# data[].attributes.body
Watch Genres Part 1: Let's typify that response (4:45)Links to an external site.

Questions to Answer in the text box:

1. How is the author defining the word "genre"?

2. How is the author distinguishing between a "2D" and a "3D" definition of the genre?

3. How did the genre of Hall Pass change over time?

4. What word did the creator of this video misspell (checking to see that you are watching)

# data[].attributes.body
Genre is a "typified response" to literature because it represents a category of texts—like a novel, poem, or essay—that share common formal and content features developed over time in response to recurring social situations or rhetorical contexts. These shared traits become a "blueprint" that audiences expect and writers use to communicate effectively, guiding both the creation and interpretation of texts by providing a framework for social action and shared understanding.

Here's a breakdown of how genre serves as a typified response:

Recurring Situations, Recurring Responses:

Genres emerge from situations that happen often enough to require a predictable, or "typified," response. For example, a common situation requiring a detailed explanation of a scientific process might be met with a scientific report, which has developed its own typified rhetorical actions and forms.

Reader and Writer Expectations:

When an audience encounters a text within a particular genre, they bring expectations about what the text should contain and how it should function. Writers, in turn, draw on these genre conventions to guide their work, ensuring their communication is effective and meets audience needs.

Social Action and Purpose:

Genres are not just about form and content but about the social actions they perform. A particular genre helps writers accomplish a specific communicative purpose within a given social context, coordinating collective realities and embodying social motives.

Evolving and Dynamic:

Genres are not static; they are dynamic and constantly evolving. They are "taken up" by new writers in new situations, and their conventions can adapt over time to new social realities and technological shifts.

A "Blueprint" for Communication:

Genre provides a framework or "blueprint" that helps writers organize their thoughts and produce a text that will resonate with readers. By "translating" prior knowledge of a genre, a writer can more quickly adapt to new situations and communicate effectively.

# data[].attributes.attachment_link.title
Prof. Swales on Genre & English for Academic Purposes

# data[].attributes.attachment_link.readable_text
Monday through Friday, I'm enthralled by a man I've never met. His name is Martinez and he's a cop with the Los Angeles Police Department.

Martinez works in crime suppression in South Central L.A. He and his partner, Brown, patrol the streets and respond to scenes-of-crimes. Every incident they investigate generates a written account.

I know Martinez only through his incident reports, as a five-digit number on a sheet of paper. In our precinct's Crime Analysis Division, I read and code hundreds of these reports each day. They are written by every serving officer on roster, and by design most of them sound exactly alike.

Surprisingly, writing is the one constant in a cop's daily life. Whether he's assigned to vice or patrol, working bunco or undercover, every day he'll write. Most precincts have specially designated writing rooms, where the average cop hates spending time-worse than on shoot-outs, stakeouts, and court appearances put together. As with everything in the department, strict rules govern report writing, and as with any dangerous undertaking, the department will train you to do it properly. The most despised class at the police academy is the one that teaches writing. A cadet can't be sworn as a police officer without passing it.

The incident report he'll learn to write is the factual narrative account of a crime-of a rape, robbery, murder, criminal threat, lewd act, vandalism, burglary, sexual molestation, kidnapping, or assault. Every event a cop responds to generates a report.

Crime reports are written in neutral diction, and in the dispassionate uni-voice that's testament to the academy's ability to standardize writing. They feel generated rather than authored, the work of a single law enforcement consciousness rather than a specific human being.

So how can I identify Martinez from a single sentence? Why do his reports make me feel pity, terror, or despair? Make me want to put a bullet in someone's brain-preferably a wife beater's or a pedophile's, but occasionally my own? How does he use words on paper to hammer at my heart? Like all great cops, Sergeant Martinez is a sneaky fucker. He's also a master of inflection and narrative voice.

An incident report tells only what happened: where, when, and to whom. It offers multiple perspectives of the same event from often contradictory points of view of cop, victim, suspect, and witnesses. Even when these accounts agree, no two people see things identically or invest their attention in the same details. Each person's agenda is inherently personal.

An incident report lists the inventory of all physical evidence collected and booked. Anything from shell casings and rape-kit underwear to a three-legged dog in a custody dispute.

In structure, an incident report is a strict chronological narrative. It begins with a Source of Activity section, which tees up the story. It's where the narrator introduces himself and offers his credentials for telling this tale: "On 4-6-10 at approx. 1922 hours, my partner Ofcr. Brown (badge #13312) and I (Ofcr. Martinez badge #14231) were in full uniform traveling westbound on Gage Avenue when we received the radio call of an LUAC in progress at 82nd St./Central Ave."

In the investigation section that follows, the narrator tells briefly what his investigation revealed. He lists the actions taken by himself and his partner, and the facts of the case as discovered. The strict emphasis is on verifiable information.

If versions of the event differ from his, these are recorded as witness statements. These can be summaries, but quotes are often included. The narrative voice at the center of an incident report is always emotionally neutral. He's the ultimate reliable narrator. His sole job is to convince us that everything he tells us is the absolute truth. It all begins with diction.

Cadets are taught to write with care and deliberation, to choose each word for maximum accuracy. Precision, not firepower, is the goal; you don't use a semiautomatic at close range when you're packing a Smith & Wesson. Good cop diction means checking each word in a sentence to verify that it can mean only one thing. The officer must avoid words that carry associations, subtext, or bias.

Officers are encouraged to use action verbs in preference to is and has. Is and has speak abstractions-existence and possession, respectively-and where they go, descriptors follow. Action verbs, on the other hand, move us through time and space. "The Subject removed a hammer from the kitchen drawer and struck the Victim three times in the head and neck" is a good sentence. It tells what physically happened without embellishment.

Avoid modifiers, says the academy. Adverbs-words ending in ly -are slippery and subjective; they shade reality and opine. Any adverb can be eliminated by choosing a better verb. "The Suspect snatched the Victim's chain and fled" is a sentence without speculation. To know the manner in which the snatching or fleeing transpired would be interpretive.

The academy dislikes adjectives unless they pertain to direction, color, or amount. These are "empirical adjectives." Because they speak to precision of detail, they resist interpretation. "The black Escalade fired 12 shots into the dwelling on 865 Inglewood Avenue" can mean only one thing.

Parenthetically, the two exceptions to the "no adjectives" rule are the words bloody and suspicious, invoked to justify officer initiative in field investigations. If a suspect "fled while holding his waistband in a suspicious manner," it's presumptive of a concealed weapon. If an officer investigates a neighbor complaint and the victim "opened the door wearing bloody clothing," there's a pretext to enter and reconnoiter the premises.

These guidelines about diction and story efficiency serve a deeper purpose, which is the legitimizing of the narrative "voice." The police narrator uses neutral language and uninflected storytelling to assure us of his credibility and to win the reader's trust. He never judges.

The perpetrator in a crime report is always the "Suspect," even when 15 witnesses, half of them preachers, see him exit his car and shoot his cousin at point-blank range in a church parking lot. Until a jury reviews the evidence and pronounces, under the law, no crime took place. The police narrator is careful not to imply that he thinks otherwise.

The police narrator further proves his lack of bias by presenting everyone's version of the same event, giving equal space to the "truth" as reported by victim, suspect, and witness. While he might state that DeWayne "aka Baby Insane" Johnson of the Rolling '60s Crips shot and killed J'Marcus "aka L'il Monster" Faye of Florencia Trece, he'll include Baby's explanation that he was merely examining the gun with an eye toward purchase when that muthafucker up and went off. The narrator's job isn't to judge but to relay facts to the best of his ability, and let the reader decide the truth of it.

Words committed to paper have an agenda. The purpose of a police report is to be cited in court as proof of who did what to whom. Its ultimate agenda is justice. It seeks to protect the weak and punish the guilty. Because the stakes are high-freedom, death, or life without parole-it's written with special care. Above all else, it aims to be truthful. At the same time, to do its job, it needs to be convincing. The story it tells should persuade 12 people in a jury box of something.

On the face of it, these two goals-truthful and persuasive-seem uncomfortably at odds. Shouldn't facts alone persuade? Should truth need composing? And assuming that it's possible to write toward this goal-to be truthful and persuasive at once-shouldn't all fiction writers want to learn how?

Which brings us back to that sneaky fucker, Martinez. Martinez writes incident reports that technically follow the academy's guidelines. He avoids modifiers and descriptors. He traces the physical action of an event without opining or speculating. He offers accounts that contradict his own findings. He's succinct and factual. He tells the literal and empirical truth. He writes in the dispassionate narrative uni-voice that conveys objectivity and distance. So why is Martinez instantly discernable on the page from a hundred other cops?

Despite the neutrality of his diction, Martinez's choices are idiosyncratic. Everything he sees reveals him. And syntactically, though he bends every rule to the breaking point, you can't bust him.

At a Lewd Acts on Child crime scene, Martinez's partner, Brown, writes, "The Victim sustained multiple injuries." Martinez would tell us, "The baby was bleeding from three orifices." There's a world of difference here. Brown gives us a victim; Martinez gives us a baby. Brown offers a fact; Martinez paints a picture.

Brown's statement moves us forward; Martinez makes us stop dead and envision the horrific crime that caused such injuries. Both statements are neutral on the surface, but the specificity of Martinez's language makes the reader see and feel.

At the same crime scene, Brown says, "We placed the Suspect in a felony prone position and took him into custody without incident." Martinez would write, "We cuffed the father." Martinez's version reminds us of the unnatural aspect of the crime, that a father (presumably) committed it. He edges near the academy no-fly zone with father in place of suspect, but gets away with it because the sentence describes police action-the cuffing-rather than any actions of the suspect. Also, nobody disputes the fact that the suspect is the father; it's the type of father he is that's at issue.

At the same crime scene, Martinez might note that there's "no food in the apartment." This is an empirical fact, so technically admissible. It doesn't speak to the specific crime of Lewd Acts on Child, but it does subtly add to the moral charges against the parents. Martinez inflects the barren apartment and makes it speak. Details bring scenes to life. Sometimes the image can tell everything.

In the witness section of the report, Brown might say, "Victim's mother gave no statement." Martinez would tell us, "Mother refused to cooperate." This carries a totally different emphasis and meaning. Martinez doesn't speculate if she's protecting her husband at the expense of her child. He doesn't need to. What kind of mother refuses to speak when her baby is bleeding from three orifices?

Examine these two versions of the same incident, side by side. They admit the same facts. They're both truthful. But one-Martinez's-is also persuasive. Why? It's subtly inflected in every line to signal its agenda. Though it labors under the constraints of the report format, it uses emphasis and diction to suggest how we interpret what it tells us. It may look impartial, but it's aimed like a weapon.

From a strict moral perspective or the police academy vantage point, Martinez's incident reports are flawed. They're failures of objective reportage. Though everything in them is literally true, they're technically "suspicious"; if Martinez saw a baby-raper, he's making damn sure we do too.

From a reader's perspective, Martinez's incident reports are deeply satisfying. They engage us emotionally; they vest us in the events he describes, and in the teller. They're narratives that hint at larger truths-about Martinez himself and the South Central universe he polices. They reverberate beyond the time it takes to read them. They offer a way to understand the world.

My Sergeant Martinez may be writing reports, but he's also using the alchemy of inflection to turn them into stories-narratives that believe themselves and make us believe them, too.

Martinez succeeds-or fails, if you're his supervisors-because of his commitment to what his stories mean. He continues to protect and serve because inflection isn't illegal, and you won't catch him. It's not a story, it's "just the facts, ma'am."

Like Martinez, a good story always has an agenda.

Like Martinez, a good story is a sneaky fucker.

Excerpted from The Writer's Chronicle (Dec. 2010), a bimonthly covering the world of the written word, including news, essays, interviews, advice, and grant announcements. www.awpwriter.org/magazine

This article first appeared in the March-April 2011 issue of Utne Reader.

# data[].attributes.attachment_link.authors[].name
Ellen Collett, From The Writer's Chronicle

# data[].attributes.attachment_link.description
A Los Angeles cop writes "just the facts" and still tells one helluva story...

# data[].attributes.body
Read and respond: if so, what are some of the trademarks of the educated?

# data[].attributes.attachment_link.readable_text
The first time Lance Fusarelli set foot on a university campus, he felt surrounded by people who seemed to know more than him - about society, social graces and "everything that was different".

He attributes these differences to his upbringing. While he didn't grow up poor, it was in a working-class town in a small rural area in Avella, Pennsylvania. He was the first in his family to go to university - his mother got pregnant and had to drop out of school, while his father went to work in a coal mine in his mid-teens. He lived in an environment where few stayed in education beyond high school.

It worked out well for him. Fusarelli is now highly educated and a professor and director of graduate programmes at North Carolina State University. Occasionally he's reminded of how he felt in those early days, when a colleague innocently corrected his imperfect grammar. "He wasn't being mean, we were good friends, he just grew up in a different environment," he says. "Sometimes I will not always talk like an academic. I tend to use more colourful language."

While Fusarelli has risen through the ranks of academia despite his background, his experiences have highlighted the social divide that can exist in education. For those who are less educated due to their disadvantaged background, they face a subtle but pervasive bias. A new report in the Journal of Experimental Social Psychology named the term "educationism" and for the first time found clear evidence for what Fusarelli and many others have long suspected: educated people are implicitly biased against the less educated. And this has unfortunate, unintended consequences that often stem from the gap between the rich and poor.

It's a "societal level" issue that creates a significant divide, says Toon Kuppens of the University of Groningen in the Netherlands, part of the team who coined the term. "It needs to be addressed."

The idea that people are biased against the less educated is not a new one. In the 1980s the French sociologist Pierre Bourdieu called it the "racism of intelligence... of the dominant class", which serves to justify their position in society. Bourdieu pointed to the fact that the education system was invented by the ruling classes, with middle-class knowledge and questions appearing in tests.

Education also appears to divide society in many ways. Higher levels of educational attainment are linked to greater income, better health, improved well-being and elevated levels of employment. Educational status also reveals political divides. Those with lower qualifications were more likely to vote for Britain to leave the European Union, for example. One report even found that education level played a bigger role in the Brexit vote than age, sex or income.

Despite this long-held understanding, the existence of such a strong educational bias is rarely addressed head on, argues Kuppens, though there are numerous studies on gender, ethnicity and age prejudices.

To address this, Kuppens and colleagues set up several experiments to understand individuals' attitude towards education. They asked subjects outright how positive and warm they felt about others, but they also asked indirectly by describing several individuals' jobs and education background, which participants then had to evaluate positively or negatively.

The results were clear - individuals who attained higher levels of education were liked more, both from high and lower-educated subjects. Participants who were more highly educated were clearly not "inherently more tolerant" than the lower-educated, as is commonly believed, says Kuppens.

What's more, he says that one of the reasons the bias exists is that education level is somehow perceived to be something people can control. "We are evaluating people - giving them negative attitudes - even though we know that in reality they cannot be blamed for their low education."

The reason people cannot be blamed for low levels of education is due to its link to poverty. Those from poor backgrounds quickly fall behind their classmates at school and fewer teens from disadvantaged backgrounds go to university.

It is now becoming clearer that there are complex reasons for this - namely that poverty effects day-to-day decision making in previously unforeseen ways. Jennifer Sheehy-Skeffington of the London School of Economics, says that a lack of resources is "psychologically constraining". It also adds a sense of stigma and shame that creates low self-esteem, a pattern she says is more likely in societies with meritocratic ideologies, where an individual's achievement is seen as being based largely upon intelligence and hard-work.

Poverty even affects decision making. In one revealing study, Sheehy-Skeffington randomly assigned middle-income participants to different groups - some were told they were doing badly in society while others were successful. Those who were told they were "low status individuals" performed worse on both financial decisions and basic cognitive tasks.

"That's saying the cognitive skills you need in order to make good financial decisions aren't readily available when you're facing the stress of realising you're doing worse than others," she says. It's not that their mental processes shut down, but rather that individuals were more focussed on the present threat to their status rather than concentrating on tasks at hand.

In her analysis on the psychology of poverty, Sheehy-Skeffington has found that those on low incomes feel a diminished sense of control over future life outcomes. "If you think you can't control your future it makes sense to invest what limited energy or money you have to improve your present situation," she says.

Work like hers reveals a cycle that is hard to break: performance on mental tasks suffers when faced with financial constraints. And once these constraints exist, the ability to plan for the future and make sensible decisions is also negatively affected. This clearly plays out in the education system. Those who live in the present have less incentive to do well at school or plan for a higher education.

One team of researchers goes even further, however, arguing that the education system is "motivated to maintain the status quo" - where the children of highly-educated parents go to university, while children with less exposure to education go into vocational training or apprenticeships. This was highlighted in a 2017 study led by social psychologist Fabrizio Butera of the University of Lausanne in Switzerland. His team showed that "examiners" scored individuals lower on the same task when they were told that the pupil came from a less privileged background.

"It's like they consider a kid from a lower background shouldn't be on that track, and therefore they effectively hinder their prospects as far as the continuation of education is concerned," says Butera. "Perpetuating the status quo is a way to maintain the privilege that these classes have."

And even if individuals from a working-class do reach higher education, they often have to "discard the original parts of their identity in order to become socially mobile", explains Erica Southgate from the University of Newcastle in Australia. She has studied the stigmas faced by individuals who are the first in their family to reach higher education. She found that in subjects such as medicine, there's a prevailing assumption from classmates that everyone comes from a similar social background. "It wasn't so much overt stigma, but the hidden injuries of social class that kept emerging - people kept having to explain themselves."

So, what could help overcome the education divide? One view is that different ways of scoring tests could help even the playing field. In several studies, Butera's team showed that giving children graded tests or exam scores actually reduces motivation and performance in reasoning and decision making. If there are no graded scores it also reduces social comparison, which we know can often negatively affect performance, as Sheehy-Skeffington's work revealed.

If detailed feedback on how to improve is given instead of simple graded scores, it helps "focus on assessment as a tool for education" rather than assessment for selection, Butera argues. In other words, children learn to further their knowledge, rather than learn to do well on tests.

"Our team has shown that one viable solution is to create a classroom environment where assessment is part of the learning process," says Butera. "This appears to reduce social class and gender inequalities, and promote a culture of solidarity and cooperation."

Some alternative schools place less emphasis on exams, such as the Montessori, Steiner and Freinet schools, while in Finland there are no standardised tests in primary schools. These examples are in the minority and not to everyone's taste. Many parents want to see grades, and without them it can be hard to assess how children are doing. "Here in Switzerland they abolished grades in one place but there was an uprising mainly due to parents who all of a sudden couldn't figure out how their kids were doing," says Butera.

For Fusarelli, the most important thing is for both parents and teachers to expect the best from children at a young age to reinforce the idea that "they can do this and succeed".

"If you have low expectations of the kids they'll sink to the level of expectations," he says. A study has even shown that low-income students do worse when teachers expect them do to badly in maths, reading and vocabulary. That's why he tells prospective low-income students to "trust your ability and believe you belong".

Of course, biases in the education system won't go away overnight. What's worse is that most of us don't realise that these biases exist. The meritocratic attitude that hard workers will succeed is still pervasive, despite evidence to show that many factors beyond an individual's control can hinder potential.

And unfortunately, it is those who are better educated, and who should be sensitive to discrimination, who can benefit - often unknowingly - from the very inequality they helped to create.

--
Melissa Hogenboom is BBC Future's staff writer. She is @melissasuzanneh on twitter. Join 800,000+ Future fans by liking us on Facebook, or follow us on Twitter.
If you liked this story, sign up for the weekly bbc.com features newsletter, called "If You Only Read 6 Things This Week". A handpicked selection of stories from BBC Future, Earth, Culture, Capital, and Travel, delivered to your inbox every Friday.

# data[].attributes.attachment_link.title
Educationism: The hidden bias we often ignore

# data[].attributes.attachment_link.description
The first time Lance Fusarelli set foot on a university campus, he felt surrounded by people who seemed to know more than him - about society, social graces and "everything that was different". He attributes these differences to his upbringing. While he didn't grow up poor, it was in a working-class town in a small rural area in Avella, Pennsylvania.

# data[].attributes.headline
A genre is typified response to a recurring situation. Categories of text.  They evolve and make everyday activities possible or impossible. A genre is a form of communication such as a book, a billboard, or a blog. ... Additionally, this assignment will reinforce your understanding of the ways writing differs among genres and allow you to strengthen your skills in writing in the genre of a textual analysis.

# data[].attributes.subject
A genre is typified response to a recurring situation. Categories of text.  They evolve and make everyday activities possible or impossible. A genre is a form of communication such as a book, a billboard, or a blog. ... Additionally, this assignment will reinforce your understanding of the ways writing differs among genres and allow you to strengthen your skills in writing in the genre of a textual analysis.

# data[].attributes.attachment_link.readable_text
When starting university you'll need to be prepared to meet all different kinds of people and student types, some of whom you're going to get along with, some of whom, perhaps, not so much.

It's not only your fellow students who are going to be cast into a certain category; you'll be getting judged too. This isn't always a bad thing; so what if you and the amateur dramatics guy with a penchant for fedoras will never be true friends? There will be plenty more people out there who you do have things in common with and who you'll want to hang out with.

This list incorporates some of the main student stereotypes that you'll discover at university, from the introverts to the extroverts and everyone in between. Bearing in mind that it's these people who will make your university experiences interesting - heck, you probably fall into a couple of categories yourself - you might not want to discount them as potential friends straight away. The purpose of this list is to make you all aware of what's out there (insert David Attenborough-style whisper), and to help you curb some avoidable bad habits before upping and leaving for university.

Student type #1 - The one with one too many gap year memories

Call us bitter (I mean, we are, but that's beside the point), but those students who harp on about that time when they built mud huts for endangered goats in Cambodia, or when they spent months playing rounders with Peruvian preschoolers, or that week when they lived off nothing other than the kindness of strangers and a stale pack of cereal bars in the Australian outback... well, we get a little bit of an urge to hit them. So what if their gap year taught them things that education never could, or if it made them more mature and attuned to the rest of the world than we ever could be - they won't be making any friends at university if that's all they can talk about. Unquestionably, a gap year is brilliant thing to experience, but not everyone will have been able to do it. So my advice if you did take a gap year: unless anyone expresses a particular interest, try to keep a lid on it!

Student type #2 - The forgetful one

The forgetful one doesn't just forget their text book once, or twice (which is pushing it), or even three times. S/he forgets everything s/he could possibly need for every single lecture and seminar all term. Even the nicest classmate is going to draw the line at lending stationary at some point, and then what will happen? If you're not sure whether you match this student stereotype, the signs start with a gentle "No sorry mate, I don't have a spare pen/piece of paper/clue" and end with a less-than-sympathetic "Sort your life out, Andrew/Sarah/Peter/Laura". Get yourself a planner. Now.

Student type #3 - The coffee addict

"You've only had two coffees today? I'VE HAD FIVE!" Oh, we're sorry; we didn't realize liking coffee was a competition. Just two months ago, before starting university, the coffee addict pronounced espresso with an 'x' and denounced its bitterness, but now his/her triple-shot venti macchiato is all s/he can talk about. If this is you, our advice would be to cut down and to stop talking about your caffeine issues to anyone who feigns interest because: a) you're a student now and coffee is expensive, b) nobody likes people who go on about their vices all day, and c) you're so wired that you've started to go a little bit cross eyed.

Student type #4 - The obnoxiously loud one

You'll probably come into contact with the obnoxiously loud one sometime at 3am through the paper-thin walls of your student abode in the form of a Skrillex bass line (the obnoxiously loud ones don't always have bad taste in music, but when they do it's probably electro-house). Little do they care that it's Wednesday night and dissertation season; their love of loud music makes them forget all else. These students should invest in noise-canceling headphones immediately or be prepared to spend the rest of their days as the most secretly resented person on campus.

Student type #5 - The party animal

Although sharing some similar traits to the previous student type, the party animal is actually a totally different breed. To be found at any pub/club/event within a five-mile radius of campus, the party animal (alternatively known as the BNOC - Big Name on Campus) has a big case of FOMO (Fear of Missing Out) that will inevitably lead to bad grades, worried parents and an eternal hangover. The party animal sees university as one huge celebration and when not out getting the shots in, s/he will be planning the next Facebook event in his/her dimly lit room full of stolen traffic cones and hundreds of tired-looking glow sticks. Admittedly befriending the party animal will make your university experience an eventful one, but ultimately it's likely that s/he will end up dropping out before reenrolling and doing exactly the same the following year. Make sure you don't too get drawn into their antics.

Student type #6 - The one that leaves everything to the last minute

Although they've had seven months to prepare, research, write, and hand in their final 10,000 word assignment, these students still find themselves with six days left before deadline and the majority of work left unwritten. The one that leaves everything to the last minute will have a brilliant university experience... at least, that is, until that mammoth end of term deadline rears its ugly head. You'll come across these students hunched over a laptop in the darkest, smelliest corner of the library, surrounded by crumpled cans of Red Bull and an aura of intense anxiety. These ones make terrible friends come end of term as, while their fellow classmates are busy celebrating a successfully met deadline with their friends at the student union/ local park/ on a beach getaway, they'll be too busy sleeping off the most stressful week of their life, nursing a neck crick and an energy drink-induced stomach ulcer, which is no fun for anyone.

Student type #7 - The sleeper

Likely to turn up for lectures in a onesie and Uggs, the sleeper is that student who can never seem to keep his/her eyelids open for more than two minutes. When not web-diagnosing themselves with narcolepsy, they can be found slumped against a desk, idly picking their noses with a pen instead of making notes. The sleeper means well; after all, they turned up, which is more than you can say for the party animal, but it's hard to do group work with the person who drooled all over their textbook and keeps nodding off in student-led "thought showers". Although they might appear harmless and doe-eyed, in order not to fall behind in class the sleeper needs to get a regular wakeup call and a better sleeping pattern.

Student type #8 - The "typical student"

An amalgamation of all the previous student stereotypes listed; the typical student is a bit of a slob, will occasionally sleep in until gone midday, will sometimes play his/her music a fraction too loud, might mention that gap year a few more times than strictly necessary (it was life-changing after all), will sometimes forget his/her notes and will probably embarrass themselves on a night out at least once within the first week of starting university. The typical student is probably you. But that's okay because it's also the majority of students. And, as long as you know how annoying some of your quirks can be before starting university, then it'll be easy to make sure that you don't get stuck being categorized as student stereotypes numbers one through seven.
Which student type are you? Have you spotted any of these student stereotypes, or have any others to add to the list? Share your experience by leaving a comment below.

# data[].attributes.attachment_link.description
When starting university you'll need to be prepared to meet all different kinds of people and student types, some of whom you're going to get along with, some of whom, perhaps, not so much. It's not only your fellow students who are going to be cast into a certain category; you'll be getting judged too.

# data[].attributes.body
Video (3:25)

# data[].attributes.attachment_link.title
Genre Analysis (Rhetorical Situation)_Part 5 of 6

# data[].attributes.attachment_link.readable_text
A Brief List of Genres:

Journal Entries

Personal Letter

Greeting Card

Schedule/Things to Do List

Inner Monologue Representing Internal Conflicts

Classified or Personal Ads

Personal Essay or Philosophical Questions

Top Ten List/Glossary or Dictionary

Poetry

Song Lyrics

Autobiographical Essay

Contest Entry Application

Business Letter or Correspondence/Persuasive or Advocacy Letter

Biographical Summary

Critique of a Published Source

Speech or Debate

Historical Times Context Essay

Textbook Article

Science Article or Report/Business Article or Report

Lesson Plan

Encyclopedia Article

Short Scene from a Play with Notes for Stage Directions

Short Scene from a Movie with Notes for Camera Shots

Dialogue of a Conversation among Two or More People

Short Story

Adventure Magazine Story

Ghost Story

Myth, Tall Tale, or Fairy Tale

Talk Show Interview or Panel

Recipe and Description of Traditional Holiday Events

Classroom Discussion

Character Analysis or Case Study

Comedy Routine or Parody

Liner Notes

Picture book

Chart or Diagram with Explanation and Analysis

Brochure or Newsletter

Time Line or Chain of Events

Map with Explanation and Analysis

Magazine or TV Advertisement or Infomercial

Restaurant Description and Menu

Travel Brochure Description

How-To or Directions Booklet

Receipts, Applications, Deeds, Budgets or Other Documents

Wedding, Graduation or Special Event Invitation

Birth Certificate

Local News Report

Pop-Up book

Review and Poster for a Movie, Book, or TV Program

Board Game or Trivial Pursuit with Answers and Rules

Comic Strip or Graphic Novel excerpt

Power Point Presentation

Informational Video

Web Site

Future News Story

Letter to the Editor

Newspaper or Magazine Feature/Human Interest Story

Obituary, Eulogy or Tribute

News Program Story or Announcement

Tabloid Article

# data[].attributes.attachment_link.description
A Brief List of Genres: Journal Entries Personal Letter Greeting Card Schedule/Things to Do List Inner Monologue Representing Internal Conflicts Classified or Personal Ads Personal Essay or Philosophical Questions Top Ten List/Glossary or Dictionary Poetry Song Lyrics Autobiographical Essay Contest Entry Application Business Letter or Correspondence/Persuasive or Advocacy Letter Biographical

# data[].attributes.headline
Ten Words to Make you Sound Wicked Smart

# data[].attributes.subject
Ten Words to Make you Sound Wicked Smart

# data[].attributes.attachment_link.readable_text
Why use a simple 25-cents word when you can use an impressive $20 word? Sometimes, the $20 word is just what you need to turn a plain sentence into an intriguing description that will leave your listeners wanting more of your enriching vocabulary.

Will you sound smart just because you use "big" words? Probably not . . . but your conversation will be a lot more convivial.

# data[].attributes.attachment_link.description
Why use a simple 25-cents word when you can use an impressive $20 word? Sometimes, the $20 word is just what you need to turn a plain sentence into an intriguing description that will leave your listeners wanting more of your enriching vocabulary.Will ...

# data[].attributes.headline
Genres are useful.Writers and readers both use genres because of the cognitive and social work they accomplish. For writers, using the patterns of a genre accepted by readers for accomplishing their purposes allows them to establish a working relationship with readers.

# data[].attributes.subject
Genres are useful.Writers and readers both use genres because of the cognitive and social work they accomplish. For writers, using the patterns of a genre accepted by readers for accomplishing their purposes allows them to establish a working relationship with readers.

# data[].attributes.headline
What are the 5 literary genres?The four main literary genres are poetry, fiction, nonfiction, and drama, with each varying in style, structure, subject matter, and the use of figurative language. The genre raises certain expectations in what the reader anticipates will happen within that work.

# data[].attributes.subject
What are the 5 literary genres?The four main literary genres are poetry, fiction, nonfiction, and drama, with each varying in style, structure, subject matter, and the use of figurative language. The genre raises certain expectations in what the reader anticipates will happen within that work.