Portfolio by swhalen

Sarah Whalen Writing Portfolio

E L B A T

About Me

A C A D E M I C

W R I T I N G

"The Malic ious Mac hiav ellian"

S O C I A L

M E D I A

W R I T I N G

"The Ten Best Gifts for Wr iter s This Holiday Season" T

"How To Ac c ess Feedbac k on Canv as"

" H ow

H eL

a Ce

RAI T LI N W G

Work

CONTENTS

F O

4 5 16 23 25

W E L C O M E

Sarah Whalen About Me In my portfolio, I have examples of my work that show my passion for creating innovative, informative documents. Currently, you can find samples of my academic, technical, and social media writing. In particular, these documents showcase the skills Iâ&#x20AC;&#x2122;ve learned in my technical writing, editing, and digital writing classes. During my four years at St. Edwardâ&#x20AC;&#x2122;s, I have mastered the art of blending perceptiveness and empathy with a practical mindset that is well suited to writing, editing, and managing production in a broad range of sectors, from technology to creative expression. Overall, my courses I have taught me how to harmonize creativity alongside structure by fostering ingenuity as well as morality. When I began my academic career, I knew I had a passion for writing but never dreamed of becoming the versatile professional, creative, and technical author that I am today. Through this time, I have pushed myself to success in an array of challenging classes while also practicing these lessons in my internship as a social media intern at The Writing Barn. Regardless of the position I pursue, I will continue to use my degree towards continual evolution in my writing in order to better understand the world and help others.

Academic Writing This was a research paper that I wrote for JSOURCE, St. Edward’s peer-reviewed research publication. It appeared under the title, "The Malicious Machiavellian." It required me to dig deep in that I not only had to have extensive knowledge of John Milton’s Paradise Lost but also Machiavelli’s The Prince as well as the scholarship surrounding Machiavellian rhetoric in Paradise Lost. It represents my abilities to extensively research and curate an exemplary research essay.

The Malicious Machiavellian Almost all discussions of Satan in Milton’s Paradise Lost tend to emphasize the devil’s power-hungry schemes in relation to Machiavellian philosophy. To many, Satan has seemed to be a textbook case of Machiavelli’s ideology: the character possesses conniving sensibilities, a ruthless demeanor, and an abundance of pride, all hallmarks of what is seen as Machiavellian. However, this portrayal only represents the surface definitions of the philosophy. Machiavelli also champions objectivity, productiveness, and flexibility, qualities that Satan shows not to have through his unwillingness to accept the consequences of his actions, the unproductive nature of his congregants, and the delusional manner in which he believes he can defeat an all-knowing God. Drawing on the connections found between Satan’s use of Machiavellian methods compared to God’s own methods, I intend to discuss how Milton separates good and malicious Machiavellian rule. Ultimately, I will claim that God himself is the only entity capable of successfully ruling in such a manner, an idea counter-intuitive to how most might view Milton’s deity. For instance, an academic with a similar viewpoint, Barbara Riebling, theorizes that Satan marks the epitome of a failed Machiavellian, someone that understands the basic tenants of the philosophy, but cannot detect the bigger and more important underlying lessons. For instance, Riebling sees Satan is charming and conniving towards his goals. However, he has neither pragmatism nor the self-awareness to forgo the past and focus on the future. Riebling uses such examples to show Satan lacking one of Machiavelli’s most sacred principles: perspective. According to Riebling, Satan is a “slave to his own nature meaning he is removed from innovation and has neither flexibility or pragmatism to abate his rule (577). Milton shows Satan as an entity that can’t look at events realistically and must resort to fantasizing the events

to insure his pride, hindering his ability to seek new, more prosperous ways out of Hell. By doing so, his fortunes fall to fate instead of virtù, thus leaving him chained to God’s will. Riebling also goes on to show Satan as a tyrant bound to his internal torment while lacking any of the cool façade of a Machiavellian ruler. He is shown as filled with shame and self-loathing, uncertain in his endeavors and blindly following an ultimately hopeless plan. Unlike what Machiavelli deems a successful ruler, there is no logic to Satan. As Riebling notes, he can manipulate his followers for his own means. But to Milton, Satan is a degenerate that uses a “grab-bag” of solutions instead of fair reasoning, perverting his kingship in the process rather than in Machiavelli and Riebling’s words, lack the talent to overcome his past (583). However, Riebling notes that the major reason Satan truly fails at overtaking God is not a lack of Christian virtue but instead a singular “talent for exercising power” (589). Riebling concludes that Milton’s depiction of Satan actually argues that numerous intangibles create a good ruler rather than just their talent for manipulation. Rather than praise Satan’s deceitfulness, Paradise Lost exemplifies that a kingdom must have autonomy and some sort of morality, otherwise, only a shadow of civic discourse occurs, giving all power to one source alone like in Hell’s parliament. For without a code, the devils have courage, not goodness since according to Riebling, even “pagan ideals cannot survive in a morally disobedient state” (590). And without Satan to lead them, they are unable to exercise an iota of free will. Riebling uses the example of the minions staring at Satan’s empty throne as a contrast to the true democratization of heaven. Hell is a society faking any sort of progress or competency whereas the monarchy of Heaven is truly virtuous and constructive. It proves the author’s point of Satan acting as a hindrance to his kingdom rather than a fit ruler. Essentially, the destruction that Satan causes illustrates the hollowness of himself as well as the Machiavellian values he

effuses. Riebling ends the entire section by noting that Satan has caused no real change in his destruction of Adam and Eve, and for all of his bluster about deception and triumph, he has learned nothing from either encounter with God’s wrath. On the other hand, Victoria Kahn discusses Satan as a test of virtue and free will, portraying the character as a celebration of free choice rather than a condemnation of Machiavellianism and Satan’s inability to comprehend it. Instead, Kahn starts the excerpt with definitions of Christian virtue, truth and goodness, and the concept of virtù, a collection of traits necessary for a successful ruler. The author then goes on to frame how both concepts intersect in the political field, declaring that God’s usage of such ideals represents Milton’s own acknowledgement that both can combine to create a working government. Kahn then goes on to explain the concept of virtù not technically being the opposite of Christian virtue, but rather deeds that are achieved with ethical consequences. For instance, Kahn uses the example of Satan’s minions as entities that still possess valor since they fight and serve with the same zeal with Satan as they would with God. Yet because of this, Kahn asserts that Satan and his minions have become enslaved to their actions since they take full responsibility for them. They are not bad men, for bad men possess no emotion in their actions. Instead, the devils are merely fallen since they have in the words of Kahn, chosen to “enthrall themselves” (5). Virtù in and of itself is indifferent to the forces of good and evil. The only thing it requires is faith rather than intention, therefore it can be virtuous to a Machiavellian as well as a Christian. And by living in this indifferent area, virtù can also be wrongly interpreted as Riebling has previously expressed. In a sense, Kahn feels that this does not represent a rebuttal to Machiavellian theory, but rather a dissection of the issues that surround liberty. Satan in and of himself is a republican, but

what makes him dangerous is not that he has wrongly interpreted Machiavellianism for evil purposes, it is that he has corrupted freedom. Yet because of this, he has proven that such turns are what makes virtue meaningful since Kahn feels he has importantly conjured a test of morals as well as faith, thereby giving so good meaning to his actions (Kahn 2). Without out this, goodness and evil would be weaker and undefined, simply because there would be no test to determine either’s validity. Like Machiavelli, there are no simple answers to the larger moral quandaries exposed; adversity must exist to determine true character as well as success. Kahn then clarifies this usage by explaining the obscurity of Sin and Death. Both entities in Paradise Lost are easy and yet vaguely explained. They are easy concepts for God to understand, yet even their father, Satan, cannot grasp their true nature. It is later clarified that Satan is again unable to grasp Machiavellian power outside of fraud and deception. Kahn agrees with Riebling that Satan cannot look on anything without (as Kahn puts it) a “narcissistic refusal” to acknowledge his true skillset and role in his downfall (Kahn 21). Kahn also hypothesizes that he cannot even be a strict Machiavellian because of his inability to do nothing but rule. Satan focuses his entire army and plan on this one goal, thus forgetting God’s power and the futility of desecrating Eden. For in many ways, Satan, like his description of the Tree of Knowledge, is a misrepresentation of Machiavellianism rather than the its true realization. Kahn then concludes that Paradise Lost as well as the character of Satan actually stand for Milton’s wish to define the concept of free will rather than focus on the good or bad outcomes that come from Machiavellianism. In her view, no distinction is needed to understand the actions of oneself, but rather what those actions mean on a grander scale. Reason is choice and discerning the difference between good and evil is the entire cycle of creating positive actions. And although such a cycle leaves an opening for wrongdoing, it is considered Milton’s

stance that this must occur to ensure Christian liberty and free will. Finally, Kahn asserts that such a philosophy is Milton’s bedrock for political virtue, and regardless of the potential unmooring of social values as well as freedom, it must occur in order to cement the power of the people, knowing full well that such an unbridled stance could lead to tyranny. Ultimately, both articles come to the conclusion of Satan being an example of Machiavellianism and free will gone wrong. Satan misuses both philosophies to the point of perversion and destroys paradise in the process. But in neither case is there given a clear explanation of this being the nature of each philosophy or Satan’s own failures. However, I would like to discuss Satan as an example of how Milton illustrates that only God can truly coop Machiavellianism and how anyone else becomes ensnared in its superficial meanings because of their own frailties. For instance, the subjects depicted in both Heaven and Hell are similar on the surface, yet completely different in their underpinnings. Both seem to have a form of democracy amongst its ranks. Satan calls for a senate when planning their actions against Heaven, as does God himself when told that Satan has come to Paradise. But in contrast to Heaven, Hell’s senate is a mockery of free will and speech. All devils from Beelzebub to Belial express mere strawman arguments that Satan himself has spread amongst his constituents, only to help forward his own ideas and plans rather than further discussion. At first sight, this is Satan implementing the goals of Machiavellianism, creating a situation “where his citizens will always need both his government and him” (Machiavelli 64). Yet this isn’t so. Satan has completely crippled his subjects to the point that without him, they simply wait in the senate for his return. They don’t better Heaven, nor are they really tools for Satan’s advantage in Paradise; they are useless.

In contrast, Heaven, though depending on God just as much as Hell depends on Satan, is able to function without him. Angels can arrive at fully formed opinions and actually help those around them such as when Michael details the fall of Satan to Adam. They can fully exercise free will such as when discussing how to defeat Satan in his bid for dominance. All of this still falls under Machiavellian doctrine, for the angels still act mainly as pawns in the fight between God and Satan, therefore portraying Machiavelli’s suggestion that underlings need to possess the illusion of independence all while making sure they “disguise [their] slyness” (67). However, their time spent in Paradise details how God’s relinquishing of free will has allowed the furtherance of God’s plan. Because of Satan’s near-sighted approach to governing, he has also squandered any chance for reconciliation or triumph. He is hopelessly obtuse to his true situation and fall, most notably when describing the war in heaven as a close affair. He again fails to grasp that one of Machiavelli’s main tenets is flexibility, mainly by “studying reasons for victories and defeats so as to avoid the failures” (Machiavelli 83). By completely ignoring the reality of his losses, Satan has condemned himself to a fantasy in which he will continue to fail simply because he disregards God’s power. He acts like almost any power-hungry person would, and maniacally focuses on what he perceives as mistreatment, thereby dooming him to the hell in which he resides. And that same flexibility which Satan lacks allows God to defeat Satan. He does not focus continuously on Satan. Instead, he freely views the fight for Eden as an advantage, a test that if lost can be forgiven in time. He melds a failure into a triumph of sorts, thus giving Satan only a pyrrhic victory. The entire intent of Machiavellianism is resiliency, and Satan narrowly focusing on usurping God is an example of his small-mindedness, his inability to comprehend

the greater battle at hand. If anything, Satan is trapped within himself, unable to look past his own viewpoint to consider his true hierarchical standing since he “chose freely what he now rues” (Milton 4.72). For again, Satan cannot realize the various qualities of successful leaders. Yes, Satan can manipulate and deceive and use virtù, the philosophy of what makes an effective Machiavellian ruler. However, these are the only qualities he has. His manipulation is only to further his control of power rather than invoke winning outcomes for his subject or ultimately himself. Milton shows the tenuous bond between control and tyranny, mainly by demonstrating the parallels of Satan, an inept and petty ruler, to God, the epitome of sagaciousness and controlled temperament. This is never seen more clearly than when Satan escapes Hell. He wails at his misfortunes and despairs of his plan to overthrow God, crying that he is “only supreme in misery” (Milton 4.81). He isn’t cold and collected when embarking on this feat, thus violating Machiavelli’s rule of princes having “no other objective, no other thought, nor take up any profession but that of war, its methods and its discipline” (Machiavelli 82). Satan is confused, erratic, and most egregious, vulnerable. Machiavelli’s theories are again shown to be useless to the common disciple because they require complete control as well as due diligence. Milton illustrates the inevitability of being a true Machiavellian unless one is God, for all go through anger and depression. Everyone doubts themselves regardless of stature, leaving only the Machiavellian components of deception and crushing control achievable. To some extent, this is what destroys Satan. He will constantly throw himself into situations to appease a sense of loyalty or inevitability. He understands that to conquer paradise is something he should “abhor” and reject, but that his inability to let go of the past and the

power of his rule is what keeps him from stopping (Milton 4.392). His anger and pride gather and fall throughout the monologue to reveal the cracked artifice of someone incurably discontent, and by failing to chart a course of action against these feelings, he succumbs to them, and wallows in his failures rather than objectively view his life. As seen by God’s reaction to the fall of Eden, he understands that defeat is not inherently bad, and that such events can be corrected through one’s own reactions and manipulations. More than anything, Machiavellianism defines a ruler as a flexible person, someone that controls and accepts his fate with the same emotion. Defined by Machiavelli, virtù is using whatever you have at your disposal to go up against fate. Luck can play a part in success, but it mostly comes about because of the reactions and talents of the individual using those chances to “mold it into whatever shape they wanted” as per Machiavelli’s definition (50). Even though it may be impossible, one must use all of their talents to invoke a desired outcome, otherwise, they rely on the unaccountability of luck, leading only to failure since one has placed all faith in arbitrary actions as well as ignoring mistakes made in the process. Again, Satan constantly shows his irresponsibility by refusing to admit failure. Unlike Kahn’s interpretation, this leads to Satan actually losing his free will because he becomes a slave to his nature, something even he is aware of. In contrast, God willingly admits the possibility of failure as well as his creations’ vulnerability, but he uses this to his advantage. He is not trapped behind a wall of self-pity and doubt as is Satan. He simply evaluates his options and moves forward, allowing his council to freely comment on what should be the next course of action. There is no deadlock in God’s thought process nor is there any guilt or fear, simply because God is truly perfect. In all of Paradise Lost, whether it be Adam, the devils, or the angels, they are all people with flaws and hindrances to their own success.

More than anything, Miltonâ&#x20AC;&#x2122;s poem represents the futility in trying to control such a volatile philosophy. Satan can be taken as a cautious tale of free will and can act as a tale misreading Machiavelli. But ultimately, Milton shows that almost no one is equipped to use Machiavellianism. It is a complex belief system that though not inherently evil, it can easily be used for such purposes. It requires perfection in its execution, devoid of emotion, and because of this, it becomes clear that only God can truly enact and rule as a true Machiavellian.

Works Cited Kahn, Victoria. Machiavellian Rhetoric: From the Counter-Reformation to Milton. Princeton, NJ: Princeton University Press, 1994. Web. Machiavelli, Niccolo. The Prince. Penguin, 1980. Milton, John. Paradise Lost. Wordsworth Editions, 2001. Riebling, Barbara. “Milton on Machiavelli: Representations of the State in Paradise Lost.”’ Renaissance Quarterly 49.3 (1996): 573–597. Web.

Social Media Writing This blog post was written for the Writing BarnÂ website of the local Austin business of the same name. It was posted under the title, "The Ten Best Gifts for Writers This Holiday Season." Here, I showcased my editing, market-savvy, and SEO skills in order to create a fun yet entrepreneurial article for the business.

The Ten Best Gifts For Writers This Holiday Season Posted on November 22, 2019 Everyone gets busy this time of year buying gifts, but what do you get for that special writer in your life? Another book? Another coffee mug? Don’t worry, the Barn’s got you covered. Here’s a list of The Writing Barn’s Ten Best Gifts For Writers This Holiday Season. 10. Dramatic Bookends: Is your bookshelf overstuffed? Does it need an outlet to showcase its distress? Well look no further than The End bookend, a bookcase ornament just as dramatic as your books. The next time you have guests, stop them in their tracks with this hilarious shelf item while keeping your books upright and fashionable. 9. Mighty Bright Book Light: Any book-lover can tell you that at some point, their partner/roommate/pet wants the lights off. But with this book light, literary aficionados can stay up with a book all night without bothering the whole house. 8. Writer Emergency Pack: There are thousands of creative craft sets on the market, but this one might be one of the best. Each card features questions tailored to get writers out of creative jams fast. Watch out writers block! Resuscitating stagnant stories just got a little easier. 7. Spotify Premium: It’s hard to let the music (and the writing flow) play on when ads keep interrupting a writer’s playlist. But with Spotify Premium, that can be a thing of the past. So this year, give your writer the gift of nearly 30 million songs with no advertising. 6. Bose Noise-Canceling Headphones: Sometimes, writers just want a little piece and quiet. One of the best ways to achieve it is through these professional-quality headphones.

With these in hand, a writer will never be doing some unwanted dialogue research. 5. AquaNotes: Imagine: your in the shower and suddenly get that one great idea, but there’s no paper to write it down. With waterproof AquaNotes, a writer will never have to worry about losing their idea again. Stick them in the shower and keep that next great idea from going down the drain.

4. Literary Insults Chart: Sometimes, a writer needs a break from the sturm and drang of their novel. The next time your writer-pal looks up from their work, give them something to laugh about with this chart of zingers, puns, and poetic put-downs by everyone from Madame Roland to Mark Twain. 3. Blue Light Glasses: This one is something everyone could use. Whether your writing on your laptop or simply surfing the net, your eyes are continually being subjected to damaging blue light rays that can cause headaches, sleep issues, and eventually sight loss. But with these special lenses, you can ward off those pesky problems while staying stylish year-round. 2. Phillips Sunrise Simulator Alarm Clock: Writers are like everyone else: they don’t like to get up in the morning. But with this clock, writers can be gradually woken by a simulated sunrise to peacefully start their day and get an early start on their next creative endeavor.

1. A Writing Barn Gift Card: What better way to support the writer in your life than giving them the gift of a writing class or retreat. This holiday season, help them join a community of critique and support for their literary endeavors. But more than anything, help make your writer’s 2020 the most rewarding yet!

This post comes to you courtesy of WB Intern Sarah Whalen, who’s currently wishing for blue light glasses come Christmas morning. Happy holidays from all of us at the Writing Barn!

Technical Writing Directions This sample was written for my Technical Writing class. It required successfully collaborating on forming coherent steps for a new Canvas user as well as creating a set design and ultimately a successful user-testing. More than anything, it showcases one of my exemplary teamwork as well as design skills due to its accesible format.

How To View Instructor Feedback on Canvas

Logging into canvas Log on to St. Edwardâ&#x20AC;&#x2122;s University Canvas, which can be accessed on MyHilltop or at: https://stedwards.instructure.com/

Selecting a course Click on your course title.

Locate the vertical menu Instructor feedback can be accessed by clicking Grades or Assignments.

Opening submission details Click on the assignment youâ&#x20AC;&#x2122;d like to view instructor feedback for

View Instructor Feedback

To the far right, click on the blue hyperlinked View Feedback option. If you do not see the link, you may need to scroll right within the Assignment Window.

Downloading and Printing

Once you click View Feedback, a new window will open with your marked up assignment. You can also download your assignment to print a PDF.

1. Download 2. Expand window

Technical Writing Concept Explanation This sample was created for my technical writing class as well in order to explain a concept. The text was retrieved from the Berkeley Science Review website. The document was titled â&#x20AC;&#x153;How HeLa Cells Workâ&#x20AC;?. Overall, I showcased my abilities to explore scientific jargon, design attractive documents, and edit copious amounts of information into an accessible article.

How HeLa Cells Work

What Are HeLa Cells? HeLa cells, also known as "immortal cells," are cervical concer cells. Unlike normal cells, HeLa cells never undergo the process of senescence, meaning they never deteriorate or stop dividing and replicating.

Cells vs. HeLa Cells Cells have: 46 chromosomes Limited number times they can divide Non-active telomerase during divisionÂ Undergo apostosis (cell death or inability to divide/replicate) HeLa Cells have: 76-80 chromosomes The ability to contaminate other cell lines Active telomerase during division

Why Do HeLa Cells Continue Dividing? HeLa cells continue to divide due to active telomerase during division. Instead of the telomeres shortening at the end of division, telomerase elongates the telomeres after chromosomes have been copied, allowing continuous replication.

Why Are HeLa Cells Important? Before the discovery of HeLa cells, scientists had no means of testing vaccines due to the fact that an experiment's effects on a cell and its DNA could only be used once. HeLa cells solved this problem because they contained identical DNA and could make infinite copies of itself to compare with. Since the discovery of HeLa cells, they have been used in numerous studies to develop the polio vaccine, study cancer, HIV/AIDS, and study cells in general. Today, they are still used to test new vaccines and medications.

THANK YOU!