How to Build Dungeon Tiles and Terrain: Felt Four Ways

Felt is an inexpensive and easy medium to use to create dungeon tiles and battle map terrain for a tabletop role-playing game (TTRPG) like Dungeons and Dragons. 

Felt comes in a variety of thicknesses, sizes, colors, and textures, and it's easily shaped into tiles and maps using a ruler, a fine tip marker or fabric chalk, some good craft scissors, a glue gun, and a plentiful batch of glue gun sticks. With the addition of a few needle-felting supplies, like felting needles, a felting pad, and wool roving or wool top coat, felt can even be used to create 3-dimensional objects or blended surface colors.

Mosaic-Style Interior Build

The mosaic-style build is a great option when duplicating a previously published map with complicated forms, like from an official Wizards of the Coast adventure that includes circular or organic spaces, like towers and caverns. The major benefits of using this building method include the ease of creating a measured replica and the end product having a usable grid and engaging texture.

At its most basic, a mosaic-style build is simply a matter of counting out and cutting enough squares to fit each room of a build. After cutting enough squares to meet the specifications of the map, they can be arranged in the pre-established pattern on a large base, leaving base-color gaps or using base-color squares for walls and doorways, depending on the map.

For example, as shown in figure 1, a mosaic build of a 4” tower room requires 12 full tiles and 4 triangles to complete the room. The outer walls can also be constructed using 1” tiles of a varying color, depending on the size indicated on the map that’s being duplicated, or a builder may want to use ¼” or ½” rectangles or squares to match previously built dungeon or terrain tiles.

Figure 1.

Measured Interior with ¼, ½, or 1-Inch Walls

Sometimes maps, especially those consisting mostly of interiors or stand-alone buildings, do not require grids in order to calculate movement. A game master might simply know that a room is 4” across and therefore know how much of a character’s movement it takes to cross the room or how far a spell can travel. Alternatively, rulers can be used to calculate distances in rooms without grids. The benefits of gridless tiles are the ease and efficiency of creating them and the “less busy” look of the finished product.

Creating rooms without grids requires, like the mosaic-type build, careful measuring and marking. If the map requires a 20’ x 40’ room, and 1” = 5’, the room itself will need to be 4” x 8” plus the additional space required to create walls. A room with ¼” walls will need to be 4 ½ by 8 ½ inches, for example. The example in figure 2 shows a 4” x 4” inch room that’s been cut at 4 ½” x 4 ½” to accommodate ¼” walls. The two doorways are 1” across.

Gridless tiles can also be used to create new and original configurations. The grey tiles with cream walls shown below are based on a 4" x 4" set, and I've added doors, stairs, larger rooms based on the 4" x 4" measurements, and a 4" x 6" tower room. 

When building multiple rooms that fit tightly together, it sometimes helps to create the build on a large base and later cut the rooms along the walls. Parts of the map can be added during a session as characters explore the space, or an uncut map can be revealed by uncovering parts of it as the character’s explore. 

Figure 2.

4" x 4" Dungeon Tiles with 1" Walls

Needle-Felting

Including needle-felted elements in a build adds both texture and dimension. A needle-felted base can be constructed by carefully measuring and marking squares onto plain craft felt and using core wool or top wool to create the grid pattern. The colors of wool roving can be blended to good effect, and with some work, 3-dimensional objects can be constructed: firepits, boulders, boxes, sacks, greenery, and other reusable elements. 

Felted grids can be used as a base battle map for outdoor spaces, as a base for stand-alone buildings, or as a gridded area within a build’s negative space, as shown in figure 3. 

Figure 3.

Hints and Tips

No matter which type of felt build a person chooses, there are some general hints and tips for the felt build

• Measure carefully before cutting. 
• Arrange pieces (walls, tiles, doors) before gluing.
• Only glue those elements that will never be removed or that need to be used elsewhere.
• Glue on a protected surface to avoid damaging a table or countertop.
• Glue carefully. Hot glue is very hot.
• Felt safely. Felting needles are very sharp.

Illustrated Maps: A Cartography Project

 

Hand Illustrated Map of Manhattan
by Kening Zhu
Used with CC License

Some of my favorite types of artwork to scroll through online are illustrated or cartoon maps. They remind me of the map I picked up in the student center when I first moved to college. One side depicted the campus, mostly green with grassy areas and tree-lined campus paths, with each building on campus illustrated in an outlandish, yet aesthetically pleasing, perspective and scale. The reverse side was the entire city, covered with illustrations for local bars, coffee shops, restaurants, off-campus book and comic shops, thrift, and specialty stores. The names of the roads were impeccably hand-lettered, and the legend clearly labeled all of the important places, like the hospital, the police and fire stations, and the public parking areas. The map was gridded and included lists of places by name and grid identification. The compass rose was cleverly and artistically incorporated into the wooded area to the south of town. 

I picked up that map over twenty years ago, and I can still picture it clearly. It made an impression. That map represented my home, new at the time, but familiar after my five years of undergraduate courses. I used it and wore out its seams. I walked it and made mental notes. 

I suspect there's a lot I can continue to learn about myself and my ever-changing definition of "home" if I attempt to map and remap, both physical and metaphysical aspects, of wherever I might be at any given time.

Step One: Defining "Home"

The first step in this personal cartography project is to define "home," and not just by opening Webster's Dictionary. The lock-making company Schlage makes a point of defining home outside the boundaries of the dictionary in a 2020 blog post entitled "What is the meaning of home? Hint: It’s not just a place." This post specifically juxtaposes the Merriam-Webster definition: Home isn't just a "residence," "domicile," or "house," they argue. Instead, the post defines it as "the intangible feeling" a person might experience in a specific place, "a sense of peace, joy from loved ones or an environment where everyone knows they’re welcome." They go on to include several definitions of home that extend far beyond the dictionary definition.

"Home" is also not always delineated as simply as my introductory map example might suggest. "Home" is complicated. "Home" often includes, but is not limited to a house, per Webster's, and at the end of the day when someone says, "I'm heading home," they might mean their house. However, if someone was going on vacation, they might also respond, "I'm heading home," but mean the place where they grew up. This might be entirely different from where a person feels most "at home." For some, a special place in the woods where they first went camping feels the most "like home." For others, their grandparents' property most fits their definition of "home." Although very rarely just a single house, "home" might evoke a collage of houses, all linked by the roads and bridges and telephone lines that keep a family connected. "Home" might be a hotel room or a specific aisle in a specific library. "Home" might be a neighborhood or college campus. Some "homes"  have no boundaries at all, and when asked, a person might tell you the world is their "home," or wherever they currently live is their "home."  Some people, on the other hand, have no answer ready and haven't considered the question until asked. Each response depends entirely on a person's experiences in the world and their reactions to those experiences, both positive and negative.

Step Two: Narrowing the Topic

After defining "home" based on personal experiences, the second step is to narrow the scope of the cartography project. 

Just as when narrowing a writing topic, the scope of a map can be narrowed by choosing an intended audience. For example, if the intended audience is "family members," including the homes of all the family members would be important, so the boundary of the map should encompass all the homes. The intended audience might also be a group of friends who play a table-top role playing game together. Perhaps their "home" is a specific location or area on a fantasy map. A couple who takes a meaningful road trip might choose to map the path and places of interest as a memento for themselves.

A second way to narrow the scope of the project is to construct a theme or motif.  A meaningful map might include all places a person has kayaked, canoed, or rafted, especially if that person feels "at home" when engaged with those activities. A foodie might mark all of their favorite hometown restaurants on a map. A person living in a new place might take the opportunity to walk their new neighborhood and construct a map from memory afterwards to mark the occasion, or a person who'll soon be moving might want to construct a map of the place they'll be leaving. 

Step Three: Drawing and Labeling Places and Landmarks 

The third step of the personal cartography project requires ranking landmarks and places. 

"Home" becomes a matter of inclusion and exclusion as map-makers finish deciding where to place boundaries and begin to decide which places or landmarks will be included or emphasized on the map. A person's house may have prominence and be placed in the center of the map, or a series of places might be of equal importance and be drawn around a central point. Places that have more importance might be drawn larger than places of lesser importance. The importance of specific roads will determine the level at which the map is drawn, as well. If all important locations are on major roads, only major roads might be labeled. If some important locations are on minor roads or side streets, the maker will have to decide if labeling the side streets is important. The maker will have to decide the scale or "zoom level" of their map. 

Step Four: Taking Pencil to Paper

The final step of the personal cartography project is taking pencil to paper and making the map. 

It's worth pointing out that there are several reasons why a person may prefer a paper map to an electronic map, including that paper maps don't need to recalculate (Berendsohn). Beyond the pragmatic and practical reasons, however, the act of mapmaking on paper can be both a kinesthetic and meditative practice. 

After deciding which important landmarks and places will be emphasized and labeled within the confines of the boundary of the map, a maker must take pencil to paper and begin making the map. It can either be finished on paper, or electronically. After drawing out initial ideas, the map can be constructed isometrically using computer software or special drawing paper and tools. The map might be painted in watercolor, or it could be constructed using collage techniques. The map might be created using a vintage style, in fantasy style, or look more like a cartoon. It could be meticulously created in CAD. The decisions about the style and form of the map might be made based on pragmatic matters, like budget, skillset, and time constraints, or it might be more meaningful. For example, a watercolor map of places a person has made plein air paintings would be reiterative.

Postcard Map of the Lake District 
Used with CC License

 I suspect there's a lot we can learn about ourselves if we attempt to map such a concept as "home."

The more I've travelled, the more of those same types of city maps I've encountered, like the one made for Mt. Pleasant Michigan that I picked up back in 1994. I've collected a number of similar-looking Discovery Map International tourist maps and MapCo Marketing event maps. I've drawn maps in art journals and even attempted postcard maps. Sometimes the map-making occurs spontaneously and I can think about my choices after the fact, and sometimes it's meticulously planned. Some have been successful, and others were simply steps in the process of becoming better - better at understanding myself, a better artist, better at remembering a place or how it evoked a certain feeling.

 Sometimes the maps evoke powerful feelings of home, depending on my affection for the city. However, the more important considerations are how I choose to define the map, its intended audience or purpose, and any thematic or meaningful principles. 

Each day might, in that way, bring a new map onto the page.

Works Cited

Berendsohn, Roy. "6 Reasons You Should Always Have a Paper Map." Popular Mechanics, 19 Nov. 2018, www.popularmechanics.com/adventure/outdoors/a25228379/paper-map/.

“What Is the Meaning of Home? Hint: It’s Not Just a Place.”  www.schlage.com/blog/categories/2020/11/meaning-of-home.html. Accessed 22 Sept. 2023.

Small Class Sizes and Course Load

"Time" by Emil
Used with CC License 

As a faculty member, I've always taught composition at colleges and universities with relatively small class sizes. These classes, between 12 and 30 students, are touted as a benefit to students and to faculty. However, small class sizes are only a benefit to those faculty - and their students - who also have a moderate course load. 

Because students in small classes are promised personalized assistance and feedback on assignments, faculty spend much of their time giving that assistance or answering those questions - sometimes by text, email, phone, video conference, or in-person meetings either during or outside their office hours. Some students come to class, some do not. Some students ask questions during class, but many do not.  Faculty who teach 2 or 3 courses a semester might spend 9-12 hours in classes each week, then work with their 60-90 students, plan lessons, create videos, grade 60-90 papers, commit to committee meetings, service responsibilities, write, and complete professional development for around 30-40 hours a week, working a total of between 40-60 hours a week. Much like an iceberg, most of a faculty member's work is completed "below the surface" and "out of sight." The job requires Herculean efforts in time management.

The workload of faculty who teach 2 or 3 of these more personalized courses is reasonable, and when compared to faculty who teach 4 or 5 of those "small" classes, that workload seems dreamy. Faculty who teach 4 or 5 courses might spend 15-20 hours in class each week, and in addition to the "below the surface work" explained above, also work with around 120-150 students each week, giving as much personalized feedback as they can muster - which may not be much given the unreasonable time constraints. The math: 40 hours a week minus 20 in the classroom leaves 20 hours to assist 150 students equals 8 minutes per student and 0 minutes for committees, service, professional development or writing. Those working beyond 40 hours might achieve the minimum productivity levels in their scholarly and professional development, but even the most stalwart faculty need to eat and sleep occasionally, not to mention raise their children, take care of aging parents, and participate in life with their spouses.  

So what's the tradeoff? As faculty teach more and more courses, which equals more and more students - even in increments of 12-30 - time and effort might be "borrowed" from other areas of their "below the surface" work. They stop writing or producing their own professional work. They may stop completing their committee assignments and rely on others to complete the bulk of the work. They, in other words, stop being a scholar, give up working within the academic community, and lack the time to develop their teaching philosophies or even practical pedagogy.  In some cases, they assign less work to students, give less feedback, and their courses might consequently lose any semblance of academic rigor. They might even sacrifice their family's well-being.

More math: Faculty might teach 30 students for 75 minutes, then teach another 30 students the same content or activity for another 75 minutes, back-to-back, and sometimes up to 5 times per week. Teaching the same class only twice, with 60 students in each class, would save the faculty member hours per week, time that could be given back to the students in their classes in the form of personalized assistance or feedback on assignments. The time might also be spent working toward becoming a better teacher, scholar, or mentor.

The lesson here is that both faculty and students should carefully consider the call to teach or take "small classes" because there's so much more involved than simply how many students enroll in each class section. Certainly the discipline matters, as chemistry and composition are taught much differently, but the main consideration to keep in mind is the assigned course load.

Write Outside: Annotated Bibliography Example

Russian Comfrey by Suzanne Schroeter
Included under Creative Commons License

An annotated bibliography is a list of sources a writer or research group might potentially wish to use for a research paper or project. An annotated bibliography is more than just a list, however. It includes annotations, or notes, that help the writers capture the qualities and main ideas of a source. The annotated bibliography can be used by writers during the outlining and drafting parts of the writing process as a bank of information from which source content can be pulled.

For writers who've never written an annotated bibliography, the task can seem herculean. Breaking the annotated bibliography entries into their component parts can make it much more achievable. 

Breaking the annotated bibliography into smaller tasks can help beginners learn to cite sources, identify claims and evidence, evaluate the content's rhetorical appeals, and plan their next steps.

Annotated Bibliography Example

The following table in an example entry that's been broken into its component parts on a table. For this example, the research question is "What are the practical and safe medicinal uses of the comfrey I grow in my backyard?" This example table includes the prompts necessary to properly evaluate and annotate an article called "Three Travelers," written by Katherine Yvinskas and published in The Herbarist in 2010. 

Prompt	Responses
Where did you find your source and why did you choose it? Provide the complete MLA citation for the source.	I found my first source in the GGC Library databases. I searched for the term “comfrey” in the database called Academic Search Complete (and updated my citation to include the name of the database instead of the name of the service, Ebscohost). This source was on the third page of results, and I chose it because I am interested in the medicinal properties of comfrey and this was published in a journal called Herbalist. Yvinskas, Katherine. “Three Travelers.” Herbalist, no. 76, Nov. 2010, pp. 16–20. Academic Search Complete, http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=a9h&AN=79329981&site=ehost-live&scope=site&custid=gwin
Research and explain each author’s credentials and authority. If there is no author, provide information about the organization or publisher. Think about how the author’s credentials affect the intended audience’s acceptance of the information.	There is a short bio in the article that explains the author’s credentials. Although her main vocation is as an artist, it seems she is also a self-taught herbalist. This might be a concern, but she has also been acknowledged as a Master Gardener. “Katherine Yvinskas is a member at large of The Herb Society of America. She is an artist, Master Gardener and herbalist living in New Jersey. She has created many original works inspired by plants and nature. Katherine received her MFA in 1981 from Northern Illinois University and is a member of the American Society of Botanical Artists. Her work has been widely exhibited and published” (20).
Quote or paraphrase the main idea (thesis, enthymeme, or hypothesis and findings).   If there is an abstract, you may also wish to quote it here.	Thesis: "I’ve called them ‘The Three Travelers’ in honor of their centuries-old reputation as journeymen having healing abilities that affect the lungs, bones, ears, digestive system, and support wound healing. Imagine seeing comfrey, mullein and coltsfoot standing together, taking on various ailments that come their way. A mighty trio! And they can grow in your own garden, as they do in my home herbal apothecary" (18). Abstract: “The article offers information on coltsfoot, comfrey and mullein, which are called the three travelers due to their ability to treat diseases. Coltsfoot is a spring bloomer and is dubbed Filius ante patrem. It treats coughs, asthma and bronchitis. Comfrey is high in calcium, potassium, phosphorus and other minerals and its leaves are rich in vitamins A and C. Mullein can grow anywhere, was used as toilet paper in the wild, or placed in the holes of shoes or if the feet were tired from walking.”
Summarize or quote each section’s or paragraph’s main idea sentence or main idea (if it’s implied). Be sure to point out where the most relevant information appears.	Each section describes the three plants and explains their herbal uses. Most relevantly, the article answers my research question on page 19 by saying that comfrey is best used as a healing cream and as a poultice. It is used externally.
Identify the main types of evidence the author(s) used. Use the list that’s been provided for you. Types of evidence may vary by paragraph or section. Please see “types of evidence” at the end of this document. Think about how the types of evidence affect the intended audience's acceptance of the information.	The author uses visual descriptions and verifiable, cited facts throughout the article, including in the section on comfrey. The references and bibliography for the cited information will be very helpful for continuing my research.
Explain how the source does or does not demonstrate each of the three main rhetorical appeals: ethos, logos, and pathos. What will you do to overcome any weaknesses presented in the source’s rhetorical appeals? Think about how the use of rhetorical appeals can affect the intended audience's acceptance of the information.	Ethos: The lead-in to the article is the author’s narrative about having the plants in her garden, which, by virtue of her experience, establishes a level of ethos. Because of the discrepancy between the author being an artist and being a self-taught herbalist, however, I want to find additional information to confirm and validate the information in her article, especially the idea of the herbs being called “three travelers.” Does this originate with her? Logos: Although the information is in a coherent order (categorical order in an expository essay format), and is presented with a bibliography, none of the information is timely, so there may be new information available. I will need to look for more up-to-date information. Pathos: The author has done a good job introducing the article with a narrative that includes positive connotations of the plants without exceeding the limits of a proper use of pathos.
Define unfamiliar words or phrases (up to 10). Include the original sentence from the source that contains the word or phrase. Be sure to attribute the source of the additional information in case you want to use it in your research project. These words may help you learn more about your topic.	Pyrrolizidine alkaloids : “Early leaves or cuttings harvested in the spring will contain high levels of dangerous pyrrolizidine alkaloids whereas the later cuttings and mature leaves have much smaller amounts” (18). I found more about this phrase in a source called Safety Issues Affecting Foods: Pyrrolizidine Alkaloids by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon (http://www.itmonline.org/arts/pas.htm): “Pyrrolizidine alkaloids (PAs) are of special interest currently because several of them have been shown to cause toxic reactions in humans, primarily veno-occlusive liver disease, when ingested with foods or herbal medicines. Comfrey, a well-known medicinal herb characterized by U.S. FDA researchers as having been ‘one of the most popular herb teas in the world,’ contains PAs that are capable of causing liver damage (10).”

Glossary of Key Words and Phrases

Annotate: Take notes on a text to help establish meaning and context. Annotations should be substantive enough to use as notes for a paper without having to look back at the original.

APA Format: The American Psychological Association’s guidelines for how to format a paper and its source content; emphasizes the author and publication date of a work with content page numbers if available. Generally used when the publication date is important in establishing ethos or logos, as in papers about medical advances or new technology.

Attribution: Giving credit to the original source of the information within the context of the sentence; usually requires transitions like “according to” or “Source states.”

Credentials: Qualifications, achievements, qualities, or aspects of a background, typically used to indicate suitability.

Enthymeme: Argumentative thesis statements work best with the idea of enthymeme. An enthymeme is a relationship between reason and conclusion. In thesis statements, this takes the form of making a clear connection between an assertion (claim, opinion) and the reasons used to support that assertion. “Recycling should be required nationwide because . . . .”

Hypothesis: In science, a hypothesis is an idea or explanation that is tested through study and experimentation. Outside science, a theory or guess can also be called a hypothesis. A hypothesis is something more than a wild guess but less than a well-established theory. “Planting carrot seeds in the fall may lead to greater yields the following summer.” Findings are generally found at the end of a paper that begins with a hypothesis.

MLA Format: Modern Language Association’s guidelines for how to format a paper and its source content; emphasizes the author and title of a work with content page numbers, if available. Generally used when the publication date is not important in establishing ethos or logos, as in papers about Hamlet.

Modes of Persuasion: Ethos, or ethical appeal, means to convince an audience of the author's credibility or character or by use of expert testimony. Pathos, or emotional appeal, means to persuade an audience by appealing to their emotions, usually using sensory description or narration. Logos, or the appeal to logic, means to convince an audience by use of logic or reason, verifiable facts, statistics, real examples, and descriptions or personal observations.

Paraphrase: A paraphrase is about the same length as a quotation, usually one or two sentence (in a short essay). The words are changed to fit stylistically into a paper, with any original words or phrases placed in quotation marks.

Quotation: The exact words used by another writer. Use the exact words only when no other word will express the same idea. Always enclose quotation in quotation marks except in the case of a block quotation.

RRAT: We have to ask ourselves if sources include reliable, relevant information, if the author, publisher, or editor is authoritative and credentialed. We also ask, “Is it timely?” It is timely if the content uses information with an appropriate publication date.

Summary: To summarize is to take a longer piece of writing and condense it into its main ideas. You summarize an article by restating its thesis and topic sentences or its findings. Although a summary can be followed by an evaluation, a summary is not the same as an evaluation. An evaluation rates an article’s worth, and a summary just explains its main ideas.

Thesis: A thesis statement is a sentence that states the topic and purpose of a paper. A good thesis statement will direct the structure of an essay and will allow your reader to understand the ideas you will discuss within your paper. “Students should take Composition courses their freshman year.”

Types of Evidence: Evidence includes 1. real and 2. hypothetical examples, 3. verifiable facts and 4. statistics, 5. testimony from experts and 6. laypersons, 7. logic and reason, 8. chronological narratives, 9. sensory descriptions, and 10. personal observations. 

Want to learn more about research and writing?

Annotated Bibliography Assignment for Students

Evaluating Source Content

Write Outside: Outdoor Activities and Writing Prompts for English Composition

Copyright Amy Lynn Hess. Please contact the author for permission to republish.

Write Outside: Knowing Fauna Activity and Writing Prompt

I looked into my garden. I knelt between the plants. I held my cupped hand to my eye to focus my gaze on its smallest details. I saw snails, grasshoppers, ladybugs, caterpillars, and bees. I watched them eat and rest, acknowledge one another, and go about their business. 

In Write Outside: Outdoor Activities and Writing Prompts for English Composition, I begin the section on rhetorical appeals with a chapter explaining the importance of a writer's intended audience. The outdoor activity for the chapter is to collect notes, renderings, or images of fauna. The subsequent writing prompt asks students to explain the symbolic characteristics for one or more of the fauna, and to remain focused on the needs of one specific person throughout the paragraph or essay that emerges. 

Depending on the needs of the specific reader a writer has in mind, this may emerge as a narrative, a concrete description, an expository explanation, or even an argumentative piece of writing. The following are drafts of paragraphs in each of the four modes. Main idea sentences have been underlined.

Sample Narrative Paragraph with Statement of Realization

    I had moved over fifteen times in ten years, and this was the sixteenth move, from Ohio to Georgia after graduate school. It wasn't the first time my car had died during a move, though. The first time my car had died during a move was three years earlier, as I was leaving Mt. Pleasant, Michigan after finishing my undergraduate degree. I'd come a long way during that time. My belongings were now packed in suitcases instead of trash bags, and I'd racked up another degree. My car was a few years newer, and I'd made a few more life-long friends. Yet there I sat, and as I sat at the intersection of I-285 and Roswell Road in Atlanta, Georgia, in a broken-down car full of all my possessions, I couldn't help but feel a bit like a snail with its home slung across its back. If only I'd known how wise a totem the snail would turn out to be for me, I would have embraced it and allowed myself to absorb and appreciate how life was right then instead of restlessly pushing for life to "go, go, go," always forward in a ceaseless state of change. 

Sample Descriptive Paragraph with Dominant Impression

    We walked together along the cobblestone streets of Athens, Ohio. I wore jeans and a military jacket, so I blended into the grey of the sidewalk and sky. I could smell the impending snow. Clouds of breath that emerged from our faces and hung over our heads. It was cold, and there may have been snow, but the salt and traffic turned all of it to dirty slush. You, however, wore a red dress, refusing to be daunted by the cold, the dreary, the depressing mess of winter. It wrapped around your legs in the wind. Instead of huddling inside your black wrap, you let it fly behind you like a cape. You were the ladybug, the ladybird beetle, the coccinella novemnotata, destroyer of the smaller, parasitic insects, the aphids who were sucking all the sweetness from the bars we visited that night. It wasn’t the only time, though, that you took on the persona of that deceptively beautiful warrior. Time and again you donned your red dress, accessorized with black boots and a black rose for your hair, and time and again you protected all of us from the hoards at the bar, like we were your garden and it was your job. The memory of you, Donatella, in your red dress, will always remind me of the ladybird beetle.

Sample Expository Paragraph with Concluding Topic Sentence

    The AMC Hornet was produced between 1970 and 1977. The cars themselves had nothing in common with the insects. They certainly didn't look like hornets. The association was purely symbolic. According to the Spirit Animal Totems web site,  wasps symbolize making a plan and following through on that plan passionately, without the fear of change. The wasp is a reminder to express thoughts freely and for people to "do their own thing." Wendy Jackson relates much the same on a web page called "Wasp Spirit Animal: Meaning, Symbolism, Dream of the Wasp Totem." She adds, however, that a "Wasp, at times, works as a group and, in some instances, work as one," which means they represent both teamwork and independence. If ever there was a totem animal that symbolized the road trip with friends, the hornet or wasp may be it. For people ready for a change of scenery, ready to hop in a car and follow through on a plan to hit the open road with a group of independent, adventurous friends, a car called a Hornet might just be the most sensible choice.

Sample Argumentative Paragraph with Topic Sentence

Aesop got it wrong. In the story of the ant and the grasshopper, one of Aesop's fables, the grasshopper is depicted as lazier than the ant, and deserving of his impending starvation when the enterprising ant refuses to feed the grasshopper. What Aesop's fable fails to recognize, however, is that the grasshopper represents something sometimes far more important than being enterprising: appreciating the life that surrounds us. "Stop and smell the roses," goes the old adage. "Appreciate the moment," people are told again and again: "Live in the present." Instead of socking away seeds all summer and fall, Grasshopper socked away memories, sensory descriptions, and the soulful energy of a thousand observations. For this the grasshopper should not be punished. He was doing what grasshoppers do. Artists, writers, and scientists alike must observe the life around them in order to do the work important to them, to live up to their potential. Imagine a world where artists, writers, and scientists lack the time to observe. Aesop got it wrong.

Works Cited

Raven, Silken. "Wasp." Spirit Animal Totems,  https://www.spirit-animals.com/wasp-symbolism/, Accessed March 2, 2021.

Jackson, Wendy. "Wasp Spirit Animal: Meaning, Symbolism, Dream of the Wasp Totem,"  https://www.zodiacsigns-horoscope.com/spirit-animals/wasp-spirit-animal-totem/, Accessed March 2, 2021.

Copyright Amy Lynn Hess. Please contact the author for permission to republish.

Descriptive Essay: Jekyll Island's Driftwood Beach in November

Wanting to avoid crowds, we planned our vacation to Jekyll Island in the first and second weeks in November, and we rented a small condo within walking distance of Driftwood Beach. We'd chosen Jekyll Island for our vacation because of its plethora of historical landmarks, not realizing that the quality of endurance is also a prominent natural phenomenon on Jekyll Island. 

Driftwood Beach faces the Atlantic Ocean on the northeastern shore of Jekyll Island, Georgia. Although the trees on Driftwood Beach look like driftwood, according to the Golden Isles Convention and Visitor's Bureau Web site, the name is actually a misnomer: The beach is named for the remnants of decaying trees that were once part of the island's maritime forest ("Driftwood Beach"). That forest, and its trees, have gradually succumbed to erosion and the effects of the Atlantic's salt water. What remains are the stripped skeletons of trees, bent and twisted, reaching through the sand and sea toward the sky.  The trees that were once a living part of an oceanside forest continue to appear, adding to the energy of mysterious endurance that such a place exudes.   

Our first walk to Driftwood Beach was serene, and its most noticeable feature was, of course, the trees for which it's named. We were completely alone on the beach but for the trees, and we made a temporary sacred space for ourselves against the sandy base of a large, bare tree. Instead of fighting with the sensory overload of everyday life, we were able to focus on the moment, point out large waves or diving pelicans, watch the shrimp boats, and enjoy the sound of the wind through the grass and the feeling of sun on our faces. We felt small, like part of the beach, part of the make-up of the place. We were able to experience an idyllic moment resting against a tree that embodied the mystery of its own continued existence.

Our second walk to Driftwood Beach followed a violent thunderstorm that only those who've experienced the difference between an inland storm and an island storm can appreciate. That storm also held mystery, but it was a mysterious violence, powerful beyond imagining, and it was awe-inspiring: Floors vibrated, windows whistled and rattled, the roof shook, and rain blew in every direction. That storm also made us feel small, but instead of feeling like part of the beach, we felt isolated, cowering in our bed, in our blankets. 

Post storm, the beach was littered with horseshoe crabs and seaweed, fishing nets and plastics. The waves were larger and louder, the birds were fewer, the grass was flattened, the sun was behind the clouds, yet the trees were still holding where they had been before the storm. Some were buried deeper in the sand, others were more exposed, but all of them were where they had been the day before. Those trees put our cowering into perspective. They demonstrated an unimaginable permanence, a mysterious endurance, an awe-inspiring strength and resilience - even against the ferocity of a fearful storm. The trees were bare, a natural rebellion against the cold wind that followed the storm, while we piled on layers of clothing just to make a short walk. 

Driftwood Beach continues to erode. The weather continues to change, and the sand continues to shift as storms come and go, bringing debris in and out with the waves, erasing marks left in the sand by inconsequential people. The trees, though smaller branches come and go, seem to remain the same. The trees, unlike the people, mysteriously endure just as surely as the other historical landmarks on Jekyll Island. 

Write Outside

Want to read more about writing descriptive essays, including the writing prompt that inspired this post? Read my complete text, Write Outside: Outdoor Activities and Writing Prompts for English Composition (affiliate link).

Works Cited

“Driftwood Beach.” Golden Isles Georgia, Golden Isles Convention and Visitors Bureau, 2021, www.goldenisles.com/things-to-do/beaches/driftwood-beach

Copyright Amy Lynn Hess. Please contact the author for permission to republish.

Strategies, Hints, and Tips for Revising and Editing Essays

Revision can seem like a daunting task. After all, how can a student be expected to find, understand, and correct a paper's errors when that student made the errors in the first place? It's understandably frustrating. However, there are some strategies for revision that can help make it a bit more manageable. 

The most important things to remember about revision are that revision is not the same as editing, neither revision nor editing should be a solo activity, and each pass at the paper improves the paper. It may not be "perfect" after revisions have been made, but it will be "better." 

But first things first, it's important to understand what's meant by revision. Revision often includes two different "mini-steps" in the writing process, both revision and editing. Whereas revision implies looking at the structural integrity of an essay, editing implies correcting errors at the sentence-level. 

Revision 

During revision, both self revision and peer revision, students look at the overall structure and content of an essay to make sure it has unity, coherence, and clearly articulated evidence that provides just the right amount of ethos and logos, and sometimes pathos, for the intended audience. There are several strategies for making the revision process effective and efficient.

Revision Hints and Tips for Students

• Read and revise multiple times, focusing on different aspects of the paper each time. 
• Take breaks between different aspects to clear your mind.
• Ask someone to read the paper aloud as you listen and make notes about anything that's unclear to your reader. 
• Discuss the paper with others both before and after peer revision to make sure you've cleared up any inconsistencies and carefully supported all your points.
• Outline your paper once it's finished to check its structure, and rearrange it as necessary.
• Make an appointment with a tutor if you aren't sure how to restructure or format your paper.

Editing

When editing, students look for and correct errors in grammar, punctuation, and mechanics. Those errors might be as innocuous as spelling "teh" instead of "the" or forgetting the hyphen in a compound word. On the other hand, these types of errors can be as serious as missing quotation marks to set apart a direct quotation.  That kind of error can result in unintentional plagiarism and a failing grade.

Editing Hints and Tips for Students

• Read and revise multiple times, looking for different types of mistakes each time.
• Reverse-reading, or reading the last sentence to the first, is especially helpful when looking for common errors, including sentence fragments, missing antecedents, or vague language. 
• Use your word processing program's built-in checkers, or apps like Grammarly and Hemmingway Writer, to help you locate potential mistakes. Use your best judgement when implementing suggestions.
• Check each piece of source content and each citation using a publication manual or the OWL Purdue Web site.
• Read aloud to listen for additional errors commonly made, like wordiness, subject-verb agreement errors, and errors with modifiers.
• Make an appointment with a tutor if you aren't sure how to edit your errors.

Revision and Editing Checklists

One way to divide revision and editing into manageable pieces is to use a checklist based on the paper's rhetorical situation and the main qualities of writing: unity, coherence, clarity, content, and formatting.

Purpose

• Is the purpose or mode and strategy of this essay easy to identify just by reading the introduction?
• Does the writer maintain one purpose or mode and strategy for the entire essay?

Focus

• Is this an appropriate narrowed topic for the required mode of this essay?
• Is the essay’s title and subtitle based on the thesis statement’s topic and tone?
• Does the title explain the specific focus of the essay?
• Is the thesis focused on one main idea?
• Can the thesis easily be found in either the introduction or conclusion of the essay?

Intended Audience

• Who is the intended audience?
• Is the intended audience easy to identify just by reading the introduction?
• Does this essay offer the intended reader a chance to think and learn?
• Is the writer’s voice, style, tone, and level of formality effective for the intended audience?

Unity

• Does the attention-getting material in the introduction appropriately lead-into the thesis?
• Does each paragraph have one clear topic sentence?
• Does each topic sentence stem from one main idea expressed in the thesis or essay map?
• Does the evidence in each paragraph directly support that paragraph’s topic sentence?
• Are there any shifts in the language or style that might distract or confuse the intended audience?
• Does the writer inadvertently stray from the thesis or shift their viewpoint at any point in the essay?
• Does the conclusion end the essay in a way that helps the reader remember the thesis statement?

Coherence

• Do the paragraphs in the essay flow smoothly from one to another?
• Are the paragraphs ordered logically and deliberately?
• Do the sentences in each paragraph flow smoothly from one to another?
• Is each new piece of evidence introduced and presented smoothly using transitional words and phrases?
• Has the writer used attribution to introduce the credentials of source content authors?

Clarity

• Has the writer avoided vague and ambiguous language, like “very” or “you?”
• Have you found any extraneous language or wordiness?
• Have you found any sentence fragments or run-on sentences?
• Have you found any subject-verb or pronoun agreement errors?
• Have you found any punctuation or capitalization errors?

Content

• Has the writer demonstrated an appropriate use of ethos?
• Has the writer demonstrated an appropriate use of pathos?
• Has the writer demonstrated an appropriate use of logos?
• Does this essay contain enough evidence to support each topic sentence?
• Has the student used expert or lay testimony and facts or statistics as evidence?
• Has the student used a narrative, description, or personal experience as evidence?
• Has the student provided real and hypothetical examples?
• Most importantly, are all claims supported by reasons and evidence?

Formatting

• Does this essay meet the word count and research requirements of the assignment?
• Is all source content cited both in-text and on the references page in MLA or APA format?
• Are this essay’s title page, running head, body, and citations in MLA or APA format?

 

Again, please remember that revision and editing are not the same processes and should be attempted separately, at different times, so that writers and reviewers can focus on specific error types without feeling overwhelmed. It's also important that students work with one another and with tutors, if necessary, to facilitate both revision and editing. Although many of the steps in the writing process are often an individual writer's responsibility, a paper will be in it's best form after others have helped a writer find and correct errors in unity, coherence, clarity, content, and formatting.

Want to read more about writing essays? Try

An Overview of the Writing Process

Prewriting the Research Essay: Starting with "I Think"

Myths about Writing Essays

Copyright Amy Lynn Hess. Contact the author for permission to republish.

En Plein Air, Watercolor, and Haiku

En Plein Air Watercolor Image
by Amy Lynn Hess

I have recently taken up watercolor painting, and although I've been painting with acrylics for over 20 years, I have found using watercolor challenging. 

With watercolor, I have to work quickly to capture movement, and the paint itself can sometimes define my lines for me, seemingly of its own will. Hues and values are created by working in layers, some layers and puddles or plops drying more quickly than others. The watercolor paper I have, unlike the stretched canvas I use for acrylic painting, warps into humps and bumps that create even more puddles and plops, and I've had to release my desire to rigidly control the paint. It simply goes where the water goes. 

Over the past few weeks, however, I've started to think about watercolor in a new way. I've started to think of this finicky paint as a tool for creating visual haiku, a way to quickly capture a moment, a bit of life, an observation of what's outside.

 

Although there are times when painting outdoors is simply untenable, there are definite benefits to trying it - benefits both artistic and philosophical, and maybe even literary.

 

En Plein Air, A View of What's Outside

The Wayne Art Center, sponsors of The Plein Air Festival in Wayne Pennsylvania, defines en plein air clearly and concisely: "En plein air is a French expression meaning 'in the open air', and refers to the act of painting outdoors with the artist's subject in full view." More than simply being outdoors while painting, another key element of plein air is to, to build upon this definition, directly view, observe, and therefore interpret what the artist is gazing upon with one's own eyes. 

Yet, unlike painting a still life, which is often prearranged and static, and unlike painting from another image or photograph, painting en plein air captures the movement of life, its winds and dancing shadows, passing clouds, and changing light. 

Direct Observation

The value in direct observation is related partially to, well, value, in addition to the other characteristics of color and the elements of composition. Instead of working from a photograph, which is already representational and may or may not be a result of an artist's own direct observation, working from life allows for authentic representation of a moment, an articulation of the painter's gaze in the moment. To summarize Ingrid Christensen, a gallery artist and popular workshop instructor, the human eye is simply better than a camera's lens in almost every way. Whereas depth perception, saturation, focus, contrast, and brightness are fixed for the camera, and a two-dimensional representation of one fixed moment is produced by photography, our eyes adapt to the variability of life. Our eyes create a direct link with life, with a fleeting moment. 

In the Open Air

When painting en plein air, or in the open air, the observations painters make are of the outdoor environments in which they find themselves. In a few minimal strokes of paint, in perhaps only a few moments, a painter captures a scene, its season, with as much detail as necessary to help viewers enter that moment with the painter.

In writing haiku, the principles are similar. 

Principles of Haiku

The best explanation of haiku I have been able to find comes from writer Mark Blasini. He breaks down the principles into singularity, accuracy, accessibility, economy, and brevity.  

As Blasini explains these five principles, some of his verbiage seemingly applies to both plein air in general and watercolor painting, specifically: "Focus on a moment that you feel you have to share with another person," he says of the principle of singularity. As for accuracy, make it as "realistic, clear, and depictive as possible," he says. Accessibility refers to building a scene the readers can imagine, and in haiku this includes the principle of kigo, or the illustration of the season. The principles of economy and brevity should also both sound familiar to anyone who practices watercolor painting. Haiku and watercolor both require minimal use of materials, a layering of translucence,  and an ability to work quickly. Whereas Blasini explains that writers "keep the haiku sayable in one breath," watercolor painters keep images workable in one sitting, perhaps workable in one layer of water, maybe even in one unit of wetness.

Puddle and plop though they may, my watercolor challenges (and mistakes) have become something much more meaningful as my paradigm has shifted. Watercolor, especially when en plein air, is visual haiku.

As with haiku, my watercolor paintings can now become a single, observed moment I want to share with others, with an intended audience. They can become a fleeting moment I want to capture with as much detail as possible in order to help that intended audience experience my impressions of that moment. I can stop overworking the paper and overthinking my gaze, and think only of keeping my images to "one breath."

I can also get a little sunshine and fresh air, weather permitting.

Want to read more about haiku? 

On Kaiseki and Haiku 

Want to see my supplies?

The BEST job I ever had was as a bookkeeper and merchandiser in an independently owned art supply store in Athens, Georgia. My favorite task was to put together supply kits for new artists and art classes. That said, I’ve made a list! Interested in seeing my grown-up watercolor shopping list? The blue text is an affiliate link to my Amazon Idea list for watercolor supplies. As an Amazon Associate I earn from qualifying purchases.

Works Cited

Blasini, Mark. “The Five Principles.” The Way of Haiku, 9 Oct. 2013, thewayofhaiku.wordpress.com/the-five-principles/

Christensen, Ingrid. “Why You Should Draw from Real Life, Not a Photograph.” Artsy, 23 July 2019, www.artsy.net/article/artsy-editorial-draw-real-life-photograph 

“What Is Plein Air?” Plein Air Festival, Wayne Art Center, www.waynepleinair.org/about/what-is-plein air/

Copyright Amy Lynn Hess. Please contact the author for permission to republish.

The Mid-Pandemic Dramaturgy of Pandemic Performance

This year has ushered in changes to almost every facet of our lives, personal and professional. 

In an effort to protect our communities, we've responsibly distanced ourselves from them. Instead of attending church services in person, we've been watching broadcasts. Instead of attending professional conferences and meetings, we're participating in webinars and virtual meetings. Instead of attending school, we're doing our best to work from home. 

Instead of doing just about anything in person, we've turned to the internet in an effort to stay connected. 

From Stage to Screens

Yet, as difficult as it might be to worship, engage productively in meetings, or teach and remain motivated to learn online, many musicians and other live entertainers have had to reinvent their entire purpose. Gone are the days of playing in crowded, high energy, sometimes raucous venues. Fist-pumping dance clubs are closed up tight. Bars and restaurants have had to eliminate performance spaces to set up tables safe distances from one another. Musicians have turned to playing online, through YouTube, Facebook Live, Instagram, and Patreon, to name a few avenues. Some musicians have transitioned well; they are well-practiced and comfortable with mellow intimacy. Others, however, are having a hard time. Instead of playing in noisy, crowded spaces meant for high-octane socialization, many of those who used to play those venues are now being watched in high-definition with surround-sound in peoples' homes, with close-up views and pin-drop audio. 

It's the difference between stage and screen. What looks and sounds good on stage, from 50 to 100 feet away in a room full of laughter, service, and conversation, does not look and sound good on screen - whether that screen is in the palm of an audience member's hand or an 88-inch 8K. What's more, these musicians are having to compete with professionally produced and filmed productions, and they're having to make these adaptations quickly because their livelihoods depend on it. 

What are musicians up against? Patreon advertises they have over 200,000 creators on their site. As of the writing of this post, Socially Distant Fest has 175,400 members. That's just one of the many Facebook groups that's sprung up. There's a lot of chatter. Additionally, many local, early, or mid-career musicians are in direct competition with musicians "of means," with record deals and international renown. Whereas the latter can eek thousands of viewers in seconds and donate any and all donated proceeds to charity, the former are simply trying to pay their bills. They're hanging their comforters on the walls to make backdrops and using what they have at hand to try to appeal to fickle viewers who are likely to scroll on by in mere seconds if they don't stand out immediately. Cute kids seem to do well, as do quirky duos and pretty girls with ukuleles. Not that there's anything wrong with that; it takes courage and dedication to make a musical life pay the bills, and they should be lauded. But what about the 40-something rock-and-roll guy, the subtle singer/songwriter and folk singer, the jam band drummer, and the badass blues harmonica players? 

And Back to the Stage: Theatrical Elements

Aristotle suggested in The Poetics that all theatre performances need six unified elements in order to be successful: plot, character, thought, diction, melody, and spectacle. He was speaking specifically of Greek tragedy, but that's appropriate of pandemic performance, I believe.

How does someone make solo blues harmonica work in Dolby Surround-Sound? Do they ditch the comforter, give themselves and their space a hip makeover, and invest in audio and video equipment? Maybe. Maybe they learn to play the Theremin or a fire-belching saxophone, instead.

If someone does figure out how to make their music sound great in their space,  how do they get people to click on the video content? Maybe that requires a well-devised unity between their look and their sound? A little bit of narrative or story, an introduction or "get to know me" description. Or maybe they just need a gimmick, and another gimmick when that one gets old because all gimmicks get old - and yet gimmicks are spectacle, and spectacle works. 

After people click, how do the performers get them to stay? Do they take time between songs to chat with viewers, like an honored guest sitting with them around a virtual firepit or breaking bread (or pizza) on a Friday night? Because they are honored guests at this point, sometimes cast larger-than-life on television screens during dinner. Like in a Jane Austen adaptation, a musician may need to demonstrate the witty repartee of Mr. Knightly . . . but, Jane Austen was being ironic, so perhaps Dolly Parton is the better model? Or maybe it's just about character consistency or easy-to-identify archetypes these days, so no one has to take the time to figure things out.

If the viewers stay and continue watching, how do performers get a like or a share? Do they have to ask? If they figure out how to get a like or a share, how do they get that viewer to use the voluntary, virtual tip jar? Isn't it tacky to ask for money when you're an honored guest? Isn't it folly to ask your cousin or high school friends for money when you know they don't have any more than you do? So, how do you find and attract viewers who have the means to pay their troubadour, their honored guest? Should performances have themes? Should the set list demonstrate range and ability, an ability to perform in multiple genres? 

Questions without Answers

There are more questions than answers.

How many unpaid, online gigs is it going to take before these exceptionally talented musicians simply stop trying? They aren't producers, costumers, and set designers, and in order to learn how to use the latest and greatest apps, they're going to have to stop taking time to learn or create new material. Will they adapt? Some. Will they have the means to wait out the pandemic? Some. What will happen to the rest? Is this like the mythological first day of college when you're told to look to your right and to your left and assume both of those people won't be around in a few years? Maybe. We'll have to wait and see before we realize what we've lost.

Want to read more about dramaturgy and performance? Try

Production Dramaturgy: What's a Dramaturg Do?

Ancient Greek Theatre: Origins of the Term Deus Ex Machina

Medieval Era Morality Plays

Copyright Amy Lynn Hess. Please contact the author for permission to republish.

Narrative Essay: Our "Finally" Peas

The peas are beautiful, fruitful, and healthy.

This afternoon I spent time watering my garden: the red cabbage seedlings, the lettuce, and the new cabbage seeds, carefully saved from last year’s cabbages. I carefully planted them in compost from our carefully crafted compost pile, and the squirrels have since scattered them carelessly while seeking soft, safe places to hide their acorns and pecans. Not knowing where the cabbage seeds ended up after the squirrels’ bacchanalia, I carefully watered the whole area.

Peas Present

Nothing in the garden looks great in mid-October, generally, but while I watered, I noticed the marigolds and peas were still marvelously perky and vibrantly colorful.

I watered the peas, cuddled the cat, photographed the peas, and subsequently drew the peas and the cat. This afternoon’s weather was beautiful. The peas were too beautiful to ignore. They reminded me of peas past.

Peas Past

I remember two specific attempts to grow peas, or more accurately my attempts to grow peas and my father's attempts, I suspect, to connect with me in some way. It was easy for him to connect with my sister because she liked sports, and it was fairly easy to connect with my stepbrother, his stepson, because he lived there with him. Dad really had to try with me, though. I was the reader, the artist, the animal lover, the quiet type.

The first time we tried to grow peas we used a plastic flower box and maybe some dirt from the yard, topsoil and clay. He got some seeds and we followed the directions on the packet for spacing and depth. We watered them, I am sure. Dad took us back to our mother's for two weeks, and he was in charge of the peas. When we came back the soil was gray, so dry it was cracked like a broken ceramic pot. There were no peas.

We tried again. “Peas are easy to grow,” maintains Lee Taylor and the home gardening experts at Michigan State University’s Extension Service. The second time we tried he cut a 50-gallon blue plastic barrel in half long ways, and we filled it with soil and planted our peas. We did not, as Lee Taylor and the home gardening experts at Michigan State University’s Extension Service recommend, use compost, add stakes, plant in cool weather, or add an inch of water a week. Again, two weeks or every-other-weekend later, the soil was bone dry and all the potential life in the seeds had dried up, as well.

We didn't try again, but I did bring him dwarf Japanese Maple seedlings from my yard the year before he died, and they, too, dried up. I found the carcasses on the picnic table on the patio still in the plastic pots that had only ever been meant for transport.

Realization

Jane Shellenberger, author of Organic Gardener's Companion: Growing Vegetables in the West, states “There are many paths leading to a garden and many experiences awaiting those who venture in. No matter what your motive—whether to grow healthy, delicious food; spend time outdoors feeling more alive than your desk job allows; help save the planet; find relaxation, solace, or healing; meet your neighbors; get your hands in the sweet earth; or discover for yourself just how abundant and generous nature can be—a garden rarely disappoints. It’s a magnet for life in all its quirky, beautiful forms.” Whatever our pea-planting purpose may have been, I did stop to think about my dad today and appreciate his efforts, efforts I have not stopped to appreciate before.

I haven't been able to talk to him in over a year except distantly, through tertiary conversation with my stepmother (whose tomatoes flourished magically this year, by the way). We haven't laughed about something the cats have done or reminisced about funny little things like peas so dried up the soil cracked open. I haven't been able to bring him new plants in pots meant only for transport. He hasn't been able to marvel at our long growing season down here or tell me how excited he is to go hunting up there. Maybe, though, he's  had something to do with the peas this year, these beautiful, fruitful, healthy, peas; our “finally” peas.

Want to read more narrative essays? Try

A Narrative Essay: Holding Hands

Pig: A Sample Narrative Essay

The Narrative Frame: Prewriting the Narrative Essay

Works Cited

Shellenberger, Jane. Organic Gardener's Companion: Growing Vegetables in the West. Fulcrum Publishing, 2012.

Taylor, Lee. “How to grow peas.” Smart Gardening, April 29, 2009, camr.msu.edu.

Copyright Amy Lynn Hess. Please contact the author for permission to republish.