How to Write a Blog

Written by Ch’nell Amos

So, you want to write a blog, or you’ve been assigned one, but don’t know where to start or why a blog even matters. Well, if you think blogging is dead in 2020, then you’d be wrong. Blogging came into existence in 1994, by a student named Justin Hall, who just wanted a place to display his writing, but blogging has evolved over the years into microblogs (ex. Twitter and Instagram), tumblogs (ex. Tumblr), vlogs (ex. YouTube), and podcasts (ex. Spotify). Blogging is not just the place to find a great sweet potato pie recipe, but also a way to engage with like-minded readers, market a business, and practice writing skills. Blogging is an important resource and professors and universities often have their own blogging platforms that act as an “invisible college’…broadening education as whole, [and] taking it beyond…departments and universities.” There are a vast number of tutorials online about how to create a blog site and how to write a blog, but let’s focus on the main things every blogger should know when writing a blog.

Know Your Audience

A great blog is both educational and interesting, so when considering your audience, think “Who might need this information?” and “Who might find it interesting?” Typically, the audience is one in the same. Knowing your audience is marketing 101 and blogging is a business. Yes, of course, there are some that still use blogging as a diary, but blogging is also about branding, selling, and educating. Put yourself in the reader’s shoes and consider what information would keep them on your page. Knowing your audience will also help you choose the tone and voice of your post. Blogs are less formal that academic papers, so the language tends to be more relaxed, but it’s important to consider your audience to know how relaxed your language should be. Also, knowing your audience will let you know what information they already know. Millennials probably don’t need a how-to on creating a social media page, but they might need to know how to tweak their pages to gain followers. Knowing who you’re talking to will help you make these subtle changes and create a more focused blog post, which leads us to the next point.

Choose a Topic and a Title

Chances are, you already know what you’re writing about. This is more about being specific. Amateur bloggers will write the content first, end up in left or right field somewhere, and then try to create a title that addresses all their excellent points.

Choosing a narrowed-down, granular topic, then creating a title that clearly conveys your message will focus your blog post and aid in keeping your audience engaged. Make sure your topic is something you find interesting because a lack of enthusiasm will kill your blog. Remember, you are writing for an audience and you don’t want Ben Stein’s “dry eyes” voice to pop into their head while reading your blog. Speaking of dry, choose a catchy title that would make you want to read your blog! You’re writing for like-minded individuals, so use a title that would catch your attention but also tells the audience (or hints) at what your post is about. Making it too vague can be misleading if the reader interprets your title one way but finds out your post is about something else. Go for attention-grabbing or thought-provoking, instead of mysterious.

Write an Outline

Organizing your post will keep the content clear and concise. A 2015 study by Microsoft found that the human attention span has decreased from 12 to 8 seconds. That’s it — just 8 seconds — so you don’t want to lose your audience with an overwhelming amount of content. Audiences often seek blogs for a specific purpose, and no one wants to scroll through an endless amount of content to find what they came for, so plan for between 800-1200 words. Maybe your topic has a lot of information. Consider breaking it down into sections and sub-sections that will make it easier to read. Now, you have your topic, title, and outline, but maybe you’re still struggling to make it interesting to both you and the potential readers. This next element will help move things along.

Use Anecdotes and Images

As mentioned before, blogging (in all its forms) is quite popular, so you don’t want your blog to end up a dead fish in an internet sea of endless blogs. There is an undeniable art and power to storytelling, and that power should be utilized in blogs. When I think of blogs, I think of Scheherazade. Audiences read through the stories she tells the king, night after night, just to get to the real reason they keep reading — to find out if the king is going to kill her that night. Yes, that looong story about grandpa’s farm at the beginning of your favorite blog, just to finally get to the recipe for butter, is the same formula Scheherazade uses, and it’s how some bloggers use anecdotes. It is a way to connect to readers. Also, stories are processed in the brain differently, so pull out some humor or a catchy story to grab and engage readers.

“The audience will not tune in to watch information. You wouldn’t, I wouldn’t. No one would or will. The audience will only tune in and stay tuned in to watch drama.”

– David Mamet

The use of visual content —gifs, images, videos, etc. — will not only make a blog palatable and interesting, but also leads to an increase in readers. Use visual content thoughtfully with consistent headers and sub-headers, and well-placed images that add to your message.

Don’t Forget a Call to Action (CTA)

Here’s where you tell the audience what to do next and how to lead them to other parts of a blog or other post. For professional blogs, a blogger will tell readers to subscribe to their page or download free content, but other blog CTAs might encourage a reader to action, which is often seen in persuasive writing. For example, if the blog post is about politics, then the CTA might encourage people to vote. Sometimes, a CTA can be as simple as encouraging readers to “Learn More” or “Discover” a new topic. Check out this example of CTAs on this blog post on Electric Lit (see what I did there). You’ll not only see a section “About Recommended Reading” that tells readers to “Sign up” and “join our membership program,” but there are ads along the side to “donate” and “subscribe.” Also, CTAs is where the money’s at. You need to drive readership if you want to attract companies to advertise on your page (because we all love those ads…). 

These are just a few ways to get started. Learning to blog will prove useful both academically and professionally because you want someone to see your work. Blogs use search engine optimization (SEO) which helps people find the content and information they need, and since Google isn’t going anywhere any time soon, it’s safe to say that neither is blogging. Think of it this way, when you’re trying to figure out how to use that InstaPot your mother just sent you, are you more likely to read the manual or find a blog or YouTube video? Exactly.

For some examples of blogs, I recommend these websites:

• https://electricliterature.com/
• https://lithub.com/
• https://onlinenursing.twu.edu/blog
• https://careerconnections.twu.edu/blog/
• https://www.lindasuskie.com/apps/blog/

Elevated Diction: How We Choose Our Language Through Context, Content and Construction

Written by Scarlett Brou

A common piece of advice from professors, scholarship applicant reviewers, and potential employers is for college students to utilize “professional language” in career-focused and academic contexts. Whenever I am asked to define what this type of language looks like, I usually come up with three distinct characteristics. Professional language is:

1. Formal (as opposed to informal or conversational)
2. Direct and clear in communication (acknowledging both the audience and the purpose of writing)
3. Elevated in diction (asserting a unique voice that presents a distinct image to the reader)

When asking for help with writing, most students expect to focus on the more surface-level issues of formality. We’ve been taught to “improve” our writing by only using grammatically consistent and objectively “correct” language—which, we are told, is what constitutes “good” writing.

Formal language, for most students, is taught as merely the absence of casual or “slang” vocabulary. But if there is no point of reference for students as to what their readers think is “formal” or “informal,” this recommendation falls flat—therefore, we need to approach this conception of language in a more productive way.

I believe that it is far more important to view the term “formal” as designating a context for the use of language, and what kind of language is effective in achieving one’s literary goals. 

If, for example, I applied to an academic conference via an essay prompt, I would try to use language that was structured, deliberate, and concise because I would want to answer the question cohesively while also displaying my familiarity with college essay-writing. 

If, instead, I was looking to contact a professional in my field to inquire about an internship, I would include language that was personable, coherent, and socially appropriate, because I want above all to make a lasting impression and impact on the professional.  

The context of the academic conference or a potential internship influences what my formal language looks like, and the intended effect of my language is derived from that context. When looking to improve the formality of one’s language, writers should ask themselves these questions: 

• Who is the audience for this piece of writing? What are their expectations of me?
• What do I want them to know (or feel) about me as a writer?
• What do I want my language to look like and why?

These questions will help students establish the context in which they are writing—which, in turn, makes it easier to understand how to further develop mature, compelling language. 

While practicing implementing the rules of grammar is a necessary step in the writing process, it is absolutely more important for students (and all writers) to internalize that all the formal/grammatically sound language in the world cannot replace the effect of direct and clear communication.  

The construction of all language is just a vehicle, a flexible supplemental force, to the intended impartation of the message or content that one wishes to deliver to the reader. It is the job of the writer to find the literary expression that best represents the content of what they are trying to communicate. 

To be “direct” is to ultimately judge the content by what must be kept—and what can be removed without changing the reader’s understanding of one’s writing. This is an internal process built up through practice; a writer must find a balance between their innate abilities of articulation and a continuous state of questioning how to better complement the content through construction. Often, grammatical errors are a symptom of obscured content, and by focusing on what the sentence is trying to communicate, writers can more intuitively arrange their phrases and clauses. 

Even the word “direct” gives us a good indication of the challenge in professional writing—there are infinite ways of writing or articulating an idea, and while none are necessarily “better” than another, we want our language to have a type of “direction”—a signpost clearly delineating the way to a message.

So, keeping in mind the fluidity of language, how do we create language that is direct? 

The best example I can probably give is my own experience writing this article; I wanted to re-write the last two paragraphs before I moved on to this one, because the first attempt to get my thoughts about language on the page were, in my own opinion, too wordy and comma-heavy. This would have perhaps resulted in the reader not understanding my argument. I fully expect to have to go back and revise my language again, because I know my writing style well enough to know that some of my explanations will not be as accessible to readers as I would like them to be. 

If I want my language to be direct (especially concerning abstract linguistic concepts), I have to refer back to both the purpose of this article (to educate) and the audience (students like myself). When I am finished with this article, I will have to come to a conclusion about if this writing is successful in what I want it to do—after which point this article leaves my own literary space and becomes collaborative, as my peers will proofread and give me commentary. The initial expressions of one’s thoughts are an integral component of getting a piece of writing started, but the final product will inevitably look very different—and more professional. 

To break down my own writing process further, and to highlight the repetitive nature of developing direct language, here’s an example template:

1. Outline points of article (basic sections)
2. Organization for each section (definitions, examples, explanations)
3. Actually write, answering the questions I’ve posed myself, engaging with potential revisions of sentences as I create them
4. Revise for content (am I actually getting my meaning across?)
5. Revise for construction (is my wording/sentence structure repetitive, bulky, or convoluted?)
6. Read collaboratively (what is the perspective of the reader?)

Note how the last 3 steps in this process involve answering a specific question. Questions such as these encourage students to think critically not only about the subject of their composition but about their own intellectual position as a writer. Students looking to foster direct, communication-focused writing should expect to engage in repetitive practice, organization, questioning, and revision. 

Additionally, adopting a perspective that expression in the form of written language is never singular, simple, or set in stone will aid students in becoming accomplished and robust writers not only for the contexts we previously discussed, but for other modes of communication as well. When a writer understands the context they are writing in and establishes a heightened awareness of audience and purpose, they become more comfortable with the process of writing itself. The significance of a writer’s comfort with their own style is codified in the concept of “elevated diction”—or, how we develop a completely individualized literary voice. 

I have placed heavy emphasis on the importance of cultivating direct, context-appropriate language because without these secure foundations, it is difficult for students to truly stretch their writing muscles. If one does not acknowledge these underlying mechanisms, it becomes easy for our language to become muddled, “fluffy,” vague, generalized, depersonalized, or tedious to both write and read. The steps to elevate one’s diction—to figuratively “raise” their mastery over language—are, on paper, pretty simple:

1. Read
2. Write

There is, unfortunately, no substitute for the significant impact the act of reading has on one’s writing abilities. I say “unfortunately” because I understand how difficult it is for many people to read on a regular basis. However, even the most cursory acts of reading embolden one’s critical thinking, understanding of linguistic context, and overall vocabulary. As we read others’ writings, we are exposed to the freedom of creation that we would not have otherwise seen. The subconscious processes that go into the active choice to read all help develop one’s diction; the more one reads, the more mastery they have over their own writing. Even the act of reading this blog post has increased your ability to conceptualize and internalize the functions of language. 

The last step for synthesizing elevated diction is perhaps the hardest behavioral change for anyone to make—to commit to writing consistently. But again, similarly to the issue of reading, the act of writing, of practicing one’s skills, wherever and whenever you can, will result in language that is as unique to you as your fingerprints, which is by and far the most effective type of language for any situation. I will end this article with a quote from the poet Mary Oliver in order to inspire readers to respect their inherent and incredible literary potential: 

“Because the process of writing is not fully understood—we don’t know what part of ourselves we use to write, from what part of ourselves the writing comes—it’s important to nourish whatever part of ourselves that is the writer.”

Your Professor is Not Your Audience

Written by Desiree Thorpe

When writing an assignment, it is easy to think that your audience is your professor, but that is not the case. In most assignments given, you will have to choose who your audience is. While it’s always best to check with your professors, it’s really important to understand that audience shapes how you write: it sets up your tone, purpose, and context.

The purpose of your English class is to help you become an agile writer that can write in different situations and contexts, so if you keep imagining your audience as your professor, it might be difficult to transfer that knowledge to new, real-world writing situations. However, it’s hard to not think of your professor as your audience especially since you’re turning in your paper for a grade!

But when you write for your professor, you can either 1) not include enough information for the audience or 2) use too much jargon from your class that your audience may not be familiar with. Choosing an audience might feel weird. It may be something that you never thought of. A couple of theorists who explain ways to address an audience might be the help you need.

Many theorists have different perspectives on the topic—one is Walter Ong who states that the audience is fiction. What he means is that you make up your audience and when you do that, you often create values and needs for an imagined audience.

An example Ong gives is that sometimes when you write a letter—or text message—, you are already imaging the person you are writing to and how they would react to what you say. The point is that imagining an audience can help your writing! However, if you imagine your professor as your audience, you might only be envisioning how they will grade and how you have shown your mastery of the genre—and while that is a reasonable thought, to truly master a genre, you need to have a real audience in mind. 

Another theorist is Peter Elbow! He explains that it is better to not have an audience in mind so that you can express your ideas in your first draft (Clark 111). But, this is only a first step because what tends to happen in a first draft, without an audience, is egocentric writing—writing for yourself.

That is, the first draft might be writer-based prose and not reader-based prose. Writer-based prose usually “omits contextual information or elaboration that an audience would need or includes information that an audience would not be able to understand without further explanation” (Clark 111). The next step after drafting without an audience is to revise and shape your writing to be reader-based prose—meaning, you add more information that the audience needs to know.

The next time you write a paper, try imagining an audience that isn’t your professor! Or, if you like to get your ideas on paper first, you can write for yourself and then imagine an audience as you revise.

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 References

Clark, Irene. Concepts in Composition: Theory and Practice in The Teaching of Writing. 2^nd ed., Routledge, 2012.

Writing Centers’ Power

Written by Charles Dyer

Believe it or not, there is a group called the North Texas Writing Center Association (NTWCA). This association of writing centers is a subset of the South Central Writing Centers Association, which is an affiliate of the International Writing Centers Association. One might expect this to then become, in the distant future, a member of the Inner Solar System Writing Center Association – in due time.

The NTWCA hosts a fall conference, a short day to share stories of successes and failures, to discuss strategies and techniques, and to impart administrative know-how. One goal of the conference is to discover what works and what doesn’t. Part of the conversations center around the widespread apathy toward writing in general.

The stories are more or less the same at any writing center. Students feel that writing is a burden, a requirement, and something only few can do well. The reasons for this are complicated and not entirely understood because the way we teach writing and grammar is complicated and not entirely understood.

With the pressure of STEM curricula bearing down on schools and teachers, the study of humanities has been slowly pushed to the sidelines and seen as a luxury. Where there are calls for mandatory composition courses in high school and college, the ins and outs of those courses are muddled and – at times – do more harm than good. This is not breaking news and is something composition directors and academics struggle to untangle daily.

What writing centers are left with are frustrated students with lackluster drives to write anything at all. Part of a writing center’s job then becomes motivating students to write and write WELL. Easier said than done, of course.

These are the kinds of conversations had at writing center conferences like the NTWCA held in the fall of 2019 at Tarrant County College’s northeast campus. Out of the strains of the conversation emerged a central question: What do we tell students to make them care about writing?

There are a few ways writing enthusiasts answer this question. The first is that there is an innate need for writing of all kinds – that it’s both an art form and a necessity for civilization.

Another answer is one I heard at the NTWCA conference. “If you want any kind of substantial job, you need to be able to write well.” The more practical answer, this insight follows the expansion of career centers and services in higher education and the ever-shrinking baseline worth of a bachelor’s degree. The more skills you have, the more likely you are to earn whatever job you want.

The third answer – a favorite of mine – is that effective communication is the glue of a society. The ability to write clearly and sensibly eliminates ambiguity and inspires cooperation. The ability to tell stories entertains the heart and excites the imagination. To be able to write is to be able to move an audience or a reader. Words drive actions and thoughts until they become real and tangible.

That’s all well and fine, but how to make students believe that is a hefty question with a monstrous answer out there somewhere. For a writing center, however, it’s about the little things. Tutors and consultants can reinforce the importance of writing little by little. That’s why returning students are so important. We have the unique opportunity to impact a human’s life when it comes to their ability to express themselves. That’s so special.

Make sure students know how important it is for them to be able to write clearly and that effective communication is their key to the world.