Becoming a Great Essayist

Course No. 2521
Professor Jennifer Cognard-Black, Ph.D.
St. Mary’s College of Maryland
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Course No. 2521
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What Will You Learn?

  • numbers Learn what the essay is-and what it is not using examples from Aristotle to Michel de Montaigne to Edgar Allan Poe.
  • numbers Explore how to effectively use ethos, pathos, and logos in various forms of essay writing.
  • numbers Get numerous tips to recreate memories and turn them into fascinating pieces of writing.
  • numbers Discover the benefits to blogging and learn about the pros and cons of other forms of publication for your essays.

Course Overview

If you have a clever anecdote, an interesting memory, a new way to explain how something works, or an opinion on a social or political issue, then you have an essay in you. Unlike a novel, history book, or scientific publication, essays provide you with the versatility to express all the various facets that make you you. The concise and direct nature of an essay means that you may tap into your sense of wit, share your individual point of view, persuade others to your perspective, and record a part of your memories for future generations in as many distinct essay forms as you wish.

Discover the keys to unlocking your potential in essay writing with Becoming a Great Essayist. These 24 illuminating lectures explore numerous genres or types of essays, challenge you with stimulating writing prompts, and provide insights into how to get to know yourself like never before so that you may write honest, compelling, and GREAT essays. And because essays are so flexible in their style and function, the skills you build writing great essays may be applied to almost all other forms of writing.

Dr. Jennifer Cognard-Black, Professor of English at St. Mary’s College of Maryland, is your expert guide. Professor Cognard-Black—who is an award-winning author, a 2012 Fulbright Scholar, and a former student of the renowned author Jane Smiley—has an intimate, honest, and direct approach. She teaches you that the versatility and expressiveness of the essay make it an ideal medium for crafting stories and drawing perspectives out of even the most reluctant writers. As Professor Cognard-Black notes, “The essay has no fixed parameters apart from including a first-person narrator who is intent on telling the truth. An essay’s form and style is entirely dependent upon your purpose—and your audience. You get to create a new form, and adopt a new style, with each essay that you write.… Essays explore. Essays imagine. Essays digress. Their structures don’t have to have fixed rules.” The goal of a great essay is to connect a personal experience, an idea, or a memory to the world outside of yourself—and the first step is to look deep within your memories, knowledge, and opinions to find that experience. When mastered, the ability to write a great essay provides a solid foundation that allows you to move into other forms of writing with both confidence and skill.

The first step in your journey with Professor Cognard-Black is to redefine what the essay means. For many, the word “essay” brings flashbacks of the schoolroom. Whether you were the kind of student who couldn’t wait to get started or one who faced each writing assignment with a feeling of dread, this course will change how you think about and approach the essay. From the very first lecture, you’ll see how the five-paragraph essay you might remember is vastly different from the master-level essays you’ll review, analyze, and learn to create. You’ll get instrumental insight into what makes an essay great; learn how to work your own stories, perspectives, and memories into a compelling piece; and investigate what to do once you’ve crafted an essay that you want to share.

Essay Types: From Personal to Public

Since the 16th century, essays have served as a means of connection: a way to persuade others to a certain perspective, a medium to tell a story, and a written record of individual and national histories. The word “essay” comes from the French essai, meaning an attempt or a trial, which speaks to the flexibility of the form in both delivery and outcomes. The essay itself is a thought experiment which can employ a variety of lengths, styles, and genres, including political, personal, humorous, and historical approaches. Further, a well-written essay may evoke an assortment of emotions or reactions. These works, often short yet profoundly poignant, have the power to make readers laugh, cry, think, or change their opinions or actions. Even the delivery platforms are versatile—essays are published in journals and newspapers, anthologies and collections, blogs and web pages, and more.

When it comes to crafting a great piece of writing, Professor Cognard-Black begins with well-established principles derived from Aristotle, who believed that writers are most convincing when they create a strong ethos (or credibility), and then support this ethos with appeals to reason (logos) and emotion (pathos). Similar rhetorical strategies are still utilized today in creating compelling stories and arguments. Most importantly, essays use a convincing and honest first-person voice because the writer has a deep connection to the material that comes from living, witnessing, or caring profoundly about an experience. By merging what Aristotle calls the artistic proofs (the pathos of the essay, or the personal experience and thoughts, and the logos of the essay, or rationality) with the inartistic proofs (or research and data), your essay will come across as credible even to skeptical readers.

Over these 24 enlightening lectures, you’ll delve into the various genres of the essay.

  • Epistolary essays originated in the politics, philosophy, and theology of Greco-Roman rhetoricians. Letters or “epistles” are unlike any other means of communication, which is exactly what draws essay writers to them. Epistolary essays adopt elements that define the genre of the letter—its intimacy, immediacy, and materiality.
  • Polemical essays are essays that strongly support one side of an argument.
  • Historical essays draw from historical artifacts and scholars, as well as a writer’s ideas within her or his own historical moment.
  • Humorous essays, more often than not, focus on a predicament or a situation where something goes wrong. As Aristotle noted, laughing at tragedy may be cathartic for the writer and the audience.
  • Memoirs recall and meditate on the writer’s past, using that contemplation for self-reflection. A memoir essay must evolve from a writer’s intimate recollections of the past brought together with thoughtful reflections on those memories.

And because understanding what makes a great essay requires that you read great essayists, this course also contains a treasure trove of selections from famous and lesser-known writers. You’ll be introduced to some of the greatest essayists of the ages who have pushed the limits of how essays are defined, including:

  • Michel de Montaigne, whose 1580 collection Les Essais established the essay as a literary genre
  • Joseph Addison and Sir Richard Steele, 18th-century British wits and protégées of Montaigne, who circulated their essays about manners and society in highly popular and somewhat scandalous periodicals
  • Ralph Waldo Emerson, an American philosopher-poet, who wrote some of the first essays on nature and the environment
  • Rainer Maria Rilke, an Austrian poet, who created intimate essays through personal letters, often on the topic of what it means to be an artist
  • Virginia Woolf, an author who is widely considered one of the finest essayists of the 20th century, who wrote episodic pieces which have a dreamlike quality
  • Mary McCarthy, an American author, critic, and political activist, who used essays to articulate sharply observant and often self-scrutinizing points

You’ll also sample contemporary essayists hailing from diverse backgrounds, such as Naomi Shihab Nye, Annie Dillard, Joan Didion, Barbara Kingsolver, David Sedaris, and Maya Angelou. In addition, you’ll have the unique opportunity to dig into the process of essay writing by looking at drafts of works in progress, including some from Professor Cognard-Black’s own students. Finally, each chapter will give you a chance to put into practice everything you’ve just learned.

The Right and Wrong Ways to Write

As you attempt to start writing your own essay, looking at a blank computer screen or piece of paper might be daunting. Professor Cognard-Black invites you to overcome this common stumbling block by considering that, unlike other forms of writing that are often strictly plotted or outlined, essays create their own forms as they go along. Aristotle called this process inventio or invention. This method means that you explore what the essay wants to say as you draft your piece. Rather than focusing on how precisely you want to form your thoughts into a specific structure on the page, you get to discover what happens as you get the raw material down—and this explosion of ideas and words becomes your first draft. As Professor Cognard-Black puts it, “The purpose of invention—of that first attempt to get your thoughts down on paper and give them a shape—is to explore and to discover what your essay wants to be about.”

The process of invention is specific to each writer, and so with each essay, there’s a certain version of truth or memory that is created. But striving for the truth is essential. Sometimes that truth will reveal flaws in a precious idea or shine a light on the imperfect sides of humanity—people you know, people you care about, even members of your own family—but maintaining the intention of honesty will help you create and sustain a strong ethos or credibility. Keep in mind that your truth is only one version of events; each situation you write about contains many possible truths.

Once the central purpose of each essay you write is clear, you then need a sense of direction as you revise. Opening sentences that preview the place, people, perspective, and purpose of your essays give your reader an invitation to join you on a journey into your chosen subject.

While the essay is a very flexible form, there are mistakes that will weaken your writing, which Professor Cognard-Black explains in depth. Known to rhetorical theorists as logical fallacies, these potential pitfalls are easy to fall into and will ruin your essay’s credibility. They include:

  • Faulty generalizations: when a writer makes a sweeping comment, reaches a decision based on too little evidence, or makes claims that are impossible to validate
  • Ad hominem arguments: its literal translation meaning “against the man,” this fallacy occurs when a writer attacks a person, rather than the idea under discussion, and occurs often in American popular culture and politics
  • Appeals to bandwagonism: when a writer attempts to win readers over to a specific opinion by claiming that it’s the most popular position

Another factor to consider is the length of your essay. While essays don’t necessarily have length requirements, they do tend to cut to the chase. To keep your writing concise, clear, and to the point, Professor Cognard-Black recommends cutting everything you’ve written in half between the first and second draft. If your essay is 6,000 words, cut it to 3,000. Don’t discard the excess copy, but do revisit your edited version after a few days. You may be surprised at how often you don’t need that extra text.

As you examine many types of essays, build a toolbox of abilities to help you polish and perfect your writing, and analyze samples of masterfully composed essays, you’ll find yourself exploring your own memories, opinions and stories in an entirely new way. The essay is, above all else, one of the most profoundly personal outlets for writing.

While the goal of this course is to provide you with fundamental abilities that will improve your essays, the skills you will learn also provide a foundation to develop any writing project you undertake. Becoming a Great Essayist is an unrivalled opportunity to advance your critical and creative thinking skills, enhance your ability to master a strong and persuasive style, and most importantly, allow you to get to know your own inner voice.

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24 lectures
 |  Average 30 minutes each
  • 1
    Steal, Adopt, Adapt: Where Essays Begin
    First, learn what the essay is-and what it is not. See how the practice of writing essays has evolved over centuries yet has remained versatile, and examine the many uses of essays across the ages. Numerous essayists find starting out to be the most daunting part of writing. Professor Cognard-Black alleviates these hesitations, using examples from Aristotle to Michel de Montaigne to Edgar Allan Poe on how to look both inward and outward to find inspiration and build the story you most want to tell. x
  • 2
    Memory Maps and Your Essay's Direction
    Much like a photographer who can change the angle, lens, lighting, and focus of a scene to evoke emotion from viewers, a writer colors an essay with his or her individual perspective simply by relaying his or her truth of it. This lecture focuses on looking at the world around you with a new lens, showing you how to convey those memories you've kept as an experience rather than just a recounting of facts. You'll travel down the streets of London with Virginia Woolf to explore her home as a stranger might, learning how taking on a new perspective can translate into compelling essays. x
  • 3
    Secrets, Confession, and a Writer's Voice
    One of the most remarkable consequences of essay writing is the illuminating insights you discover about yourself. The nature of the essay doesn't allow for plot building or outlines-you simply sit and write, which means the story takes its own direction. Professor Cognard-Black encourages this process of discovery and shares stories of how many an essay she started on one topic turned into a different piece in the end. Be prepared that essay writing may require you to face hard truths, confess long-kept secrets, or be bluntly honest with yourself, and learn why this honesty is the heart of a great piece. x
  • 4
    The Skeptical Essayist: Conflicting Views
    Many essayists find themselves doing an about-face as they write, sometimes because they may not have fully researched or thought through an idea before making claims about it. Essays that present conflicting views are not uncommon; Socrates would commonly switch sides in order to test all parts of an argument, and many others have followed his example. Learn how writing essays that provide both sides of an argument, even if you completely support one side and oppose the other, can help you to develop an elasticity of mind, expand your essay's range of ideas, and add to your ethos or credibility. x
  • 5
    The Reasonable Essayist: Artistic Proofs
    Professor Cognard-Black introduces you to artistic proofs, which are grounded in your expertise and colored by your own observations and experiences. The most important artistic proof in any essay is ethos-the writer's ethical appeal or credibility. She demonstrates how to effectively use ethos along with logos or rationality to bring reasonableness into your essays, which vital to writing effectively. You'll examine the work of a pair of writers who mastered the reasonable essay: Joseph Addison and Sir Richard Steele. x
  • 6
    The Unreasonable Essayist: Strategic Irony
    After discussing the importance of presenting a reasonable essay, Professor Cognard-Black explores the world of unreasonable essays, often written for the sake of humor or irony, or to be provocative, such as Jonathan Swift's A Modest Proposal." You'll explore an example of an essay that showcases conflicting views yet remains reasonable, and then look at examples where unreasonable writers use pure demagoguery to play on readers' emotions." x
  • 7
    The Empathetic Essayist: Evoking Emotion
    Revisit Aristotle to master the craft of pathos-being able to express empathy for the subject of any essay. Learn how to elicit emotions from your readers while remaining authentic and not manipulative, cliched, or contrived. Reflect on honest and moving uses of language from Maxine Hong Kingston and Barack Obama, who once perfectly summed up the importance of pathos in a speech by saying, Empathy is a quality of character that can change the world[.]"" x
  • 8
    When an Essayist's Feelings Face Facts
    To help keep your essays from becoming overly sentimental, Professor Cognard-Black discusses pitfalls for writers to avoid. You'll be introduced to three examples of what rhetorical theorists call logical fallacies and then take on the challenge of an assignment that brings together emotional appeals with rational ones to achieve credibility, empathy, and candor. You'll examine Naomi Shihab Nye's ability to blend rational argument with compassionate anecdotes, then hear a very personal take on the concept of home" from Professor Cognard-Black." x
  • 9
    Unabashedly Me: The First-Person Essay
    The use of a first-person perspective in essay writing is a powerful tool that invokes intimacy, empathy, and witness. Ethos is more inherent in an I" essay because the person sharing the story actually experienced the events. Learn how to write concisely to avoid an "I" story becoming simply an outlet for your own feelings, instead using your emotions to develop a broader appeal that will interest and benefit others. Professor Cognard-Black also reveals how general tricks of the writing trade (for example, "show, don't tell") don't always apply when writing essays." x
  • 10
    Essayists as Poets: Tapping into Imagery
    This lecture opens by inviting you to walk into" a photograph taken by Alfred Stieglitz in 1893 and reflect on what you would feel, smell, hear, and taste if you were actually in the scene. Only after you've noted the reactions of those senses are you then invited to describe what you might see. Using imagery in essays does more than describe and evoke a scene, however. When done well, imagery can transport your reader to a specific time and location. Professor Cognard-Black provides examples of metaphors and sense-based descriptions, which are the most effective ways to employ imagery within essays." x
  • 11
    The Visual Essay: Words + Pictures
    Writing a visual essay requires you to detach yourself from how you have been taught to view images your whole life. Rather than passively observing and judging, you must challenge yourself to get into the visual. Repeated and lengthy viewings of visual artifacts are one step. Once you start writing, though, the goal is to not recreate the exact image that you saw, but instead to reimagine it-to view it anew. Professor Cognard-Black discusses an example essay by Barbara Kingsolver in which images enhance her writing, adding shape and color to her words. x
  • 12
    Writing Inch by Inch: From Draft to Polish
    Professor Cognard-Black guides you through Aristotle's process of inventio or invention, which is that period of discovery as you write your first draft. You'll examine openings from a number of published works, gaining a powerful toolkit that can help you craft the first sentence of your first draft. From there, Professor Cognard-Black provides a multitude of invaluable tools for revising, editing, and reviewing your writing until you've reached your final draft. x
  • 13
    Short Forms: Microessays and Prose Poems
    Learn how essays can break the rules of conventional writing, allowing you to design essay forms to match your needs rather than being forced to fit the rules of more conventional forms. Examine structures that reimagine the essay, such as the microessay and the prose poem or proem." Professor Cognard-Black shares her own students' work to explore what elements went into these examples to make them successful essays." x
  • 14
    The Memoir Essay
    A memoir is often confused with a personal essay, but Professor Cognard-Black shows you the difference, once again using examples from her own students' work. She then provides numerous tips to help you recreate your memories and turn them into fascinating pieces of writing. Learn techniques that allow you to get as detailed as possible in your descriptions while still maintaining a central focus and writing concisely. x
  • 15
    Lyric Essays: Writing That Sings
    From the Greek lyre," a lyric poem expresses a writer's thoughts and feelings through the intimacy of the first-person narrator, evoking a strong emotional reaction in the audience. Professor Cognard-Black demonstrates the similarities between a lyric poem and a lyric essay and shares a moving example of a lyric piece written by one of her own students that uses memory fragments and figurative language to synthesize experience into a kind of mosaic. A lyric essay does not focus on telling a chronological story, but instead is meant to share, vividly, the impressions that create a mood or an idea." x
  • 16
    The Epistolary Essay: Letters to the World
    Professor Cognard-Black reveals a common form of communication that is rarely thought of as an essay, though it often is: the letter. Coupled with an engaging activity, you'll see how a handwritten letter differs from any other form of direct communication. You'll explore the similarities between letters and the epistolary essay as they both speak to a specific audience and convey a strong sense of reality and veracity. Then, you'll consider passages from the best-selling book Between the World and Me, which is written as a letter to the author's son. x
  • 17
    Portrait Essays: People in Words
    One of the most important parts of portrait essays is to understand that any depiction of another person-whether a famous stranger or a family member-is also a depiction of the writer. With this lecture, you'll delve into this dynamic between a subject and its writer and examine this power struggle as it plays out in a portrait essay. Using examples from Truman Capote and Scott Russell Sanders, you'll see how your own anxieties and prejudices can come through in an essay focused entirely on someone else. x
  • 18
    The Essayist as Public Intellectual
    While public intellectual essays don't step outside personal reflection, they do grapple with social issues, often myth-busting popular beliefs. This style of writing is distinct from a portrait or lyric essay. Professor Cognard-Black demonstrates this difference through her own examples and those of well-known public intellectuals, such as Ralph Waldo Emerson and Salman Rushdie. You'll learn how to trade superficial terminology and over-the-top imagery for clear, simple, and direct prose without losing the engagement and pathos-based emotional connection to your audience. x
  • 19
    Polemical Essays: One-Sided Arguments
    Originating in the medieval period, polemical essays are the form for writers who wish to focus on a topic from one perspective only. They are often written to be deliberately polarizing. Refusing to shy away from volatile issues, it takes a strong writer to turn an antagonistic rant into a persuasive, polemical argument. Professor Cognard-Black shares examples of both well-written and overly strident polemical essays from authors such as Jonathan Edward and Laura Kipnis. x
  • 20
    Historical Essays: Past as Present
    See how non-artistic proofs are immensely important when crafting a historical essay, especially since history is subjective, and the way you tell the story shapes how it will be understood. The non-artistic proofs of research and data set the scene for a historical essay, which connects personal memory to a larger project of human history. Professor Cognard-Black shares samples of strong historical essays with a compelling use of non-artistic proofs from authors such as Maureen Stanton and Jeffrey Hammond. x
  • 21
    Humor Essays
    One of the most surprising insights into humor essays is the revelation that most humor comes from misfortune. This idea has been around for centuries, as even Aristotle noted that laughing at tragedy is cathartic for both the writer and the audience. You'll delve into how self-deprecating humor lends itself to creating ethos or credibility in this particular form of essay. Professor Cognard-Black provides a treasure trove of humorists to study, including droll examples from David Sedaris and Tig Notgaro. x
  • 22
    Nature Essays
    Nature essays can easily come across as unrealistic. Since the first nature essays were written in the 19th century, such pieces have often romanticized the natural world-but there is value in not sentimentalizing the great outdoors. Examining works by William Wordsworth, Henry David Thoreau, Deb Marquart, and Michael P. Branch, Professor Cognard-Black explores the various takes on nature that offer a balance between realism and idealism, between seriousness and the comedic. x
  • 23
    Food Essays: My Grandmother's Recipe Box
    Professor Cognard-Black shows you how a simple recipe is itself a story. As she explains, It sets a scene, forms a plot, arrives at a climax, and ends with a denouement." Recipes form the basis of edible essays, which start out as instructions and ingredients, but when you mix in personal connections between a dish and your own culinary culture, add a dash of imagery, and stir in the history behind the food, you've extended your recipe into a keepsake-a taste memory. Sharing examples from both the culinary and the literature worlds, Professor Cognard-Black demonstrates how food essays can be among the most delicious to create and consume." x
  • 24
    Sharing Your Essays: From Blog to Book
    The modern form of the essay may be seen daily in blogs, although not all blogs are essays-instead, many are no more than personal journals, rants, or fantasies without broader connections and appeals. Professor Cognard-Black provides examples of what components are required for a piece to be a fully formed blog essay. While looking at examples from her students and professional writers, including long-term essay blogger Robin Bates, you'll discover the benefits to blogging and learn about the pros and cons of other forms of publication for your essays. x

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Your professor

Jennifer Cognard-Black

About Your Professor

Jennifer Cognard-Black, Ph.D.
St. Mary’s College of Maryland
Dr. Jennifer Cognard-Black is Professor of English at St. Mary’s College of Maryland, a public liberal arts college. She graduated summa cum laude from Nebraska Wesleyan University with a dual degree in Music and English. She studied under Jane Smiley for her M.A. in Fiction and Essay Writing at Iowa State University and received her Ph.D. in 19th-Century British and American Literature from The Ohio State University....
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Becoming a Great Essayist is rated 3.8 out of 5 by 78.
Rated 1 out of 5 by from In Other Words... I am a devoted TGC student. Sometimes I buy, sometimes I use the library. Either way, TGC offers the best courses available. Period. However...this course is not merely the worst course I've taken (I've listened/watched dozens), it is the only bad course I have taken. Professor Cognard-Black repeatedly uses the phrase "in other words". Sorry, but if you are teaching how to write you DO NOT EVER use this phrase. For if you need to say something in other words, just say it that way to begin with. It is the mark of an amateur. Further, after a brief dance with Montaigne, Addison, and Steele, Professor repeatedly refers to her own writing, or some other contemporary essayist who is known only or mostly to MFA grads. When she does mention Matthew Arnold it is only to put him under the lash. And other reviewers are correct when they allude to the Professor's selections as suggestive of politics. I smelled a rat by the second lecture and it only got worse. I can live with it if I am learning how to write a great essay. But that is not what she was teaching here. There is a difference in Becoming a Great Essayist and Writing a Great Essay. You will not learn the latter here. My advice: read the best and imitate. Pick up Orwell, Montaigne, Charles Lamb, Joseph Epstein, even John McPhee or Emerson. Skip this course.
Date published: 2020-11-17
Rated 2 out of 5 by from A Course on Subtle Indoctrination Ok, I didn't like when university profs were being painted with a broad brush as indoctrinating America's children to hate our country, themselves, and to become unthinking zombies that see everything based on melanin count, but after only 7 lectures into this, my eyes are open and I see how there may sadly be some truth to this. Now I know I need to be so careful where I send our kids to school. The lecturer is very intelligent, an excellent presenter, and offers up very useful information that will--no doubt--help others write great essays. If only this lecture series wasn't also to try and subtly manipulate its audience to jump on their own special bandwagon. You have to sort of roll your eyes, cringe and wait to get back to the actual useful and instructive teaching in between long bouts of soapboxing. It starts small. At first, it was nod to climate change, then a little genuflection at the altar of feminism, then the requisite fawning over Obama. Okay, no problem, there is merit in all these things. But in this 7th lecture where she actually confesses SHAME for her own Nebraska home roots. Three guesses why this would be? You know. She then encourages us to look at our family home, state, city, country and see if we can join her in discovering the make-believe but good for political rallying reasons to feel self-loathing for where we come from, too. She then selected an essay to share one writer's ideas that Israel is a racist state! Thomas Jefferson is frowned upon as being irrational in his sentiments toward King George rather than "helping promote the equality among men" he initially started with. She then admits that while these ideas might offend some people, "she has to tell the truth" because she obviously thinks she has the monopoly on that commodity. Ug! I will press on with the rest of the lectures because I am capable of ignoring when others are trying to rope me into groupthink, but I am so, so, so disappointed. There was so much potential here with a great subject. She is a good lecturer and had a world's wealth of material to draw from, but she chose to crusade here, to soapbox, to make yet some other topic all about race, and signal her own virtues over others by being willing to self-flagelate and take the blame for something that has nothing to do with her own choices in life. These seem her chief motives. Teaching essay writing is but the vehicle. Where is her ethos? I repeat, there is good information in between the propaganda. I am an adult so clearly able to see when someone is trying to manipulate me, so I will press on. No doubt this review won't even be posted anyway as I am not on the right bandwagon. At least she has shown me how satisfyingly easy it must be to warp minds with young students who are so, so naive and blinded still by their reverence for a professor's title, credentials and position of authority (not to mention power over their grades). Thanks for that, thanks for the actual teaching, and thanks for helping me and my husband screen and scrutinize university faculty for our own children much more carefully.
Date published: 2020-06-25
Rated 2 out of 5 by from Disappointing! The course content is good and the presentation is adequate. The various types of essays are explained and examples are given and read to you be the professor. However, from the title "Writing Great Essays" and the sales line "Becoming a Great Essayist", I believe that Great Courses implied that the course would teach how to write essays. For me, the course failed to do that. I don't believe there was more that a minute or two in some of the lectures that actually tried to teach how to write an essay. I would not recommend this course to anyone without a detailed description of what it does and does not do.
Date published: 2020-04-24
Rated 5 out of 5 by from Becoming a Better Essayist I am a good writer, all my life, but I am happy to have easier access to teaching that is beyond a classroom. With these courses, I can learn at my leisure and at my own pace.
Date published: 2020-02-29
Rated 1 out of 5 by from Ad hoc search for any methodology I have bought this course in a search of finding any coherent and logical clue with which one can improve his writing. It's just disappointing to have not found any usable method. Lecturer was beautifully eloquent with her words, but except having the audience introduced to prominent figures - there's not much done about etching way for the learners to up their writing skill. Truly disappointed, i expected this to be something usable instead of listening to speech which has no practical input for its application.
Date published: 2019-11-07
Rated 5 out of 5 by from Guide to writing better essays. I really benefited from this course. Writers of essays and students will find this course interesting and helpful. Excellent speaker covers many different types of essays.
Date published: 2019-10-15
Rated 1 out of 5 by from Almost Useless I was so disappointed. Most of this course was dramatic readings of essays. Not why I bought the course. I wanted practical information on how to understand and write essays. She divides the lessons into different kinds of essays which she vaguely defines. But her examples (dramatic readings) were nearly indistinguishable from each other as far as type of essay. She appeared to put very little thought into the assignments and many of the lessons did not even have assignments or exercises. I buy these courses to get practical applicable information to apply to the subject and my life, not to be entertained, in this case by dramatic readings.
Date published: 2019-09-23
Rated 5 out of 5 by from Goes beyond oft-repeated advice and common sense I absolutely loved the course. It goes well beyond the oft-repeated advice (write every day!) and the common sense advice (show, don't tell!) The course was inspiring and all the examples were terrific - made me want to read those essays. Highly recommended.
Date published: 2019-03-10
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