Ritical Thesis paper using a literary element from the book, The Mermaid Chair

” Critical Thesis paper using a literary element from the book.
” MLA format
” 3 pages long, not including work cited page  3 sources
” 3rd person formal paper (letter grade off for 2nd or 1st person)
” Avoid past tense. Use present tense
” Avoid linking verbs. Using linking verbs causes you to accidentally use passive voice, make tense changes, and connect ideas with awkward, inadequate expressions. Choosing action verbs forces you to eliminate grammar errors, improve your vocabulary, and clarify your argument. No more than 5 linking verbs. A good paper will have less than less than 3. Chose stronger action verbs.
” Check to make sure you haven t accidentally used conditional tense (would, could, should). If you are avoiding linking verbs, this won t be an issue.
” NO PASSIVE VOICE
” A  C paper will have 4 grammar errors and a letter grade off for each additional error.
” Use at least 5 vocabulary words (Attached). Use more for extra credit. Underline all vocabulary words in the paper.
” Use at least 3 descriptive sentences. An  A paper will have more. However, use too much and the paper will not be critical.
” Quote naturally by incorporating a quote into your own sentence. Remember you can change parts of the quote to better suit the grammatical sensibility of your sentence by using brackets.
” Paper must be critical. Contain unity, a fully developed introduction and conclusion.
” Paper will contain: Introduction, 3 body paragraphs, and conclusion.

INTRODUCTION:
 Should always move from the most general idea to the most specific idea (the thesis). Introductions that lack development, more than likely, have begun too specifically and neglected to stem first from the most general sense of topic. Another way to look at an introduction involves beginning with what is obvious or what is not in dispute and then developing what is in dispute, eventually advancing to a specific position on this dispute (the thesis). Either way, a good, well framed, solid introduction develops from the abstract to the concrete. Thesis statements should always make a critical claim.


BODY PARAGRAPHS:
” Unlike that of a book report, the body of a critical paper need only prove the claim made in the thesis statement. It is not necessary to recount the entire plot of the story, novel that you are writing about. In your introduction, you should have introduced all the background information needed in order for your reader to understand what your paper is about.
” In order to prove your claims, you need to back up your ideas with quotes. Quoting is a way of validating what you are claiming. Essentially, quoting allows you to prove your own ideas within the author s own language. It is incredibly important, however, that you explain how you are using your quotes. As a rule of thumb, never end a body paragraph with a quote. Always take the time to explain your use of the quote before moving to the next paragraph. Depending on your subject matter, you may have anywhere from 3 quotes to 30 quotes in your body. There is no set number.

Below is an outline for a general approach to body paragraphs:

My THESIS: Poe s protagonist comes across as an unreliable narrator due to the jealous tone of his descriptions.

Before beginning the body, I have to come up with 3 descriptions that show Poe s narrator s jealous tone. After I have done that, I need to make sure that each paragraph does 2 things. Each paragraph must address a description given out of jealousy, and each paragraph must explain why this jealousy furthers the reader s distrust of the narrator s voice).

Body Paragraph 1: The description I want to discuss (i.e.: the narrator describes Fortunado s welcome as an accosting action).
a. topic sentence
b. the quote I will use
c. the point I want to make by suggesting this quote
d. the reason this quote makes the reader distrust the narrator
e. concluding thought and transition to next paragraph

” The information that I put in this outline is in NO way indicative of the number of sentences that I will use. It only helps me organize the presentation of my first point.
” In my introduction, I would have already had to have introduced the plotline and the characters. This way, I can begin proving my points without working about explaining the characters.
” Vary your style for each topic sentence. Try to avoid restating the same sort of topic sentence again and again.
” Transition sentences are NOT the same as transitional phrases or transitional words. Transition sentences include links between 2 thoughts that are not alike. The make your writing fluid instead of choppy.

CONCLUDING PARAGRAPHS
” Concluding paragraphs move in the exact opposite way as does an introduction. Conclusions move from what is specific to what is general. You can think of your conclusion as requiring 3 sections: The first section (most specific section) summaries your critical claim. The second section (the slightly less specific section) explains why readers of literature should care about your critical claim. The third section (the most abstract/general section). This last section adds what is often called universal application to your paper.
” Opening lines of a conclusion specifically summaries your paper s critical claims (much like your thesis). It is really important to try to use a variety of different words and expressions when you summarize your claims so that you do not bore your reader! DON T JUST RESTATE YOUR THESIS!! Restate your thesis in a new way, so that your language is interesting. Add some flavor to your ideas by rewording it to create interest.
” Conclusions serve very important function in a paper. No more 3 sentence conclusions allowed!

Vocabulary words that can be used:

Adulterate Augment Bereft Deploy Dour Fortitude Gape
Ambidextrous Guise Insidious Intimation Opulent Pliable Reiterate
Tentative Unkempt Verbatim Warily Adroit Amicable Averse
Benevolent Cursory Duplicity Extol Feasible Grimace Holocaust
Impetus Jeopardy Meticulous Nostalgia Quintessence Retrogress Scrutinize
Adversary Alienate Artifice Coerce Craven Culinary Delete
Exhilarate Fallow Harass Inclement Muse Negligible Perpetuate
Punitive Redress Sojourn Urbane Affiliated Ascertain Attainment
Cogent Converge Disperse Esteem Expunge Finite Invulnerable
Gibe Nonchalant Omniscient Panacea Scrupulous Skulk Supercilious
Stolid Uncanny Venial Altruistic Assent Benefactor Chivalrous
Belligerent Dearth Diffident Discrepancy Embark Facile indomitable
Impervious Infallible Plod Pungent Remiss Repose temerity
Tepid Truculent Unfeigned Virulent Accede Brandish Comprise
Demise Deft Destitute Explicit Extirpate Inopportune Ironic
Precedent Musty Officious Ominous Pinnacle Premeditated Rampant
Bequeath Solace Stately Supple Suppress Venal Malevolent