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Diagrams in Essays: Exploring the Kinds of Diagrams Students Generate and How Well They Work

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• Emmanuel Manalo 14 &
• Mari Fukuda 15  

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Using appropriate diagrams is generally considered efficacious in communication. However, although diagrams are extensively used in printed and digital media, people in general rarely construct diagrams to use in common everyday communication. Furthermore, instruction on diagram use for communicative purposes is uncommon in formal education and, when students are required to communicate what they have learned, the usual expectation is they will use words – not diagrams. Requiring diagram inclusion in essays, for example, would be almost unheard of. Consequently, current understanding about student capabilities in this area is very limited. The aim of this study therefore was to contribute to addressing this gap: it comprised a qualitative exploration of 12 undergraduate students’ diagram use in two essays (in which they were asked to include at least one diagram). Analysis focused on identifying the kinds of diagrams produced, and the effectiveness with which those diagrams were used. Useful functions that the diagrams served included clarification, summarization, integration of points, and provision of additional information and/or perspectives in visual form. However, there were also redundancies, as well as unclear, schematically erroneous, and overly complicated representations in some of the diagrams that the students constructed. These findings are discussed in terms of needs, opportunities, and challenges in instructional provision.

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Students’ Spontaneous Use of Diagrams in Written Communication: Understanding Variations According to Purpose and Cognitive Cost Entailed

How communicative learning situations influence students’ use of diagrams: focusing on spontaneous diagram construction and protocols during explanation, the impacts of domain-general vs. domain-specific diagramming tools on writing.

• Self-constructed diagrams
• Essay writing
• Effective communication
• Student instructional needs

1 Introduction

Alongside problem solving and thinking, communication is one of the areas of human activity where diagram use is considered to be beneficial. When appropriately used, diagrams can clarify and/or complement verbal information presented in speech or text, so that both verbal and visual channels of working memory are utilized, thus facilitating more efficient cognitive processing [ 1 , 2 ].

Diagrams can contribute to both message encoding and decoding (i.e., the production and the comprehension of communication), thus being of value to both the communicator and the communication receiver. Especially in contexts where there are some constraints or limitations to conveying the message through verbal means, diagrams can be indispensable. They can supplement speech or text by providing complementary or alternative means of conveying the intended message. Examples of such contexts include communicating complicated procedures, like furniture assembly [ 3 ], and communicating with people who speak a different language [ 4 ].

However, despite the apparent usefulness of diagrams in communication, its actual use remains very limited. Pictures and various kinds of diagrams, including illustrations, are regularly used in books, magazines, websites, and various forms of printed and digital media, but most of those visual representations are commercially or professionally created. They are not generated by regular people in everyday communication contexts. Regular people are often only receivers of such visual representations. In most communication contexts, they do not generate their own diagrams: they rely almost exclusively on written or spoken words. In formal education provided in modern societies, diagram use for communicative purposes is rarely taught. Despite the recognition in research and policy documents of the value of being able to use multiple forms of representation [ 5 , 6 ], students seldom receive explicit instruction about how to create and use diagrams. In both school and higher education, when students are asked to communicate what they have learned and what they think (e.g., in essays, which are focused pieces of writing intended to inform or persuade), the general expectation is that they will express that information in words – without the use of any diagrams [ 7 ].

Considering that much of the knowledge and ideas that students have to engage with, learn, and then communicate are quite complex, and diagrams have the capacity of representing complex ideas effectively [ 8 ], the general lack of attention in education to cultivating skills in diagram use is troubling. Like words, diagrams can be used effectively or ineffectively [ 9 ], so the question of the extent to which instruction or guidance may be necessary would appear important to address. In tasks like problem solving and information organization in subjects like mathematics and science, the kinds of diagrams that students generate and use have previously been investigated [ 10 , 11 , 12 ]. However, very few studies have examined diagram use in communicating information in the social sciences [ 13 ], where traditionally a greater emphasis has been placed on the quality of language that is used. In fact, the present authors are not aware of any studies that have examined students’ diagram use in essays . Our current understanding of student capabilities in using diagrams in such contexts is very limited, including what we know of the potential benefits that such use might afford.

The present study was motivated by this knowledge gap, and it comprised a qualitative exploration of student diagram use in two essays they produced for an undergraduate-level introductory course in educational psychology. In the two essays, the students were asked to include at least one diagram to portray processes or mechanisms of moderately complex ideas. Both essays were expository-type essays, hence requiring the students to demonstrate not only knowledge of the topic, but also the ability to communicate information clearly – which the appropriate use of diagrams is supposed to facilitate. The following were the main questions we addressed:

What kinds of diagrams would students use to portray processes/mechanisms?

In what ways do students use diagrams effectively in their essays?

In what ways do they not use diagrams effectively?

This investigation comprised analysis of the contents of two essays that students produced as part of their coursework. No experimental manipulation was involved. The analysis was conducted following completion of the course, so it had no bearing on the students’ grading. Permission was obtained from all the students for use of their essays.

There were 12 students in the course (females = 4), 7 of whom were in their first year of study, while the remaining 5 were in their second year or higher. Nine of the students were Japanese, and 3 were international students from other East Asian countries. All had English as a foreign language, but were adequately proficient in that language (a requirement for acceptance to the university). The course was conducted entirely in English, and all assignments (including the essays) had to be written in English.

The essays were each worth 20% of the students’ final grade, and they dealt with topics covered in the course. However, both essays required students to seek additional information (beyond what was covered in class), and to provide explanations that could not simply be obtained from the instructions provided in the course. The first essay required the students to research and then explain one theory about how young children develop their understanding of the world around them. The second required them to undertake research on formative assessment and explain how it can promote more successful learning. In both essays, the students were asked to include at least one diagram, which was allotted 3 points (out of 20) in the grading rubrics (in this case, for “demonstrating a clear understanding of the mechanisms or processes that it illustrates”). Diagrams can assist in clarifying ideas [ 8 ] and so, from a pedagogical perspective, one purpose of asking the students to include the diagram was for them to better understand key processes covered in the course. The diagram had to be self-constructed (i.e., not copied-and-pasted from some other source). In the first essay, the instruction given to the students indicated that the diagram was to “help in explaining the progress in understanding that children develop ”, while in the second essay the diagram was to “help in clarifying how formative assessment facilitates learning ”. No other instruction was provided on what form the diagram should take or how they should construct it, and no diagrams relating to those or other similar mechanisms/processes were shown during instructions provided in class. During grading of the essays, apart from the score out of 3 on the grading rubrics (see above), no explicit comment or feedback was provided on the type, content, or quality of construction of the diagrams the students included.

In the analysis, firstly the number and kinds of diagrams included in the essays were determined with the use of a coding schema comprising categories from previous research [ 10 , 11 , 13 ]. Apart from the first author’s coding, the second author, who initially was not involved in this research, also independently coded the diagrams. Initial inter-coder agreement was 75%. Differences were then discussed and subsequently agreed upon. Second, the diagrams were evaluated in terms of how effectively they were used. For this, key questions asked were: Does the diagram contribute to clarifying the process it refers to – and, if so, how? Apart from clarification, does it serve other useful functions? When diagrams did not appear to work well, the reasons were also carefully considered. Again, both authors independently coded the diagrams (initial inter-coder agreement was 92%), and then discussed differences to reach agreement.

Examples of diagrams belonging to each of the categories that were identified

3 Results and Discussion

3.1 kinds of diagrams used to portray processes/mechanisms.

Table 1 shows the kinds/categories and corresponding frequencies of diagrams the students included in their first and second essays, and in total, while Fig.  1 shows examples of the diagrams belonging to each of those categories. In the first essay four of the 12 students included more than one diagram (two student with 3 diagrams, and two with 2 diagrams), and in the second essay two students included more than one diagram (both with 2 diagrams). The frequencies shown in Table 1 include all the diagrams the students generated.

All except one student included self-constructed diagrams (as the assignments required). We were fairly confident about this because the language use in and appearance of the diagrams included suggested non-native and/or non-professional creators. The one student who included diagrams that obviously came from some Internet source (they were both watermarked) did so in both the first and second essays. Both diagrams were in the category of illustrations.

Although a “list” on its own does not – technically speaking – count as a diagram, it has been included in the categories because one student erroneously included a list as one of his 3 diagrams for the first essay, and three other students included lists as part of their “combination” diagram.

The kind of diagram most frequently used was a flow diagram: apart from the total of 10 flow diagrams shown in Table 1 , 7 of the 9 combination diagrams comprised a flow diagram with another kind of diagram. This is probably understandable given that flow diagrams (also known as “flow charts”) are meant to depict processes, procedures or sequence of steps, and cause-and-effect relationships. An interesting point to note is how the number of flow diagrams increased from the first to the second essay. No instruction or hint was given to the students about what diagram to use, so this increase could have been due to a number of other possible reasons, including differences between the two essays in the procedures/mechanisms that needed to be represented, the students seeing other diagrams their peers have generated (although there were no indications of copying), and development in the students’ understanding of what works well (or not) in using diagrams to communicate particular kinds of information.

It is also worth noting that although we often consider flow diagrams as being most appropriate for representing processes and mechanisms, other forms of diagrams can work as effectively when designed well to match their intended purposes. For example, Panels C and F in Fig.  1 show two examples depicting the progression through the stages of Piaget’s theory of cognitive development, using a table in C, and a combination of illustration (of steps) and line diagram in F. Although they differ in appearance, the diagrams can be considered as working equally well not only in showing the proposed stages of the theory, but also in conveying the incremental progression through key cognitive abilities with increasing age (corresponding to those stages).

3.2 Ways that Diagrams Were Used Effectively

The majority of the students did not refer to their diagrams in the text of their essays: only two students did in both essays. Thus, this is perhaps an academic writing method that undergraduate students (like these students) could usefully be instructed to do. However, in general, the students placed their diagrams appropriately, following the text where they deal with the information that is portrayed in the diagram – thereby making the connection between text information and the diagram more apparent.

Concerning the question of whether the diagrams that the students constructed contributed to clarifying any of the processes or mechanisms they were explaining: in the first essay, 7 of the students were considered to have satisfactorily achieved this with at least one of their diagrams, while 8 of them were considered to have done so in the second essay. In each of these cases, the diagrams served a useful function in the essay, to the extent that if they were not included, something sufficiently important in the essay would have been lost, not achieved, or not conveyed as adequately. In most of the cases, the diagrams clarified how the stages or processes referred to in the essay text connect or relate to each other and progress through particular sequences: Panels A and D in Fig.  1 are good examples of this. However, in a few cases, the diagrams also made clearer concepts that – to those unfamiliar with them – could be difficult to understand, such as what is involved in developing the ability of conservation (Panel B of Fig.  1 ).

In some cases, the diagrams also showed or clarified the connections to other components, such as children’s abilities in connection to the progression of developmental stages in the previously referred to Panels C and F in Fig.  1 . In a way, some of the diagrams that worked well served a summarizing function: they visually represented key components and showed more saliently how they were related to each other – which were not as easy to apprehend in sentences because of temporal/sequential separation. This is one of the reasons diagrams are considered effective: they integrate all information that is used together, reducing the need and effort for searching [ 14 ].

In the majority of cases where the diagrams worked well, they visually represented content that was already represented in words in the text – albeit with some enhancements like integration, as noted above. However, in a few exceptional cases, the diagrams also introduced content that was not present in the text of the essays. Figure  2 provides two examples of this. In Panel A, the diagram includes details in the lower part about unsuccessful (arrows with x) and successful (arrows with o) outcomes which require different responses. These details were not explicitly provided in the text but they enable readers to better understand how formative feedback is used in the example of solving story problems. Likewise, in Panel B, the diagram shows details not duplicated in the text about how different categories of complexes are formed, leading eventually to the formation of concepts [ 15 ]. The illustrations of different object combinations make the categories of complexes easier to grasp and distinguish from each other.

Examples of diagrams that introduced content or elaborations not present in the text

3.3 Ways that Diagrams Were Not Used Effectively

There were also numerous instances when the diagrams the students included did not appear to serve any useful function in the essay. In a couple of those cases, the diagrams were redundant: they showed images that portrayed information from the text that was simple enough not to require visual clarification. The illustration in Panel A in Fig.  3 is an example of this. Another ineffective use manifested was when the schematic structure of the diagram was unclear or erroneous. Examples of this are shown in Panels B and C of Fig.  3 . In Panel B, both the intended message and the connections between the components shown are unclear. In Panel C, the meaning of the arrows, and therefore what process might be depicted by the diagram, is unclear. In addition, there were a few diagrams, like the one shown in Panel D of Fig.  3 , which were quite complicated and therefore hard to understand. The contents of Panel D were also referred to in the text of the student’s essay, but the relationships shown in the diagram are new configurations that are not obvious and not explained explicitly in the text. It is therefore difficult to grasp its possible contribution to explaining, in this case, children’s development of understanding of the world around them.

Examples of diagrams that did not effectively serve their intended purpose in the essay

3.4 Implications for Theory, Research, and Practice

The many purposes that diagrams can serve in enhancing communication have been established in previous research [ 2 , 5 , 8 ], and the findings of the present study provide additional evidence for those in the area of student essay writing at the tertiary level. The findings also provide support for the idea that the same communicative purpose can be served by different kinds of diagrams [ 14 ]. Thus, for example, conveying the progression of a particular process can effectively be achieved using a flow diagram – or a table … or an illustration. This means that, in the same way that different words can convey the same meaning, different diagrams – if used/constructed appropriately – can communicate the same meaning. However, in future research, it would be useful to examine the range of communicative purposes that different kinds of diagrams can serve as there are probably important limitations to it. For example, if the communicative purpose is to describe what something looks like , other kinds of diagrams may not be quite as effective as an illustration (e.g., a table or a flow chart would be quite limited in conveying qualities pertaining to appearance).

The findings of the present research also suggest that many students, even at the tertiary level, would likely benefit from receiving some instruction or guidance on the use of diagrams not only in essays but also other forms of communication. While some students were able to generate diagrams that served useful functions in their essays, there were also quite a few who did not manage to do this. However, the findings of this exploratory study were based on a small sample of students taking the same course, so future investigations about spontaneous use and the effects of instruction provision ought to be conducted with larger and more diverse student groups.

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Acknowledgment

This research was supported by a grant-in-aid (20K20516) received from the Japan Society for the Promotion of Science.

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Catherine Legg

Kyoto University, Kyoto, Japan

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Petrucio Viana

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Manalo, E., Fukuda, M. (2021). Diagrams in Essays: Exploring the Kinds of Diagrams Students Generate and How Well They Work. In: Basu, A., Stapleton, G., Linker, S., Legg, C., Manalo, E., Viana, P. (eds) Diagrammatic Representation and Inference. Diagrams 2021. Lecture Notes in Computer Science(), vol 12909. Springer, Cham. https://doi.org/10.1007/978-3-030-86062-2_56

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Using Graphic Organizers for Writing Essays, Summaries and Research

Ask any student – essay writing is one of the most despised tasks of their educational career. Perhaps there is so much displeasure associated with the task because it’s perceived as too linear – there isn’t enough visual and creative appeal. But if you use graphic organizer for writing essays then you can make writing enjoyable – or at least less terrible.

Not only enjoyable but graphic organizers (or diagrams) can make the writing process a snap. They’ll help you think outside the box, draw conclusions you wouldn’t normally observe, and make the entire process faster and more efficient.

Why Use Graphic Organizers for Writing

The phrase “graphic organizer” is just a fancy way of saying “diagram” or “visual aid.” Basically, they are a visual representation of the information you’ve acquired in the research process. There are quite a few reasons why you should use them when writing essays or summaries.

• Helps you visualize your research and how elements connect with each other
• Enhance your essays, summaries and research papers with visual elements
• Track correlations between your thoughts, observations, facts or general ideas

When it comes to essay writing, the most common graphic organizers are webs, mind maps, and concept maps .

Using Webs for Brainstorming

Webbing is a great way to see how various topics are interrelated. This graphic organizer is particularly useful during the brainstorming step of the writing process.

A web can sometimes get a bit messy. Usually, there are lots of arrows to connect overlapping ideas. However, even with lines crisscrossing every which way, it is still a great way to visualize your thoughts. If you’re using an online diagramming software like Creately you can overcome some of this because we automatically arrange the object for you.

Once you’ve created a map to document all your ideas and establish connections, you can easily transition to other forms of diagramming to better organize the information.

For example if you’re writing a research paper about the food web of the Australian bushes you can start creating a food web diagram similar to the one below. This way you can easily visualize the web while writing the paper. This is a simple example but graphic organizers become even more important when the subject gets complex.

Although simple this example shows the importance of using graphic organizers for writing summaries. A comprehensive diagram pretty much does the summation for you.

Using Mind Maps as Graphic Organizers

Mind maps are a great way to depict a hierarchy. What is hierarchical organization ? The concept is simple: a singular topic dominates with each subsequent idea decreasing in importance.

Usually, the mind map starts with the thesis (or main idea) at the center.  From there, you can branch out with your supporting evidence.

Use this process to replace your traditional note taking technique – note cards, outlines, whatever. You’ll quickly realize a mind map is a great way to formulate the structure of your essay. The thing to note here is that the nature of the mind maps force you think about sub topics and how to organize your ideas. And once the ideas are organized writing the essay become very easy.

Above is a mind map of a research proposal. Click on it to see the full image or you can see the fully editable template via this link . As you can see in this mind map the difference areas of the research proposal is highlighted. Similarly when your writing the research paper you can use a mind map to break it down to sub topics. We have more mind map templates for you to get started.

Concept Maps

A concept map will help you visualize the connection between ideas. You can easily see cause and effect – how one concept leads to another. Often times, concept mapping includes the use of short words or phrases to depict the budding relationship between these concepts.

If you look closely you can see that its very similar to a mind map. But a concept maps gives more of a free reign compares to the rigid topic structure of a mind map. I’d say it’s the perfect graphic organizer for writing research papers where you have the license to explore.

By creating a concept map , you can also see how a broad subject can be narrowed down into specific ideas.  This is a great way to counter writers block.  Often, we look at the big picture and fail to see the specifics that lead to it.  Identifying contributing factors and supporting evidence is difficult. But with a concept map, you can easily see how the smaller parts add up to the whole.

Why Bother With Graphic Organizers?

If you already detest the writing process, adding another step might seem insane. However, there really are several advantages of using them.  If you haven’t already accepted the benefits of each individual diagram style, here are some more perks of graphic organizers in general:

• Quality essays are based on detail. No one is going to accept your opinions and reasoning just because you say so. You’ll need proof. And organizing that proof will require attention to detail. Graphic organizers can help you see that detail and how it contributes to the overall concept.
• Graphic organizers are flexible. You don’t need one of those giant pink erasers. You don’t need to restructure your outline. All you have to do is draw a few arrows and bam – the relationship has totally changed.
• No matter what you are writing about, a graphic organizer can help. They can be used to structure an essay on the Great Wall, theoretical physics, or Spanish speaking countries.
• If you write an outline, can you easily see how point A influences point X? Probably not. But if little thought bubble A is sitting out there all by itself, you can visualize the way it ties into point R, T and X.
• Some of us find it difficult to put our opinions, thoughts, and ideas into writing. However, communicating our feelings with little doodles and sketches is far less threatening.
• As a writer, our brain often feels like a 2-year-old’s toy box – a big jumbled mess. Taking that mess and putting it onto paper with some semblance of organization is challenging. Rather than trying to take your thoughts from total chaos to a perfectly structured list, just try to get them out of your brain and onto paper in the form of a diagram.
• A graphic organizer helps you establish validity and relevance. You can easily nix the ideas that don’t support or enhance your thesis.

The next time you are faced with a writing project, take a few minutes to explore the efficiency of graphic organizers. You can find a wealth of templates here.

Have you ever used a graphic organizer to structure an essay? How did it go? Do you have a diagram suggestion for the writing process that wasn’t mentioned here? Let us know!

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How To Write an IELTS Process Diagram Essay

An IELTS process diagram question can contain a wide variety of different types of graphics. It could be a natural process such as the water cycle, a manufacturing process or a diagram of a system.

Using these 5 steps will help you to write a high-scoring process diagram essay:

1)  Analyse the question

2)  Identify the main features

3)  Write an introduction

4)  Write an overview

5)  Write the details paragraphs

In this lesson, we’re going to work through the 5 stages step-by-step as we answer a practice question.

Before we begin, here’s a model essay structure that you can use as a guideline for all IELTS Academic Task 1 questions.

Ideally, your essay should have 4 paragraphs:

Paragraph 1  – Introduction

Paragraph 2  – Overview

Paragraph 3  – 1 st  main feature

Paragraph 4  – 2 nd  main feature

We now have everything we need to begin planning and writing our IELTS process diagram essay.

Here’s our practice question:

The diagrams below show a structure that is used to generate electricity from wave power.

Summarise the information by selecting and reporting the main features, and make comparisons where relevant.

Write at least 150 words.

Generating Electricity From The Sea

Source: Official website IELTS Essentials

Step 1 –  Analyse the question

The format of every Academic Task 1 question is the same, with the instruction sentence (highlighted below) identical in every question. Here is our practice question again.

Every question consists of:

• Sentence 1 – A brief description of the graphic
• Sentence 2 – The instructions
• The graphic – diagram, chart, graph, table, etc.

Sentence 2 tells you what you have to do.

You must do 3 things:

1.     Select the main features.

2.     Write about the main features.

3.     Compare the main features.

All three tasks refer to the ‘ main features ’ of the graphic. You  do not  have to write about everything. Just pick out 2 or 3 key features and you’ll have plenty to write about.

Step 2 – Identify the Main Features

The graphic in IELTS process diagram questions should not be difficult to understand. There are not usually any numbers to analyse as in other types of question, just a diagram to interpret or, as in our practice question, two diagrams which each show part of the process.

All you are looking for are the main features. These should be the easiest things to spot. There will be lots of information in the graphic to help you identify them, especially, titles, labels and captions.

Here are some useful questions to ask?

1) Is it a linear or a cyclical process?

A linear process starts and finishes at different places. It will often involve the manufacture or creation of something, starting with the raw materials going in at one end and the finished product coming out the other end. An example of this can be seen in this diagram from a past IELTS process diagram question about the manufacture of bricks.

Linear process

A cyclical process, on the other hand, is a process that goes back to the beginning and repeats over and over again, such as the life cycle of a frog or a butterfly.

Cyclical process

2) Where does the process start and end?

For a linear process this will usually be obvious. It may be harder to determine for a cyclical process so it’s important that you examine the graphic carefully to find out.

3) How many steps are there to the process?

If there are a lot, it can be helpful to number them from 1 to whatever number the final stage is.

4) Can the process be easily broken down into stages?

In the brick-making graphic, for example, there are three stages:

a) Creating the bricks from clay

b) Manufacturing the finished product by drying and firing

c) Packaging and delivery

In the life cycle graphic above, there are also three distinct stages as the frog passes through different stages of development – egg, juvenile, adult.

5) What are the raw materials? What is produced at the end of the process?

These questions obviously apply only to manufacturing processes.

For other types of process, it might be more appropriate to ask the following question.

6) What is the end result of the process?

This question is relevant for our practice IELTS process diagram question which shows a process that creates something using a particular structure. The end result is the production of electricity.

So, what main features stand out in our practice graphic? Here it is again.

This graphic doesn’t contain very much detail. There are only two stages to the process:

Stage 1:  Electricity is generated as the wave flows into the structure (Diagram A).

Stage 2:  Electricity is also created as the receding wave draws air back down the column (Diagram B).

Other diagrams are more complex and you have to go through them stage by stage to work out what’s happening and then pick out just 2 or 3 main feature to write about.

The key features you select will be the starting point for your essay. You will then go on to add more detail later. However, with just 20 minutes allowed for Task 1, and a requirement of only 150 words, you won't be able to include many details.

We’re now ready to begin writing our essay. Here’s a reminder of the 4 part structure we’re going to use.

Step 3 – Write an Introduction 

In the introduction, you should simply paraphrase the question, that is, say the same thing in a different way. You can do this by using synonyms and changing the sentence structure. For example:

Introduction (Paragraph 1): 

The two diagrams illustrate a method of creating electricity from the force of waves using a specifically designed man-made construction.

This is all you need to do for the introduction.

Step 4 – Write an Overview (Paragraph 2)

In the second paragraph, you should give a general description of the diagram/s or process. The detail comes later in the essay.

State the information simply using synonyms where possible. No elaborate vocabulary or grammar structures are required, just the appropriate words and correct verb tenses.

For example:

Overview  (Paragraph 2): 

The structure, consisting of a wave chamber and a tall column containing a turbine, is erected on a steeply sloping coastal cliff or sea wall where it is subject to the movement of the ocean waves.

Step 5  – Write the 1st Detail Paragraph

Paragraphs 3 and 4 of your IELTS process diagram essay are where you include more detailed information. In paragraph 3, you should explain the first key feature in more detail.

For this question, we will expand on the first stage of the process. Here it is again:

Stage 1: Electricity is generated as the wave flows into the structure (Diagram A).

And this is an example of what you could write:

Paragraph 3 :

The first diagram shows how the incoming wave fills a large chamber and forces the air inside this space up the column and through the turbine. The pressure of the air rotates the turbine which generates a current of electricity. The process does not end there for the structure is able to continue producing power as the sea recedes as can be seen in the second diagram.

Step 6  – Write the 2nd Detail Paragraph

For the fourth and final paragraph, you do the same thing for your remaining key features or, for this question, the second stage of the process.

Here it is again:

Stage 2: Electricity is also created as the receding wave draws air back down the column (Diagram B).

Here’s an example of what you could write:

Paragraph 4 :

As the water now flows away from the structure, it draws air back down the column and downwards through the turbine in the same direction as the previous upward flow of air. The turbine continues to turn thus generating even more electricity. 

Here are the four paragraphs brought together to create our finished essay.

Finished IELTS Process Diagram Essay

This sample IELTS process diagram essay is just over the minimum word limit so you can see that you don’t have space to include very much detail at all. That’s why it is essential to select just a couple of main features to write about.

Now use what you’ve learnt in this lesson to practice answering other IELTS process diagram questions. Start slowly at first and keep practicing until you can plan and write a complete essay in around 20 minutes.

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Ielts academic writing task 1 – all lessons.

IELTS Academic Writing  –  A summary of the test including important facts, test format & assessment.

Academic Writing Task 1  – The format, the 7 question types & sample questions, assessment & marking criteria.  All the key information you need to know.

Understanding Task 1 Questions  – How to quickly and easily analyse and understand IELTS Writing Task 2 questions.

How To Plan a Task 1 Essay  –  Discover  3 reasons why you must plan, the 4 simple steps of essay planning and learn a simple 4 part essay structure.

Vocabulary for Task 1 Essays  –  Learn key vocabulary for a high-scoring essay. Word lists & a downloadable PDF.

Grammar for Task 1 Essays   – Essential grammar for Task 1 Academic essays including, verb tenses, key sentence structures, articles & prepositions.

The 7 Question Types:

Click the links below for a step-by-step lesson on each type of Task 1 question.

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Affinity Diagrams: How to Cluster Your Ideas and Reveal Insights

Affinity diagrams are a great method to use when you want to make sense of a large volume of mixed information and data—facts, ethnographic research , ideas from brainstorms, user opinions, user needs , insights and design issues, just to name a few! Affinity diagrams require you to cluster information in an organized manner, and this can therefore be one of the most valuable methods to employ during your design process . In other words, affinity diagrams help you synthesize information and insights and, for this reason, they are used in many phases of design thinking , including the Define and Ideate phases. Let’s jump into affinity diagrams in detail to discover more about what they are, why they’re useful and how you can apply them to your own design process.

“Organizing is what you do before you do something, so that when you do it, it is not all mixed up.” — A. A. Milne

It’s hard to know where to start when your mind, table, hard drive and maybe even the front of your fridge are full of insights from research, or ideas from ideation sessions. How on earth are you meant to transition from that point of colored Post-it note chaos to a stage where you’ve got a good grip of the main points of interest and patterns in your data? Have no fear—affinity diagrams are here to save you from getting overwhelmed by the sheer volume of data you’ve gathered. They’ll help you navigate through and organize your data in an incredibly effective way, and it’s great that you’re here to learn more about them!

What is an Affinity Diagram?

An affinity diagram is a collection of large amounts of data that is organized into groups or themes based on their relationships. The affinity diagram process is great when you want to make sense of insights gathered during research, as well as when you want to organize ideas generated during ideation sessions.

© Josh Evnin, CC BY-SA 2.0.

How to Create an Affinity Diagram

The best way to create an affinity diagram is with your design team, or the people who were involved in the previous stage of the process (research or ideation in most cases). You can also create an affinity diagram on your own, but you will likely find the process more valuable if you have other design-minded individuals around to discuss aspects of it with.

Whether you’re in a group or on your own, you can use the steps below as a guide through the affinity diagram process.

Part 1: Group Similar Pieces of Data

Write pieces of data such as small documented facts, drawings, ideas, quotes, and observations down on separate Post-it notes, cards or pieces of paper—one piece of data per Post-it or piece of paper.

Put them up on a wall or whiteboard or lay them across a table. Post-it notes are preferable at this stage as they allow the design team to easily stick up and move pieces of data around to cluster similar pieces of information together.

Choose a Post-it at random and make it the first Post-it of a first group.

Take another Post-it and ask, “Is this similar to the first one or is it different?” Place it in the first group if it’s similar or in its own group if it’s not. It can be similar in any way that makes sense to you. However, this is best where you have a team and can ask others if they agree or disagree.

Continue Post-it by Post-it as you place similar ideas together and create new groups. Note: it’s OK to have lone Post-its at this stage—pieces of data that don’t fit into any clusters can sit on their own in other words. Feel free to change your groupings at any point in this exercise. That’s why you’re using Post-its!

You will see the data come to life as you create your affinity diagram and move data around on the wall. Your whole design team will find themselves immersed not only in their own research findings but also that from others. You’ll all come away with a better understanding of the scope of the problem space, and will be able to share and communicate findings and ideas more effectively.

Part 2: Discuss and Clarify Your Clusters

You should now have some groups of related data, and so it’s time to talk about each one of the clusters in more detail. Discuss the rest of the steps in the process with your team and complete them together one by one.

Discuss any controversial pieces of clusters and pieces of data in each cluster and reorganize them into different clusters if appropriate.

When all team members are satisfied with the groupings, give the group a name that captures the meaning of the group of Post-its it represents.

Optional: Use lines to connect related groups, and combine clusters to create super groups if necessary.

The last stage of the affinity diagram process requires you to connect related groups of data so that related insights and/or ideas remain linked throughout the rest of the design process.

© Wavebreakmedia, Standard License. Source.

By the time you’ve finished your affinity diagram, your data will be in a much more organized state and you’ll find yourself in a much better position to synthesize it further, define a problem statement and/or move on to the next phase of the design process.

You can download and print our affinity diagram template to utilize the process in offline mode and share it with your team:

Affinity diagrams can help you go from a state of complete chaos with no overview of your information, to a serene state of organized groups of information, which you have named and sorted into hierarchies that make sense and provide insight.

© Daniel Skrok and the Interaction Design Foundation, CC BY-NC-SA 3.0.

How to Use Your Affinity Diagram

As with every method and technique we use, there would be no point in affinity diagrams if we didn’t put them to good use afterwards! You can use the outcome of your affinity diagram (your highly organized set of data) to:

Inform the creation of empathy maps.

Build personas that represent your target audience in the best possible way.

Synthesize insights further and create a problem statement for your design process.

Provide a better foundation for ideation.

The Take Away

Affinity diagrams are a method you can use to cluster large volumes of information, be it facts, ethnographic research, ideas from brainstorms, user opinions, user needs, insights, design issues, etc. During the process, you will name and rank your data into organized groups and gain an understanding of how different groups of information are connected.

Affinity diagrams are a great method that can create an overview and synthesize your findings in a surprisingly straightforward way—especially if you follow the step-by-step process we’ve provided you with. You’ll come out the other side with a greater focus on the major insights, user needs, pain points and gaps in your data—and once you’ve done that, you can begin to translate what you’ve organized into empathy maps , personas and problem statements to help you progress in your design process.

References & Where to Learn More

Kara Pernice, Affinity Diagramming for Collaboratively Sorting UX Findings and Design Ideas , 2018.

Chris Gielow, Affinity Mapping Timelapse , 2012.

ASQ, Affinity Map Diagram

Matthew Weprin, Design Thinking Methods: Affinity Diagrams , 2016.

Center for Care Innovations , Catalyst Method: Affinity Clustering , 2017.

Hero Image: © star5112, CC BY-SA 2.0.

Design Thinking: The Ultimate Guide

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Topics in this article, what you should read next, the 5 stages in the design thinking process.

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Venn Diagrams to Plan Essays and More

• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

A Venn diagram is a great tool for brainstorming and creating a comparison between two or more objects, events, or people. You can use this as a first step to creating an outline for a  compare and contrast essay .

Simply draw two (or three) large circles and give each circle a title, reflecting each object, trait, or person you are comparing.

Inside the intersection of the two circles (overlapping area), write all the traits that the objects have in common. You will refer to these traits when you  compare  similar characteristics.

In the areas outside the overlapping section, you will write all of the traits that are specific to that particular object or person.

Creating an Outline for Your Essay Using a Venn Diagram

From the Venn diagram above, you can create an easy outline for your paper. Here is the beginning of an essay outline:

1. Both dogs and cats make great pets.

• Both animals can be very entertaining
• Each is loving in its own way
• Each can live inside or outside the house

2. Both have drawbacks, as well.

• They can damage property
• Both can be costly
• Both require time and attention

3. Cats can be easier to care for.

• Leaving for a day

4. Dogs can be better companions.

• Going to the park
• Going for walks
• Will enjoy my company

As you can see, outlining is much easier when you have a visual aid to help you with the brainstorming process.

More Uses for Venn Diagrams

Besides its usefulness for planning essays, Venn Diagrams can be used for thinking through many other problems both at school and at home. For example:

• Planning a Budget: Create three circles for What I Want, What I Need, and What I Can Afford.
• Setting Priorities: Create circles for different types of priorities: School, Chores, Friends, TV, along with a circle for What I Have Time for This Week.
• Choosing Activities: Create circles for different types of activities: What I'm Committed to, What I'd Like to Try, and What I Have Time for Each Week.
• Comparing People's Qualities: Create circles for the different qualities you're comparing (ethical, friendly, good looking, wealthy, etc.), and then add names to each circle. Which overlap?
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• What Is a Cladogram? Definition and Examples
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• Miss Nelson Is Missing Lesson Plan

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Notes on the diagram, arts & culture.

The art and life of Mark di Suvero

This is the third, previously unpublished version of “an endlessly revised essay” that Amy Sillman started in 2009 during a residency at the American Academy in Berlin. The first version was published in the O.-G. , v. 1, “Zum Gegenstand / Das Diagram” (2009), which Amy Sillman elaborated in parallel with her solo exhibition “Zum Gegenstand” at CarlierGebauer, Berlin, May 2–June 13, 2009. The second version appeared in the O.-G. , v.1–2, “American Edition” (2009), published on the occasion of a presentation of drawings by Sillman at the Sikkema Jenkins booth, Art Basel Miami Beach, 2009.

In this sense, a subject is “a nothingness, a void, which exists.” (Lacan) —Slavoj Žižek, Organs without Bodies A virtual particle is one that has borrowed energy from the vacuum, briefly shimmering into existence literally from nothing. —David Kaiser, American Scientist magazine The Higgs boson is apparently the most powerful particle on Earth, but it has never been seen. —2009 Wikipedia article on the Higgs boson Look who thinks he’s nothing. —Punch line of a joke about a priest and a Jew One paints when there is nothing else to do. After everything else is done, has been “taken care of,” one can take up the brush . —Ad Reinhardt, “Routine Extremism” I can swim like everyone else, only I have a better memory than them. I have not forgotten my former inability to swim. But since I have not forgotten it, my ability to swim is of no avail and in the end I cannot swim. —Franz Kafka What happens next? Of course, I don’t know. It’s appropriate to pause and say that the writer is one who, embarking upon a task, does not know what to do. —Donald Barthelme, “Not-Knowing”

In 2009, I got a grant to live in Berlin, arriving with barely any German language under my belt. An old friend, who seemed in the know, warned me: “German is a spatial language.” I have no sense of space, so it sounded ominous. I got what she meant fast at my first German lesson, when they said that in German you can’t just ask “where?”—you have to specify where to or where from . And German grammar went on from there, a thicket of specificities. And German history was a veritable morass. I was an American: I hadn’t read Hegel or Schlegel! But once I got into it, I went into an accelerating state of diagram fever, going a little crazy thinking about how everything in the world is a diagram. I took a seminar on diagrams at the Freie Universität with Danish diagram expert Frederik Stjernfelt; I got new diagram study-buddies, my mind stretched out with increasingly dizzying interconnectivity; everything started to make a weird kind of sense, and I got it: everything was related to everything else . The Enlightenment, Romanticism, Symbolism, modernism, Bad Painting, it was all locatable on one big map. I also sheepishly realized that I was probably the last person to figure this out—that this diagram thing had already been laboriously theorized by many others. But thinking about the diagram liberated my work. Abstraction itself suddenly seemed like one big diagram of moving time and space. The process of making something go away from “realness” to abstraction seemed like a big memory-diagram—things seen and then registered in the mind’s eye undergoing a process of being stripped clean, or becoming a bit tattered and distorted as they move off into your past. I was planning an art show at the time, and I also thought, if everything is everything, then why not hang things all together: satirical diagrams next to figure studies next to abstract paintings? I would just need some way to explain it all, a kind of translation device. And what is a zine if not a slapdash chance to present one’s own epiphanies? And what is a diagram but a way of holding disparate ideas together?

So I began planning my exhibition with everything in it, from abstract paintings to comical seating diagrams, to figure drawings to a zine on a table. Let jokes be paintings, paintings be memories, and memories be meaning. I decided to write an essay about diagrams for my first zine (and I’ve been slowly adding to it ever since).

Diagrams are great because you can put anything in them. No wonder they have been so useful for generations of kooks, mystics, Cubists, ecstatic poetics, Dadaists, Futurists, and weird scientists. A diagram is a perfect visual schema for posing impossible things, invisible forces, enigmas like the future—all posed as perfectly plausible vectors. The diagram even outdid the camera as the early twentieth century’s best new thing because it could depict things in the universe that exceed the eye, like particles, waves, and quarks. A diagram’s scale is endless. It can indicate how dwarfed we are by the universe, or how busy the microscopic world is, all mapped out on the back of some envelope. Tides, black holes, white dwarfs, red rings around Saturn, crazy particles, the waves of the Big Bang, all teleporting around in unstable ways, all this stuff and how it interacts can appear equally on the diagram, democratically, like the pedestrians in Times Square or the people in a Saul Steinberg cartoon all walking around together. The diagram’s arms, its vectors, embrace everything at once. Parts are not distinct from wholes, and divisions between aesthetic formats don’t have to exist. Diagrams aren’t medium-specific: everything is a continuum; everything is relational. In this sense a diagram is utopic, showing how things should or might go, reenvisioning things expansively, not merely describing them categorically. It can include contradictory grammars, fragments, part-objects, nouns and verbs, acts and objects. As a painter, I was on solid ground, then, because I already knew that paintings are both things and events. And one of the first things artists learn is that scale and size are different. Scale is relational, whereas size is just measurement. Likewise, a mere page in a notebook, a flimsy joke, a drag act, can change the world. My own life was altered definitively by the aesthetic detonating charge of a confessional 16 mm George Kuchar film, Hold Me while I’m Naked (1966), in which an erstwhile filmmaker from Queens tries in vain to complete a porn film. It affected me way more than beholding the majesty of the Pergamon Gate, or beholding the Mona Lisa. (Likewise, in Freud’s famous diagram, the idea of a Baby holds the same valence as Shit!) Any little thing, impure as can be, can change your life.

My favorite diagram thinking was about painting and language: Gilles Deleuze, Charles Olson, David Joselit. In Deleuze’s book on the painter Francis Bacon, The Logic of Sensation , the very concept of the diagram is an action, not a thing but a moment, a moment of transformation. Perhaps inspired by the visual portals, stages, and furniture that Bacon sets his figures against, Deleuze’s “diagram” is his way to describe the action of Bacon’s figures as they transform agonistically. David Joselit’s essay “Dada’s Diagrams” describes diagrams as a kind of container, a come-one-come-all structure for representing the polymorphous perversity, the rupture, of the early twentieth century: “Far more important than [Francis] Picabia’s adoption of a vocabulary drawn from industry in his ‘machine drawings’ is the model of polymorphous connectivity between discrete elements that these works deploy in order to capture the uneven economic and psychological transformations and the jarring disequilibrium characteristic of modernity.” The poet Charles Olson’s manifesto from 1950, Projective Verse , also describes a kind of spatial diagram of action. He imagines language as a set of something like arrows—utterances as projectiles that ride out of the poet’s mouth and land in the world, demarcating a sort of invisible forcefield. This kind of invisible language-force might be subtle but it’s big: the relational aesthetics of language as a force.

I always felt that what made the painter Ad Reinhardt great wasn’t the otherworldly clarity of his abstract paintings (I wasn’t really that into the religious way that people would gasp when they finally saw the colors); it was the fact that alongside his austere experiments with pure color and structure were his diagrams about the art world, which included puns, mockery, and sarcasm. It was the split of his greater whole, the parts mapped together, neither his solemnity nor his jokes but the passage between such states (and, in between those two, his deadpan slideshow presentations of shape-forms). When I realized the larger diagram of his work, I realized that what was great was his circulation system, an economy of high and low parts given equal value. I had never been able to resolve the two coasts of my own sensibility, my love of cartoons with my love of serious-minded abstraction. But diagrams made me realize that they were related, constituted precisely by the interactions between them. All the good funny Modern art (like Daumier, Guston, Reinhardt, Beckett) was tragicomic. Making art came from the same psychic pneumatics that Freud mapped out as the origin of jokes: distillation and compression. The joke work, the dream work, the art work: all of these were ways to cope. Ways for the mind to grasp what it has seen, moving it from the optic nerve to the mind’s eye as it moved from the present to memory, via abstraction. Jokes were the bailiff of high art, getting it out of its cramped quarters, and providing skepticism so you didn’t love it too much.

At first I was in this love affair with diagrams. Weren’t they wonderfully inclusive models of multiplicity, contradiction, and change? Weren’t they democratic? That was before I read Benjamin H. D. Buchloh’s sobering essay on Eva Hesse, “Facing the Diagram.” In his more critical eyes, the diagram was also a manifestation of social conditions, a state of quantification, surveillance, and bureaucracy. Diagrammatic works like Duchamp’s Network of Stoppages (1914) or Hesse’s drawings from 1966–67 therefore also registered “the total subjection of the body and its representations to legal and administrative control.” This diagram was not my protagonist! Was the diagram also a form of violence? Was the flip side of the feeling of the “authentic” body always bounded by the “externally established matrix” of conditions? Was the body even possible without the conditions surrounding it? Oh god, Buchloh was probably right—I had been filled with euphoria, but the diagram and painting were linked, and in the bad sense: the same problematics that I had faced in painting were back to haunt me with the diagram.

Postwar painting, which I loved, was riddled with the same problems. It was the same sentimental stuff that Ad Reinhardt was attacking with his diagrams, with his stubborn refusal to be boxed in. When I first learned about AbEx painting as a student, I had felt liberated by it, not oppressed—the way it located thinking as something you do with your body—the way that by including the body in intelligence, you were attacking something. I felt that gesture painting was done with a kind of political body, maybe akin to the poets and their projective verses. I went for the idea that gesture painting was a form of expression lying between language and image, an utterance that implicates the maker, along the lines of “the personal is political.” I got out of the AbEx-by-genius-men problem by seeing how many women painters there were, how many great painters of color there were, and thought the problem wasn’t the art but the art history. Art history was wrong. Critical theory didn’t seem wrong but I got out of the commodity problem by focusing on drawing, not painting. Could I also get out of the diagram-as-control problem by thinking about the way a diagram makes you think? Could emancipatory possibilities exist in new thinking? Could instrumentalization be defeated? Could diagram-thinking/studio practice/painting go “beyond control”? I felt intuitively that the answer had to be located in some way in something messy: accidents, negations, a spill, some excess found on the floor, some physical inexplicability, the idea of desire, urges, pleasure, which I thought was exactly bound up with the not-knowing part of the art-making process, the drawing process as entirely separate from value-formation. This was not utopian, it was just practical: thinking and hoping that exactly where those arrows of Projective Verse land is where something like being and life can be felt. As in Emily Dickinson:

I am alive—I guess— The Branches on my Hand Are full of Morning Glory— And at my finger’s end—

At finger’s end, beyond the graph, off the chart, in the realm of not-knowing, lay the weird unformed excess, the chora , not information . The fact that I don’t know what word will come out of my mouth next, exactly, when speaking a sentence, or what jerky motion I’ll make when taking a step, or whether I’ll continue living past the bus stop at all, made me turn to the idea of improvisation as a kind of conscientious reminder of how fragile everything is, how unstable and unknowable. The diagram’s best form, painting’s best aspect, seemed to lie in its unknowns, its silence, its way of not working out, or being at risk, a matter of fate, ruin, or possible resuscitation. Painting was dead, but it surprised me. So, isn’t there an end zone, an offstage in the theater? The painter Charles Garabedian said making a painting is like purposefully stumbling around in a fog near a cliff. It’s a mess of unknowns, beyond diagrammable. So it seemed like the very idea of knowing was where the problem lay, maybe. The diagram only shows us the stuff arrayed in a space. The diagram doesn’t consider its errors. Therefore, comedy, accident, mistake, is the corrective for the diagram, because it includes everything the diagram can’t even hope to establish as a solid: spasms, screwups, sabotage, refusal, stupidity, the saggy droop between the vector showing “what you did” and what really resulted. Whatever is incalculable, including the feeling of a mistake. I’d like to see the diagram of that. Failure and dread. That’s why I still loved abstraction, because we knew it didn’t work, that it was a failure, a paradox, a realm of both potential and unchartability. David Joselit wrote that the “act of reconnection does not function as a return to coherence, but rather as a free play of polymorphous linkages which … remains a central motif of modern (and postmodern) art.” Diagrams are failures, paintings are failures, and life is a failure. The diagram can only do so much. The rest is as Donald Barthelme asks, “What happens next?” And then the answer is, “I don’t know.” That’s what a good diagram indicates: that there are things beyond control.

Based in New York City, Amy Sillman is an artist whose work consistently combines the visceral with the intellectual. She began to study painting in the seventies at the School of Visual Arts and she received her M.F.A. from Bard College in 1995. Her work has been exhibited internationally, including at the Whitney Biennial in 2014; her writing has appeared in Bookforum and Artforum , among other publications. She is currently represented by Gladstone Gallery, New York.

Excerpted from Faux Pas. Selected Writings and Drawings. , by Amy Sillman, published by After 8 Books and distributed by Artbook | D.A.P.

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• Academic practice
• General practice
• Task 1 Academic
• Task 1 General
• Task 2 (essay)

IELTS Writing task 1: describing a diagram

In this lesson you will learn how to describe a diagram in IELTS Writing task 1 .

We will deal with a process diagram . Although diagrams are not very common in IELTS, they do appear in Writing and are very different from other types of graphs you can get. So it's a good idea to learn how to structure your answer when describing a diagram.

• See IELTS Writing digram question
• Learn how to write a band 9 answer
• Learn useful vocabulary
• See video tutorial

As an example, let's take a look at the following question card:

The diagram illustrates how steel rods are manufactured in the furniture industry.

Summarize the information by selecting and reporting the main features and make comparisons where relevant.

You can watch a video tutorial on how to describe diagrams in IELTS Academic Writing task 1:

• Introduction
• General overview
• Specific features

Now we'll take a look at each part of the answer.

1. Introduction

The first paragraph of your answer should be an introduction. For the introduction, you need to paraphrase the topic in your own words. It shouldn't be longer that 2 sentences.

And this is a possible way to write your introduction:

You could also write the introduction in another way:

In fact, there are plenty of ways to write your introduction. Just keep in mind that you should use synonyms and paraphrase the topic from your question card.

2. Overview

• how the process begins and ends
• the number of stages

If the diagram has loops or repeating stages, or your process is cyclic - write that in your overview too!

Here is a good way to write a general overview:

Overall, the process consists of eleven stages, beginning with the raw material and ending up with the product’s inspection.

Always use word overall to start your overview. This way you will indicate the examiner that you’re describing general trends.

3. Specific features

After you've given the overview, you should write about specific details of your diagram. To do that, you need to describe each stage of your process in detail . Don't forget that you should provide information in a logical way!

This is a possible way of describing the specific features of our diagram:

First of all, iron ore, yellow ore and carbon are collected to serve as a raw material for steel rods manufacturing. After that, the raw material is melted in a melting slit, where it is heated to a temperature in range of 1300-1500 °C. The melted mass is then transferred to a smelting cabin to undergo refinement. Next, the candescent metal is put in a pouring machine and poured into ingots.

In the next stage, the ingots are connected to a cooling reservoir, where the temperature falls to 60-100 °C. Metal goes through special nozzles and cools down, forming strands. Following this, the metal strands proceed to rollers that change their shape. Next, the products are put into a heating machine, where they undergo heat treatment. Subsequently, a measuring automaton completes a surface check of the products.

After that, the metal rods are sized by special cutters and get ID stamping. Finally, the products undergo inspection and are ready for use.

Using connectors

• first of all
• in the next stage
• following this
• subsequently

Using additional information

Your diagram will often provide you some additional information and hints for most stages of the process. Make sure that you use all that information while describing specific features of your diagram!

However, sometimes you may see that some stage lacks information for description . For example, we only know that the third stage of our process is called refinement and it happens in a smelting cabin . But we don't know what exactly happens during this stage.

In this case, you can use a verb to undergo . To undergo = to experience. For example, you can write: " the material undergoes refinement in a smelting cabin ".

And don't forget that you should NOT write a conclusion in Writing task 1 as you're not giving your opinion, you're describing the data.

Practice. Choose the correct options:

• The table shows the amount of students who study abroad in 2001 and 2011. The table shows the number of students who study abroad in 2001 and 2011.

Amount or number? Note that students are countable.

• The graph illustrate China's annual growth rate of exports of goods. The graph illustrates China's annual growth rate of exports of goods.

Look at the verb that follows the word graph . Hmm, the graph should be singular, so illustrates is the correct option.

• The line graph shows how many Finnish people went to the cinema between June and October 2014. The line graph shows how much Finnish people went to the cinema between June and October 2014.

You can say how much water or how much effort (these nouns are uncountable). But people are countable, so you should use how many in this case.

• The pie charts compare the world population of 1900 with 2000 . The pie charts compare the world population in 1900 and 2000 .

You should use phrase in + year , not of + year or at + year . Moreover, it seems like you compare population with year in the first sentence.

• The bar chart gives information about average household expenditure in Japan. The bar chart shows information about average household expenditure in Japan.

You can use either gives information about or shows , but not both at the same time.

How to Use and Create a Venn Diagram to Help Write Compare and Contrast Essays

• R. Elizabeth C. Kitchen
• Categories : Help with writing assignments paragraphs, essays, outlines & more
• Tags : Homework help & study guides

Creating a Venn Diagram

When using a Venn diagram to write a compare and contrast essay, first draw two large circles. These two circles should overlap each other. Assign a title to each circle that represents each idea you are comparing. In the overlapping area, write all of the things that the two ideas, people, or objects have in common. These will be what you refer to when you are comparing these ideas in the essay. In the areas that are not overlapping, write all of the differences, or contrasts, between the two ideas, objects, or people.

Creating an Outline from Your Diagram

An example of the beginning of the outline for a compare and contrast essay should be similar to:

1. Both turtles and cats make good pets.

• a. Both of these animals are entertaining.
• b. Both animals are relatively easy to care for.
• c. Both animals are inexpensive to adopt and to care for.

2. Both turtles and cats have drawbacks.

• a. Both animals will need to have a cage (turtles) or a litter box (cats) that needs to be cleaned.
• b. Both animals require attention and time.
• c. Both animals can be costly in terms of veterinary care.

3. Cats can be easier to care for.

• a. They can feed themselves as long as their food bowl remains filled.
• b. Cats can be left alone for a day or two.

4. Turtles are less messy.

• a. Turtles live in an aquarium.
• b. Turtles do not need a litter box.

Writing the Compare and Contrast Essay

A compare and contrast essay will ultimately follow this basic format:

• Introduction and Thesis Statement (one paragraph).
• Topic One (at least one paragraph, can be more, discussing just one of the ideas, people, or objects being discussed in great detail).
• Topic Two (will follow the same guidelines as topic one).
• Topic One and Topic Two Together (analyze both topics together, can be one or more paragraphs).
• Conclusion (sum up the compare and contrast essay, should generalize the thesis and should reaffirm the thesis).

The first paragraph of the essay will be an introductory paragraph. It will also include the essay’s thesis statement. The first paragraph should present the first comparison from the Venn diagram, the second paragraph should present the second comparison from the Venn diagram, and the third paragraph should present the third comparison from the Venn diagram. If there are more comparisons on the Venn diagram, more paragraphs can be added. The fourth paragraph should present the first contrast from the Venn diagram. The fifth paragraph should present the second contrast from the Venn diagram. The sixth paragraph should present the third contrast from the Venn diagram. Like the comparison, more contrast paragraphs can be added. The eighth paragraph should present the comparisons and contrasts together. The ninth paragraph should present the conclusion, generalization of the thesis, and reaffirmation of the thesis.

Tips and Tricks

The Venn diagram should ideally contain three comparisons and three contrasts. However, it must contain at least two comparisons and two contrasts. When drawing the Venn diagram, the circles should be very large, so that all information fits within them and within their overlap. Once all of the information is written within the Venn diagram, it is a good idea to make each circle a different color, as well as the overlap area. Using three colors to “separate” the information makes a Venn diagram easier to read.

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Entity Relationship Diagram, Essay Example

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An entity-relationship diagram (ERD), also known as an entity-relationship model, is a graphical representation that depicts relationships among people, objects, places, concepts, or events within an information technology (IT) system.

Healthcare Database

The above Entity Relation Diagram describes how patient data is related to the reminder data. In the patient entity, it contains the Name, Address, and email of the patient. The email attribute would contain the primary key because every patient contains a specific email and cannot share the email. In the reminder entity, it contains the Reminder ID, Subject, and Body. The Reminder ID attribute contains the primary key because the IDs are not the same for different patients. In the relationship between the patient entity and the reminder, a one-to-many entity relationship is where one patient can receive numerous reminders. In the relationship between reminders and patient entity is that one to one relationship where one reminder can be sent to one patient.

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Home — Essay Samples — Economics — Economy — Circular Flow Model

The Usefulness of The Circular Flow of Income Model

• Categories: Economy Taxation

About this sample

Words: 964 |

Published: Jan 15, 2019

Words: 964 | Page: 1 | 5 min read

Works Cited

• Stafford, A. (2022). Resource Sharing between Business and Household Structures during Economic Crises. Journal of Economic Dynamics and Control, 129, 104411. doi:10.1016/j.jedc.2022.104411
• American Rescue Plan Act of 2021, Pub. L. No. 117-2, 135 Stat. 4. (2021).
• Investopedia. (n.d.). Fiscal Policy. Retrieved from https://www.investopedia.com/terms/f/fiscalpolicy.asp
• Mankiw, N. G. (2001). Principles of Economics. Cengage Learning.
• Noor, A. A. (2012). The Circular Flow of Income and Expenditure: A Textbook Example. International Journal of Economics and Financial Issues, 2(1), 34-41.
• Acemoglu, D., Laibson, D., List, J. A., & Mankiw, N. G. (2014). Principles of Economics (6th ed.). Cengage Learning.
• Blinder, A. S., & Solow, R. M. (1973). Does Fiscal Policy Matter? Journal of Public Economics, 2(4), 319-337. doi:10.1016/0047-2727(73)90026-5
• Congressional Budget Office. (2021). The Budget and Economic Outlook: 2021 to 2031. Retrieved from https://www.cbo.gov/publication/56973
• Taylor, J. B. (2020). Monetary Policy Rules Work and Discretion Doesn't: A Tale of Two Eras. Journal of Money, Credit and Banking, 52(S1), 183-197. doi:10.1111/jmcb.12675
• World Bank. (2022). World Development Indicators 2022. Washington, DC: World Bank. doi:10.1596/978-1-4648-1909-1

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