ladies in the infinity pool told me that she loved CocoCay because it had exactly the same things that could be found on the ship itself. This proves to be correct. It is like the Icon, but with sand. The same tired burgers, the same colorful tubes conveying children and water from Point A to B. The same swim-up bar at its Hideaway ($140 for admittance, no children allowed; Royal Caribbean must be printing money off its clientele). “There was almost a fight at The Wizard of Oz ,” I overhear an elderly woman tell her companion on a chaise lounge. Apparently one of the passengers began recording Royal Caribbean’s intellectual property and “three guys came after him.”

I walk down a pathway to the center of the island, where a sign reads DO NOT ENTER: YOU HAVE REACHED THE BOUNDARY OF ADVENTURE . I hear an animal scampering in the bushes. A Royal Caribbean worker in an enormous golf cart soon chases me down and takes me back to the Hideaway, where I run into Mrs. Rand in a bikini. She becomes livid telling me about an altercation she had the other day with a woman over a towel and a deck chair. We Suites have special towel privileges; we do not have to hand over our SeaPass Card to score a towel. But the Rands are not Suites. “People are so entitled here,” Mrs. Rand says. “It’s like the airport with all its classes.” “You see,” I want to say, “this is where your husband’s love of Ayn Rand runs into the cruelties and arbitrary indignities of unbridled capitalism.” Instead we make plans to meet for a final drink in the Schooner Bar tonight (the Rands will stand me up).

Back on the ship, I try to do laps, but the pool (the largest on any cruise ship, naturally) is fully trashed with the detritus of American life: candy wrappers, a slowly dissolving tortilla chip, napkins. I take an extra-long shower in my suite, then walk around the perimeter of the ship on a kind of exercise track, past all the alluring lifeboats in their yellow-and-white livery. Maybe there is a dystopian angle to the HBO series that I will surely end up pitching, one with shades of WALL-E or Snowpiercer . In a collapsed world, a Royal Caribbean–like cruise liner sails from port to port, collecting new shipmates and supplies in exchange for the precious energy it has on board. (The actual Icon features a new technology that converts passengers’ poop into enough energy to power the waterslides . In the series, this shitty technology would be greatly expanded.) A very young woman (18? 19?), smart and lonely, who has only known life on the ship, walks along the same track as I do now, contemplating jumping off into the surf left by its wake. I picture reusing Duck Necklace’s words in the opening shot of the pilot. The girl is walking around the track, her eyes on the horizon; maybe she’s highborn—a Suite—and we hear the voice-over: “I’m 19 and I’m ready to go. I just don’t want a shark to eat me.”

Before the cruise is finished, I talk to Mr. Washy Washy, or Nielbert of the Philippines. He is a sweet, gentle man, and I thank him for the earworm of a song he has given me and for keeping us safe from the dreaded norovirus. “This is very important to me, getting people to wash their hands,” he tells me in his burger getup. He has dreams, as an artist and a performer, but they are limited in scope. One day he wants to dress up as a piece of bacon for the morning shift.

THE MAIDEN VOYAGE OF THE TITANIC (the Icon of the Seas is five times as large as that doomed vessel) at least offered its passengers an exciting ending to their cruise, but when I wake up on the eighth day, all I see are the gray ghosts that populate Miami’s condo skyline. Throughout my voyage, my writer friends wrote in to commiserate with me. Sloane Crosley, who once covered a three-day spa mini-cruise for Vogue , tells me she felt “so very alone … I found it very untethering.” Gideon Lewis-Kraus writes in an Instagram comment: “When Gary is done I think it’s time this genre was taken out back and shot.” And he is right. To badly paraphrase Adorno: After this, no more cruise stories. It is unfair to put a thinking person on a cruise ship. Writers typically have difficult childhoods, and it is cruel to remind them of the inherent loneliness that drove them to writing in the first place. It is also unseemly to write about the kind of people who go on cruises. Our country does not provide the education and upbringing that allow its citizens an interior life. For the creative class to point fingers at the large, breasty gentlemen adrift in tortilla-chip-laden pools of water is to gather a sour harvest of low-hanging fruit.

A day or two before I got off the ship, I decided to make use of my balcony, which I had avoided because I thought the view would only depress me further. What I found shocked me. My suite did not look out on Central Park after all. This entire time, I had been living in the ship’s Disneyland, Surfside, the neighborhood full of screaming toddlers consuming milkshakes and candy. And as I leaned out over my balcony, I beheld a slight vista of the sea and surf that I thought I had been missing. It had been there all along. The sea was frothy and infinite and blue-green beneath the span of a seagull’s wing. And though it had been trod hard by the world’s largest cruise ship, it remained.

This article appears in the May 2024 print edition with the headline “A Meatball at Sea.” When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic.

Do assignments ever require locking?

I recently came across some code where the author applies locks around “simple” assignments, in a multithreaded program:

I.e. the lock merely protects reading and writing the member variable.

Is there any situation, maybe in pypy or some other non-CPython implementation of Python, where the above code might be required to avoid a race condition?

The author of the code in question doesn’t want to remove the lock because they think it might be necessary on Jython or pypy or a future no-GIL CPython or [unknown].

My take is that assignments are atomic by definition, no matter the underlying Python implementation, and the lock is unnecessary overhead and impedes the code’s readability.

Who is correct?

I’d agree with you for reading a primitive.

In the code example, without the lock multiple threads could write to that method variable. And presumably it’s not about reading that method variable (like a primitive). It’s called call_back so the intention is to call it. This could do anything to other state on obj, and require other expensive or shared resources.

So the author could well have had good reason. If nothing’s broken, I would not mess around with it just to improve code quality.

My understanding is that assignments are not by definition atomic - that they are only atomic for simple assignments (using immutable objects like small integers or using built-in data types). Assignments for mutable types/complex objects correspond to multiple byte code instructions. My understanding that a thread switch can occur between any two byte code instructions.

I tried to find a good reference in the official Python docs. Best I could find was this: What kind of global mutation are thread-safe? which is rather fuzzy.

I’m not sure, but I’m tempted to think the sample code does require locking (if thread-safety is a goal). The lock on the read could in some cases also be required, I think. Perhaps not in this example (I dont know), what if you have a longer block of code where the function would be called multiple times and you want to ensure consistency? Also, ‘some_callback’ itself would make me nervous, since it can be anything – for instance a C-level call that itself releases the GIL; it could by itself be thread-safe, but once it releases the GIL anyone is free to modify the parent object.

Unfortunately, without being completely sure what the object is, we can’t actually say. If some_callback is actually a property, it could do anything (as it’s effectively a method call in disguise). Personally I would consider this to be bad style (if it’s a property and it absolutely needs atomicity, it should do the locking inside the property function instead), but it’s legal.

But my gut feeling is that this is cargo cult programming. Having run into threading problems and solved them with locks, the author threw them into more places. It’s really hard to be completely sure, though.

Let’s assume that obj.some_callback is not a property; if it was it could lock itself internally. Likewise if there was an issue with the callback getting run from two threads then it could use an internal lock if it needed to.

My question thus boils down to this: Can “thread A updates an attribute while thread B reads it” result in any other outcome than “thread B reads either the old or the new value of the attribute” plus “there are no related consistency problems” (like broken reference counters)? Or, more to the point, does the specification of Python-the-language, as far as such specification exists, guarantee that anywhere?

No, there is no such formal python specification. However, by default CPython’s behavior is then what should be expected from all implementations, which in this case clearly says “no, pure python code should never be able to result in broken (e.g. wrong ref count) objects”

Starting with the last question: We’re currently (as of 2024) actually seeing quite a bit of specification needing to be written. Aspects that had previously not required any sort of documentation are now going to become important. Free threading is revealing that there are definitely some aspects of Python-the-language that have never actually been promised, and CPython implementation details are what we all go on. So, take all of what I say, and all of what everyone else in this thread says, with the proviso that more things may be specified in the future. I would generally assume that any new specs will be compatible with existing behaviour, though, so anything that IS specified should remain valid.

So. Let’s figure out exactly what happens when you mutate an object’s aftribute. As mentioned, properties and such can get in the way, but I’m going to assume the most simple and straight-forward behaviour there is: The object’s dictionary gets updated.

So your question comes down to two things:

• Can thread A and thread B see two distinct dictionaries?
• If one thread is changing a dictionary, will another thread see problems?

I’ll start by excluding a number of behaviours which, if they were to occur, would definitely be called interpreter bugs:

• A “half-and-half” pointer error. On some CPU architectures, a pointer (such as a Python object reference) can’t be written in one go, so you have to write one half, then the other half. So you could read the first half of the new value paired with the second half of the old value, which would give you a nonsense pointer. This would be bad, very very bad; but it would also be one of the most obvious problems to look for. I think we can rule this one out on the basis that the exact same problem will show up in practically everything, and so it will NEED to be solved. (Which is quite easy on those CPU architectures that can write an entire pointer atomically.)
• A broken reference count. This one’s specific to reference counting, obviously, and one way to prevent it is to go for a different style of garbage collection (Python doesn’t mandate refcounting). But, again, if refcounting is a thing, broken refcounts are a critical failure, so this one will be dealt with.
• A failure within the dictionary itself. For example, thread A might be trying to add a new attribute, which causes the dictionary to enlarge itself. This would be a more insidious bug as it’s not going to trigger nearly as frequently as the other types, but since dictionaries are so important in Python, I would trust that people smarter than I will have already looked into this and made sure it won’t be a problem. (Which, again, might be quite simple if there’s a way to leave the old dictionary contents visible to other threads while the new hash table is being constructed.)

In general, anything that would outright segfault the interpreter should be considered a bug. [1] Bugs definitely do happen, but the more common the situation, the more likely that it’ll be discovered early. Core data types like dictionaries, lists, strings, etc should be safe from these kinds of critical failures.

That’s not to say there can’t be other sorts of errors, and a simple x += 1 could well produce strange results, but at very very least, it won’t result in a memory leak or a half-and-half pointer or anything like that.

Unless you’re using ctypes - in which case, have fun, there’s endless crashes waiting for you! ↩︎

The GIL ensures that python will be able to execute its byte code ops atomically. The lock is pointless, unless its a property. As Chris suggest may be cargo-culted.

If there was a read-modify-write pattern then a lock is mandatory for correctness.

If 2 threads read the some_callback then there is nothing to stop the callback being invoken by both threads. Which may, or may not, be intended. More of the design would need be explained.

(This is a decent approximation, but there are exceptions. The GIL isn’t held for “one bytecode operation”; but you can certainly assume that the GIL could be released between any two operations as listed in dis.dis() .)

Umm, well, there are Python versions without a GIL today, not to mention the current work to remove it entirely, long-term.

There will need to be an equivalent guarantee spelled out that we can reason about for multi-threaded code for the free-threading python.

Which, I assume, will be documented at some point.

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Things to do | detroiter reminisces about writing for ‘the golden girls’ and ‘gilmore girls’ in new memoir.

“It’s much different than writing a script. And, also, I was writing this by myself, not with a writing partner, so I had to self-motivate and create a spot in my house that I designed to write this book. And, of course, having coffee or espresso always handy helped. I guess (that was) the ‘Gilmore Girls’ influence,” explained Zimmerman, who splits his time between New York City and Los Angeles.

The middle of three children, Zimmerman — an alumnus of Southfield High School and New York University — is the author of “The Girls: From Golden to Gilmore” (Indigo River Publishing $17.95). The book chronicles Zimmerman’s beginnings in metropolitan Detroit (he grew up in Southfield), his love of theater, and navigating the trials and tribulations of being a writer in Hollywood.

“The most challenging part about writing for the entertainment business is dealing with the constant rejection and having enough faith to keep going. Also, finding ways to reinvent and challenge yourself,” Zimmerman said.

Growing up, he’d recruit the neighborhood kids to put on plays in his basement. Zimmerman convinced Judy Golden, his second-grade teacher at the now-closed John F. Kennedy Elementary School in Southfield (Zimmerman points out the coincidence of her last name in the book, calling her his first “Golden Girl”), to let him perform one of his plays in her class. Impressed, Golden called his mother, Susanne, and recommended she send him to the Cranbrook Summer Theatre School in Bloomfield Hills for theatrical training.

That phone call set Zimmerman on his path.

“It changed my life,” he said.

In the book, Zimmerman discusses his friendship and encounters with some of Hollywood’s biggest stars, some of whom are Michigan natives like Sandra Bernhard, Diana Ross, Madonna and Lily Tomlin. Zimmerman’s “love affair” with Tomlin began when he saw her perform on the variety show, “Laugh-In.” Inspired by her, he wrote Tomlin a letter, to which she responded with an autographed photo — something he still has to this day.

Zimmerman had a close friendship with the late Estelle Getty, who played Sophia on “The Golden Girls.” During the 1980s, Zimmerman had to keep his homosexuality a secret. Getty learned this and became a close ally, advocate and protector.

He also spoke about his friendship with Lauren Graham, alias Lorelai Gilmore on “Gilmore Girls.”

“I have deep admiration for Lauren Graham as an actor, a person, and now as a writer herself,” Zimmerman said.

He described the hostile work environment on the set of “Roseanne.” Roseanne Barr — who some have said has a reputation of being difficult to work with and is no stranger to controversy — required the writing staff to wear numbered T-shirts, so she wouldn’t have to learn their names, Zimmerman said, describing the practice as “degrading.” He co-wrote the infamous lesbian kiss episode of “Roseanne” called “Don’t Ask, Don’t Tell,” which earned him a Writers Guild Awards nomination.

“I think there is staying power for all three big TV shows that I wrote for and even (1996’s “A Very Brady Sequel,” which he co-wrote) because they all have heart,” Zimmerman said. “And they dealt with the character’s complexities with honesty. That is not often found in half-hour comedies.”

So far, reaction to his memoir has been positive.

“The best part is hearing everyone’s reaction to it,” he said. “Knowing that the readers not only laughed, but also cried. And maybe understood how I handled the many hurdles in my life and can apply those coping mechanisms to their own lives.”

All in all, he said he’s proud of his Detroit roots.

“I will always be a Detroiter at heart and wear that badge proudly. The city and its people formed me. I also love setting some of my project in the metro area, like I did with my (2008-09) Lifetime sitcom, ‘Rita Rocks,’ which lasted for 40 episodes,”  Zimmerman said. “I love making people laugh with my writing. It’s very powerful. And if they can also think a bit bigger, it’s an added bonus. Not to mention opening their heart a little more.”

The most challenging part of this book was the ending.

“When I first started outlining it eight years ago, I had no idea that the last chapter would be about my mom,” Zimmerman said. “The book ended up being a tribute to her and realizing that I am the man I am today because of her.”

Visit Zimmerman at zimmermanstan.com .

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