essay conclusion triangle

Katherine A. Palmer

Creative, detail-oriented content marketing coordinator

Introductions and Conclusions: They’re just Triangles

Note: this how-to guide only applies to essays that are scholarly and formal. For example, think English, sociology, environmental, humanities, history, gender studies…the list goes on. But there will be essays that require you take a different approach to introductions and conclusions.

Tips from and English major and writing tutor.

I know not everyone loves English and writing. That’s why I’m here to help. I will be writing a series short blog posts to simplify essays so that you know exactly how to ace your next paper. Today, we’re talking about my favorite paragraphs—the most important, the ones that will make or break your paper—the introduction and conclusion.

Yeah. Probably your least favorite to write. I will admit, they are the hardest to nail, but it’s imperative that your introduction and conclusion are strong, or else it won’t matter how good your body paragraphs are. Once you perfect your introduction and conclusions, you will leave your teachers remembering your essay long after they finish grading it.

Remember the triangles.

A “formula” for thinking about essays has been helpful for myself and my tutees.

I think the easiest way to think about introductions and conclusions is to look at them as triangles . Triangles visually represent how general or specific the information should be within each section of the paragraphs. Let me show you what I mean:

The triangles represent specificity. The introduction is a triangle flipped upside-down because it starts of more generally, and then the paragraph gets much more specific by the last sentence in the intro: the thesis. The specificity is illustrated by the point in the triangle.

I have a blog post on how to construct your thesis if you need it.

The conclusion starts with the most specific sentence to clearly reiterate the thesis. The paragraph then transitions seamlessly into the argument you’ve been making the whole time. Finally, you express the text or film’s importance in the world today.

Let’s look at my essay as an example: “Thoreau’s Political Activism: The Construction of Unconventional Masculinity.” I want to use this essay of mine as an example because it illustrates that your introduction can be two paragraphs . Especially in upper-level college English classes, your introduction probably should be two paragraphs. However, never add a third introductory paragraph. And you’re safe with one if it does the job.

Introduction

1st intro paragraph.

Hook: In “Civil Disobedience,” Henry David Thoreau asks his audience: “How many men are there to a square thousand miles in this country? Hardly one” (70).

Slow, smooth transition to topic (reveal gender focus): This question forces us to ask in turn, what type of masculinity does Thoreau consider to be ideal? Since gender is a societal construct, people have equated different traits with “femininity” and “masculinity” depending on the time and place in which they lived.

Conclusion sentence: Since no characteristics are inherently feminine or masculine, Thoreau was able to construct his own unique unconventional ideal of masculinity throughout  Walden  and his political essays.

2nd intro pargraph

Continue transition to thesis, and provide roadmap: Thoreau’s constructed masculine ideal favors the politically active, independent, and virtuous man, which can be seen by analyzing Thoreau’s critique of conventionally masculine men and his idealization of John Brown.

Thesis (reveal race analysis focus): However, although Thoreau constructs this new ideal of masculinity in order to aid society in abolishing slavery, his texts reflect and perpetuate the racial biases that were held by society during his time.

Conclusions, unlike introduction paragraphs, should always be limited to one paragraph.

Another hook (optional) and restate thesis in a new, interesting way: In “Slavery in Massachusetts,” Thoreau wrote, “They persist in being the servants to the worst of men, and not the servants of humanity” (103). But couldn’t we argue that Thoreau himself was a servant to the worst of men through his perpetuation of the oppression of people based on race and gender?

Transition to less specific to paper to more general terms, and relate to present-day issue: Ironically, although he was attempting to aid in abolishing slavery, his political essays perpetuate racism by excluding non-white men. Similarly, although he was glamorizing the politically active John Brown, he never once mentions his mother or his sisters, who founded the Concord Antislavery Society (Petrulionis 19). How could he overlook the participation of his own mother and sister in the abolitionist movement, yet never fight for their rights at all?

Conclusion sentence describing the importance of essay in the real world: So, rather than glamorizing the politically progressive Thoreau, we should instead analyze the ways in which his texts both reflect and perpetuate the oppression of people based on race and gender.

Extra Intro & Conclusion Tips:

• If you have more than one text or film to analyze, include all the titles in your thesis. Introduce each author or director in the introduction.
• Always know what present-day issue you will be relating your text or film to before you write anything. Great lenses to analyze your text or film include gender, race and ethnicity, ecocriticism, Marxist, religious, or historical. Know the importance of your paper.
• Always make a new, interesting argument. Read what literary critics have written about your text or film through the same lens you want to focus on, and find a way to make your argument better. Whether you agree or disagree with the articles, include some in your essay to show you did background research, and to make your argument stronger. Express your opinions on their opinions.
• Write your introduction and conclusion after you write every other paragraph.
• Make your introduction and conclusion as concise as possible. Present your argument thoroughly , but don’t explain or dive too deeply into your topic yet. Your body paragraphs will do the work for you. This balance of being thorough, yet concise, can be the hardest to strike. Definitely write multiple drafts of your thesis statement.
• Write a draft on a loose-leaf piece of paper. Draw the triangles and brainstorm sentences next to them. How can you get your words to flow in a way that represents your introductory and conclusion paragraphs as triangles?

Now you should know how to write your own perfect introduction and conclusion paragraphs! Aim to leave your teachers stunned at how much effort you put into analyzing the text or film.

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“You know a good conclusion when you see it.” Such is the sentiment of many professors, but the ambiguity of this statement makes the conclusion an aspect of academic writing that students tend to agonize over. Unlike the often formulaic introduction, the structure of the conclusion can vary greatly depending on the needs of the essay, making the students’ task quite challenging. What can students, anxious to wrap up their papers and move on with their lives, do?

It doesn’t help that students may be inclined to rely on a formula based on the five-paragraph essay, a trope of high school writing. Drawn on the chalkboard as an upside-down triangle (the introduction), three boxes (the body paragraphs) and a right-side-up triangle (the conclusion), the five-paragraph essay is constraining, but it sets students in the right direction and gives them preconfigured, polygonal molds from which they might eventually break free, in a cataclysmic event of great power and awesomeness.

To understand the conclusion of the five-paragraph essay, it’s necessary to know what the introduction’s upside-down triangle symbolizes. The introduction’s “triangle” starts off with a broad hook (the long edge of the triangle), and the triangle narrows as it explores background on the subject. It culminates in the sharp, precise thesis (the triangle’s point). The five-paragraph essay’s conclusion is a reflection of this upside-down triangle: starting off with a slight rephrasing of the thesis (the triangle’s point), broadening as it summarizes the larger points of the argument, and ending with a conclusion so broad that it considers implications to the “wider world.” Incidentally, this sentence often starts with that unfortunate turn of phrase—“in conclusion.”

While the five-paragraph essay formula is effective in getting students to start thinking about conclusions, it leaves much room for development. The idea of introducing an argument’s implications is the vital component of any conclusion, regardless of the discipline. Thus, moves to address implications for the paper are important even if they are initially, and sometimes clumsily, vague in their redefinition of, say, the synergy of the rhythmic layout of the Bayeux Tapestry.

Though the conclusion of a humanities paper or the discussion of a lab report may seem to need entirely different approaches, both have some uniting characteristics. A strong conclusion takes the paper’s argument in a new direction without steering it off course. It sails through the Strait of Magellan and witnesses fertile land on the other side—okay, we’ve had enough metaphors. This preponderance of cosmic implication is what writers struggle with—how to leave the reader with just the right amount of food for thought (instead of inadvertently opening up a can of worms).

Critically, the conclusion should consider the consequences of argument, the end result and key takeaway from the paper. It should provide the answer to the “so-what” questions: Why did we just read this paper? What are we getting out of this? Why should we care?

The excerpts featured in this section answer these questions and do so through literary and scientific analysis, respectively. In Victoria Gruenberg’s conclusion for “Cast List: Social Performativity within Hamlet and Consequent Dramatic Abilities of the Play,” she goes beyond the critique of Shakespeare’s Hamlet as metatheatrical to argue that Hamlet is a work of social performance, broadening the performativity of Hamlet to include its audience. Victoria’s piece is notable in that it expands the discussion of Hamlet in a method that seamlessly builds upon her analysis into a crowning conclusion with strong implications for future Hamlet analysis. Moreover, she motivates her conclusion through the “subtler hints at the performativity of the moment” – propelling the paper to its eloquent conclusion.

On the other side of the academic spectrum lies the excerpt from Saisai Chen’s scientific paper, “The Placebo Effect and Depression: Who is Susceptible and How Does it Work?” The paper creates a final conversation between the author and her sources in a way that neatly revisits the thesis and motive while leaving room for future research. In particular, Saisai’s paper cautions the limitations of the studies, citing the Khan et al. study’s 99% white population as a cause for skepticism, while offering the cautious result that the placebo effect might have a “synergistic effect” when a patient’s “expectations, past experiences with medication, and neuroanatomical features” are taken into account. In a science paper, a precise and measured conclusion is often a strong one.

Our editorial team hopes the two excerpts will show how strategies in the conclusion from literature and science perspectives are often in common with each other, especially when one considers their deviation and elevation from the conclusion of the polygonal, formulaic five-paragraph essay.

HARRISON BLACKMAN & ALAKA HALDER

Harrison Blackman  ’17 is from North Potomac, Maryland. He is majoring in History, with interests in urban studies and creative writing. When he’s not writing about landscapes, he’s running around in them. He wrote this as a sophomore.

Alaka Halder studied in the Economics Department and is from Dhaka, Bangladesh. Her research focuses on health and labor economics. She wrote this as a senior.

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Cast list: social performativity within hamlet and consequent dramatic abilities of the play.

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• How to Write an Introduction
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CONCLUSIONS

Follow this pattern.

So much is at stake in writing a conclusion. This is, after all, your last chance to persuade your readers to your point of view, to impress yourself upon them as a writer and thinker. And the impression you create in your conclusion will shape the impression that stays with your readers after they've finished the essay.

The end of an essay should therefore convey a sense of completeness and closure as well as a sense of the lingering possibilities of the topic, its larger meaning, its implications: the final paragraph should close the discussion without closing it off.

To establish a sense of closure, you might do one or more of the following:

• Conclude by linking the last paragraph to the first, perhaps by reiterating a word or phrase you used at the beginning.
• Conclude with a sentence composed mainly of one-syllable words. Simple language can help create an effect of understated drama.
• Conclude with a sentence that's compound or parallel in structure; such sentences can establish a sense of balance or order that may feel just right at the end of a complex discussion.

To close the discussion without closing it off, you might do one or more of the following:

• Conclude with a quotation from or reference to a primary or secondary source, one that amplifies your main point or puts it in a different perspective. A quotation from, say, the novel or poem you're writing about can add texture and specificity to your discussion; a critic or scholar can help confirm or complicate your final point. For example, you might conclude an essay on the idea of home in James Joyce's short story collection,  Dubliners , with information about Joyce's own complex feelings towards Dublin, his home. Or you might end with a biographer's statement about Joyce's attitude toward Dublin, which could illuminate his characters' responses to the city. Just be cautious, especially about using secondary material: make sure that you get the last word.
• Conclude by setting your discussion into a different, perhaps larger, context. For example, you might end an essay on nineteenth-century muckraking journalism by linking it to a current news magazine program like  60 Minutes .
• Conclude by redefining one of the key terms of your argument. For example, an essay on Marx's treatment of the conflict between wage labor and capital might begin with Marx's claim that the "capitalist economy is . . . a gigantic enterprise of dehumanization "; the essay might end by suggesting that Marxist analysis is itself dehumanizing because it construes everything in economic -- rather than moral or ethical-- terms.
• Conclude by considering the implications of your argument (or analysis or discussion). What does your argument imply, or involve, or suggest? For example, an essay on the novel  Ambiguous Adventure , by the Senegalese writer Cheikh Hamidou Kane, might open with the idea that the protagonist's development suggests Kane's belief in the need to integrate Western materialism and Sufi spirituality in modern Senegal. The conclusion might make the new but related point that the novel on the whole suggests that such an integration is (or isn't) possible.

Finally, some advice on how not to end an essay:

• Don't simply summarize your essay. A brief summary of your argument may be useful, especially if your essay is long--more than ten pages or so. But shorter essays tend not to require a restatement of your main ideas.
• Avoid phrases like "in conclusion," "to conclude," "in summary," and "to sum up." These phrases can be useful--even welcome--in oral presentations. But readers can see, by the tell-tale compression of the pages, when an essay is about to end. You'll irritate your audience if you belabor the obvious.
• Resist the urge to apologize. If you've immersed yourself in your subject, you now know a good deal more about it than you can possibly include in a five- or ten- or 20-page essay. As a result, by the time you've finished writing, you may be having some doubts about what you've produced. (And if you haven't immersed yourself in your subject, you may be feeling even more doubtful about your essay as you approach the conclusion.) Repress those doubts. Don't undercut your authority by saying things like, "this is just one approach to the subject; there may be other, better approaches. . ."

Copyright 1998, Pat Bellanca, for the Writing Center at Harvard University

Jimmie's Collage

lifestyle blog of a single mom who works from home

Foolproof Essay Conclusion Tricks

April 19, 2012 By Jimmie Quick 2 Comments

Writing compelling conclusions is very challenging. (I personally struggle with it — still!) But the good news is that a conclusion can follow a set pattern that is a meager three sentences. Just three sentences!

Start with a restatement of the thesis statement, in different words, of course. Then add at least two additional wrap up sentences, using the suggestions below.

There is overlap among these ideas, and that is deliberate. Different methods will work for different children and at different times for various topics. Having multiple tools at your disposal is to your benefit.

If you can answer the question “So What?” at the end of an essay, you will have a strong conclusion.

Now that the reader has read all of your ideas, “So What?” Why should he care? What difference does it make? How does it apply to him and to every person on the globe?

Conclusion Triangle

I like to think of a conclusion as triangle.

You start specific by restating the thesis statement for the essay and then make some general or universal statements related to your topic.  This transition is reflected in the shape of the triangle. It is narrow at the top and broadens to a wide base.

So think in categories. Take your essay topic, and mentally expand it, asking yourself what category it would fit into.  Then try to think of a universal statement about that general category.

Here are some examples of essay topics & broad categories that they fit into:

• essay topic:  the three best pets — broad category:  animals
• essay topic:  why children should have household chores — broad category:  the family
• essay topic:  the achievements of Marco Polo — broad category:  explorers
• essay topic:  paintings by Monet — broad category:  Impressionism

Thinking in terms of broad generalizations is difficult for many children and is not developmentally appropriate until later middle school or high school.

Revisit the Attention Grabber

What did you use for a hook in the introduction? Was it a startling fact, a question, or a story? Consider returning to that idea and wrapping it up in the conclusion.

Stories are perfect for this, especially if you can leave the story somewhat unfinished in the introduction. Now in the conclusion, you have a chance to revisit that story and neatly tie up any loose ends as you make some statements related to your essay topic.

Present a Call to Action

What do you expect or want the reader to do with what you’ve written? Is there an action the reader should take or a belief the reader should now have? Express that in a call to action at the close of your essay.

Free Printable Graphic Organizer

When drafting a conclusion paragraph, this graphic organizer can help students remember what it needs to include, how long it has to be, and some reminders about the foolproof endings.

This printable is part of my ebook Essay Tune Up .

The 10 Days Series is organized by iHomeschool Network , a collaboration of outstanding homeschool bloggers who connect with each other and with family-friendly companies in mutually beneficial projects.

Visit the other posts to be blessed with tips on how to handle bad days, cultivating curiosity, teaching with Legos, and much much more!

More You Will Like

April 19, 2012 at 4:22 pm

As always love your posts and love your freebies! XOXO

April 20, 2012 at 5:29 am

Thank you for this series. Very useful information and perfect timing for me with two high school teens this year. It is so practical and the boys have added the printables {love} to their writing notebooks.

I appreciate your hard work! Hugs

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Awesome Guide on How to Write an Essay Introduction

'I'd like to recall the day I nearly burned myself in flames in my automobile while going 250 mph and escaping the police'. – Thankfully, we don't have a story like that to relate to, but we bet we piqued your interest.

That's what we refer to as an efficient hook. Fundamentally, it's an attention-grabbing first sentence that piques an audience's interest and encourages them to keep reading. While writing an essay, a strong hook in essay introductions is essential.

Delve into the article if you're wondering how to start an essay with a strong introduction. This is the ultimate guide for writing the parts of a introduction paragraph from our custom dissertation writing service to engage your readers.

Introduction Definition

The introduction paragraph, to put it simply, is the first section of an essay. Thus, when reading your essay, the reader will notice it right away. What is the goal of an opening paragraph? There are two things that an excellent introduction achieves. It initially informs the reader on the subject of your work; in other words, it should describe the essay's topic and provide some background information for its main point. It must also spark readers' interest and persuade them to read the remainder of your article.

To provide you with essay writing services , we only need your paper requirements to create a plagiarism-free paper on time.

How Long Should an Introduction Be

Typically, there are no strict restrictions on how long an opening paragraph should be. Professional essay writers often shape the size of it with the paper's total length in mind. For instance, if you wonder how to make introduction in essay with five paragraphs, keep your introductory sentence brief and fit it inside a single section. But, if you're writing a longer paper, let's say one that's 40 pages, your introduction could need many paragraphs or even be pages long.

Although there are no specific requirements, seasoned writers advise that your introduction paragraph should account for 8% to 9% of your essay's overall word length.

And, if you place an order on our coursework writing services , we will certainly comply with your introduction length requirements.

What Makes a Good Introduction

All of the following criteria should be fulfilled by a strong opening sentence:

• Start your introduction on an essay with a catchy sentence that draws the reader in.
• It needs to include baseline information about your subject.
• This should give readers a sense of the main argument(s) that your essay will address.
• It must include all necessary information on the setting, locations, and chronological events.
• By the end of your introduction, make a precise remark that serves as your essay's thesis.

What Are the 3 Parts of an Introduction Paragraph

So, what should be in a introduction paragraph? The introduction format essay has three sections: a hook, connections, and a thesis statement. Let's examine each component in more depth.

Part 1: Essay Hook

A hook is among the most effective parts of a introduction paragraph to start an essay. A strong hook will always engage the reader in only one sentence. In other words, it is a selling point.

Let's now address the query, 'how to make an essay introduction hook interesting?'. Well, to create a powerful hook, you can employ a variety of techniques:

• A shocking fact
• An anecdote 
• A short summary

And here is what to avoid when using a hook:

• Dictionary definitions
• Generalizations
• Sweeping statements that include words like 'everywhere,' 'always,' etc.

Once you've established a strong hook, you should give a general outline of your major point and some background information on the subject of your paper. If you're unsure how to write an introduction opening, the ideal approach is to describe your issue briefly before directing readers to particular areas. Simply put, you need to give some context before gradually getting more specific with your opinions.

The 5 Types of Hooks for Writing

Apart from the strategies mentioned above, there are even more types of hooks that can be used:

• A Common Misconception — a good trick, to begin with, to claim that something your readers believe in is false.

Example: 'Although many falsely believe that people working from home are less productive – employees who get such work-life benefits generally work harder.'

• Statistics — Statistical facts may provide a great hook for argumentative essays and serious subjects focusing on statistics.

Example: 'A recent study showed that people who are satisfied with their work-life balance work 21% harder and are 33% more likely to stay at the same company.'

• Personal Story — sometimes, personal stories can be an appropriate hook, but only if they fit into a few brief sentences (for example, in narrative essays).

Example: 'When I had my first work-from-home experience, I suddenly realized the importance of having a good work-life balance; I saw plenty of the benefits it can provide.'

• Scenes — this type of hook requires making the readers imagine the things you are writing about. It is most suitable when used in descriptive and narrative essays.

Example: 'Imagine you could have as much free time as you wish by working or studying from home—and spend more time with your loved ones.'

• Thesis Statement — when unsure how to do an essay introduction, some writers start directly with their thesis statement. The main trick here is that there is no trick.

Example: 'I strongly believe there is a direct correlation between a healthy work-life balance and productivity in school or at work.'

Part 2: Connections

Give readers a clearer sense of what you will discuss throughout your article once you have given a hook and relevant background information about your essay topic. Briefly mentioning your main points in the same sequence in which you will address them in your body paragraphs can help your readers progressively arrive at your thesis statement.

In this section of your introduction, you should primarily address the following questions:

You may make sure that you are giving your readers all the information they need to understand the subject of your essay by responding to each of these questions in two to three lines. Be careful to make these statements brief and to the point, though.

Your main goal is gradually moving from general to specific facts about your subject or thesis statement. Visualize your introduction as an upside-down triangle to simplify the essay writing process. The attention-grabbing element is at the top of this triangle, followed by a more detailed description of the subject and concluding with a highly precise claim. Here is some quick advice on how to use the 'upside-down triangle' structure to compose an essay introduction:

• Ensure that each subsequent line in your introduction is more focused and precise. This simple method will help you progressively introduce the main material of your piece to your audience.
• Consider that you are writing a paper on the value of maintaining a healthy work-life balance. In this situation, you may start with a query like, 'Have you ever considered how a healthy work-life balance can affect other areas of your life?' or a similar hook. Next, you could proceed by giving broad factual information. Finally, you could focus your topic on fitting your thesis statement.

Part 3: The Thesis Statement

If you're unsure of the ideal method to create an introduction, you should be particularly attentive to how you phrase your thesis statement.

The thesis of your work is, without a doubt, the most crucial section. Given that the thesis statement of your piece serves as the foundation for the entire essay, it must be presented in the introduction. A thesis statement provides readers with a brief summary of the article's key point. Your main assertion is what you'll be defending or disputing in the body of your essay. An effective thesis statement is often one sentence long, accurate, exact, unambiguous, and focused. Your thesis should often be provided at the end of your introduction.

Here is an example thesis statement for an essay about the value of a proper work-life balance to help you gain a better understanding of what a good thesis should be:

Thesis Statement Example: 'Creating flexible and pleasant work schedules for employees can help them have a better work-life balance while also increasing overall performance.'

Catchy Introductions for Different Essay Types

Although opening paragraphs typically have a fixed form, their language may vary. In terms of academic essays, students are often expected to produce four primary intro to essay examples. They include articles that are analytical, argumentative, personal, and narrative. It is assumed that different information should appear in these beginning paragraphs since the goals of each sort of essay change. A thorough overview of the various paper kinds is provided below, along with some good essay introduction samples from our argumentative essay writers:

Narrative Introduction

• The writer of a narrative essay must convey a story in this style of writing. Such essays communicate a story, which distinguishes them from other essay types in a big way.
• Such a paper's hook will often be an enticing glimpse into a specific scene that only loosely links to the thesis statement. Additionally, when writing such an essay, a writer should ensure that every claim included in the introduction relates to some important moments that have significantly impacted the story's outcome.
• The thesis in narrative writing is usually the theme or main lesson learned from the story.

Narrative introduction example: 'My phone rang, and my mother told me that Dad had suffered a heart attack. I suddenly experienced a sense of being lifted out from under me by this immaculately carpeted flooring. After making it through, Dad left me with a sizable collection of lessons. Here are three principles that I know dad would have wanted me to uphold...'

Still Can't Think of a Perfect Intro?

When assigned to write an essay, students end up with a ton of questions, including 'How to structure an essay?', 'How to choose a good topic?'. Here at EssayPro, we employ only the best essay writers who are committed to students’ success.

Analytical Introduction

• Analytical essay introduction format is another popular type. In contrast to a narrative paper, an analytical paper seeks to explore an idea and educate the reader about a topic.
• Three important facts that support the analytical premise should be included in the middle section of the introduction.
• A well-researched and well-thought-out claim will form a wonderful thesis because the main goal of this paper is to study the topic and educate readers. It's crucial to remember that this assertion shouldn't initially have any real weight. Although it will still be theoretical, it has to be articulated practically.

Analytical introduction example: “... Hence even though presidents, CEOs, and generals still have their daily schedules full of economic crises and military conflicts, on the cosmic scale of history humankind can lift its eyes up and start looking towards new horizons. If we bring famine, plague, and war under control, what will replace them at the top of the human agenda? Like firefighters in a world without fire, so humankind in the twenty-first century needs to ask itself an unprecedented question: what are we going to do with ourselves? What will demand our attention and ingenuity in a healthy, prosperous, and harmonious world? In a healthy, prosperous, and harmonious world, what will demand our attention and ingenuity? This question becomes doubly urgent given the immense new powers that biotechnology and information technology are providing us with. What will we do with all that power? ...” Homo Deus: A Brief History of Tomorrow, Yuval Noah Harari

Persuasive Introduction

• To persuade readers of anything is the sole goal of persuasive essay writing. This may be accomplished using persuasive strategies like ethos, pathos, and logos.
• A hook statement for this paper may be anything from a fascinating fact to even comedy. You can use whatever technique you choose. The most crucial advice is to ensure your hook is in line with your thesis and that it can bolster further justifications.
• Generally speaking, a persuasive essay must include three supporting facts. Hence, to gradually lead readers to the major topic of your paper, add a quick summary of your three arguments in your introduction.
• Last, the thesis statement should be the main claim you will be disputing in this paper. It should be a brief, carefully thought-out, and confident statement of your essay's major argument.

Persuasive introduction example: 'Recycling waste helps to protect the climate. Besides cleaning the environment, it uses waste materials to create valuable items. Recycling initiatives must be running all around the world. ...'

Personal Introduction

• The final sort of academic writing that students frequently encounter is a personal essay. In principle, this essay style is creative nonfiction and requires the author to reflect on personal experiences. The goals of such a paper may be to convey a story, discuss the lessons that certain incidents have taught you, etc. This type of writing is unique since it is the most personal.
• Whatever topic you choose can serve as the hook for such an essay. A pertinent remark, query, joke, or fact about the primary plot or anything else will be acceptable. The backdrop of your narrative should then be briefly explained after that. Lastly, a thesis statement can describe the impact of particular experiences on you and what you learned.

Personal introduction example: 'My parents always pushed me to excel in school and pursue new interests like playing the saxophone and other instruments. I felt obligated to lead my life in a way that met their standards. Success was always expected on the route they had set out for me. Yet eight years after my parents' separation, this course was diverted when my dad relocated to California...'

Tips for Writing a Winning Introduction Paragraph

You now understand how to do introduction and have specific intro example for essays to help you get going. Let's quickly examine what you should and shouldn't do during the writing process.

• Keep the assignment's purpose in mind when you write your introduction, and ensure it complies with your instructor's requirements.
• Use a compelling and relevant hook to grab the reader's attention immediately.
• Make sure your readers understand your perspective to make it apparent.
• If necessary, establish key terms related to your subject.
• Show off your expertise on the subject.
• Provide a symbolic road map to help readers understand what you discuss throughout the post.
• Be brief; it's recommended that your introduction make up no more than 8 to 9 percent of the entire text (for example, 200 words for a 2500 words essay).
• Construct a strong thesis statement.
• Create some intrigue.
• Make sure there is a clear and smooth transition from your introduction to the body of your piece.
• If you're looking for a custom writer , request assistance from the EssayPro team. We know how to write a term paper along with many other types of essays.

Don'ts

• Provide too much background information.
• Use sentences that are off-topic or unnecessary.
• Make your opening paragraph excessively long.
• Keep some information a secret and reveal it later in conclusion.
• Employ overused phrases or generalizations.
• Using quotation marks excessively

Now that you know what is in the introduction of an essay, we recommend reading the information on how to critique an article to gain more academic insight.

If you are still struggling with that, keep in mind that you can always send us your request to get professional assistance from our law essay writing service .

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AP® English Language

Understanding the rhetorical triangle for ap® english language.

• The Albert Team
• Last Updated On: March 1, 2022

If you’ve been studying for the AP® Language exam , you may have noticed the term ‘rhetorical triangle’ being thrown around. While the rhetorical triangle isn’t something you’re likely to be tested over directly, knowing what the rhetorical triangle is and how to apply it is fundamental to scoring well on the AP® English Language exam.

What is the Rhetorical Triangle?

In essence, the rhetorical triangle is really just a method to organize the three elements of rhetoric, as outlined by Aristotle. These elements – ethos, pathos, and logos – are arranged on a triangle, with Logos at the top, and Ethos and Pathos at the bottom corners. These elements play a crucial role in any argument you write or analyze.

When establishing your argument, it’s important to let the reader know why they should trust you, or why they should trust your sources. This is known as ethos, an appeal to credibility.  Dr. Pepper, a renowned rhetorical expert, appeals to ethos perfectly when saying: “Trust me, I’m a doctor.”

Now, it’s really easy to create a sense of authority when you’ve had ample experience in the field you’re writing about, but it’s a lot more difficult when you’re given a random prompt and 40 minutes to respond. Don’t worry though, no one expects you to be an expert.

If you’re writing the AP® Language synthesis essay, you can simply borrow some ethos from your sources by citing their credentials along with their argument. For the other essays, you may not be able to present yourself as an expert, but you can show the reader that you have thoroughly considered the opposing viewpoint with a counterargument. This gives the reader more confidence in your argument, thus bolstering your credibility. It’s a simple trick to make any essay much better.

Pathos, an appeal to emotions, is typically the easiest corner of the rhetorical triangle to use and the easiest to spot. You have to be careful, though: the grader will appreciate an emotional connection to your piece, but they don’t want a sob story without any substance. There’s a fine line between the two, and it’s a line you must tread carefully for an effective argument.

Let’s take, for example, the commercials – famous or infamous, depending on your viewpoint – for the American Society for the Prevention of Cruelty to Animals. We all know that animal abuse exists, but it doesn’t hit home until the poor creatures are pouting at you with Sarah McLachlan in the background, tugging at your heartstrings. These commercials certainly are unforgettable, but they’ve inspired a lot of backlash from people who feel that they are empty and manipulative. An oversaturation of pathos can harden a reader’s heart and make them feel used, which isn’t exactly your intended effect.

Pathos, then, should be used sparingly in your AP® English Language essay .  If your argument is strong, but detached, you should consider adding pathos, but if it is already weak you will only hurt yourself with an impassioned but uninformed tirade.

According to Aristotle, logos is the most important part of an argument, and therefore should be your selling point. Generally speaking, this is a good rule to follow on the AP® English Language and Composition exam. You can play around with the proportions of your rhetorical triangle, but try to make heavy Logos your default.

So what is logos, then, that makes it so important? Logos is an appeal to logic, which you want to think of as the base of your essay. If your argument doesn’t make logical sense, then what’s the point of writing it? Logos should affect everything, from the order in which you structure your body paragraphs to the finer detail work. Facts, statistics, and logical reasoning are all ways to incorporate logos into your essay.

So, Why a Triangle?

The image of a triangle is not absolutely necessary to the elements of rhetoric – Aristotle never mentioned one in his treaties – but it is a great way to remember how they relate to one another, particularly for visual learners.Remember, ethos and pathos are the base of the triangle, but logos is alone at the top, the center of attention.

If you’ve taken a geometry course, you probably remember that the sides and angles of a triangle have a special relationship and are dependent on one another. Don’t worry, you don’t need to pull out your notes on sine, cosine, and tangent! The rhetorical triangle isn’t that exact. But it is important to pay attention to the proportions of logos to ethos, ethos to pathos, and pathos to logos in your essay. You may have a logical argument, but if it is too detached or presented without any sense of authority, it will ultimately fall flat.

The AP® Language Analysis Essay and the Rhetorical Triangle

Now that you know how to write with the rhetorical triangle, it’s just another step to apply it to the AP® English analysis essay. Technically, you don’t really have to use it at all, but doing so will add maturity to your writing that could significantly impact your score. Additionally, it can work as a quick fix if you find yourself lost.

Ideally, you will want to incorporate ethos, pathos, and logos, as well as the relationship they bear to each other and to the entire argument, as a recurring theme in your essay, but not as one of your three rhetorical devices. If you can focus on how the author uses metaphor, then explain why this use of metaphor impacts the reader emotionally and creates a logical argument, you will be much better off than if you just discuss the author’s use of pathos and logos.

That being said, if you’re having trouble finding rhetorical devices on the AP® English Language prompt, remember that the rhetorical triangle, like diction and syntax, can be applied to any excerpt. How logical was the author’s main argument, and what effect was the anecdote about the starving child supposed to have on the reader’s emotions? When they spoke about their time at Harvard , was that just to set the scene or were they subtly giving the impression that they are someone worth listening to? Ask yourselves these questions and analyzing the author’s use of ethos, pathos, and logos can be just as effective as analyzing the use of any other rhetorical device.

Using the Rhetorical Triangle to Its Full Effect

The beauty of the AP® Language essays is that while learning how to analyze rhetoric, you are also learning how to effectively write your own. Once you’ve learned the strengths and pitfalls of the rhetorical triangle, you can use your own judgment as to how much of each element would be appropriate in your essay. The simple balancing of ethos, pathos, and logos is enough to give all of your AP® English Language essays a strong foundation. Follow the rhetorical triangle and you’re on your way to passing the Lang test with flying colors!

Interested in a school license?​

2 thoughts on “understanding the rhetorical triangle for ap® english language”.

The Rhetorical Triangle is used to figure out who is talking to you. Making sure the person talking to you is credible. To find out what the point of the speaker is. How to use persuasion to get something done.

Great input — thanks for the comment.

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Talking to the girls.

Intimate and Political Essays on the Triangle Shirtwaist Factory Fire

Edited by Edvige Giunta and Mary Anne Trasciatti

Published by: New Village Press

Imprint: New Village Press

320 Pages , 6.00 x 9.00 in , 50 b/w illustrations

• 9781613321508
• Published: March 2022
• 9781613321522
• 9781613321515

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• Description

Candid and intimate accounts of the factory-worker tragedy that shaped American labor rights On March 25, 1911, a fire broke out on the eighth floor of the Asch Building in Greenwich Village, New York. The top three floors housed the Triangle Waist Company, a factory where approximately 500 workers, mostly young immigrant women and girls, labored to produce fashionable cotton blouses, known as “waists.” The fire killed 146 workers in a mere 15 minutes but pierced the perpetual conscience of citizens everywhere. The Asch Building had been considered a modern fireproof structure, but inadequate fire safety regulations left the workers inside unprotected. The tragedy of the fire, and the resulting movements for change, were pivotal in shaping workers' rights and unions. A powerful collection of diverse voices, Talking to the Girls: Intimate and Political Essays on the Triangle Fire brings together stories from writers, artists, activists, scholars, and family members of the Triangle workers. Nineteen contributors from across the globe speak of a singular event with remarkable impact. One hundred and eleven years after the tragic incident, Talking to the Girls articulates a story of contemporary global relevance and stands as an act of collective testimony: a written memorial to the Triangle victims.

Edvige Giunta is a professor of English at New Jersey City University. She is the author of Writing with an Accent: Contemporary Italian American Women Authors and co-editor of five anthologies, including The Milk of Almonds and Embroidered Stories . Born in Sicily, she first became interested in the Triangle fire as a young activist. She has trained scores of students in the art of memoir and created the first course devoted to the Triangle fire.

Mary Anne Trasciatti is President of the Remember the Triangle Fire Coalition. The daughter and granddaughter of garment workers, she has devoted the past twelve years of her life to ensuring the creation of a Triangle Fire Memorial. She is a professor of Rhetoric and Director of Labor Studies program at Hofstra University in Long Island. She is co-editor of the forthcoming Where are the Workers? Labor’s Stories at Museums and Historic Sites.

"This work brings labor's history to life with stories and voices that have echoed down through generations. Apropos in these times as we are reminded of the horror of the Triangle Shirtwaist Fire that fueled union organizing and union demands for enforceable occupational safety standards. As we learned then and painfully know now, workplace safety doesn’t just happen. The essays create a rich, unique view of our past while calling us to stand in solidarity today." ~Sara Nelson, International President of the Association of Flight Attendants-CWA, AFL-CIO

" This deeply moving and poignant anthology reminds us that the past is not over. By feeling the truth of the Triangle Fire—the trauma, the loss, and the fury—each essay invites us to remember the beauty of workers and organizers then and today who fight for a world where the wellbeing of workers is not sacrificed for capitalist greed. " ~Jennifer Guglielmo, Associate Professor of History, Smith College, author of Living the Revolution, and co-director, "Putting History in Domestic Workers' Hands"

" Talking to the Girls: Intimate and Political Essays on the Triangle Fire , is the first anthology of personal essays about this landmark tragedy—and spur for change—in American life. As such, these stories by survivors, family members, descendants, scholars, and activists are as sharp and sad and enraging and resolute as the fire itself was in galvanizing us to justice. Editors Edvige Giunta and Mary Anne Trasciatti do more than edit here, they know how to listen, and let these many varied voices bear witness." ~Kevin Baker, author of Dreamland

"As co-editors Edvige Giunta and Mary Anne Trasciatti explain in the introduction, one of the collection’s goals is to “explore the combination of intimate and political that permeates Triangle activism” by allowing the authors to interrogate their own relationships with the tragedy and contribute to the ongoing conversation about what is owed to those who came before... provide[s] valuable insight into what it takes to change the world — or the workplace — when the odds are stacked against you." ~Kim Kelly, Teen Vogue

Essay on Bermuda Triangle

Students are often asked to write an essay on Bermuda Triangle in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Bermuda Triangle

Introduction.

The Bermuda Triangle is a mysterious area in the Atlantic Ocean. It is a triangle-shaped region between Miami, Puerto Rico, and Bermuda. Many ships and planes have disappeared there without any trace.

Disappearing Acts

The Bermuda Triangle is famous for its unexplained events. Many ships and planes have vanished in this region. Some people believe these incidents are due to supernatural forces or aliens.

There are many theories about the Bermuda Triangle. Some people think it’s because of strong ocean currents or bad weather. Others believe in more strange ideas, like alien abductions or underwater cities.

Scientific Explanation

Scientists don’t believe in the supernatural theories. They think the disappearances are due to natural causes, like storms or navigation errors. The Bermuda Triangle is not officially recognized as a danger zone.

The Bermuda Triangle is a fascinating topic. While there are many theories, there is no proven explanation for the disappearances. It remains a mystery, sparking our curiosity and imagination.

Also check:

• Speech on Bermuda Triangle

250 Words Essay on Bermuda Triangle

The mystery of bermuda triangle.

The Bermuda Triangle is a region in the western part of the North Atlantic Ocean. It is known for its high number of unexplained events. Ships and planes have vanished under strange conditions, leading to many legends.

Location and Size

The Bermuda Triangle is not small. It is roughly shaped like a triangle and covers about 500,000 square miles. The three points of the triangle are Miami, Bermuda, and Puerto Rico.

Unexplained Disappearances

Many ships and aircraft have disappeared in the Bermuda Triangle. The most famous is Flight 19. In 1945, five US Navy planes and their 14 crew members vanished during a training mission. No wreckage was ever found.

Theories and Explanations

People have come up with many theories about the Bermuda Triangle. Some believe it’s due to aliens or the lost city of Atlantis. Scientists, on the other hand, think natural reasons are behind these events. These can include bad weather, strong ocean currents, or human error.

The Bermuda Triangle is a place of mystery and intrigue. While many of the disappearances can likely be explained by natural causes, the area will always hold a sense of wonder for those who hear its stories.

500 Words Essay on Bermuda Triangle

The Bermuda Triangle is a region in the western part of the North Atlantic Ocean. It is known for its high number of unexplained events, such as vanishing ships and planes. The triangle’s three points are Miami, Bermuda, and Puerto Rico. This area is one of the most heavily traveled shipping lanes in the world, with ships crossing through it daily for ports in the Americas, Europe, and the Caribbean Islands.

The Mystery

The Bermuda Triangle is famous for its mystery. Over the years, a number of ships and planes have disappeared within this area under strange circumstances. These incidents have led to the belief that supernatural events occur in the Bermuda Triangle. Some people even believe that aliens or sea monsters are responsible for these disappearances.

Scientific Explanations

Despite the many stories and legends, scientists have offered logical reasons for the happenings in the Bermuda Triangle. One reason is the unpredictable weather in this area. The Bermuda Triangle is known for sudden and severe storms. These storms can cause ships and planes to sink or crash. Another reason is the Gulf Stream. This fast-moving ocean current can quickly erase any evidence of a disaster.

The Role of Media

The media has played a big part in making the Bermuda Triangle famous. Stories about the Bermuda Triangle often appear in books, movies, and TV shows. These stories usually focus on the mysterious and unexplained events. This has led to a lot of curiosity and fear about the Bermuda Triangle.

In conclusion, the Bermuda Triangle is a fascinating topic. While it is known for its unexplained disappearances, scientists believe there are logical explanations. The media has also played a big role in making the Bermuda Triangle well-known. Despite the mystery and fear surrounding it, the Bermuda Triangle remains a popular route for ships and planes.

This essay does not provide all the answers about the Bermuda Triangle. But it gives a simple understanding of what it is, why it is famous, and how it is viewed by scientists and the media. The Bermuda Triangle continues to be an area of great interest and study.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Best Childhood Memory
• Essay on Best Day At School
• Essay on Best Dinner

Apart from these, you can look at all the essays by clicking here .

Happy studying!

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The Drama Triangle

The roles and faces that keep us in drama and suffering.

By Ken Norton

10 min read • Jun 14, 2023

Executive Coaching for Product Leaders with Ken Norton

Get a product-minded executive coach in your corner to unlock your full capacities as a leader

In the last newsletter , I introduced the concepts of Reactive and Creative leadership. I want to continue to explore that today.

As we saw last time, the majority of leaders and organizations operate from a Reactive mindset most of the time. When we’re operating from a reactive posture, we see everything as a problem or threat. We’re motivated by fear, blame, or wanting to be right. This is a natural place for humans to operate from—our brains are instinctually hard-wired for survival. Although reactive leadership can be effective, it comes with a cost—to our happiness, to those around us, to the system itself. Those costs multiply as the complexity of our environment increases and as our responsibilities grow.

When we shift to operating from a place of openness, love, possibility, and curiosity, we move into a Creative mindset. We move from being oriented primarily toward safety to being pulled by purpose and vision. We let go of needing to be right, wanting to be liked, and vulnerably accept the risks associated with that. When a leader operates from a creative mindset, they’re more effective, more inspiring, and happier.

Three Dramatic Roles

The first key to making a shift—like so much of what we work with in coaching—is awareness. “Where am I, right now? Am I anchored to my own security, driven by fear, suppressing my emotions, and seeing everything as a problem and threat? Or am I in a place of openness, vulnerability, possibility, and purpose?”

When we’re operating reactively, we often respond to the environment by taking on one (or more) of three different ways of seeing the world. Psychologist Stephen Karpman was the first to describe this in the 1960s. Karpman loved the dramatic arts and was a member of the Screen Actors Guild at one point. Recognizing that these are roles we are playing, he called it The Drama Triangle . FInding yourself playing one of these roles, like a stage actor donning a mask, is a first step toward building the awareness we seek.

The Hero (or Rescuer) wants to jump in and relieve the situation. Temporarily. The hero is often motivated by wanting to be right and therefore optimizes for a quick fix that makes the problem go away. The Hero’s actions often result in esteem and acceptance from others, but their heroics are limited in effectiveness and don’t confront the underlying challenge. In fact, since the Hero wants immediate relief, their internal motivations and beliefs can steer them away from even recognizing the real problem.

If you’ve ever had an acquaintance interrupt you with pithy advice before you’ve even finished describing your situation, you’ve met the Hero. If you’ve ever had a boss grab the work out from under you to do it themselves, you’ve met the Hero. A Hero also loves to jump into the middle of a dispute and “smooth things over” in a way that merely cools the situation without confronting or even acknowledging the real differences of opinion, allowing them to simmer and explode again at a later date.

The Villain

The Villain (or Persecutor) operates from a place of blame. They want to figure out who is at fault and point the finger their way. Sometimes they blame themselves (usually guided by their saboteurs or inner critics ). Most of the time they throw somebody else under the bus. In other cases, there’s a vague and undefined “they” who is behind everything (see: extremist movements around the world).

If you’ve found yourself in the middle of an “us versus them” situation at work, you’ve met at least one Villain and possibly more than one. If you find yourself on the receiving end of gossip about someone else, you might be talking to a Villain. If someone constantly blames “leadership” or “the higher-ups” or “engineering” for every conceivable problem… you guessed it.

The Victim is motivated by fear and is at the effect of the world around them. They are pursuing safety and security above all else. There are a million reasons why they are the real victim of a person, circumstance, or condition. There’s not enough time, nobody listens, it’s impossible, nobody will help me, or I was never shown how. The Victim operates from a place of powerlessness and helplessness.

“I was set up to fail from the beginning… We’re never given enough data… I’m not allowed to talk to customers… I’m asked to do the impossible”

WARNING! I want to pause here to make a really important point. The Victim role isn’t meant to describe someone who actually is powerless, being manipulated, or abused, but rather someone feeling or acting as if they are when they are not. In fact, accusing someone else of “playing victim” or gaslighting them is a classic Villain move!

The Drama Triangle is best used as a tool for understanding one’s own perspective in a self-development or coaching setting. It shouldn’t be introduced to teams or organizations without a lot of psychological safety and an experienced hand guiding the process. It can easily be misued or even weaponized against vulnerable populations.

OK, back to the program…

Making the Shift

Living in The Drama Triangle, like anything we do from a reactive mindset, is costly: It’s ineffective over the long term, exhausting, demotivating, and endlessly limiting. Yet, accordingly to some estimates, 90% of people spend 90% of their time operating from this place.

The first step to moving away from the Drama Triangle is awareness. There are many different ways to notice you’re operating from a reactive mindset, and more will become accessible with practice. Often there’s an unprocessed negative emotion, such as resentment, apathy, or anxiety.

Once you’ve noticed, acknowledge it: “I’m in the Drama Triangle.”

Now, get present. “Presence” is one of those hippie-dippie terms that years ago I would have dismissed as woo, but now understand to be simple yet powerful. Presence simply means being consciously aware of the here and now. “What is here, at this now moment?” Presence is a non-judgmental state of acceptance, welcoming whatever might be here. Take a few intentional breaths. Meditate. Walk outside and listen to nature. Pause. Change your posture. Get curious. Laugh.

Once you are fully present, take a moment to examine the Drama Triangle and try to understand which role you might be taking. It might be immediately obvious, or you might be wearing multiple hats. Another good question to ask yourself at this stage is whether wanting approval, control, or security might be backing you into one of these corners.

During a coaching session, I’ll occasionally set a timer for a minute or two and ask my client to “just vent” about a circumstance that has them sad, angry, or scared. While they’re complaining, I’ll hold up note cards depicting which roles they are taking on (I use colored highlighting below). I encourage them to really lean in and act the parts. It can be a cathartic release that often ends in laughter:

” I can’t believe my CEO has dumped this marketing director on me. This clown is completely incompetent, seems to know absolutely nothing about marketing, and has decided to make my life a living hell! I don’t have time for this, I barely have enough time as it is. It’s my own stupid fault for nodding away rather than pushing back on the CEO and saying no. Honestly, I should probably just let the director fail and spend my time with my high-performers. Or maybe I should dedicate every last minute to teaching this person Marketing 101 and let everything else fall on the ground. Maybe that would help my CEO see how wrong they are. ”

There you have it, one dramatic scene with all three roles: Victim (poor me getting dumped on, with not enough time), Villain (I count four things being blamed—the CEO, the marketing director, myself, and… time?), and Hero (get relief by ignoring the problem with the high performers or drop everything and save/‘teach’ the marketing director). It’s not a stretch to imagine how the CEO and marketing director might also see themselves as Victim, Villain, and Hero in their own little first-person interpretations of our play.

W hen we stop reacting and become present, we begin to lead from a place of openness, curiosity, and acceptance. That’s creative leadership. When this shift happens, we break the cycle and each of the roles can transform. David Emerald calls this The Empowerment Dynamic or “TED*,” but I prefer Empowerment Triangle.

In the Empowerment Triangle, each role shifts to a corresponding “above the line” perspective.

Victim → Creator

As David Emerald describes it:

For Victims, the focus is always on what they don’t want: the problems that constantly seem to multiply in their lives. They don’t want the person, condition, or circumstance they consider to be their Persecutor [Villain] , and they don’t want the fear that leads to fight, flee, or freeze reactions, either. Creators, on the other hand, place their focus on what they do want. Doing this, Creators still face and solve problems in the course of creating the outcomes they want, but their focus remains fixed on their ultimate vision.

The Victim stops complaining and takes responsibility for their own life, becoming the Creator. They reframe their response to the world from happening “to me” to happening “from me” and “through me.” The Creator leans on authenticity, learning, collaboration, and selflessness.

Victims focus on scarcity, consider themselves powerless, resist their emotions, defend their beliefs, and don’t see choices. Creators claim personal power, focus on possibility, see themselves as powerful, see multiple options, and are comfortable with the unknown.

Here are some questions to ask yourself when making the shift from Victim to Creator:

• Where are there choices in how I see the world?
• What wants to become known?
• Where might my saboteur or inner critic be guiding me?
• What personal values need to be honored or taken a stand for?
• Where might there be opportunities here for my own growth and learning?
• What old stories am I telling myself, and how might the opposite be true?
• If there were no obstacles or infinite time, what might I do?
• Where is there fun to be had, allies to be made, and awe to be experienced?

Hero → Coach

Here’s Emerald:

A Coach leaves the power with the Creator and seeks only to help facilitate her personal progress. A Coach is the embodiment of a Creator’s desire to share power with another. Coaches don’t regard those who turn to them for support as somehow broken or in need of fixing, which is the Rescuer’s [Hero’s] viewpoint. Instead, a Coach helps others see new possibilities, helps them to dare to dream.

The Hero stops trying to fix things and becomes the Coach . Coaches see everyone as naturally creative, resourceful, and whole, and the agents of their own lives. The Coach moves into a support role, helping others create the lives they want and evoking transformation.

Heroes fix, take over, grab hold of, or jump into. Coaches facilitate, guide, let go of, and encourage. I often see product leaders struggle with this shift when they move into management roles, or when they are expecting more from their direct reports but are unable to see a path through empowerment.

Here are some questions to ask yourself when making the shift from Hero to Coach:

• What if I don’t need to be right?
• Where is there an opportunity for learning?
• Where might we write a new story?
• Can I support others in taking 100% responsibility?
• Where might there be an opportunity to listen?
• What if my only agenda was supporting others in growth?
• What questions might I ask others that will open them up to possibility?

Villain → Challenger

Emerald again:

A Challenger calls forth a Creator’s will to create, often spurring him or her to learn new skills, make difficult decisions, or do whatever is necessary to manifest a dream or desire. The Challenger is a kind of teacher who points toward life’s lessons, toward opportunities for growth embedded in the living of life.

The Villain stops blaming and becomes the Challenger . Challengers bring healthy, positive pressure to others in a way that creates a breakthrough. The Challenger inspires and motivates, leans into courage and vision, and fosters play and safety.

Villains blame, defend their beliefs, judge themselves and others, and want to change the past. Challengers provide loving pressure, take responsibility, question beliefs and thoughts, and facilitate action. Challengers have the courage to be with discomfort and are willing to tap into authentic anger which clarifies and motivates. When coaching product leaders I’ve discovered how few of us have direct experience with Challengers.

Here are some questions to ask yourself when making the shift from Villain to Challenger:

• How might I detach myself from my personal beliefs and judgments?
• How can I face what’s no longer of service?
• What questions or beliefs should we be questioning?
• Can I provide loving pressure in a way that creates alignment?
• How can I be a catalyst for growth?
• What if the current circumstance just is , and is no one’s fault?
• What challenges might I give others that will open them up to possibility?

Drifts and Shifts

W e all drift to the Drama Triangle. It’s human-nature—our brains evolved to see threats and dangers. Presence is key to shifting out of it and into the Empowerment Triangle. When you become aware of your current state, bring your attention to the current moment, lean into curiosity, and let go of judgment, you can drop the veil of drama and spark the shift.

“Presence” simply means allowing yourself to just be in this now moment, not thinking about the past or the future. Meditation is a helpful practice for learning to become present. Even just a few deep breaths can be effective. Most of our fears begin to subside when we just allow ourselves to be in this moment, as anxiety and worry stem from a preoccupation with an anticipated or envisioned future. Perhaps my worry stems from a belief that I’ll blow this project and end up getting fired. My thinking mind is perpetually living in this imagined future, and that’s leading to my anxiety. Our primitive brains don’t know how to distinguish that perceived threat to our security from the real immediate threat of a sabertooth tiger bearing down on our campsite. When I bring myself into this present moment—and don’t allow my thinking to go into the past or the future—I can ask myself: is there really any threat to my security right here and right now ?

As the Conscious Leadership Group puts it:

Presence is being aware of what is occurring in the now moment in a non-reactive state. While present, a person can make many drifts and shifts. The question isn’t how often you drift, but how easily can you shift? Do you learn in the moment, or do you continue to drift more deeply into the triangle, where suffering occurs?

Further Reading

Many of you have already heard me sing the praises of The 15 Commitments of Conscious Leadership by Jim Dethmer, Diana Chapman, and Kaley Warner Klemp, a book I highly recommend. There are a ton of free resources on the Conscious Leadership Group (CLG) website. Much of the language and terminology used here is adapted from CLG’s more accessible interpretations of Karpman and Emerald. Here’s a wonderful video about the Drama Triangle from CLG:

David Emerald’s book, Power of TED* (The Empowerment Dynamic) introduces these concepts. It’s a breezy read, written as a parable where a struggling narrator is visited on the beach by a mysterious stranger. (Fair warning: the format is somewhat corny and you’ll cringe at moments. As one Amazon reviewer put it, “The story is a bit boring, but the concepts are spot on.”)

Thanks to the Conscious Leadership Group for making Karpman and Emerald more accessible and putting them into a leadership and coaching context.

Originally Published: June 14, 2023

Ken Norton is an executive coach who works with product leaders. He spent more than 14 years at Google where he built products used by more than 3 billion people.

Bermuda Triangle Essay Conclusion

Show More A peculiar triangular area located off the western part of the United States coast in the Atlantic Ocean, believed to be the playground for mysterious forces, envelops the numerous outrageous theories supporting the notorious area well known as the Bermuda Triangle. A major tool for any complex navigation tactic, location is key when crossing a large body of water or any area, and within the Bermuda Triangle , also known as the Devil’s Triangle; it can be difficult as well due to the sometimes treacherous environment precincts (Bermuda Triangle or Devil’s Triangle). Unlike factual information, wild theories contain the almost believable source of the Bermuda Triangle’s reality, but they, however, have not and cannot prove the existence of the …show more content… Location, nevertheless, is an important clue here that showed that the area is very misleading with poor navigation and miscommunication errors which is the fundamental base of the area’s believable reasoning that is the Bermuda Triangle’s purpose for frequent accidents and disappearances. Regardless, theories are put to the test and researched but no ludicrous theory that promotes the Bermuda Triangle is proving the realness to support it. However strange, the supposedly Devil’s Triangle is more than likely traveled with such carelessness that many factors such as its location, environment, unpredictable storms, and technology even come into play. The Bermuda Triangle does not have enough substantial evidence that would prove it exists and theories cannot explain the disappearing aircrafts and ships that have gone missing and never heard of or have fallen upon the very eyes of any human being since, however, the oblivious nature of this region could show our misunderstandings of our own boundaries (Bermuda Triangle- Facts and

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Candid and intimate accounts of the factory-worker tragedy that shaped American labor rights.

On March 25, 1911, a fire broke out on the eighth floor of the Asch Building in Greenwich Village, New York. The top three floors housed the Triangle Waist Company, a factory where approximately 500 workers, mostly young immigrant women and girls, labored to produce fashionable cotton blouses, known as “waists.”

The fire killed 146 workers in a mere 15 minutes but pierced the perpetual conscience of citizens everywhere. The Asch Building had been considered a modern fireproof structure, but inadequate fire safety regulations left the workers inside unprotected. The tragedy of the fire, and the resulting movements for change, were pivotal in shaping workers' rights and unions.

A powerful collection of diverse voices, Talking to the Girls: Intimate and Political Essays on the Triangle Fire brings together stories from writers, artists, activists, scholars, and family members of the Triangle workers. Nineteen contributors from across the globe speak of a singular event with remarkable impact. One hundred and eleven years after the tragic incident, Talking to the Girls articulates a story of contemporary global relevance and stands as an act of collective testimony: a written memorial to the Triangle victims.

Calendar of Events for Talking to the Girls

Kheel Center for Labor-Management, Documentation & Archives, Cornell University

Monday, March 21, 2022 at 4:30 pm EST

Read an article about this event

Register for this event

Casa Italiana Zerilli Marimò, New York University

Wednesday March 23, 2022, 6:00 pm EST

View the event recording

Casa Internazionale delle Donne e Centro Documentazione Internazionale Alma Sabatini, Rome, Italy

Friday, March 25, 2022 at 18:00 orario italiano (12:00 pm EST)

Tell Me a Story with Annie Lanzillotto, City Lore

Saturday March 26, 2022 at 2 pm EST

Italian American Museum of Los Angeles

Sunday, March 27, 2022, 1:00 pm PST (4:00 pm EST)

View the event recording on YouTube

View the event recording on Facebook

New Jersey City University Center for the Arts, NJCU

Thursday, March 31, 2022, 11:30 am EST

Register for this virtual event

The College of New Jersey

The Story in History: Teaching the Triangle Fire

Wednesday, April 13, 2022, 12:15 pm EDT

Join the Zoom Event

Fordham University

Friday, April 22, 2022, 1:15 pm EDT

Register for this free virtual event

Museo italo americano San Francisco

Thursday, May 12, 2022, 6 pm Pacific (9 pm Eastern)

Sign up for this free online event

Strade Dorate

Friday, May 22, 2022, 1:00 pm EDT

Attend this Instagram Live event

Abruzzo and Molise Society of Washington DC Area

Saturday August 27, 2022, 7:00 PM EST

Write America: A Reading for Our Country

Monday, September 19, 2022, 7:00 pm EDT

View this episode of Write America

I AM Books Bookstore, Boston

Friday, September 23, 2022, 7:00pm EST

The Labor Museum

Saturday, October 15, 2022, 2PM EST

Learn more about this online event

Join this online Zoom event

The Community Church of Boston

March 19, 2023, 11:00 am-1:00 pm EST

press for Talking to the girls

Review of Talking to the Girls by Janet Zandy , Journal of Working Class Studies

Women in Labor History, From the Triangle Shirtwaist Fire to Today by Kim Kelly , Teen Vogue

Remembering the Triangle Shirtwaist Factory Fire: Talking to the Girls , a new anthology of essays on the disastrous 1911 fire that killed nearly 150 workers, uses the past as a window to the present , The Progressive Magazine

The Triangle Fire Comes Full Circle for Edvige Giunta: An interview with writer, editor and activist, Edvige Giunta by Marci Merola , Pummarole: Reinvigorating Italian Culture in the Diaspora

A New Book Examines the Triangle Shirtwaist Factory Fire — which a contributor worries his father might have started by Susie Davidson , Jewish Telegraphic Agency

Review of Talking to the Girls by Jane LaTour , New York Labor History Association 

Review of Talking to the Girls by Doris Friedensohn , Radical Teacher

Isidore Abramowitz and the Triangle Shirtwaist Tragedy by Martin Abromowitz , The Forward

“ Writer and Educator Edvige Giunta Describes Impact of Triangle Fire Tragedy” by Nancy DeSanti , Abruzzo and Molise Heritage Society of the Washington, D.C. Area

Review of Talking to the Girls by Nicole Greaves , Ovunque Siamo

Triangle Fire Book Talk is March 21 , Cornell University ILR School

Teacher Kimberly Schiller’s Essay Published in New Book , Huntington Public Schools

Una storia che ci chiama, l'incendio della Triangle Shirtwaist Factory di Edvige Giunta e Mary Anne Trasciatti , La Republica

“Ricordatevi di noi, morte in una fabbrica”: il racconto “intimo” e “politico” dell’incendio della Triangle legato all’8 marzo di Martina De Marco , Periodico Italiano

Il ricordo del Triangle fire tra Sicilia e America di Chiara Magrone , Ondaiblea

La Signora Liberta: Prof e Scrittrice dalla Parte dei Diritti , I Love Sicilia

Review of Talking to the Girls by Maddalena Marinari , Iperstoria

Praise for talking to the girls

“this book is a beautiful embodiment of testimony.”.

— The Christian Century

"This work brings labor's history to life with stories and voices that have echoed down through generations. Apropos in these times as we are reminded of the horror of the Triangle Shirtwaist Fire that fueled union organizing and union demands for enforceable occupational safety standards. As we learned then and painfully know now, workplace safety doesn’t just happen. The essays create a rich, unique view of our past while calling us to stand in solidarity today."

— Sara Nelson, International President of the Association of Flight Attendants-CWA, AFL-CIO

“Talking to the Girls explores the wide-ranging effects of the 1911 fire on victims’ and survivors’ family members, artists, teachers, and labor activists. With many of its essays written by authors with personal connections to the disaster, Giunta and Trasciatti have woven together a collection that not only memorializes the tragedy but covers the ways, as they told The Progressive, it “continues to act as a catalyst for many forms of activism, from the street to the classroom.”

— Sarah Cords, The Progressive Magazine

“a call to keep the enduring memory of solidarity alive.”

— Roseanne Giannini Quinn, Altreitalie

“As a historian of migration, I really appreciate the book’s ability to show how important it is to keep history alive, to think seriously about how scholars can bring their expertise to bear beyond academia, and to collaborate with a broad range of actors to enact change. As a teacher, I look forward to assigning this book to my students.”

— Maddalena Marinari, Iperstoria

“Talking to the Girls is an insightfully constructed anthology of threaded history, scholarship, memory, family lore, teaching practices, and labor activism…. This international anthology embraces answerability, call and response, through multiple individual voices orchestrated as a collective chorus.””

— Janet Zandy, author of Hands : Physical Labor, Class, and Cultural Work

“This deeply moving and poignant anthology reminds us that the past is not over. By feeling the truth of the Triangle Fire—the trauma, the loss, and the fury—each essay invites us to remember the beauty of workers and organizers then and today who fight for a world where the wellbeing of workers is not sacrificed for capitalist greed.”

— Jennifer Guglielmo, Associate Professor of History, Smith College, author of Living the Revolution, and co-director, “Putting History in Domestic Workers’ Hands”

“Talking to the Girls: Intimate and Political Essays on the Triangle Fire, is the first anthology of personal essays about this landmark tragedy—and spur for change—in American life. As such, these stories by survivors, family members, descendants, scholars, and activists are as sharp and sad and enraging and resolute as the fire itself was in galvanizing us to justice. Editors Edvige Giunta and Mary Anne Trasciatti do more than edit here, they know how to listen, and let these many varied voices bear witness.

— Kevin Baker, author of Dreamland

“A kaleidoscope of history that came to have a home within the hearts of these contributors, who share their personal reflections about the devastating events of 1911 and its legacy.”

— Jane Latour, New York Labor History Association

Writing with an Accent: Contemporary Italian American Women Authors

Triangle Shirtwaist Factory Fire and Response to It Essay

Introduction, triangle shirtwaist fire.

The Triangle Shirtwaist Fire happened on March 25, 1911, at a New York City garment factory. It took the lives of 146 workers who could not leave the building on time. They did not have enough time to use an elevator and escape because the door was locked. The firefighters could not help either. There could have been even more victims since approximately five hundred people were working that day.

The factory was operating on the three upper floors of a 10-story building, but the ladders used by firefighters could reach only up to the sixth floor. The fire was not just a tragedy for the families of the victims. It produced a large and militant social and political response as well. It was the beginning of a change in the safety and social policies for the working class.

The tragedy of the Triangle Shirtwaist Fire is even more shocking since it could have been prevented. Most of the workers died due to the neglect of elementary safety rules by the factory owners. The company was located on three upper floors of the building and had only one fire escape, which was not sufficient enough to let everyone leave the building in case of an emergency. The other escape exits were closed to keep the workers from stealing goods from the factory or leaving the workplace during the shift.

The tragedy came as a shock to the city. People realized that it could have been avoided if the safety regulations were followed. It was a kind of common guilt and responsibility. A similar tragedy could follow unless something was done to improve labor conditions. As a result, within the years following the disastrous fire, over 36 laws regulating work safety, wages, and child labor were issued in the state of New York. The victims of the fire opened the way to safety and health legislation, which protects contemporary workers.

The majority of the factory employees who did not survive the Triangle Shirtwaist Fire were young women. Moreover, there were many teenagers and people not older than thirty. Most of them were recent Jewish and Italian immigrants who came to the United States in search of work and better fortune. Many of them had families and children to support. Thus, the fire was even more tragic since many women who could give birth to children dying. It was probably one of the factors that caused a critical response of society to the tragedy.

Although legislation has developed norms and rules to protect employees, similar tragedies are still possible. Of course, they are not likely to happen in a company in a developed country. However, the Third World countries, that do not have social and safety policies, may become a place for a disaster. Nevertheless, it is hard to imagine that a similar situation can have a comparable outbreak today. If it happens in a country such as the US, it can lead to a serious backlash.

It might not be as active as in 1911 when more than 500,000 people joined in a silent march to mourn the victims of the fire, but it can have a wider spread because of social media. If it happens in an undeveloped country, there will probably be no loud protests since the civic leadership it is not so developed.

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• Chicago (N-B)

IvyPanda. (2024, February 3). Triangle Shirtwaist Factory Fire and Response to It. https://ivypanda.com/essays/triangle-shirtwaist-factory-fire-and-response-to-it/

"Triangle Shirtwaist Factory Fire and Response to It." IvyPanda , 3 Feb. 2024, ivypanda.com/essays/triangle-shirtwaist-factory-fire-and-response-to-it/.

IvyPanda . (2024) 'Triangle Shirtwaist Factory Fire and Response to It'. 3 February.

IvyPanda . 2024. "Triangle Shirtwaist Factory Fire and Response to It." February 3, 2024. https://ivypanda.com/essays/triangle-shirtwaist-factory-fire-and-response-to-it/.

1. IvyPanda . "Triangle Shirtwaist Factory Fire and Response to It." February 3, 2024. https://ivypanda.com/essays/triangle-shirtwaist-factory-fire-and-response-to-it/.

Bibliography

IvyPanda . "Triangle Shirtwaist Factory Fire and Response to It." February 3, 2024. https://ivypanda.com/essays/triangle-shirtwaist-factory-fire-and-response-to-it/.

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The Iron Triangle, Essay Example

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The Iron Triangle is a term that refers to the political and economic connections in particular that exists between the Legislative Branch, the Executive Branch, and private lobbying groups meant to raise funding toward political agendas. These private organizations can span from groups meant simply to support legislation, to the large Super PAC organizations, such as Karl Rove’s “Crossroads”, that can virtually make the difference in presidential elections. As a whole, the Iron Triangle is a paradox; though in many ways the relationship is necessary for the American system, as a whole it fosters overly partisan politics, proliferates the unhealthy two-party system, and works to undermine the system of checks and balances the founding fathers intended (Johnson, 2013).

Without the existence of lobbyist groups as a whole, it would be very difficult to bridge the disconnect from the average American to Washington politics. Many of the concerns of Americans from all walks of life may be ignored if these lobbyist groups were not allowed to provide their own funding toward legislation, and, by and large, the candidates they believe will provide the support their causes require.

The major problem with these lobbyist groups, or Super PAC’s, is the amount of money they can potentially raise to back a client. A perfect example is the phenomenal example American Crossroads raised for Mitt Romney in the 2012 election. Rove, a former member of the inner-circle of the Bush administration, tipped the campaign financing scale towards the GOP in a huge way. This allowed for more commercial advertising and everything that goes with it. The fact that a man like Rove is legally able to run a Super PAC such as American Crossroads is where the proverbial line needs to be drawn. This illustrates partisan politics inherent in this system. A man like Rove, who has been involved in Republican campaigns for decades, was clearly not creating American Crossroads to push across policy, but instead to ensure a Republican President–with a dangerously partisan Congress in addition.

Simply because the United States is a democracy does not mean there has to be only two major parties–in fact, this is not the case with most contemporary democracies. The Iron Triangle forces groups to take one side or the other because of the overwhelming majority that either support one of the two major parties. This system is undermining democracy if anything, allowing most Americans a more narrow voice–filtered through really two main channels, proliferated by current lobbyist policies.

The biggest problem with the Iron Triangle is that it really does undermine the system of checks and balances intended by the founding fathers. The original triangle that served to work interdependently was the Legislature, the Executive, and the Judicial system. By introducing a fourth player, it is extremely hard for the Court to create any landmark decision–as President Andrew Jackson put it best, “[Chief Justice] John Marshall made his decision, now let him try to enforce it”.

The Court can make any decision they want to make, but without the support of the other two branches, preoccupied with re-election proliferated by the system of the Iron Triangle, nothing will ever be enforced–these powers are left to a Congress and Presidency overly-influenced by the wealthiest of Americans.

Johnson, Paul M. “The Iron Triangle.” N.p., n.d. Web. 20 Apr. 2013.

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• Triangle: The Fire that Started America. Book Review Example.

Triangle: The Fire that Started America is the title of the book written by David Von Drehle. The book was published by Grove Press Publishers; Reprint edition on August 16 the year 2004. David Von Drehle the author of the book Triangle: The Fire that Started America was born in Denver and also raised in Aurora, Colorado. He graduated from the University of Denver with a B.A in the year 1983. At the university, David was a Boettcher Foundation Scholar as well as the editor of the Denver Clarion which was the student newspaper. He also graduated from the Oxford University in the year 1985 with masters in Literature as a Marshall Scholar. David started his journalism career at a tender age of seventeen years with the Denver Post writing mostly on sports. The other published works of Von Drehle include, Among the lowest of the dead (1995), Dreadlock: The inside story of Americas Closest Election (2001), Triangle: The Fire That Changed America (2003) and The Rise to Greatness: Abraham Lincoln and the Americas Most Perilous Year (2012).

Von Drehle uses narrative style as a form of writing styles in the book Triangle: The Fire that Started America is a narration based on the fire that engulfed the Triangle Shirtwaist Company in the New Yorks Greenwich Village in the year 1911. Many of those who perished in the fire were young immigrant women. The building was overcrowded with employees and very inflammable materials. Only one exit door was open hence the firefighting machines could only reach the sixth floor. The primary goal of the book is that Von Drehle through scholarly research wanted to report on the fire, the trial following it and the current social and political world with his journalistic immediacy (Pyne et al. p38). In his view, the fire has been overlooked as a significant event in the history of America. Von Drehle uses various scholarly sources which include historical books and newspaper reports of the Triangle Company fire of 1911

The intended audience of this book was the American public, rich and powerful as well as the leaders especially New Yorkers. The historical significance of this book is to show how we're mistreated before, during and after the Triangle factory fire (Von Drehle p 4). Von Drehle suggests that the American history should recognize how the force of women changed America. The continued beating represents the various pre-fire clashes that existed between the owners and the workers and the very unjust conditions that allowed this big fire to take place. Attacks on individuals, arrest, and imprisonment of women strikers are what strengthened workers position and caught the attention of the rich and powerful (Stein p134).

The book Triangle: The Fire that Started America written by David Von Drehle is an excellent book. Von Drehle uses a narrative style with his journalistic experience to write a vivid account of the Triangle Factory fire that changed America. He can portray the message on the pre fire and post fire injustices that were made to women. Von Drehle shows how important an event the fire was as the criminal trials for the owners of the factory (Sanchez p64). He also believes this fire marked an important event in the history of America and these events are what led to the strikes that led to conducive working conditions as well as gaining the support of the rich and the powerful in the society (Von Drehle p 45)

Pyne, Stephen J. Fire in America: a cultural history of wildland and rural fire. University of Washington Press, 2017.

Sanchez, Tony R. "The Triangle Fire: A simulation-based lesson." The Social Studies 97.2 (2006): 62-68.

Stein, Leon. The triangle fire. Cornell University Press, 2010.

Von Drehle, David. Triangle: The fire that changed America. Grove Press, 2004.

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Tensions Rise at U.N.C. Chapel Hill After Dozens of Pro-Palestinian Demonstrators Are Detained

By Tuesday afternoon, protesters had broken through the barriers keeping them out of an encampment, and they replaced an American flag in the center of campus with a Palestinian one.

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Protesters at U.N.C. Break Through Barricade in the Center of Campus

Protesters at the university of north carolina, chapel hill, clashed with police officers working to restore an american flag that the demonstrators had replaced with a palestinian one..

“Back up.” “You’re hurting students for a flag?” “Don’t hurt students.” “Hey, hey, hey, hey — what is wrong with you?” “Don’t hurt students.” “Disclose, divest, we will not stop, we will not rest. Disclose, divest, we will not stop, we will not rest. Disclose, divest, we will not stop, we will not rest. [crowd boos] “Fascists.”

By Bryan Anderson

Reporting from Chapel Hill, N.C.

• April 30, 2024

Pro-Palestinian demonstrations at the University of North Carolina at Chapel Hill turned chaotic on Tuesday, hours after dozens of students were detained for refusing to leave an encampment they had set up over the weekend outside Wilson Library on campus.

By the afternoon, several hundred students had broken through the barriers keeping them out of the encampment, erupting in chants of “Free Palestine” and calling on the university to divest from investments that support Israel.

The scene escalated when protesters replaced an American flag in the center of campus with a Palestinian one, and demonstrators reportedly threw water on law enforcement officers and school officials as they tried to restore the U.S. flag back onto the pole.

“It’s clear that the university has chosen its side,” said Shahad Mustafa, a 21-year-old senior who began to flee as officers approached the flagpole. “They are choosing to still support Israel regardless of what their students are saying. They are showing us that they are willing to use violence and willing to lie.”

School officials said 36 protesters had been detained after they were given until 6 a.m. on Tuesday to clear out from the encampment or face possible arrest, suspension or expulsion. Of those, 30 people, including 10 university students, were cited for trespassing and released. Six more, including three students, were booked on trespassing charges at the county jail.

On the other end of the quad on Tuesday afternoon, a handful of students held Israeli flags. Trevor Lan, a Jewish student who stood with the group, told The News & Observer of Raleigh, N.C., that the encampment and recent protests marked the first time he felt “threatened” on campus.

“They took down the U.S. flag,” Mr. Lan told the news outlet. “For those of you who didn’t care about Israel and didn’t care about the Jewish people, look at it now. This is what this evolves into.”

The clashes at U.N.C. Chapel Hill came as North Carolina was still mourning the death of four officers who were killed a day earlier trying to serve arrests warrants to a man in Charlotte, about two hours away, in what was one of the deadliest shootouts for American law enforcement in recent years.

Four other officers were also wounded. Gov. Roy Cooper of North Carolina had ordered all flags at half-staff to honor the slain officers.

On Tuesday, the lieutenant governor, Mark Robinson, criticized the U.N.C. Chapel Hill protesters and their actions as “nonsense” that “should never have happened to begin with.”

“Especially after what we saw last night in Charlotte, our police officers need to be treated with respect, and lawlessness needs to end,” said Mr. Robinson, a Republican who is running for North Carolina governor .

More than 1,000 demonstrators have been arrested on campuses across the country after a crackdown on demonstrators at Columbia University in New York this month spawned a wave of activism at universities.

Anna Betts contributed reporting.