What is They Say / I Say by Gerald Graff about?

They Say / I Say by Gerald Graff and Cathy Birkenstein is a guide to academic writing that teaches students how to construct effective arguments through dialogue. The book emphasizes presenting others' viewpoints ("they say") before introducing your own perspective ("I say"), helping writers situate their ideas within broader scholarly conversations. It provides practical templates and strategies to demystify academic writing, making complex argumentative techniques accessible to students across all disciplines.

Who should read They Say / I Say by Gerald Graff?

They Say / I Say is essential for college students learning academic writing, particularly those struggling to structure persuasive arguments or engage with scholarly sources. The book serves undergraduate and graduate students across all disciplines, from humanities to natural sciences, as it provides adaptable frameworks for discipline-specific writing. English language learners also benefit significantly, as the templates help structure academic thinking and argumentation beyond just grammar and vocabulary.

Is They Say / I Say by Gerald Graff worth reading?

They Say / I Say is the best-selling composition book of this century, used at over 1,500 colleges and universities with more than one million copies sold. The book's proven framework transforms struggling writers into confident arguers by providing clear templates that reduce the mystery of academic writing. Students consistently report increased confidence and effectiveness in their argumentative writing, making it an invaluable resource for anyone serious about improving their academic communication skills.

Who is Gerald Graff, author of They Say / I Say?

Gerald Graff is a distinguished professor of English and Education at the University of Illinois at Chicago and one of the most influential education commentators of his generation. Born in Chicago in 1937, Graff earned his B.A. from the University of Chicago and Ph.D. from Stanford University. He co-authored They Say / I Say with Cathy Birkenstein, and his other notable works include Beyond the Culture Wars and Clueless in Academe, all focused on making academic discourse more accessible.

What is the "They Say / I Say" framework explained?

The "They Say / I Say" framework is a rhetorical structure where writers first present existing arguments or viewpoints ("they say") before introducing their own stance ("I say"). This approach ensures that personal arguments are positioned as responses within broader academic conversations rather than isolated opinions. The framework teaches writers to acknowledge, summarize, and engage with others' perspectives before contributing their own insights, which strengthens critical thinking and creates more persuasive arguments by demonstrating awareness of ongoing scholarly debates.

What templates does They Say / I Say provide for academic writing?

They Say / I Say offers practical writing templates that serve as rhetorical scaffolding for constructing clear arguments and addressing opposing views. Templates include structures like "In discussions of X, one controversial issue has been whether B" and "While I understand the impulse to A, my own view is B". These formulaic phrases help students make rhetorical moves clearly and logically, distinguishing their arguments from those they respond to while building confidence in academic discourse.

How does They Say / I Say help with summarizing and quoting sources?

They Say / I Say dedicates substantial guidance to accurately summarizing others' arguments to establish a foundation for your own position. The book teaches writers to create focused summaries that align with their argumentative goals rather than merely listing information. Chapter 3 specifically addresses "the art of quoting," explaining how to select and integrate exact words from sources to launch effective arguments while maintaining the original author's intended meaning.

What is metacommentary in They Say / I Say by Gerald Graff?

Metacommentary, introduced in Chapter 10 of They Say / I Say, is a technique for clarifying your arguments by commenting on your own writing to ensure readers understand your perspective. This "art of metacommentary" involves explicitly guiding readers through your reasoning, using phrases that signal what you're doing in your argument. The technique helps writers make their intentions transparent, preventing misinterpretation and strengthening the overall coherence of academic papers by directing readers' attention to key points and connections.

L'art de l'argumentation

Ils disent / Je dis avec lectures

Gerald Graff

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Aperçu de L'art de l'argumentation

Déverrouillez le langage secret du monde universitaire avec « They Say / I Say » — le guide d'écriture révolutionnaire que les professeurs qualifient de « meilleur livre jamais paru pour l'enseignement de la rédaction ». Pourquoi les étudiants refusent-ils de le revendre aux librairies ? C'est votre carte de membre permanente pour participer aux conversations savantes.

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Chapitre 1

The Art of Academic Conversation: Entering the Dialogue

Have you ever noticed how the most compelling arguments don't exist in isolation? They respond to something-a prevailing belief, a controversial statement, or an ongoing debate. This insight forms the foundation of Gerald Graff and Cathy Birkenstein's revolutionary approach to writing. "They Say / I Say" has become the go-to writing guide for millions of students, praised by Harvard's Louis Menand as "the book that has done more than any other to improve student writing." Even Barack Obama has cited its influence on his own rhetorical style. What makes this book so transformative? It demystifies the secret code of academic writing by revealing that good writing isn't about impressing others with fancy words-it's about entering conversations that matter.

Chapitre 2

The Conversation Model: Why Responding to Others Makes Your Writing Matter

Imagine arriving late to a dinner party. Before jumping into the conversation, you'd naturally listen to understand what people are discussing. Academic writing works the same way. The most effective arguments position themselves in relation to what others have already said-what Graff and Birkenstein call "the they say." This approach solves the fundamental problem that plagues so much student writing: the "so what?" or "who cares?" question. When writers plunge directly into their own claims without establishing what they're responding to, readers are left wondering why they should care. Consider this example: "Shakespeare's Hamlet explores themes of revenge and moral corruption." While accurate, this statement lacks urgency because it doesn't address any ongoing conversation about Hamlet. Compare it with: "While many critics view Hamlet's hesitation as weakness, I argue it demonstrates moral sophistication in a corrupt world." The second statement immediately engages readers by positioning itself within an existing debate. This conversational framework isn't just a writing technique-it's a thinking tool. By forcing ourselves to articulate what others say before presenting our own views, we develop a deeper understanding of complex issues. This approach has special urgency in today's polarized society, where people increasingly retreat into echo chambers. Learning to summarize opposing viewpoints fairly before responding to them cultivates intellectual empathy-the ability to understand perspectives different from our own. The authors provide practical templates like "Many people assume that _____, but I would argue that _____" to help writers master these moves. Far from stifling creativity, these templates function like training wheels, giving writers structure until the moves become second nature. As Kenneth Burke famously put it, intellectual life resembles an ongoing conversation at a party-we listen until we understand what's being discussed, then "put in our oar" by contributing our perspective.

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Chapitre 3

The Art of Summary: Representing Others Fairly

Before you can effectively respond to others' ideas, you must first accurately represent them-what the authors call "the art of summary." This requires temporarily setting aside your own beliefs to inhabit someone else's worldview, what philosopher Peter Elbow calls "the believing game." When done well, readers shouldn't be able to tell whether you agree or disagree with the ideas you're summarizing. Many writers struggle with this balance, either avoiding summarizing altogether or creating "closest cliche syndrome" summaries that reduce complex arguments to familiar stereotypes. For example, summarizing Martin Luther King Jr.'s nuanced defense of civil disobedience as merely a plea for everyone to "just get along" fails to capture his actual argument. Effective summarizing requires walking a tightrope-being fair to the original text while selecting aspects relevant to your own argument. The summary should point in two directions simultaneously, toward the source material and toward your response. The authors recommend using precise "signal verbs" that capture the specific action of the summarized text. Rather than bland phrases like "Smith says," choose verbs that reflect the author's intentions: "Smith argues," "Smith concedes," "Smith insists," or "Smith questions." When quoting others, writers must create what the authors call a "quotation sandwich"-introducing the quote with context about who's speaking and why it matters, then following it with explanation that connects the quote to your larger argument. Quotations never speak for themselves; they require framing to become meaningful parts of your argument.

Chapitre 4

Three Ways to Respond: Agree, Disagree, or Both

Once you've fairly represented what "they say," you must offer your own response-the "I say" portion of the template. While there are countless ways to respond to others' ideas, the authors identify three fundamental approaches: agreeing, disagreeing, or some combination of both. When disagreeing, it's not enough to simply contradict what someone else has said. You must provide persuasive reasons why you disagree: perhaps their argument overlooks relevant factors, relies on faulty evidence, rests on questionable assumptions, or uses flawed logic. The authors offer templates like "X is mistaken because she overlooks..." and "X's claim rests on the questionable assumption that..." to help structure effective disagreements. Agreeing with others presents its own challenges. Simply echoing someone else's views adds nothing to the conversation. Valuable agreement might involve pointing out unnoticed evidence supporting their claims, citing corroborating personal experiences, or translating complex ideas into more accessible explanations. The key is opening up some difference or contrast between your position and the one you're agreeing with. Often the most sophisticated response involves agreeing and disagreeing simultaneously-acknowledging valid points in opposing arguments while maintaining your own position. This approach strengthens credibility by demonstrating that you've considered multiple perspectives. Sanford J. Ungar exemplifies this in his essay on liberal arts education by conceding that graduates have difficulty in the job market (agreeing) but insisting this affects all fields, not just liberal arts (disagreeing).

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Chapitre 5

Planting a Naysayer: Strengthening Your Argument by Addressing Objections

Counterintuitively, acknowledging opposing viewpoints strengthens rather than weakens your writing. By anticipating objections, you demonstrate respect for readers as critical thinkers, address potential concerns before others raise them, and often discover more to say. Writer Jane Tompkins realized that moments of doubt about potential criticisms actually mark where her "text really begins," as addressing these concerns makes her writing stronger. This approach transforms potential weaknesses into opportunities for deeper analysis and more nuanced argumentation. The authors recommend identifying specific ideologies or schools of thought when possible, rather than attributing objections to anonymous sources. Templates include "Here many feminists would probably object that..." and "But social Darwinists would certainly take issue with..." More specific attributions might reference particular scholars or established theoretical frameworks - for instance, "As cognitive psychologist Steven Pinker argues..." or "Following Marxist economic theory..." While acknowledging concerns about labeling, the text argues that labels provide necessary shorthand in intellectual exchange and connect individual arguments to broader conversations. These connections help readers understand the larger context and historical development of ideas being discussed. When introducing opposing views, writers must represent them with fairness and generosity rather than mocking or rushing past them. This means accurately summarizing counterarguments, acknowledging their strengths, and showing genuine engagement with their logic. For example, if arguing for environmental regulations, one might say, "Free market advocates make a valid point about regulatory costs to businesses" before explaining why the benefits outweigh these costs. Making the best case for critics actually bolsters credibility with readers, demonstrating intellectual honesty and comprehensive understanding of the issue. The key is to maintain balance - giving opposing views enough space to be properly understood while not letting them overwhelm your own argument. Writers should aim to address the strongest version of opposing arguments rather than attacking weaker variations. After representing objections effectively, writers must answer them persuasively or risk readers finding the counterarguments more convincing than the writer's position. This might involve presenting empirical evidence, logical reasoning, or real-world examples that demonstrate the limitations or flaws in the opposing viewpoint. Effective naysayer incorporation also requires strategic placement within your text. Consider introducing objections after establishing your initial argument but before your strongest supporting evidence - this allows you to address concerns while building toward your most compelling points. The goal is to create a dialogue with potential critics that strengthens rather than undermines your central thesis.

Chapitre 6

Making It Matter: Answering "So What?" and "Who Cares?"

Writers must address why their arguments matter, as readers always need to know what's at stake. Too often, speakers and writers assume audiences will figure out the significance on their own, leaving readers feeling like outsiders or disconnected from the material. Most academics could explain why their work matters - typically because they're correcting misconceptions, challenging established beliefs, or highlighting real-world consequences - but many fail to make these reasons explicit in their writing. The stakes of an argument can be established in multiple ways: by highlighting practical implications, challenging existing assumptions, or connecting to broader social concerns. Writers should consider both immediate and long-term consequences of their claims, asking themselves: What changes if readers accept this argument? What remains the same? What problems might be solved or created? Denise Grady effectively answers the "who cares?" question in her New York Times article about fat cells by framing her claim as a response to what scientists previously believed. By writing that "Scientists used to think body fat and the cells it was made of were pretty much inert," before explaining new research showing fat is "potent stuff," she identifies the scientific community as stakeholders in this new understanding. This before-and-after structure clearly demonstrates why readers should care: it shows how new knowledge challenges and improves upon previous assumptions. Beyond identifying who cares about your claims, you must also explain why they matter more broadly. The "so what?" question asks you to connect your argument to larger concerns readers already value. Grady demonstrates this technique by connecting research to widespread concerns about obesity: "In an increasingly obese world," she notes, research on fat cells has "taken on added importance." This connection transforms a seemingly narrow scientific finding into something relevant to public health, medical practice, and individual wellness. Effective writers anticipate and address potential skepticism about their work's significance. They might acknowledge competing priorities, alternative perspectives, or limitations of their claims while still asserting why their contribution matters. This approach not only strengthens their argument but also builds credibility with readers who appreciate a balanced, thoughtful treatment of the subject matter. To successfully answer "so what?" and "who cares?" writers should: • Identify specific stakeholders affected by their claims • Connect their arguments to broader conversations or concerns • Highlight practical implications and real-world applications • Acknowledge and address potential counterarguments about significance • Frame their contribution within existing knowledge or debates

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Chapitre 7

Creating Flow: Connecting the Parts of Your Argument

Good writing requires establishing momentum by making explicit connections between sentences and paragraphs, with each sentence both building on what came before and setting up what follows. The chapter likens effective sentences to having "arms that reach backward and forward," creating connections that help writing flow smoothly rather than forcing readers to guess at relationships between ideas. This interconnected approach ensures readers can follow your logic without stumbling over unclear relationships or jarring transitions. Transitions serve as crucial signposts that help readers follow your train of thought by marking the connections between sentences and paragraphs. Typically placed at or near the beginning of sentences, transitions signal whether you're echoing a previous point ("in other words," "that is"), adding something ("furthermore," "in addition," "moreover"), offering an example ("for instance," "specifically," "to illustrate"), or modifying a point ("however," "and yet," "nevertheless"). Strategic placement of these transitions creates a natural progression of ideas that guides readers through complex arguments while maintaining their engagement. Pointing words create flow by referring back to previous concepts, functioning like an invisible hand reaching into earlier sentences to pull ideas forward. Words like "this," "these," "that," "those," and pronouns must be used carefully to avoid ambiguity. Free-floating pointers (like "This is seen in..." or "That makes it clear...") confuse readers when they could refer to multiple concepts. Effective pointing requires clear antecedents - the specific nouns or ideas being referenced. For example, instead of writing "This shows the problem," specify "This decline in voter turnout shows the problem." Developing a constellation of key terms and phrases that repeat throughout your text helps connect different parts of your argument while reinforcing central themes. These key terms should give readers a solid sense of your topic when extracted from the text and should appear at strategic intervals to maintain continuity. Martin Luther King Jr. effectively used keywords like "criticism," "statement," "answer," and "correspondence" in his "Letter from Birmingham Jail" to build momentum without sounding repetitive. Similarly, academic papers might use terms like "methodology," "analysis," and "implications" as throughlines that connect different sections. The art of creating flow also involves varying sentence structure while maintaining clear connections. Short sentences can punctuate key points, while longer, more complex sentences can elaborate on ideas and show relationships. For instance, you might follow a complex explanation with a brief summary statement, or lead with a short, powerful claim before expanding on it with supporting details. This variation in sentence length and structure keeps readers engaged while maintaining the logical progression of your argument.

Chapitre 8

Finding Your Academic Voice: Blending Formal and Everyday Language

Many students mistakenly believe academic writing requires abandoning their natural voice for language that's stiff, convoluted, or pompous. When encouraged to incorporate their straightforward explanations into formal papers, they respond with surprise: "You mean I can just say it that way?" This hesitation reflects a common misconception that scholarly writing must be deliberately complex or filled with specialized jargon to be taken seriously. Mastering academic writing doesn't mean completely abandoning your normal voice for one that's stiff or pompous, but rather creating a new voice that draws on the one you already have while incorporating scholarly conventions and precision. Many successful academics blend everyday and academic styles in their writing to create work that's both rigorous and readable. Literary scholar Judith Fetterley demonstrates this technique when discussing novelist Willa Cather, juxtaposing academic language ("neurotically controlling and self-conscious") with the colloquial term "control freak." This blending lightens potentially dry subject matter, making it more accessible and entertaining. Other scholars effectively use metaphors from daily life to illuminate complex theories, or begin sections with engaging anecdotes before diving into detailed analysis. Even in scientific writing, many researchers now advocate for clearer, more direct prose that maintains precision while improving readability. Translating academic language into everyday speech isn't just for readers' benefit - it's an invaluable thinking tool that helps writers discover what they're trying to say. Writing often serves as a process of discovery rather than simply transcribing fully formed ideas. When you attempt to explain a complex concept in simpler terms, you quickly discover whether you truly understand it yourself. This practice can reveal whether an idea makes genuine sense, is merely a cliche masquerading as insight, or contains a kernel worth pursuing further. Many breakthrough moments in writing come when authors force themselves to articulate their ideas in plain language, often revealing new connections or exposing logical gaps that weren't apparent in more ornate prose. The key is finding balance - maintaining scholarly rigor while allowing your authentic voice to shine through. This might mean using technical terms when necessary but explaining them clearly, or starting paragraphs with engaging hooks before developing more complex arguments. Some of the most influential academic works succeed precisely because their authors found ways to make sophisticated ideas accessible without oversimplifying them. Remember that academic writing is ultimately about communicating ideas effectively, not about proving your intelligence through unnecessarily complex language.

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Chapitre 9

The Art of Metacommentary: Guiding Your Reader

Metacommentary is the essential practice of explaining what you've said or are about to say - guiding readers in how to interpret your claims. It functions like a Greek chorus that explains the meaning of the unfolding drama, creating a second text that works alongside your main argument. Even the clearest writing needs metacommentary because readers can misinterpret arguments in countless ways, fail to see connections between points, or miss your overall significance. This parallel commentary helps bridge the gap between writer and reader, ensuring your intended message reaches its destination intact. Strong metacommentary anticipates reader questions and confusion points, addressing them before they become obstacles to understanding. For instance, when introducing a complex concept, you might write, "What this means in practical terms is..." or "To put this another way..." These phrases signal to readers that clarification is coming, helping them navigate challenging ideas. Titles function as metacommentary by standing apart from the text and signaling its main point to readers - like Neil Postman's "Amusing Ourselves to Death: Public Discourse in the Age of Show Business," which immediately reveals his argument about how entertainment culture is destructive. Subtitles further explain or elaborate on main titles. Consider how Malcolm Gladwell's "The Tipping Point: How Little Things Can Make a Big Difference" uses its subtitle to clarify the metaphorical main title and preview the book's central thesis. Many writing moves function as metacommentary: entertaining objections (standing outside your text to imagine critics' responses), adding transitions (explaining relationships between claims), framing quotations, and answering "so what?" and "who cares?" questions (explaining who should be interested in your argument and why). For example, phrases like "Critics might object that..." or "This matters because..." help readers understand both the limitations and significance of your arguments. Effective metacommentary also includes signposting - explicitly telling readers where your argument is going or what you've covered. Phrases like "Having established X, I will now turn to Y" or "This example illustrates three key points" help readers track your argument's progression. These signposts are particularly crucial in longer or more complex pieces where readers might lose their way. Rather than simply piling claim upon claim, effective writers use these metacommentary techniques to "stage-manage" how their claims will be received, preventing potential misreadings and making their arguments shine. The best metacommentary is subtle yet clear, guiding readers without becoming intrusive or redundant. It's like installing handrails on a steep path - they provide support and direction without blocking the view or impeding progress. Remember that different audiences require different levels of metacommentary. Academic writing typically demands more explicit guidance than popular writing, while technical documentation might require step-by-step clarification of complex processes. The key is matching your metacommentary to your audience's needs and expectations.

Chapitre 10

The Revision Revolution: Finding What You Really Want to Say

One of teachers' most common frustrations is that students don't revise substantially, often just making superficial corrections to spelling and grammar. This isn't necessarily due to laziness but because students lack a clear vision of what good revision looks like and strategies for achieving it. The most important revision strategy is to step back and examine the big picture of your writing. Ask whether you have a central argument or just ramble about your subject. Check if your argument is coherent, unified, and logically connected throughout. Ensure your evidence supports your central claim and that you've framed your argument as a response to something "they say." Consider whether you've addressed the strongest possible counterarguments. Where you place important points matters tremendously. As former Vanity Fair editor Tina Brown notes, often the most important material appears too late in a piece. Writers frequently "bury the lead," discovering their most important point only after writing hundreds of words or pages. When you discover your real argument late in the writing process, move it up to the beginning and revise everything else to support this newly discovered focus. The best writers listen for moments when their writing takes unexpected turns or suggests implications they didn't intend. These "uh-oh moments" signal places where you've accidentally suggested something problematic or contradictory. Rather than ignoring these moments, treat them as opportunities to refine your thinking.

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Chapitre 11

From Classroom to Conversation: Applying Academic Moves in Real Life

The principles of academic writing apply equally to classroom discussions and online conversations, offering powerful tools for more effective communication across all contexts. Effective class discussions require the same disciplined moves as good writing: responding to what others have said rather than delivering disconnected monologues. The key is to explicitly frame your comments as responses to specific points made by classmates, naming both the person and the idea you're responding to. For example, instead of simply stating "I think income inequality is increasing," you might say "Building on Maria's point about wage stagnation, I'd add that corporate profits have grown significantly faster than worker compensation since the 1980s." In online discussions where ideas are complex and many voices participate, clearly identifying what you're responding to becomes even more crucial. Without this context, readers can't tell if you're building on someone's point, challenging it, or changing the subject entirely. While simple exchanges like texting might not require elaborate framing, substantive discussions benefit from templates like "X argues that..." or "What X overlooks is..." These moves transform isolated statements into genuine dialogue by showing how your ideas connect to the ongoing conversation. Consider how differently these two responses read: "That's wrong" versus "While Johnson makes a compelling point about climate policy, their analysis overlooks recent developments in renewable energy technology." The conversational framework proves particularly valuable when reading complex academic texts. Instead of simply asking "What is the author's argument?" ask "What other argument is the writer responding to?" or "What established view is this author challenging?" This approach helps readers become active participants rather than passive recipients of isolated ideas. For instance, when reading Darwin's "Origin of Species," understanding that he was responding to prevailing creationist theories helps contextualize his arguments and makes them more accessible. Similarly, reading Marx becomes clearer when you recognize he's responding to classical economists like Adam Smith and David Ricardo. This approach transforms reading from a one-way transmission of information into an imagined dialogue between competing viewpoints. Reading for conversation makes even challenging texts more accessible by connecting them to the familiar act of participating in real discussions about meaningful issues. Whether in academic writing, classroom discussions, or online forums, the ability to clearly situate your ideas within the larger conversation marks the difference between merely speaking and truly contributing to meaningful dialogue.

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Thèmes clés dans L'art de l'argumentation

academic conversation
argumentative templates
rhetorical framing
intellectual empathy
persuasive synthesis

Citations de L'art de l'argumentation

In other words, the common formulas They Say / I Say can be templates that you can continually adapt and re-use in a variety of contexts.
The templates on the following pages are designed to help you not only summarize what others say but also to set up what you want to say.
Even the most seemingly self-evident claims often turn out to be responses to something that someone else has claimed.
Quotations never speak for themselves; they require framing to become meaningful parts of your argument.
Writer Jane Tompkins realized that moments of doubt about potential criticisms actually mark where her "text really begins".

Personnages de L'art de l'argumentation

Gerald GraffCo-author and professor of English and Education
Cathy BirkensteinCo-author and lecturer in English
Kenneth BurkePhilosopher who used the parlor conversation metaphor
Peter ElbowPhilosopher who developed 'the believing game'

À propos de l'auteur

Gerald Graff est un théoricien de l'éducation distingué et co-auteur de They Say/I Say: The Moves That Matter in Academic Writing, un manuel révolutionnaire qui démystifie l'argumentation académique. Né à Chicago en 1937 et formé à l'Université de Chicago et à Stanford, Graff a consacré sa carrière à rendre le discours académique accessible à tous les étudiants. Son concept influent de « l'enseignement des conflits » (teaching the conflicts) a remodelé la pédagogie de la littérature et de la composition dans les universités américaines.

Graff a été président de la Modern Language Association en 2008 et a occupé des postes de professeur prestigieux à Northwestern, à l'Université de Chicago et à l'Université de l'Illinois à Chicago. Son ouvrage de référence Professing Literature: An Institutional History (1987) demeure l'analyse définitive des départements d'anglais, tandis que Clueless in Academe (2003) a jeté les bases de They Say/I Say.

Co-écrit avec son épouse Cathy Birkenstein et publié en 2006, They Say/I Say a établi des records d'adoption dans les collèges et les lycées à travers le pays, devenant la ressource de référence pour l'enseignement de l'écriture académique dans toutes les disciplines.

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@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

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"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

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@Raaaaaachelw

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@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

Decouvrez comment BeFreed est discute sur le web

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Chapitre 9

L'art de l'argumentation

AperçuAperçu de L'art de l'argumentation

Un livre. De nombreuses façons de l'écouter.

The Art of Academic Conversation: Entering the Dialogue

The Conversation Model: Why Responding to Others Makes Your Writing Matter

Voyez chaque mot au fil de l'écoute

The Art of Summary: Representing Others Fairly

Three Ways to Respond: Agree, Disagree, or Both

Profitez davantage de L'art de l'argumentation : Ils disent / Je dis avec lectures

Planting a Naysayer: Strengthening Your Argument by Addressing Objections

Making It Matter: Answering "So What?" and "Who Cares?"

Voyez chaque mot au fil de l'écoute

Creating Flow: Connecting the Parts of Your Argument

Finding Your Academic Voice: Blending Formal and Everyday Language

Profitez davantage de L'art de l'argumentation : Ils disent / Je dis avec lectures

The Art of Metacommentary: Guiding Your Reader

The Revision Revolution: Finding What You Really Want to Say

Voyez chaque mot au fil de l'écoute

From Classroom to Conversation: Applying Academic Moves in Real Life

Vous êtes arrivé au bout de L'art de l'argumentation : Ils disent / Je dis avec lectures

Thèmes clés dans L'art de l'argumentation

Citations de L'art de l'argumentation

Personnages de L'art de l'argumentation

À propos de l'auteur

Telecharger le resume de L'art de l'argumentation : Ils disent / Je dis avec lectures

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FAQ sur ce livre

What is They Say / I Say by Gerald Graff about?

Who should read They Say / I Say by Gerald Graff?

Is They Say / I Say by Gerald Graff worth reading?

Who is Gerald Graff, author of They Say / I Say?

Fait partie d'un plan d'apprentissage

Submit design/UX papers to ACMCHI as designer

Découvrir plus

1,000,000+ curious minds.

1,000,000+ curious minds.

Un livre. De nombreuses façons de l'écouter.

The Art of Academic Conversation: Entering the Dialogue

The Conversation Model: Why Responding to Others Makes Your Writing Matter

Voyez chaque mot au fil de l'écoute

The Art of Summary: Representing Others Fairly

Three Ways to Respond: Agree, Disagree, or Both

Profitez davantage de L'art de l'argumentation : Ils disent / Je dis avec lectures

Planting a Naysayer: Strengthening Your Argument by Addressing Objections

Making It Matter: Answering "So What?" and "Who Cares?"

Voyez chaque mot au fil de l'écoute

Creating Flow: Connecting the Parts of Your Argument

Finding Your Academic Voice: Blending Formal and Everyday Language

Profitez davantage de L'art de l'argumentation : Ils disent / Je dis avec lectures

The Art of Metacommentary: Guiding Your Reader

The Revision Revolution: Finding What You Really Want to Say

Voyez chaque mot au fil de l'écoute

From Classroom to Conversation: Applying Academic Moves in Real Life

Vous êtes arrivé au bout de L'art de l'argumentation : Ils disent / Je dis avec lectures

Les utilisateurs ont aussi aimé

Fait partie d'un plan d'apprentissage

Submit design/UX papers to ACMCHI as designer

Découvrir plus

Aperçu de L'art de l'argumentation