Taking Notes for ResearcHSample Bibliography Card.docx

Taking Notes for ResearcH
Sample Bibliography Card
3
Peters, Brian M. “Emo Gay Boys and Subculture: Postpunk
Queer Youth and (Re)thinking Images of Masculinity.”
Journal of LGBT Youth 7.2, vol. 7, no. 2, 2010, pp. 129-146.
For information on MLA citation format, refer to the Purdue
OWL (Online Writing Lab) website at
http://owl.english.purdue.edu/owl/resource/747/01.
Take Careful Notes
Have an organized method for taking notes. Note cards or note
pages are two effective methods.
If using notecards, write down only 1 piece of information on
each notecard. Include the subtopic where that information will
belong in your paper.
If you know you will not quote the information in your paper,
write it down in your own words in your notes.
If you might quote the information, write down the quote
placing quotation marks around the exact words used in the text.
Make sure you note the source number (according to your
working bibliography) and page number (unless using an online
or database source) in your notes.

Organize Your Notes
Rearrange your notes so that you connect your own ideas with
those that you found through your research.
NOTE: This is easiest to do if you use note cards or “note
pages.”
Sample Notecard
3
Fashion
Dress adrogynously because they are individuals “who find
[themselves] either negated or rejected” by the mainstream
p. 139
Sample Note Pages
Fashion
“The mods of the millennium: black hair; sweeping, dramatic
bangs; heavy eyeliner [“guyliner”], and tailored clothing”
(Peters 129).
Dress androgynously because they are individuals “who find
(Peters 139)

“The art of crafting oneself to be shunned means that the flip
side is acceptance within the desired subcultural space” (Peters
139)
Vintage or band shirts, “form-fitting” outfits, skinny jeans,
shoes, sneakers or combat boots (Smith)
Music
Evolved out of punk rock, a ”form of refusal” (Hebdige 2)
“We’re not twenty-one / But the sooner we are / The sooner the
fun will begin” (Dashboard Confessional)
The hardcore genre emerged out of “a bad economy, inflation,
change of administration. [The election in 1980 of Ronald]
Reagan was the kind of antithesis or the reaction, a whole new,
like a paradigm shift. There was a lot of concern of, you know,
what might that mean in terms of all kinds of issues: freedom of
speech, repression, and civil liberties, and that was sort of that
era.” (American Hardcore)
Avoid Plagiarism
Take careful notes (on note cards, on a computer as “note
pages,” or in a notebook)
Make sure you accurately present a writer’s words or ideas.
When taking notes, put the author’s exact words in quotes (so
you will know they are a direct quotation). If you are
paraphrasing the author’s words, write them in your own words
in your notes (so you don’t accidentally use the author’s words

without quoting them).
Make sure you write down the source and the page number
where you found that idea or quotation.
RULE OF THUMB: If the words or ideas were not generated in
your own head, you must credit them in the paper.
Works Cited Page
Your Works Cited page will only include the scholarly sources
and literary works you actually used and cited in your paper.
Your works cited page should:
Be in alphabetical order according to the first word (or name) in
the citation.
Include the appropriate MLA information according to the type
of source used.
Include appropriate punctuation, capitalization, and italicization
according to MLA.
Use a hanging indent for each entry.
For information on appropriate MLA format for your Works
Cited list, see the following Purdue OWL link for general
information:
https://owl.english.purdue.edu/owl/resource/747/05/
Additional information about formatting each type of source can
also be found on OWL.
Instructions to Student and Family:
A. First, have students on similar levels work through problems
together.
B. Then, have the student take the Pre-Assessment home and
teach a family member or member of the community how to map

the transformations on a coordinate plane. This will solidify
the process with the student by teaching how to map the
transformations.
C. Student will walk in the next day and take the quiz.
D. Once the student has taught the pre-assessment to a family
member and passed the quiz the following day in class with a
90% or better, they become a tutor for a student or a small
group during the review for the chapter exam on
transformations.
Pre-Assessment
Name: ______________________________ Date: ___________
1.) Graph the image of the translation of 3 units down and 5
units right.
2.) Graph the image of the 90°clockwise rotation about
the origin.
3.) Graph the image of a reflection across y-axis.
4.) Write coordinates before or after the translation given.
(a) Translation: 2 units left and 4 units up
A (5, 7) B (4, -2) C (-1, 1)
A’ ________ B’ ________ C’ ________
(b) Translation: 6 units up and 7 units right
A’ (1, -3) B’ (13, -5) C’ (8, -5)

A ________ B ________ C ________
5.) Write coordinates before or after the rotation about the
origin given.
(a) 90°counterclockwise rotation
A (0, 7) B (1, -7) C (-6, 5)
A’ ________ B’ ________ C’ ________
(b) 180°rotation
A’ (5, -5) B’ (0, -5) C’ (-5, -5)
A ________ B ________ C ________
_____________________________________________________
___________________________
Signature and date of student
_____________________________________________________
___________________________
Signature and date of family/community member, tutored on
mapping the above transformations
© Clark Creative Education
© Clark Creative Education
Taking Notes for ResearcH
Sample Bibliography Card
3

Queer Youth and (Re)thinking Images of Masculinity.”
Journal of LGBT Youth 7.2, vol. 7, no. 2, 2010, pp. 129-146.
For information on MLA citation format, refer to the Purdue
OWL (Online Writing Lab) website at
http://owl.english.purdue.edu/owl/resource/747/01.
Take Careful Notes
Have an organized method for taking notes. Note cards or note
pages are two effective methods.
If using notecards, write down only 1 piece of information on
each notecard. Include the subtopic where that information will
belong in your paper.
If you know you will not quote the information in your paper,
write it down in your own words in your notes.
If you might quote the information, write down the quote
placing quotation marks around the exact words used in the text.
Make sure you note the source number (according to your
working bibliography) and page number (unless using an online
or database source) in your notes.
Organize Your Notes
Rearrange your notes so that you connect your own ideas with
those that you found through your research.
NOTE: This is easiest to do if you use note cards or “note
pages.”

Sample Notecard
3
Fashion
Dress adrogynously because they are individuals “who find
p. 139
Sample Note Pages
Fashion
“The mods of the millennium: black hair; sweeping, dramatic
bangs; heavy eyeliner [“guyliner”], and tailored clothing”
(Peters 129).
Dress androgynously because they are individuals “who find
(Peters 139)
“The art of crafting oneself to be shunned means that the flip
side is acceptance within the desired subcultural space” (Peters
139)
Vintage or band shirts, “form-fitting” outfits, skinny jeans,
shoes, sneakers or combat boots (Smith)
Music
Evolved out of punk rock, a ”form of refusal” (Hebdige 2)

“We’re not twenty-one / But the sooner we are / The sooner the
fun will begin” (Dashboard Confessional)
The hardcore genre emerged out of “a bad economy, inflation,
change of administration. [The election in 1980 of Ronald]
Reagan was the kind of antithesis or the reaction, a whole new,
like a paradigm shift. There was a lot of concern of, you know,
what might that mean in terms of all kinds of issues: freedom of
speech, repression, and civil liberties, and that was sort of that
era.” (American Hardcore)
Avoid Plagiarism
Take careful notes (on note cards, on a computer as “note
pages,” or in a notebook)
Make sure you accurately present a writer’s words or ideas.
When taking notes, put the author’s exact words in quotes (so
you will know they are a direct quotation). If you are
paraphrasing the author’s words, write them in your own words
in your notes (so you don’t accidentally use the author’s words
without quoting them).
Make sure you write down the source and the page number
where you found that idea or quotation.
RULE OF THUMB: If the words or ideas were not generated in
your own head, you must credit them in the paper.
Works Cited Page
Your Works Cited page will only include the scholarly sources

and literary works you actually used and cited in your paper.
Your works cited page should:
Be in alphabetical order according to the first word (or name) in
the citation.
Include the appropriate MLA information according to the type
of source used.
Include appropriate punctuation, capitalization, and italicization
according to MLA.
Use a hanging indent for each entry.
For information on appropriate MLA format for your Works
Cited list, see the following Purdue OWL link for general
information:
https://owl.english.purdue.edu/owl/resource/747/05/
Additional information about formatting each type of source can
also be found on OWL.
Schmitt 1
Kaci Schmitt
Prof. John Doe
ENGL 1301-5xxxx
12 November 2011That’s So Emo: An Exploration of the Emo
Subculture
After an explosive display of emotional vulnerability, you might
hear a critical young person say, “Stop being emo.” The term
emo is frequently thrown around as an insult or a weakness, yet
it also identifies a subculture with a unique identity. The emo
subculture, whose moniker is derived from “emotional
hardcore,” or “emo-core,” a sub-genre of punk music that came
into existence in the mid-1980s, consists of male and female
youths transgressing beyond standard dress and expectations,
often presenting an androgynous look as male and female “emo
kids” share similar hair- and clothing styles. Though not

specifically queer in gendered or sexual identification or
orientation, the term “emo,” like the term “queer,” resists
definition and is consistently in flux. Unique to emo, though, is
the reason why it is a definition that others resist identifying
with, even if they do not resist actually being members of the
subculture. In a culture equally fascinated with creating and
refuting labels, emo kids resist identification, while their
identity consists of a clear set of contradictions.
Despite their resistance to identification as emo kids, it is fairly
easy to recognize a young person—typically a teenager,
although sometimes reaching beyond into early adulthood—who
fits the classification of emo kid. Brian M. Peters describes emo
boys as “the mods of the millennium: black hair; sweeping,
dramatic bangs; heavy eyeliner [“guyliner”], and tailored
clothing” (129). Twenty-one-year-old Bailey Smith, who has
equal passions for anime and Eastern theology and has
fluctuated between both goth and emo styles, explains emo as
follows:
“Emo is kind of like gothic-light….To me, emo means not
knowing how to deal with the large amount of emotions that
rage through adolescent and teenage bodies so the emo-
subscribing teens act as if they have no place in the
world….They just don’t know where they fit in the world and
don’t know how to deal with that lack of connection.”
Though often portrayed as “too cool to care,” the emo kids
place importance on image. Andy Greenwald notes in his
Nothing Feels Good: Punk Rock, Teenagers, and Emo that emo
kids tend to be middle class and white. They are likely to have
the necessary components in their lives to have ample
opportunities to have money to stand in the lunch line and food
on the table after school, graduate from high school, and attend
college. Therefore, what does concern them are other
“problems” (Greenwald 52)—problems that are emotions
amplified for the typical teenager, problems that are sung about
in songs with lyrics such as “We’re not twenty-one / But the
sooner we are / The sooner the fun will begin” (Dashboard

Confessional’s “The Swiss Army Romance”). This song, by one
of emo’s notables, Chris Carraba of Dashboard Confessional,
also provides insight into just who these emo kids are: kids, not
even twenty-one years old in the song’s lyrics. Emo kids—both
males and females—are considered emotionally sensitive and
brooding, more so in particular than the average adolescent.
In this way, emo offers a space for the emotional release of
androgynously-dressed, and sometimes androgynously
behaving, individuals “who find [themselves] either negated or
rejected” by the mainstream (Peters 139). In choosing to eschew
typical standardized notions of masculinity, in particular the
emo males find themselves in a safe space to dress alike and to
interact with one another in ways that are not typically found
within all subcultural groups of teenagers and young adults.
Because they all participate in society differently than those not
in the subculture, they gain social acceptance among one
another, or, as Peters puts it, “the art of crafting oneself to be
shunned means that the flip side is acceptance within the
desired subcultural space” (139)
To the emo kid, musical taste trumps all else in discerning
potential friendships and in assessing an individual’s coolness.
This is perhaps troubling in a psychological sense because
membership, or acceptance, often is extended to others based
upon surface similarities, as well as similarities beyond the
individual’s direct control, such as his or her socioeconomic
classification. Musical taste does not exist in a vacuum but is
instead developed and encouraged by many social and
individual factors. It is, however, a primary method of including
and excluding among many subcultures, with emo certainly
being both excluded by others (including the emo kids
themselves) who laugh at its silliness or femininity and by the
emo kids who include those who wear the same band tees and
attend the same concerts.
Formerly a private space not present in the mainstream, emo
initially grew out of the hardcore punk music genre (abbreviated
to “hardcore”) during the mid-1980s, reaching its peak in the

summer of 2002. According to the 2006 documentary American
Hardcore, the hardcore genre emerged out of “a bad economy,
inflation, change of administration. [The election in 1980 of
Ronald] Reagan was the kind of antithesis or the reaction, a
whole new, like a paradigm shift. There was a lot of concern of,
you know, what might that mean in terms of all kinds of issues:
freedom of speech, repression, and civil liberties, and that was
sort of that era.”
Although it originated in punk, “emo” or “emocore” bands
opposed hardcore punk’s angry, loud, political messages,
creating an apolitical, softer style of music, focusing on the
emotional drama and conflicts of, generally speaking, the white,
middleclass youth. Dick Hebdige explains that often, style is “a
coded response to changes affecting the entire community” (80)
and that punk rock style in particular was, when he wrote in the
1970s, “a form of Refusal”(2): refusal to blend in, refusal to
associate with other groups, and refusal to conform to a
particular hegemony. As a reaction to hardcore, emo, too, could
be identified as a form of refusal but in a different direction. As
hardcore ultimately grew to influence the mainstream styles that
had become too soft and preppy, in their views, emo grew as a
response by individuals to create a space where it was safe to be
emotional, particularly for males who were not supposed to
display raw, feminine reactions or to indulge in emotions.
In conclusion, though it is quite a contested space within which
to place oneself, the emo subculture, consists of multiple facets.
While they are certainly not the first group to do so, emo kids
certainly embrace alternative expressions of dress, image, and
music. What they face in doing so is the challenge of going
beyond the emo kid status that is often derogatory in nature.
Even though they often resist the label of emo, emo kids are
easily identifiable and unmistakably “so emo.”
Works Cited
American Hardcore: The History of American Punk Rock 1980-
1986. Directed by Paul Rachman, Sony Classic, 2006.

Greenwald, Andy. Nothing Feels Good: Punk Rock, Teenagers,
and Emo. St. Martin’s Griffin, 2003.
Hebdige, Dick. Subculture: The Meaning of Style. Routledge,
1979.
Queer Youth and (Re)thinking Images of Masculinity.” Journal
of LGBT Youth 7.2, vol. 7, no. 2, 2010, pp. 129-146.
Smith, Bailey. Personal interview. 2 November 2011.
***Paper modified for education purposes from:
Schmitt, Kaci, "Exploring Dress and Behavior of the Emo
Subculture." Dissertations, Theses and Capstone
Projects, Paper 465, 2011.
John Smith
Prof. L. Phillips
ENGL 1301-5xxxx
12 Nov 2018Field Notes: Emo Subculture
3/12/11 Swayze’s—6:13 PM
Swayze’s is a discrete venue with a barber shop on one side of
it and a graphic design place on the other. It has other shops
like a chiropractor, pawn shop, a nail shop, a catering shop, and
a food shop. It seems like it was put right here in the middle of
all this stuff to cater to parents’ desires that their kids are safe.
A lot of the concerts begin early—for example, it’s Saturday,
March 12, 2011 and the concert began at 5PM. Seems to be
marketed directly at high school kids, specifically emo kids.
The website mentions emo music.
Outside of Swayze’s (costs $10 to get in) –probably close to 20
emo kids, all around 15-18 years old hanging out—interesting: I
see two kids hugging in the parking lot—long hug where it kind
of looks like they are dancing—at first, I think it’s two guys

because the hair is the same and the clothes are the same but it’s
actually a guy and a girl. Both had long hair and skin-tight
jeans. Another couple—a guy and a girl. The guy is not in the
stereotypical emo dress—has short hair, baggier shirt (still a
band tee) and khakis. Girl has dyed black hair, blunt bangs,
glasses, and emo clothes: brown medium messenger bag swung
over left side of body.
Bigger group of emo kids—about 8-10—one with baggier
yellow shirt and tight-fitting jeans; one with black hoodie over
a cap, hands in pockets the entire time he talks, bright orange
belt. More animated—makes punching gestures. Another guy is
making punching gestures and fighting gestures at this same
guy; they keep doing it back and forth. Unable to hear
conversation.
Group of three kids—all about 15-16 years of age—two appear
to be of Latino/Hispanic descent—one wears a tie-dye shirt,
gray khaki shorts, and sneakers with electric green thick
shoelaces. The other has a band tee on and gray pants. They are
talking to a kid with a flannel shirt, glasses, and light brown
hair with an emo swoop and Converse sneakers.
They stand about the same distance apart as would be expected
from young males. Kids constantly filtering in and out, even
though it is now 6:24 and the show began around 5:00 PM.
Group of kids parks next to me then walks up and hug and high
five people outside. A few groups seem now to intermingle now
that this group of kids has come up. This place seems to create
an environment specifically geared toward high school kids to
let them have a place to hang out and to play for one another.
People (band members?) constantly bringing instruments out—
drums, cymbal, etc.
Two emo kids from earlier are walking with their arms around
each other’s necks, then
grab each other’s arms. Emo swoop of hair, very tight jeans,
and black Converse shoes. Now a guy is hugging that person—I
think it might be a girl. Two guys are standing with these two
girls.

A few kids are smoking cigarettes or drinking from plastic cups
(maybe 1-2 in the whole group). Lots of kids, including the one
I thought was a guy, have streaks of color in their hair—one girl
walking past has a pink streak in her blonde hair (3-5 inches in
length), the other girl has a bright blonde streak in dark brown
hair.
Lots of dark color interspersed with bright colored t-shirts and
pops of color in dark shoes, like the shoelaces or on the tops of
shoes. Swayze’s has put cones specifically in the first three
parking spots in front of the venue so that kids can congregate
outside. No one here appears to be over the age of 17-18.
Guys are being physical with one another—fake fighting, then
hugging to make up.
One girl walks in with a brown messenger bag slung over right
shoulder. Dress. Tattoo on back of right calf. Group of three
kids—all about 15-16 years of age—two appear to be of
Latino/Hispanic descent—one wears a tie-dye shirt, gray khaki
shorts, and sneakers with electric green thick shoelaces. The
other has a band tee on and gray pants. They are talking to a kid
with a flannel shirt, glasses, and light brown hair with an emo
swoop and Converse sneakers.
They stand about the same distance apart as would be expected
from young males. Kids constantly filtering in and out, even
though it is now 6:24 and the show began around 5:00 PM.
Group of kids parks next to me then walks up and hug and high
five people outside. A few groups seem now to intermingle now
that this group of kids has come up. This place seems to create
an environment specifically geared toward high school kids to
let them have a place to hang out and to play for one another.
***Field notes modified for education purposes from:
Schmitt, Kaci, "Exploring Dress and Behavior of the Emo
Subculture." Dissertations, Theses and Capstone

Projects, Paper 465, 2011.
Essay 4: Subculture Research Paper
Assignment
For this assignment, you will choose an American subculture,
research it, and write an argument about it.
Selecting Your Topic
A subculture is a group within a culture who shares social,
economic, ethnic, or other traits that distinguish it from other
members of their culture.
PLEASE NOTE: In order to maintain academic objectivity, you
must choose a subculture that you are not actively a part of.
Examples of topics:
·
* Modified from
<web.ics.purdue.edu/.../fall%2005%20profile%20assignment%2
0sheet.doc>
· VSCO Girls
· E-boys
· Skateboarders
· Gamers (video game players)
· K-pop fans
· Soccer moms
· Ballet dancers
· Police officers

Research
Regardless of what subculture you choose to profile, you should
research the subject thoroughly. You should include both
traditional and field research methods. Your field research must
include interviews and/or observations. These research
techniques allow you to add more personal and original
elements to your essay. You will also need to complete some
library or web-based research in order to better understand the
subculture, the history of that subculture, or the social
conditions that created that subculture. Your finished paper
should include a total of at least three sources, two of which
must be print or web-based sources.
Research Process Grade
You should keep organized notes throughout your research
process. You will need to bring notes from your field and
traditional research to class on the date noted on the course
calendar for a 50-point grade. You must have at least one hour
of observation/interview time documented. Your traditional
research (from print or online sources) should be organized on
notecards or note pages as discussed in class.
Your Argument
Your paper will focus on a specific argument about the
subculture you have chosen. In deciding on your argument, you
might think about responding to one of the following questions:
· What social conditions helped create this subculture?
· Why does this subculture exist?
· What impact does this subculture have?
· What is the significance of this subculture?
· What previous subcultures might this current one be similar
to? What does that suggest about those subcultures?
· What does this subculture reveal about American society or
humanity?

Make sure that your argument is specific and not too broad.
CONTINUED ON NEXT PAGE
Grading Criteria
Your essay should include:
· A clear argument about the subculture.
· Reasoning and evidence that supports the argument including
an analysis of the defining characteristics of that subculture: its
history, attitudes, beliefs, behaviors, jargon/slang, fashion,
rites, and rituals. Clearly explain how this group shares
characteristics that are different from mainstream society.
· An effective integration of both field and traditional research
through the use of quotes, summary, and paraphrasing.
· An organized approach (an introduction with a clear thesis,
supporting body paragraphs, and a meaningful conclusion with
smooth transitions throughout).
· 3-5 pages (not including the Words Cited list)
· MLA format
· A list of Works Cited list including at least three sources
(NOTE: At least two sources should be print or web-based)
· At least three in-text citations
· Careful attention to details of syntax (sentence structure),
diction (word choice), and mechanics (grammar, punctuation,
and spelling)
· An interesting and appropriate ACADEMIC title
Hints and Tips:
1. Make sure you stay focused on the argument stated in your
thesis throughout your entire essay. Plan your essay around

points that help to prove your thesis.
1. Use selective details to create a picture of the subculture.
Every anecdote, quote, and descriptive detail must contribute in
a meaningful way toward your dominant impression of the
subculture.
1. Use present tense to create a sense of immediacy and
intimacy for the readers. By helping them feel like they are a
part of the people and events you are describing, you will create
a more powerful relationship between the audience and the
subject of your essay.
1. You may include a graphic that visually highlights some
aspect of your essay if appropriate. However, it will not count
toward the page length.
Essay 4: Subculture Research Paper
Assignment
For this assignment, you will choose an American subculture,
research it, and write an argument about it.
Selecting Your Topic
A subculture is a group within a culture who shares social,
economic, ethnic, or other traits that distinguish it from other
members of their culture.
PLEASE NOTE: In order to maintain academic objectivity, you
must choose a subculture that you are not actively a part of.

Examples of topics:
·
* Modified from
<web.ics.purdue.edu/.../fall%2005%20profile%20assignment%2
0sheet.doc>
· VSCO Girls
· E-boys
· Skateboarders
· Gamers (video game players)
· K-pop fans
· Soccer moms
· Ballet dancers
· Police officers
Research
Regardless of what subculture you choose to profile, you should
research the subject thoroughly. You should include both
traditional and field research methods. Your field research must
include interviews and/or observations. These research
techniques allow you to add more personal and original
elements to your essay. You will also need to complete some
library or web-based research in order to better understand the
subculture, the history of that subculture, or the social
conditions that created that subculture. Your finished paper
should include a total of at least three sources, two of which
must be print or web-based sources.
Research Process Grade
You should keep organized notes throughout your research
process. You will need to bring notes from your field and
traditional research to class on the date noted on the course
calendar for a 50-point grade. You must have at least one hour
of observation/interview time documented. Your traditional
research (from print or online sources) should be organized on
notecards or note pages as discussed in class.
Your Argument
Your paper will focus on a specific argument about the

subculture you have chosen. In deciding on your argument, you
might think about responding to one of the following questions:
· What social conditions helped create this subculture?
· Why does this subculture exist?
· What impact does this subculture have?
· What is the significance of this subculture?
· What previous subcultures might this current one be similar
to? What does that suggest about those subcultures?
· What does this subculture reveal about American society or
humanity?
Make sure that your argument is specific and not too broad.
CONTINUED ON NEXT PAGEGrading Criteria
Your essay should include:
· A clear argument about the subculture.
· Reasoning and evidence that supports the argument including
an analysis of the defining characteristics of that subculture: its
history, attitudes, beliefs, behaviors, jargon/slang, fashion,
rites, and rituals. Clearly explain how this group shares
characteristics that are different from mainstream society.
· An effective integration of both field and traditional research
through the use of quotes, summary, and paraphrasing.
· An organized approach (an introduction with a clear thesis,
supporting body paragraphs, and a meaningful conclusion with
smooth transitions throughout).
· 3-5 pages (not including the Words Cited list)
· MLA format
· A list of Works Cited list including at least three sources
(NOTE: At least two sources should be print or web-based)
· At least three in-text citations
· Careful attention to details of syntax (sentence structure),
diction (word choice), and mechanics (grammar, punctuation,

and spelling)
· An interesting and appropriate ACADEMIC title
Hints and Tips:
1. Make sure you stay focused on the argument stated in your
thesis throughout your entire essay. Plan your essay around
points that help to prove your thesis.
1. Use selective details to create a picture of the subculture.
Every anecdote, quote, and descriptive detail must contribute in
a meaningful way toward your dominant impression of the
subculture.
1. Use present tense to create a sense of immediacy and
intimacy for the readers. By helping them feel like they are a
part of the people and events you are describing, you will create
a more powerful relationship between the audience and the
subject of your essay.
1. You may include a graphic that visually highlights some
aspect of your essay if appropriate. However, it will not count
toward the page length.

Taking Notes for ResearcHSample Bibliography Card.docx

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