Outlining

When thinking about outlining, it might be helpful to think of breaking down your paper into tangible parts of a puzzle (Title, Introduction, Body Paragraphs, Conclusion, Sources/Bibliography) in which you decide what order they will take shape. For example, you may decide to write a body paragraph first, then add an introduction, then more body paragraphs, a conclusion, and THEN a title - it is up to you since you are the author. In order for you to make such a decision, please use this as a guide to help you understand what these various puzzle pieces are all about. Then you can get to shaping them and putting them together in an outline.

Titling your paper.

A title is important, but more for you, the writer, than the reader. The title tells you where you are going and keeps you on track. It gives the paper a sense of purpose and place. Think of it as where you are placing your work in the discipline of art history. Maybe it mentions the methodology you use, the artist, and some of the keywords from your argument. You can be creative, but be clear. If a perfect title does not emerge right away, fret not. You can change a title as you write; in fact, it can be a good writing exercise to think about what the title would be as you work.

Introduction.

One of the best pieces of writing advice I received was to delete the first paragraph of my paper draft (for every single paper!). The idea was not to eliminate poor work but to get right to the point of the essay. For a shorter essay like this one, you must get straight to the real purpose of the work: your argument. So, think of the introduction as important, but also to not spend an inordinate time doing it.

Want to cite a great poem? Share an inspiring quote? Give an insight into the brilliant thing you thought of in the shower that other day? Save it. Think of those as golden nuggets that will keep the reader moving through your body paragraphs with interest.

Generally speaking, you can approach the introduction by 1) stating clearly what the problem is that you're addressing with your subject and artwork(s) and 2) engaging with a writer who has written on the same topic you're interested in, and explain how you're going to critically involve your thinking with their work.

The Body.

By creating an outline with topics and purposes, it makes the intermediate passages much easier. Do you know what you will say in the next paragraph? It is better to have a plan (I will say “A, B, support B with B1, then proceed to C”) than to merely ramble forward from an earlier thought, opening a new paragraph when the previous has grown too long.

"Notes"

From the moment you initially observe the artwork(s), make sure that you are writing down notes. If you are on the train and something strikes you about your topic, write it down. When you go to the museum in person, write notes on the artwork(s) you're writing on. These notes add up to be crucial for your paper because they are not simply made up in thin air but happen over a progressive period. This makes your writing authentic and also (usually) points out a pattern in your thinking. There can be common themes and connections that arise before you even read a secondary source.

"Quotes"

The quotes come from the secondary sources (peer reviewed, perferably from the BC Library!) that you will use for your final paper. Even before you know your thesis, you can highlight, type, underline, etc, quotes from your source that you find provocative, useful, or interesting. The key here is tracking down your thought process of "Oooh! This is a good point the author is making" while also making the most of the reading and research part of writing. Even if you are not writing your own sentences in this process, these highlights, underlines, etc, could be used as quotes in your paper.

Body Paragraph Topics.

To decide on topics for the body paragraphs, take a look at ALL of the notes you've made and ALL of the quotes you've collected. Do you see commonalities? Are there little glimpses of strings that can be threaded together or investigated further? These connections become topic sentences and body paragraphs. Doing this exercise can alternatively show you the gaps in your research. Maybe you are missing connections or topics that feel related to your thinking on the subject and artwork(s) you're working on. Don't be afraid to discard sources and try reading new ones, or start a new draft of notes with a fresh head on your artwork(s). Research gaps are not deadends - they simply tell you to reroute and try something different.

Concluding.

In case you had to modify your thesis throughout the paper, this is the place to state your intellectual transition. “We began by claiming A, but examination of B led us to rethink the claim as C.” This is a great way to make an imprint in the reader’s mind of the intellectual development in the paper. If your thesis is diffuse or has many parts that are never stated together—this is the place to state it fully and briefly. But if your thesis is clear and has cropped up several times already in your essay, spare your readers the repetition. End with a thoughtful reservation about that thesis, with a suggestion for further work, with a novel insight about your art piece, or, if all else fails, with a joke.

So, to recap your outline process:

• Search for quotes in your source that will be useful for you or that stick out.

• Using notes from your writing on your topic.

• Observe where connections can be made - are there similarities? common themes or questions? These are subtle hints waving out to you, asking to become body paragraphs!

• At the end of this process, you will have at your disposal a pile of ordered, notated texts ready to be consulted as you write. This is an outline. Everyone's looks a bit different.