Project 2 Going Against the Grain: Writers Taking Risks Context and Description Two roads diverged in a wood, and I-- I took the one less traveled by, And that has made all the difference. (Robert Frost, “The Road Not Taken”) Creativity is a risky business. Being creative involves being different. Being different can be risky because not all differences are created equal: Some differences are appreciated and seen as creative; others are dismissed, laughed at, or considered to be too crazy to attempt. When we do something unexpected or surprising, it can be seen as a risky behavior--we are not following the rules or doing what might be considered “the norm” in a certain situation. Risk- takers need to think about their choices and how they might affect those around them. The same idea of risk-taking also occurs in writing. Writers use their creativity to try new things in their writing in many ways: in the style of how they write, the genre they choose, how the genre is used or adapted, or the look or format of their finished work. Using a different way of writing--for example, slang, profanity, different language variety or other non-traditional forms of writing in a traditional context--can be effective in making points about differences in social status, cultural experiences, and identity positions. Yet, they can also be judged as a sign of poor writing. Taking a stance on a topic that is different from the majority opinion can stimulate discussion but it can also involve the risk of being dismissed or attacked. Speaking out in writing against the “norms” of society (politically, socially, etc.), or even choosing a topic that is considered more “taboo” are additional examples of risky creativity in writing that challenge or provoke the audience. To explore the nature of creative risk-taking in writing, compose an analysis of a piece of published nonfiction writing where writers are taking risks. The types of risks may include addressing controversial topics; taking a non-dominant or unpopular perspective; or using unconventional writing features, including vocabulary, style, language variety, genre or visual design. You will choose one outside source that exemplifies a writer taking a risk, and you will complete a summary, analysis, and response to this source in essay format. Overall, you will analyze the effect of this risk taking: Does it make sense considering the author’s purpose, audience or genre? Or, does it fall into the “crazy” category? As you explore your ideas, you may want to consider the following questions: ● What aspects of the text are risky? ● What kinds of risks might people take in their writing? What do they look like? ● What makes some writing riskier than others? ● What parts of the writing process/experience are affected by risk? (Topic/subject, word choice/diction, final layout/design) ● How do writers manage risks? What factors determine how risky a writer .

1. Project 2
Going Against the Grain: Writers Taking Risks
Context and Description
Two roads diverged in a wood, and I--
I took the one less traveled by,
And that has made all the difference.
(Robert Frost, “The Road Not Taken”)
Creativity is a risky business. Being creative involves being
different. Being different can be
risky because not all differences are created equal: Some
differences are appreciated and seen
as creative; others are dismissed, laughed at, or considered to be
too crazy to attempt. When
we do something unexpected or surprising, it can be seen as a
risky behavior--we are not
following the rules or doing what might be considered “the
norm” in a certain situation. Risk-
takers need to think about their choices and how they might
affect those around them.
The same idea of risk-taking also occurs in writing. Writers use
their creativity to try new things
in their writing in many ways: in the style of how they write,
the genre they choose, how the
genre is used or adapted, or the look or format of their finished
work. Using a different way of

2. writing--for example, slang, profanity, different language
variety or other non-traditional forms of
writing in a traditional context--can be effective in making
points about differences in social
status, cultural experiences, and identity positions. Yet, they
can also be judged as a sign of
poor writing. Taking a stance on a topic that is different from
the majority opinion can stimulate
discussion but it can also involve the risk of being dismissed or
attacked. Speaking out in writing
against the “norms” of society (politically, socially, etc.), or
even choosing a topic that is
considered more “taboo” are additional examples of risky
creativity in writing that challenge or
provoke the audience.
To explore the nature of creative risk-taking in writing,
compose an analysis of a piece of
published nonfiction writing where writers are taking risks. The
types of risks may include
addressing controversial topics; taking a non-dominant or
unpopular perspective; or using
unconventional writing features, including vocabulary, style,
language variety, genre or visual
design. You will choose one outside source that exemplifies a
writer taking a risk, and you will
complete a summary, analysis, and response to this source in
essay format. Overall, you will
analyze the effect of this risk taking: Does it make sense
considering the author’s purpose,
audience or genre? Or, does it fall into the “crazy” category?
As you explore your ideas, you may want to consider the
following questions:
● What aspects of the text are risky?

3. ● What kinds of risks might people take in their writing? What
do they look like?
● What makes some writing riskier than others?
● What parts of the writing process/experience are affected by
risk? (Topic/subject, word
choice/diction, final layout/design)
● How do writers manage risks? What factors determine how
risky a writer can be?
(audience, location of text, social expectations)
● How do writers make these creative, risky choices “work”?
● How does a risk-taking writer work with traditional norms
and expectations of writing?
● Are there certain situations where taking risks in writing is
not allowed? Why?
Once you choose your text, you may want to ask these even
more focused questions:
● What kind of risks does the writer take?
● How does the writer manage the risk?
● How are the dominant and alternative perspectives
represented in relation to each
other?
● Who decides that the choices the writer makes are risky?
● What is the overall effect of the risk-taking? Does it work, or
is it a mistake? Why?
● Why is the risk worth taking? What is the writer trying to
contribute by taking this risk?

4. Learning Objectives
Through this writing project, you will accomplish:
● Producing an effective critical summary of a chosen
secondary source
● Critical reading and analysis of a secondary source
● Application of ideas in a secondary source to analysis of
chosen topic
● Effective integration and appropriate documentation of ideas
from secondary source
(quoting and paraphrasing)
● Generation of new insight into the chosen topic (for reader
and perhaps for writer)
● Using a source to discuss a theme/larger issue
● Understand the kinds of risks students can take in their own
writing and what
might be at stake in for both writers and reading through such
writerly risk-taking
Process Genres
Here are a few process genres that might help you develop ideas
for the profile essay:
● Personal reflection on risks in writing (and consequences) OR
times you “played it safe”
● Brainstorming list of different risks writers take (and possible
reasons why/why not)
● List of things you have read (in any language) that seem to
bend the rules without
breaking them (substance/topic; rules of writing). How does the
author break that “rule”
effectively?

5. ● Reading an example of a nonfiction text where the author
takes a risk and writing a
response/mini-analysis of the text (using quotes and paraphrases
correctly).
Audience
Since you are writing a genuine response to a published work,
your audience will not only be
the author of your chosen source, but also any individuals who
have also read (and possibly
reacted to) the source. Therefore, you need to be aware of who
reads your source so that you
can compose a text that is appropriate to that audience. For
example, if your source is an
article from The New York Times, you will need to write for an
audience that expects to read
formal and well-reasoned texts. You may also be writing for
individuals who have NOT read
your chosen source; they may be looking to you to fill them in
on not only what was said in the
source, but also what you think about it and why. In that case,
your summary of the source will
need to be as thoughtful and complete as possible so that you
are presenting an informed and
accurate account of the source. Your audience members will
not only read what you have
written-- they will take your text and react to it. It is important
to keep this knowledge in mind
when completing this writing project--or any other writing for
that matter.
The Genre of Reaction Essay

6. A summary and critique would begin with an introduction that
introduces the text to be
discussed. It could also focus on issues or questions to be
explored through the critique of the
text. The body will consist of a summary and a critique of the
text. The summary part represents
the main theme or argument of the text as well its overall
organization and details that are
relevant to the critique. The critique will then analyze or
evaluate the text in terms of a set of
criteria. The summary and critique part can be organized either
in two parts (i.e., the summary
of the whole text and the critique of various points) or in
alternating segments (i.e., a brief
overview followed by a sequence of several summary-critique
units, each addressing a different
aspect of the text). It would then conclude with an overall
evaluation of the text and/or a
discussion of the implication of the text for the readers. You
may also find alternative ways of
organizing it, but keep in mind the risks involved in taking an
alternative approach.
------------------------
Examples of probably-unintentional risk-taking in common
genres:
An unprofessional email asking professor to do an enrollment
override (note, this is a real email sent to me. All I did was
change names and student ID).
Discuss in terms of rhetorical concepts: subject, purpose,
readers, context of
use, tone and style:
TO: Sally Sparrow <[email protected]>
FROM: Ima Student <[email protected]>
SUBJECT: (no subject)

7. HEY SALLY HOW ARE YOU DOING. MY NAME IS IMA, I
REALLY NEED TO TAKE YOUR ENG101 CLASS, THE ONE
ON TTH AT
2. I CANT REGISTE ONLINE IT SAS THE CLASS IS FULL
BUT MY
ADVISOR SAID YOU CAN ADD ME. SO IF YOU COULD DO
THAT ASAP
IT WOULD BE GREAT. MY STUDENT ID IS 1234567890.
THANKS
An “awful cover letter”:
http://gawker.com/5883684/the-awful-cover-letter-all-of-wall-
street-is-laughing-about
Genre Example(s):
“Handy Dandy Guide to Writing a Reaction Paper.”
spfldcol.edu. Springfield College, n.d. Web.
26 July 2012.
<http://www.spfldcol.edu/homepage/dept.nsf/9fd80471db04a6c8
85256f4200656df5/$FIL
E/Writing%20Reaction%20Papers.pdf>
Przybyla, Daria. “How to Write a Response Paper to an
Article.” Suite101.com. Academic

8. Writing @ Suite 101, 4 March 2009. Web. 26 July 2012.
<http://suite101.com/article/how-to-write-a-response-paper-to-
an-article-a100172>
“Response/Reaction Paper.” twp.duke.edu. Duke University
Writing Studio, n.d. Web. 26 July
2012.
<http://twp.duke.edu/uploads/assets/response%20paper.pdf>
“Writing Effective Summary and Response Essays.”
writing.colostate.edu. Writing @ Colorado
State University, 2012. Web. 26 September 2012.
<http://writing.colostate.edu/guides/teaching/rst/pop5i.cfm>.
“Writing the Summary of an Article.” www.umw.edu.
University of Mary Washington, n.d. Web.
26 September 2012.
<http://www.umw.edu/greatlives/files/2012/01/Writing-a-
Summary-
of-an-Article.pdf>.
Readings:
Burger, Edward. “Essay on the importance of teaching failure.”
Inside Higher Ed. 21 Aug. 2012.
Web. 21 Aug. 2012.
<http://www.insidehighered.com/views/2012/08/21/essay-
importance-teaching-failure#.UDRtGptAcRY.mailto>

9. “The Benefits and Drawbacks of an Over Active Creative
Mind.” SpyreStudios.com.
spyrestudios, 2011. Web. 24 July 2012.
<http://spyrestudios.com/benefits-and-
drawbacks-of-an-over-active-creative-mind/>
Conference on College Composition and Communication. (1974;
2003; 2006). “Students’ Right
to Their Own Language.” College Composition and
Communication, 25. Print.
<http://www.ncte.org/library/NCTEFiles/Groups/CCCC/NewSR
TOL.pdf>
Desmet, Casey. “Inspiration for the Creative Process.”
Professional Writing Resources.
Michigan State University, 2006. Web. 24 July 2012.
<https://www.msu.edu/~wrac./pw/resources/desmet.html>
Morrisey, Tracy Egan. “Author of ‘I Am Adam Lanza’s Mother’
Responds to Backlash.” Web. 18
December
2012. <http://jezebel.com/5969406/author-of-i-am-adam-lanzas-
mother-responds-to-
backlash-from-her-viral-post>

10. Onori, P.J. “In Defense of Hard: When Easier Isn’t Better.”
Lifehacker.com. Lifehacker, 12
May 2011.
Web. 24 July 2012.
<http://lifehacker.com/5800882/in-defense-of-hard-why-easy-
isnt-always-the-best-
answer>
“Risky Business: Rewards Come from Creative Risk-Taking.”
FreePressOnline.com. Free
Press Online. 10 November 2011. Web. 4 September 2012.
<http://freepressonline.com/main.asp?SectionID=52&SubSectio
nID=78&ArticleID=1616
2>
Smitherman, Geneva and Victor Villanueva, ed. Language
Diversity in the Classroom: From
Intention to Practice. Carbondale, IL: Southern Illinois UP,
2003. Print.
<http://books.google.com/books?id=e93qqw77mC0C&pg=PA23
&lpg=PA23&dq=cussin'
+geneva+smitherman&source=bl&ots=D6k9meWEoK&sig=5ka
A696Rd1vOpQpd1uqW6
xI6Sl0&hl=en#v=onepage&q=cussin'%20geneva%20smitherman
&f=false>
Sullivan, Andrew. “Anderson Cooper: ‘The Fact is, I’m Gay.’”
AndrewSullivan.TheDailyBeast.com. The Newsweek/Daily

11. Beast Company LLC, 2 July
2012. Web. September 2012.
<http://andrewsullivan.thedailybeast.com/2012/07/anderson-
cooper-the-fact-is-im-
gay.html>
Tan, Amy. “Mother Tongue.” teachers.sduhsd.k12.ca.us.
Canyon Crest Academy, 2010. Web.
13 September 2012.
<http://teachers.sduhsd.k12.ca.us/mcunningham/grapes/mother
%20tounge.pdf>
Tsing Loh, Sandra. “Daddy Issues.” TheAtlantic.com. The
Atlantic Monthly Group, March 2012.
Web. 11 September 2012.
<http://www.theatlantic.com/magazine/archive/2012/03/daddy-
issues/308890/>
Wallace, David L. (2009). “Alternative Rhetoric and Morality:
Writing from the Margins.”
College Composition and Communication, 61 (2): W18-W39.
Print.
<http://www.ncte.org/library/NCTEFiles/Resources/Journals/CC
C/0612-
dec09/CCC0612Alternative.pdf>