Topic : Unhealthy School Lunches in America
Part One: Utilizing what we read under the “Three Story Thesis,” write your own thesis statement for the final Solution Paper. Present it here to your peers for the first part of this discussion thread. Your initial response should consist of one clear thesis statement. Make sure not to include an entire introductory paragraph, but, rather, just the unifying argumentative thesis (1-2 sentences) that will be used in response to the Solution Essay prompt.
Part Two: Then, respond to one peer; consider either asking a question about their argument, sharing an insight, or offering a helpful evaluation of the statement. (1-2 sentences total)
Here is the Solution Research Paper Prompt for which you are constructing this thesis:
The purpose of this final Solution Essay is to argue for a solution to the food-related problem you have been writing on this semester. You must convince your audience that the solution you are proposing can work to resolve the problem and is worth the effort to be put into it.
The Three-Story Thesis
You have no doubt been drilled on the need for a thesis statement and its proper location at the end of the introduction. And you also know that all of the key points of the paper should clearly support the central driving thesis. Indeed, the whole model of the five-paragraph theme hinges on a clearly stated and consistent thesis. However, some students are surprised—and dismayed—when some of their early college papers are criticized for not having a good thesis. Their professor might even claim that the paper doesn’t have a thesis when, in the author’s view it clearly does. So, what makes a good thesis in college?
- A good thesis is non-obvious. High school teachers needed to make sure that you and all your classmates mastered the basic form of the academic essay. Thus, they were mostly concerned that you had a clear and consistent thesis, even if it was something obvious like “sustainability is important.” A thesis statement like that has a wide-enough scope to incorporate several supporting points and concurring evidence, enabling the writer to demonstrate his or her mastery of the five-paragraph form. Good enough! When they can, high school teachers nudge students to develop arguments that are less obvious and more engaging. College instructors, though, fully expect you to produce something more developed.
- A good thesis is arguable. In everyday life, “arguable” is often used as a synonym for “doubtful.” For a thesis, though, “arguable” means that it’s worth arguing: it’s something with which a reasonable person might disagree. This arguability criterion dovetails with the non-obvious one: it shows that the author has deeply explored a problem and arrived at an argument that legitimately needs 3, 5, 10, or 20 pages to explain and justify. In that way, a good thesis sets an ambitious agenda for a paper. A thesis like “sustainability is important” isn’t at all difficult to argue for, and the reader would have little intrinsic motivation to read the rest of the paper. However, an arguable thesis like “sustainability policies will inevitably fail if they do not incorporate social justice,” brings up some healthy skepticism. Thus, the arguable thesis makes the reader want to keep reading.
- A good thesis is well specified. Some student writers fear that they’re giving away the game if they specify their thesis up front; they think that a purposefully vague thesis might be more intriguing to the reader. However, consider movie trailers: they always include the most exciting and poignant moments from the film to attract an audience. In academic papers, too, a well specified thesis indicates that the author has thought rigorously about an issue and done thorough research, which makes the reader want to keep reading. Don’t just say that a particular policy is effective or fair; say what makes it is so. If you want to argue that a particular claim is dubious or incomplete, say why in your thesis.
- A good thesis includes implications. Suppose your assignment is to write a paper about some aspect of the history of linen production and trade, a topic that may seem exceedingly arcane. And suppose you have constructed a well supported and creative argument that linen was so widely traded in the ancient Mediterranean that it actually served as a kind of currency.[1]Links to an external site. That’s a strong, insightful, arguable, well specified thesis. But which of these thesis statements do you find more engaging?
Version A:
Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade.
Version B:
Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade. The economic role of linen raises important questions about how shifting environmental conditions can influence economic relationships and, by extension, political conflicts.
Putting your claims in their broader context makes them more interesting to your reader and more impressive to your professors who, after all, assign topics that they think have enduring significance. Finding that significance for yourself makes the most of both your paper and your learning.
How do you produce a good, strong thesis? And how do you know when you’ve gotten there? Many instructors and writers find useful a metaphor based on this passage by Oliver Wendell Holmes, Sr.[2]Links to an external site.:
There are one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors who have no aim beyond their facts are one-story men. Two-story men compare, reason, generalize using the labor of fact collectors as their own. Three-story men idealize, imagine, predict—their best illumination comes from above the skylight.
One-story theses state inarguable facts. Two-story theses bring in an arguable (interpretive or analytical) point. Three-story theses nest that point within its larger, compelling implications.[3]Links to an external site.
The biggest benefit of the three-story metaphor is that it describes a process for building a thesis. To build the first story, you first have to get familiar with the complex, relevant facts surrounding the problem or question. You have to be able to describe the situation thoroughly and accurately. Then, with that first story built, you can layer on the second story by formulating the insightful, arguable point that animates the analysis. That’s often the most effortful part: brainstorming, elaborating and comparing alternative ideas, finalizing your point. With that specified, you can frame up the third story by articulating why the point you make matters beyond its particular topic or case.
For example, imagine you have been assigned a paper about the impact of online learning in higher education. You would first construct an account of the origins and multiple forms of online learning and assess research findings about its use and effectiveness. If you’ve done that well, you’ll probably come up with a well considered opinion that wouldn’t be obvious to readers who haven’t looked at the issue in depth. Maybe you’ll want to argue that online learning is a threat to the academic community. Or perhaps you’ll want to make the case that online learning opens up pathways to college degrees that traditional campus-based learning does not. In the course of developing your central, argumentative point, you’ll come to recognize its larger context; in this example, you may claim that online learning can serve to better integrate higher education with the rest of society, as online learners bring their educational and career experiences together.
Example 1
To outline this example:
- First story: Online learning is becoming more prevalent and takes many different forms.
- Second story: While most observers see it as a transformation of higher education, online learning is better thought of an extension of higher education in that it reaches learners who aren’t disposed to participate in traditional campus-based education.
- Third story: Online learning appears to be a promising way to better integrate higher education with other institutions in society, as online learners integrate their educational experiences with the other realms of their life, promoting the freer flow of ideas between the academy and the rest of society.
Example 2
Here’s another example of a three-story thesis:[4]Links to an external site.
- First story: Edith Wharton did not consider herself a modernist writer, and she didn’t write like her modernist contemporaries.
- Second story: However, in her work we can see her grappling with both the questions and literary forms that fascinated modernist writers of her era. While not an avowed modernist, she did engage with modernist themes and questions.
- Third story: Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.
Example 3
Here’s one more example:
- First story: Scientists disagree about the likely impact in the U.S. of the light brown apple moth (LBAM), an agricultural pest native to Australia.
- Second story: Research findings to date suggest that the decision to spray pheromones over the skies of several southern Californian counties to combat the LBAM was poorly thought out.
- Third story: Together, the scientific ambiguities and the controversial response strengthen the claim that industrial-style approaches to pest management are inherently unsustainable.
A thesis statement that stops at the first story isn’t usually considered a thesis. A two-story thesis is usually considered competent, though some two-story theses are more intriguing and ambitious than others. A thoughtfully crafted and well informed three-story thesis puts the author on a smooth path toward an excellent paper.
- For more see Fabio Lopez-Lazaro “Linen.” In Encyclopedia of World Trade from Ancient Times to the PresentLinks to an external site.. Armonk: M.E. Sharpe, 2005. ↵Links to an external site.
- Oliver Wendell Holmes Sr., The Poet at the Breakfast Table (New York: Houghton & Mifflin, 1892) ↵Links to an external site.
- The metaphor is extraordinarily useful even though the passage is annoying. Beyond the sexist language of the time, it displays condescension toward “fact-collectors” which reflects a general modernist tendency to elevate the abstract and denigrate the concrete. In reality, data-collection is a creative and demanding craft, arguably more important than theorizing. ↵Links to an external site.
- Drawn from Jennifer Haytock, Edith Wharton and the Conversations of Literary Modernism (New York: Palgrave-MacMillan, 2008). ↵Links to an external site.