The document outlines an agenda for a presentation and discussion around personal identity and passing experiences. It will include a presentation on key terms, a discussion of personal experiences with being judged by outward characteristics or passing as something one is not, and a lecture on writing strategies for an in-class personal narrative essay. The essay prompts will ask students to write about a time they were unfairly judged or a time they passed as someone else, intentionally or not. Key elements of an effective personal narrative like vivid storytelling, description of places and people, and conveying significance will be covered.
This document provides an agenda and terms for a class discussion on identity. The agenda includes a presentation on terms, discussions on in-class writing experiences related to identity, and a lecture on writing strategies for an in-class essay. It outlines the basic features of a personal narrative for the in-class essay, including a well-told story, vivid descriptions of places and people, and an indication of the event's significance. It also defines key terms related to identity such as bias, culture, difference, discrimination, diversity, equality, ethnicity, fluid identity, oppression, and passing.
This document provides an agenda and terms for a class discussion on identity. The agenda includes a presentation on terms, discussions on personal experiences with identity and being judged, and a lecture on writing strategies for an in-class essay. The terms section defines key concepts related to identity such as bias, culture, difference, discrimination, diversity, equality, ethnicity, fluid identity, oppression, and passing. The document provides writing prompts for students to describe experiences with being unfairly judged or passing as someone else. It also reviews features of personal narratives such as using dialogue, vivid descriptions, and indicating an event's significance.
This document provides an agenda and terms for a class discussion on identity. The agenda includes a presentation on terms related to identity, an in-class writing assignment on a personal experience with identity or passing, and a lecture on writing strategies for the assignment. The document defines 10 terms like bias, culture, discrimination, diversity, equality, ethnicity, fluid identity, oppression, and passing. It provides writing prompts and outlines the basic features of a personal narrative for the in-class assignment, including telling a well-structured story, vividly presenting places and people, and conveying the event's significance.
This document provides an agenda and materials for a class discussion on identity. The agenda includes a presentation on key terms, a discussion on personal experiences with identity and judgment, and a lecture on writing strategies for an in-class essay. Students will then have in-class writing time to draft a personal narrative essay responding to a prompt about experiences with identity or passing. The document defines key terms related to identity and oppression. It also provides example outlines and strategies for crafting an effective personal narrative, including developing characters, settings, dialogue, and conveying significance. The homework directs students to post an outline and reflections for their in-class essay.
This class session covered writing strategies for a personal narrative essay assignment. Students discussed their personal experiences with identity and passing. They learned about key features of narratives like vivid descriptions of places and people. Students outlined stories and reflected on the significance of events. The session concluded with framing techniques for introductions and conclusions. Students were assigned to post their in-class writing as homework.
This class agenda covers a personal narrative writing assignment. Students will discuss a short story, share personal experiences about being judged or passing as someone else, and learn strategies for writing a 500-1000 word narrative essay due in the next class. They will analyze elements of a well-told story like vivid descriptions of places and people. The instructor models narrative techniques through examples from a short story and prompts students to practice skills like listing key locations and dialogues.
This document provides an agenda and materials for an EWRT 1B class. The agenda includes discussing terms related to social justice, analyzing a short story, sharing personal experiences, and an in-class writing assignment. Students are instructed to take notes on their participation and contributions to the class discussion. Key terms are defined related to bias, culture, discrimination, diversity, equality, ethnicity, oppression, and passing. Guidelines are provided for the in-class narrative essay assignment.
This class agenda covers a discussion on passing and identity, a personal experience with being judged, writing strategies for an in-class essay, and the basic features of a personal narrative. Students will participate in a discussion on "Uncle Willie" from Maya Angelou's autobiography and share a time they were unfairly judged or passed as someone else. They will also receive the prompt for their first in-class narrative essay on having an identity unfairly judged or an experience with passing. The class will cover how to craft a well-told story with vivid descriptions of places, people, and key scenes using dialogue.
This document provides an agenda and terms for a class discussion on identity. The agenda includes a presentation on terms, discussions on in-class writing experiences related to identity, and a lecture on writing strategies for an in-class essay. It outlines the basic features of a personal narrative for the in-class essay, including a well-told story, vivid descriptions of places and people, and an indication of the event's significance. It also defines key terms related to identity such as bias, culture, difference, discrimination, diversity, equality, ethnicity, fluid identity, oppression, and passing.
This document provides an agenda and terms for a class discussion on identity. The agenda includes a presentation on terms, discussions on personal experiences with identity and being judged, and a lecture on writing strategies for an in-class essay. The terms section defines key concepts related to identity such as bias, culture, difference, discrimination, diversity, equality, ethnicity, fluid identity, oppression, and passing. The document provides writing prompts for students to describe experiences with being unfairly judged or passing as someone else. It also reviews features of personal narratives such as using dialogue, vivid descriptions, and indicating an event's significance.
This document provides an agenda and terms for a class discussion on identity. The agenda includes a presentation on terms related to identity, an in-class writing assignment on a personal experience with identity or passing, and a lecture on writing strategies for the assignment. The document defines 10 terms like bias, culture, discrimination, diversity, equality, ethnicity, fluid identity, oppression, and passing. It provides writing prompts and outlines the basic features of a personal narrative for the in-class assignment, including telling a well-structured story, vividly presenting places and people, and conveying the event's significance.
This document provides an agenda and materials for a class discussion on identity. The agenda includes a presentation on key terms, a discussion on personal experiences with identity and judgment, and a lecture on writing strategies for an in-class essay. Students will then have in-class writing time to draft a personal narrative essay responding to a prompt about experiences with identity or passing. The document defines key terms related to identity and oppression. It also provides example outlines and strategies for crafting an effective personal narrative, including developing characters, settings, dialogue, and conveying significance. The homework directs students to post an outline and reflections for their in-class essay.
This class session covered writing strategies for a personal narrative essay assignment. Students discussed their personal experiences with identity and passing. They learned about key features of narratives like vivid descriptions of places and people. Students outlined stories and reflected on the significance of events. The session concluded with framing techniques for introductions and conclusions. Students were assigned to post their in-class writing as homework.
This class agenda covers a personal narrative writing assignment. Students will discuss a short story, share personal experiences about being judged or passing as someone else, and learn strategies for writing a 500-1000 word narrative essay due in the next class. They will analyze elements of a well-told story like vivid descriptions of places and people. The instructor models narrative techniques through examples from a short story and prompts students to practice skills like listing key locations and dialogues.
This document provides an agenda and materials for an EWRT 1B class. The agenda includes discussing terms related to social justice, analyzing a short story, sharing personal experiences, and an in-class writing assignment. Students are instructed to take notes on their participation and contributions to the class discussion. Key terms are defined related to bias, culture, discrimination, diversity, equality, ethnicity, oppression, and passing. Guidelines are provided for the in-class narrative essay assignment.
This class agenda covers a discussion on passing and identity, a personal experience with being judged, writing strategies for an in-class essay, and the basic features of a personal narrative. Students will participate in a discussion on "Uncle Willie" from Maya Angelou's autobiography and share a time they were unfairly judged or passed as someone else. They will also receive the prompt for their first in-class narrative essay on having an identity unfairly judged or an experience with passing. The class will cover how to craft a well-told story with vivid descriptions of places, people, and key scenes using dialogue.
This class agenda covers a personal narrative writing assignment. Students will discuss a short story, share personal experiences about being judged or passing as someone else, and learn strategies for writing a 500-1000 word narrative essay due in the next class. They will analyze key elements like vivid descriptions of places and people, well-told stories, and indicating an experience's significance. The class will also include an in-class writing exercise and discussion of diversity, identity, and social justice terms.
This document provides an overview of a class on writing fiction novels. It discusses various topics related to writing novels including choosing between mainstream and genre fiction, developing plots, characters, and action scenes. It also covers pitching ideas to agents and publishers, writing the full manuscript, and promoting the published work. Key points include outlining the classic plot structure, using the Freytag pyramid to design plots, developing compelling characters through backstories and motivations, and balancing plot, characters, and action throughout the story.
Practical Techniques for Teaching Culture in the ClassroomJoe McVeigh
As English language teachers we naturally focus on language itself and how we can help our students learn it better. But research has shown that intercultural competence can be just as important as language ability. How can we become more aware of cultural differences and how can we-and our students-bridge cultural gaps? In this interactive webinar, we will examine some key concepts of intercultural communication and look at some practical ways to help learners communicate more effectively when they interact with those from different cultural backgrounds.
We are shaped by the stories we tell ourselves and those told to us by others. Negative narratives can lead to fear, low self-esteem, and armor that prevents vulnerability. However, it is possible to change one's internal story and rewrite harmful narratives in a positive, strength-based way. This involves practices like gratitude, mindfulness, acts of courage, and focusing on personal growth and relationships. An empowering narrative sees our inherent worth and brings more love and meaning into the world.
Fiction Secrets: Pitching, Selling, and Promoting Thrillersggaldorisi
This workshop will focus on the challenges – and opportunities – regarding getting your novel accepted by a mainstream publishing house. Learn how to decide what to write about, how to pitch a story to publishers and agents, how to seal the deal once the pitch gets a nibble, and how to team with your publisher to promote your book. While the primary focus will be on getting published by a mainstream publisher, we’ll also examine how some of these same lessons apply to the world of e-books and print-on-demand.
This document provides an agenda for an English writing class. It includes a discussion of the Hughes story "Who's Passing for Who?", a reading of an essay by Juda Bennett about queerness in the story, brainstorming for Essay 2 with the FREECASH method, in-class writing, and an author lecture on Toni Morrison. It also includes discussion questions for "Who's Passing for Who?" and prompts for arguing for or against William Pickens's statement on passing using evidence from class texts. Homework assigned is reading Morrison's "Recitatif" and posting discussion of passing and QHQ for the story.
This document provides information on writing and publishing novels. It discusses deciding between writing for fame, pleasure, or money. It also covers non-fiction vs fiction requirements, the Great American Novel, plotting, characterization, and getting a book sale. Key aspects include having a compelling plot, developing characters with motivations, focusing on either mainstream or genre works, and using a query letter to find an agent. Writing fiction is portrayed as difficult work that requires planning one's novel and characters.
The document provides an overview of a lecture titled "A Thrill a Minute: Crafting, Pitching, Writing, Selling and Promoting Thrillers" given by George Galdorisi at the La Jolla Writer's Conference. The lecture focuses on how to write a thriller novel, pitch it to agents and publishers, and work with a publisher to promote the book. It discusses developing a high concept and effective pitch, writing techniques like characterization, plotting and action, the publishing process, and book promotion strategies. The goal is to help attendees understand how to successfully publish a thriller with a mainstream publisher.
This document outlines the journey of an entrepreneur who became passionate about promoting gender equality and challenging stereotypes. It details how they started a platform called Shiftbalance to share knowledge on gender stereotypes and solutions. Shiftbalance produces infographics and identifies campaigns, initiatives, videos, and products that empower women and promote a more balanced world. It encourages people to get engaged and pick their own battles to address issues of gender inequality.
Building bridges through intercultural communicationJoe McVeigh
Methods of understanding culture and intercultural communication in working with international students and those from different countries and cultures.
Teaching the Dream: The Enduring Idea, Art, and the National Civil Rights MuseumJ S-C
This is a presentation I gave at the 2014 Tennessee Art Education Association conference in Memphis, TN. The conference was themed "We Can Dream." The presentation seeks to demonstrate how enduring ideas and essential questions connect classroom concepts to real-world experience to promote higher order thinking. The presentation also shares how my art education training has been essential in shaping the National Civil Rights Museum's educational materials for teachers. Also included are ways to incorporate civil rights history into art lessons.
View the last slide for additional links.
This document provides guidance on writing documentary treatments and pitches. It discusses the purpose of treatments, outlines common treatment elements like loglines and narrative synopses, and offers tips on style and common mistakes. Students will pitch their documentary projects to the class and receive feedback to help strengthen their treatments. Effective treatments tell a compelling story through visual language and present a worthy subject, theme, and central question.
This document discusses several key ethical issues in documentary filmmaking:
1) Ethics are an ongoing process that involves continual discussion and understanding different perspectives, rather than being static rules.
2) Filmmakers must balance protecting subjects' privacy with exposing their lives, and be transparent about their methods and intentions.
3) Directors must consider their own biases and assumptions, and whether their films could recreate stereotypes. They must also think carefully about "speaking on behalf" of others.
4) The power dynamics between filmmakers and subjects is an important ethical consideration, especially regarding subjects' ability to represent themselves.
This document contains discussion questions and summaries about two short stories - Langston Hughes' "Who's Passing for Who?" and Toni Morrison's "Recitatif". For Hughes' story, it provides character summaries and discusses themes of racial passing and possible queer readings. For Morrison's story, it lists the characters and settings and has discussion questions about themes of racial ambiguity and class differences. The document aims to facilitate close analysis and comparison of these two works.
The document provides guidance on key elements for writing a great short story, including starting with a catchy first paragraph, developing multi-faceted characters, choosing a point of view, writing meaningful dialogue, using descriptive setting and context, setting up an engaging plot with conflict and tension, building to a climactic crisis, and finding an appropriate resolution. It emphasizes grabbing the reader's attention at the start and resolving the central conflict by the end in a satisfying manner.
The document discusses cultural authenticity in American Indian children's literature. It provides guidelines for evaluating books to ensure they are respectful and accurate in their portrayal of Indigenous peoples, including looking at illustrations, language, history, and the author's background. Examples are given of both culturally appropriate and inappropriate books. Assessment tools from Native organizations are also listed.
The document discusses cultural authenticity in American Indian children's literature. It provides guidelines for evaluating books to ensure they are respectful and accurate in their portrayal of Indigenous peoples, including looking at illustrations, language, history, and the author's background. Examples are given of both culturally appropriate and inappropriate books. Assessment tools from Native organizations are also listed.
Cormac McCarthy is an acclaimed American novelist known for his sparse prose style and bleak themes. Some of his most famous works include Blood Meridian, All the Pretty Horses, The Road, and No Country for Old Men. Despite his success, McCarthy has remained a very private person who grants few interviews. He lives in Santa Fe, New Mexico and continues to write while also interacting with scientists at the Santa Fe Institute.
The Shepard High School marching band performed in the Philadelphia Thanksgiving Day Parade on November 26. They then traveled to New York City to have dinner in Times Square, see a performance at Radio City Music Hall, and tour Manhattan landmarks. The three day trip allowed the band to march in a famous parade and experience New York City over the Thanksgiving holiday.
This document provides guidance on finding one's authentic voice when writing memoirs or true stories. It discusses why people write true stories, including to leave a legacy, share the truth, and find freedom and healing. It addresses grappling with consequences when being open and honest, and confronting inner and outer critics who may disagree. It emphasizes listening to one's heart and having the courage to share what you feel.
This document provides an agenda and materials for a class discussion on identity. The agenda includes a presentation on key terms, a discussion on personal experiences with identity and passing, and an in-class writing assignment. Students will be asked to write a personal narrative essay of 500-750 words responding to prompts about being unfairly judged or an experience with passing as someone else. The document provides guidance on writing strategies for the narrative, including developing characters, settings, and dialogue to vividly tell a story and convey its significance to the writer.
This document provides an agenda and materials for a class discussion on identity. The agenda includes an in-class writing assignment on a personal experience with identity or passing. Key terms related to identity such as bias, culture, and oppression are defined. Discussion topics focus on expressing identity, revealing aspects of oneself, and being judged by outward characteristics. Students will write a personal narrative essay applying concepts of vivid storytelling, characterization, and significance.
This class agenda covers a personal narrative writing assignment. Students will discuss a short story, share personal experiences about being judged or passing as someone else, and learn strategies for writing a 500-1000 word narrative essay due in the next class. They will analyze key elements like vivid descriptions of places and people, well-told stories, and indicating an experience's significance. The class will also include an in-class writing exercise and discussion of diversity, identity, and social justice terms.
This document provides an overview of a class on writing fiction novels. It discusses various topics related to writing novels including choosing between mainstream and genre fiction, developing plots, characters, and action scenes. It also covers pitching ideas to agents and publishers, writing the full manuscript, and promoting the published work. Key points include outlining the classic plot structure, using the Freytag pyramid to design plots, developing compelling characters through backstories and motivations, and balancing plot, characters, and action throughout the story.
Practical Techniques for Teaching Culture in the ClassroomJoe McVeigh
As English language teachers we naturally focus on language itself and how we can help our students learn it better. But research has shown that intercultural competence can be just as important as language ability. How can we become more aware of cultural differences and how can we-and our students-bridge cultural gaps? In this interactive webinar, we will examine some key concepts of intercultural communication and look at some practical ways to help learners communicate more effectively when they interact with those from different cultural backgrounds.
We are shaped by the stories we tell ourselves and those told to us by others. Negative narratives can lead to fear, low self-esteem, and armor that prevents vulnerability. However, it is possible to change one's internal story and rewrite harmful narratives in a positive, strength-based way. This involves practices like gratitude, mindfulness, acts of courage, and focusing on personal growth and relationships. An empowering narrative sees our inherent worth and brings more love and meaning into the world.
Fiction Secrets: Pitching, Selling, and Promoting Thrillersggaldorisi
This workshop will focus on the challenges – and opportunities – regarding getting your novel accepted by a mainstream publishing house. Learn how to decide what to write about, how to pitch a story to publishers and agents, how to seal the deal once the pitch gets a nibble, and how to team with your publisher to promote your book. While the primary focus will be on getting published by a mainstream publisher, we’ll also examine how some of these same lessons apply to the world of e-books and print-on-demand.
This document provides an agenda for an English writing class. It includes a discussion of the Hughes story "Who's Passing for Who?", a reading of an essay by Juda Bennett about queerness in the story, brainstorming for Essay 2 with the FREECASH method, in-class writing, and an author lecture on Toni Morrison. It also includes discussion questions for "Who's Passing for Who?" and prompts for arguing for or against William Pickens's statement on passing using evidence from class texts. Homework assigned is reading Morrison's "Recitatif" and posting discussion of passing and QHQ for the story.
This document provides information on writing and publishing novels. It discusses deciding between writing for fame, pleasure, or money. It also covers non-fiction vs fiction requirements, the Great American Novel, plotting, characterization, and getting a book sale. Key aspects include having a compelling plot, developing characters with motivations, focusing on either mainstream or genre works, and using a query letter to find an agent. Writing fiction is portrayed as difficult work that requires planning one's novel and characters.
The document provides an overview of a lecture titled "A Thrill a Minute: Crafting, Pitching, Writing, Selling and Promoting Thrillers" given by George Galdorisi at the La Jolla Writer's Conference. The lecture focuses on how to write a thriller novel, pitch it to agents and publishers, and work with a publisher to promote the book. It discusses developing a high concept and effective pitch, writing techniques like characterization, plotting and action, the publishing process, and book promotion strategies. The goal is to help attendees understand how to successfully publish a thriller with a mainstream publisher.
This document outlines the journey of an entrepreneur who became passionate about promoting gender equality and challenging stereotypes. It details how they started a platform called Shiftbalance to share knowledge on gender stereotypes and solutions. Shiftbalance produces infographics and identifies campaigns, initiatives, videos, and products that empower women and promote a more balanced world. It encourages people to get engaged and pick their own battles to address issues of gender inequality.
Building bridges through intercultural communicationJoe McVeigh
Methods of understanding culture and intercultural communication in working with international students and those from different countries and cultures.
Teaching the Dream: The Enduring Idea, Art, and the National Civil Rights MuseumJ S-C
This is a presentation I gave at the 2014 Tennessee Art Education Association conference in Memphis, TN. The conference was themed "We Can Dream." The presentation seeks to demonstrate how enduring ideas and essential questions connect classroom concepts to real-world experience to promote higher order thinking. The presentation also shares how my art education training has been essential in shaping the National Civil Rights Museum's educational materials for teachers. Also included are ways to incorporate civil rights history into art lessons.
View the last slide for additional links.
This document provides guidance on writing documentary treatments and pitches. It discusses the purpose of treatments, outlines common treatment elements like loglines and narrative synopses, and offers tips on style and common mistakes. Students will pitch their documentary projects to the class and receive feedback to help strengthen their treatments. Effective treatments tell a compelling story through visual language and present a worthy subject, theme, and central question.
This document discusses several key ethical issues in documentary filmmaking:
1) Ethics are an ongoing process that involves continual discussion and understanding different perspectives, rather than being static rules.
2) Filmmakers must balance protecting subjects' privacy with exposing their lives, and be transparent about their methods and intentions.
3) Directors must consider their own biases and assumptions, and whether their films could recreate stereotypes. They must also think carefully about "speaking on behalf" of others.
4) The power dynamics between filmmakers and subjects is an important ethical consideration, especially regarding subjects' ability to represent themselves.
This document contains discussion questions and summaries about two short stories - Langston Hughes' "Who's Passing for Who?" and Toni Morrison's "Recitatif". For Hughes' story, it provides character summaries and discusses themes of racial passing and possible queer readings. For Morrison's story, it lists the characters and settings and has discussion questions about themes of racial ambiguity and class differences. The document aims to facilitate close analysis and comparison of these two works.
The document provides guidance on key elements for writing a great short story, including starting with a catchy first paragraph, developing multi-faceted characters, choosing a point of view, writing meaningful dialogue, using descriptive setting and context, setting up an engaging plot with conflict and tension, building to a climactic crisis, and finding an appropriate resolution. It emphasizes grabbing the reader's attention at the start and resolving the central conflict by the end in a satisfying manner.
The document discusses cultural authenticity in American Indian children's literature. It provides guidelines for evaluating books to ensure they are respectful and accurate in their portrayal of Indigenous peoples, including looking at illustrations, language, history, and the author's background. Examples are given of both culturally appropriate and inappropriate books. Assessment tools from Native organizations are also listed.
The document discusses cultural authenticity in American Indian children's literature. It provides guidelines for evaluating books to ensure they are respectful and accurate in their portrayal of Indigenous peoples, including looking at illustrations, language, history, and the author's background. Examples are given of both culturally appropriate and inappropriate books. Assessment tools from Native organizations are also listed.
Cormac McCarthy is an acclaimed American novelist known for his sparse prose style and bleak themes. Some of his most famous works include Blood Meridian, All the Pretty Horses, The Road, and No Country for Old Men. Despite his success, McCarthy has remained a very private person who grants few interviews. He lives in Santa Fe, New Mexico and continues to write while also interacting with scientists at the Santa Fe Institute.
The Shepard High School marching band performed in the Philadelphia Thanksgiving Day Parade on November 26. They then traveled to New York City to have dinner in Times Square, see a performance at Radio City Music Hall, and tour Manhattan landmarks. The three day trip allowed the band to march in a famous parade and experience New York City over the Thanksgiving holiday.
This document provides guidance on finding one's authentic voice when writing memoirs or true stories. It discusses why people write true stories, including to leave a legacy, share the truth, and find freedom and healing. It addresses grappling with consequences when being open and honest, and confronting inner and outer critics who may disagree. It emphasizes listening to one's heart and having the courage to share what you feel.
This document provides an agenda and materials for a class discussion on identity. The agenda includes a presentation on key terms, a discussion on personal experiences with identity and passing, and an in-class writing assignment. Students will be asked to write a personal narrative essay of 500-750 words responding to prompts about being unfairly judged or an experience with passing as someone else. The document provides guidance on writing strategies for the narrative, including developing characters, settings, and dialogue to vividly tell a story and convey its significance to the writer.
This document provides an agenda and materials for a class discussion on identity. The agenda includes an in-class writing assignment on a personal experience with identity or passing. Key terms related to identity such as bias, culture, and oppression are defined. Discussion topics focus on expressing identity, revealing aspects of oneself, and being judged by outward characteristics. Students will write a personal narrative essay applying concepts of vivid storytelling, characterization, and significance.
This document provides an agenda and strategies for an English writing class. It discusses using sensory details to describe places and people from an event. It recommends listing key places and people involved, and providing vivid details about their physical descriptions, surroundings, and dialogue. The document also discusses framing a conclusion by connecting it back to an opening quotation or reflecting on the experience's meaning. Students are assigned to read more of The Hunger Games and post their in-class writing applying these strategies.
This document discusses using narratives to help students process trauma. It describes an assignment where students researched a deceased person from a local gravestone and wrote a fictional narrative about their life. Students engaged with local history and practiced storytelling skills. Many found that creating narratives about others' lives helped them connect to the stories and provided an outlet to explore difficult topics. The assignment also supported students' emotional well-being by giving them a creative way to discuss trauma and feel less alone.
50 Statement Of Purpose Examples (Graduate School, MBA, PhD) ᐅ. Writing statement of purpose essay help! How to Write a Successful .... Statement of purpose sample essay 644 words. Statement of purpose essay mba. Statement of purpose essay graduate school. FREE 13+ Statement of Purpose Samples in PDF | MS Word. 12 Excellent Statement of Purpose Examples to Inspire You. Definition Essay: Statement of purpose for phd sample. Statement Of Purpose Template Luxury Sample Statement Of Purpose in .... Statement of Purpose Essay | Graduate School | Master Of Business .... Reflective Essay: Statement of purpose template for masters.
This document provides guidance on effective storytelling for speechwriting. It discusses how stories can make ideas understandable and relatable while appealing to reason, emotion, and character. Anecdotes and narratives are described as powerful storytelling tools. A good story has structure, conflict, characters, and details. Storytelling techniques like Marshall Ganz's public narrative framework, which incorporates a story of self, story of us, and story of now, can help translate values into compelling speeches that motivate action. The document stresses the importance of developing a story bank and working with a speaker to craft their overall narrative.
This document provides tips for writing effective feature articles. It begins by outlining the objectives of feature writing and what distinguishes it from hard news articles. The key aspects are focusing on the human angle rather than just news events, having a less rigid structure, and relying on a features editor for guidance. When planning, writers should consider the purpose, intended audience, and best way to convey the message. The body of a feature article should draw readers in through the lead and sustain their interest by gradually revealing details in a logical order. Direct quotes are important to make people come alive. Feature writing aims for impact, proximity to readers, timeliness, novelty, and some conflict. Leads can be descriptive, dramatic, anecdotal
This document contains the agenda for an English class. It includes a vocabulary quiz on chapters 1-4 of their reading, a discussion of the characters in The Hunger Games, a presentation on the upcoming essay assignment, an in-class writing exercise practicing different writing techniques, and homework assignments. The essay assignment asks students to write about an event in their own life that engages readers in the same way The Hunger Games does. Strategies are provided for writing a good introduction using a quotation, vividly describing places and people, and concluding by connecting back to the initial quotation.
The document provides guidance on how to write short stories, including collecting ideas, writing a catchy first paragraph, developing characters, choosing a point of view, using meaningful dialogue, setting the context, setting up the plot, creating conflict and tension, building to a climax, and finding a resolution. It emphasizes that short stories should begin close to the climax, focus on a single conflict, and drive toward a sudden revelation or change in a concise manner within a limited number of scenes and characters.
Presentation from seminar on Popular Representations of Development: Insights from Novels, Films, Television and Social Media by Michael Woolcock, World Bank and John F. Kennedy School of Government at Harvard.
Why Does My Race Matter” by Yasmine Bahrani Los Angeles .docxalanfhall8953
“Why Does My Race Matter?” by Yasmine Bahrani
Los Angeles Times; February 01, 1998
When I lived in England, I was black. That's how the system there regards all former colonials like myself: We
were all generically black. But my blackness was only temporary. When I arrived in the United States, I
continued to think of myself as black until my college friends in Indiana started laughing at me for it. They
convinced me I wasn't black at all; I was white, they said. I believed them, but that didn't last long, either. A few
years later, I discovered that my American employer had classified me as yet something else. To my surprise, I
turned out to be one of his Asian employees.
By now, the primary benefit of racial classification is apparent to me: entertainment. The primary drawback is
equally apparent: It has made my identity available for distortion by others who claim an interest in it.
In case you're wondering, I'm from Iraq, and my family tree includes Arabs, Persians and Turks. A lot of blood
has been mixed in Mesopotamia--almost as much as has been shed there--and I suppose that, "racially"
speaking, I look like I might be from many places. Some Indians have guessed that I come from their
subcontinent; some Iranians have taken me for one of them; so have some South Americans. My father used to
smile at my freckles, no doubt exported by Europe, and teasingly call me his own "Crusader." But--so far at
least--no Europeans have mistaken me for one of their own. Indeed, one otherwise pleasant German woman I
once met challenged even the American identity (more specifically, the Hoosier identity) I sometimes choose to
claim. She politely doubted that "real" Americans have black hair like mine.
Anyway, under such circumstances, it is very difficult for me to find a voice of my own in this country's ever-
intensifying racial dialogue. I suspect the same is true for many other Americans whose racial identities are
subject to as much quixotic shuffling as my own. For example, I take very seriously such matters as the future of
affirmative action and the good it has done. But given my experience, I find it increasingly difficult to take
seriously the premise of race from which such debates are proceeding.
There are many such debates going on. Take the government's decision that I, in the company of my fellow
Americans, may choose from among an enriched list of racial categories in the 2000 census. This suggests a
more democratic spirit than that shown by either England or my employers, all of whom categorized me without
asking my opinion on the matter. But my racialized experience has taught me that I am being offered a choice of
social fictions--suspect social fictions--and I don't think the Census Bureau is doing me the favor it thinks it is.
The identities we accept are portentous because they will follow us around forever. For example, we have come
to accept the term "Hispanic," .
The document provides instructions for a lesson on social studies. It begins with having students prepare their materials and discuss homework questions. It then defines social studies and explains how different social sciences can help make decisions as a television program director. Students assume roles and get advice from social scientist experts on potential television show topics. They reflect on cultural experiences and the reliability of sources. The lesson emphasizes how social studies integrates various disciplines to promote civic competence.
Let me tell you a story: using stories about people to spread your messageKelley Teahen
Many marketers have been inspired by Storytelling guru Andy Goodman. Canadian communications pro Kelley Teahen takes Goodman's theories and adds both a Canadian spin and more "how to" information on how to create effective stories to share with and influence your audiences.
This document provides guidance on literary analysis for students. It discusses analyzing various elements of a novel such as the plot, characters, setting, themes, and narration. Students are instructed to write a brief summary of the novel and discuss these elements in pairs. They are also given examples from novels to illustrate concepts like character development, setting, and point of view. The document outlines the process and criteria that will be used for students to complete an assignment analyzing elements of their chosen novel.
The speaker discusses their role as Executive Director of the upcoming American LGBTQ+ Museum, which aims to tell the stories of lesbian, gay, bisexual, transgender, and queer Americans through an intersectional lens. The museum is being developed using principles of diversity, equity, accessibility, and inclusion (DEAI) to ensure it is a space where all people feel they belong. The speaker outlines their vision for the museum's content, which will both educate about LGBTQ+ history and liberation movements, as well as commemorate queer ancestors. The museum plans to collaborate extensively with communities and will focus on engagement and access over traditional acquisitions.
This document provides an agenda and notes for an English writing class. The agenda includes an upcoming exam, changing group teams, and presentations on trickster characters. Notes cover terms and definitions for the exams, including on gender identity, heterosexism, and sexual orientation. An introduction is given for the next research essay assignment on trickster tales and characters. Students then break into groups to discuss questions about the play "Chinglish" and identifying trickster traits. Traits of tricksters are reviewed from the reading. The class concludes with an in-class writing assignment analyzing a passing character as a trickster.
This document provides an overview of creative nonfiction and how to develop a story using true events. It discusses that creative nonfiction brings literary techniques like point of view and dialogue to tell factual stories. The key aspects are finding a story, researching details about characters, and developing a narrative arc with dramatic tension. It encourages focusing on specific details like a character's lipstick to reveal aspects of their personality. Effective stories require complex characters that change or struggle against each other. The document also outlines steps for researching like identifying primary sources, evaluating source credibility, and properly documenting archival materials.
This document provides instruction on the four main types of sentences in English: simple, compound, complex, and compound-complex. It defines each type and provides examples. Simple sentences contain one independent clause. Compound sentences join two independent clauses with coordinating conjunctions or semicolons. Complex sentences contain an independent clause and one or more dependent clauses. Compound-complex sentences contain at least two independent clauses and one or more dependent clauses. The document reviews identifying and writing each sentence type and provides guidance for a homework assignment to write examples of each.
This document provides information for the first class of EWRT 1A taught by Dr. Kim Palmore. The class will include reviewing the introduction, brainstorming activities, and introducing essay #1 on choosing survival supplies. Students will engage in a group activity to choose supplies from lists to argue for in a 750 word essay. The essay should have an introduction with a clear thesis, body paragraphs with topic sentences and examples supporting each supply choice, and a conclusion. Homework includes posting an outline with thesis and being prepared for an in-class essay exam in the next class.
This document provides an overview and instructions for a hybrid English composition course. It introduces the instructor and outlines the course format, which includes both in-person and online components. Students are instructed on how to access course materials and assignments through the Canvas online platform. Key policies like attendance, late work, and academic honesty are also summarized. The document concludes by directing students to familiarize themselves with the course website and syllabus in preparation for the next class.
This document provides an overview and instructions for a hybrid English composition course. It introduces the instructor and their contact information. It explains that the class will meet in-person once a week for 2 hours and 15 minutes, and students will complete the remaining coursework online through presentations on the course website. It outlines how the online platform Canvas will be used and provides instructions for navigating it. It lists the course requirements including essays, homework posts, and reading quizzes. It discusses policies around attendance, late work, academic integrity and conduct. Finally, it provides the course syllabus calendar.
This document provides an overview and instructions for Dr. Kim Palmore's hybrid EWRT 1A course. The key points are:
- The class meets once a week in person and requires additional online work to be completed independently through presentations on the course website.
- The website, Canvas, will be used for communication, submitting assignments, accessing course materials and viewing grades.
- Students are expected to actively participate in class discussions and regularly complete assignments by their deadlines. Formal writing assignments include essays that must be submitted electronically through Kaizena.
- The syllabus outlines course policies on attendance, late work, academic integrity and expected conduct. It also provides a tentative course calendar and information
This document provides information for the first class of EWRT 1A taught by Dr. Kim Palmore. It includes an agenda with topics like an introduction, brainstorming activity, and outlining an essay. Students will choose survival supplies for a hypothetical weeks-long trip into the woods and write an argument essay defending their choices. The document gives categories of supplies to pick from and instructs students to discuss their options in groups. It provides guidance on writing an outline, thesis, body paragraphs, and conclusion for the essay. The homework is to post an outline, bring a hard copy to class, and prepare to do an in-class writing exam.
This document provides an overview of the EWRT 1A course. It introduces the instructor, Dr. Kim Palmore, and outlines the course details and expectations. The class is a hybrid course that meets weekly for 2 hours and 15 minutes, with an additional 2 hours and 15 minutes of online work each week. Students will use the Canvas platform to access course materials, assignments, and submit homework. Students are expected to actively participate in class discussions and regularly complete reading and writing assignments on time, including essays, homework posts, and quizzes. Academic honesty is strictly enforced.
To highlight and comment on an essay using Kaizena:
1. Find the essay assignment and submission requirements
2. Highlight required sections of the essay using the specified colors
3. To add a comment, highlight text and type the comment in the box that appears, then click "Post to Highlight"
4. Use one consistent color for your own highlights so the instructor can use a different color for feedback
1) All essays and projects must be submitted electronically through Kaizena before the class period they are due.
2) Students will enter a group code to submit essays and can add files from Google Drive or their desktop in PDF format.
3) The professor will review highlighting and commenting on essays and students can leave written or voice comments on their submissions.
To establish a WordPress username for completing homework, students can visit https://signup.wordpress.com/signup/?user=1 and follow the steps to create a free username, or sign in through Facebook instead of using their own name; they should then email their instructor their username and use that account for all class work online, as having a username is mandatory for much of the coursework being done online.
Here is a 4 line quotation integrated into a sentence in my essay:
According to leading health expert Dr. Susan Smith, making healthy choices is about more than just weight loss or appearance. As she states:
"Health is about feeling your best both physically and mentally. It's finding energy and joy in everyday activities rather than feeling drained. Making small changes like adding more vegetables or taking a walk after dinner can lead to big improvements in overall well-being."
This quotation effectively captures Dr. Smith's perspective that health is about overall wellness, not just physical appearance or numbers on a scale. Focusing on small, sustainable lifestyle changes and how they can enhance quality of life is a motivating message.
This document provides an overview of the key information for a hybrid English composition course. It includes the instructor's contact information and a description of how the hybrid format will work with some weekly in-person meetings and additional online content. It outlines how the course website and learning management system Canvas will be used and provides details on course requirements, assignments, materials, and policies around attendance, late work, academic honesty, and conduct. The syllabus calendar gives a tentative weekly schedule and overview of topics. Students are instructed to review the information and policies, take a quiz on the first presentation, and complete tasks like exploring the website and setting up accounts before the next class.
This document provides an overview and analysis of themes, tensions, and theoretical approaches in Night by Elie Wiesel. It discusses major themes like death, God/religion, sanity/insanity, and family. It analyzes the internal and external tensions present in the work. It also explores how trauma theory and other theoretical lenses can provide insight into the text. Key events and passages are analyzed in depth, with questions provided about character perspectives and shifts in worldview over the course of the horrific events depicted in the Holocaust memoir.
This document outlines the schedule and assignments for a hybrid literature and composition class over 9 weeks. It includes in-class and online activities as well as assigned readings and homework for each week. The main topics covered are New Criticism, feminist criticism, psychoanalytic criticism, short stories, and trauma theory. Students are assigned two essays analyzing poems and short stories using different literary lenses. They also have online discussion posts and take an exam on the materials covered in the first few weeks.
1. This document provides the guidelines and requirements for Essay #3, which asks students to write a 3-5 page concept essay explaining and analyzing a concept of their choosing. Students must highlight and comment on specific sections of their essay, include at least 3 sources in a Works Cited page, and meet formatting and length requirements.
2. The essay should objectively explain the chosen concept for readers who may or may not be familiar with it already. Students are encouraged to reveal uncommon details about the concept and use examples and imagery to illustrate it clearly.
3. The document outlines learning outcomes, previously learned skills, best practices, and traps to avoid like choosing an inappropriate topic or failing to support arguments with evidence
Here are some potential connections between the prisoners in Night and Shawshank Redemption:
- Both groups are stripped of their freedom and individuality. In the camps, prisoners are reduced to numbers and forced into uniformity/submission. In Shawshank, the prisoners lose control over their lives and must obey the prison system.
- Survival requires adapting to a harsh, inhumane system not of one's own making. In the camps, prisoners must find ways to endure unthinkable cruelty and deprivation. In Shawshank, inmates navigate the prison's oppressive rules and power structures.
- Hope and humanity can persist even in the darkest of places. In Night, some prisoners retain aspects of dignity and compassion
The document provides an agenda and discussion points for analyzing the novella "Rita Hayworth and Shawshank Redemption" by Stephen King and the short story "The Metamorphosis" by Franz Kafka.
For "Rita Hayworth", there is a discussion of themes like hope, struggle, and imprisonment. Potential discussion questions are also listed. For "The Metamorphosis", summaries of each chapter are provided along with characters, potential theoretical approaches, and discussion questions. The agenda then outlines a group discussion for analyzing both works.
The agenda covers discussions of two novellas: Rita Hayworth and Shawshank Redemption and The Metamorphosis. For Shawshank, key themes of hope, struggle, and imprisonment will be analyzed. For The Metamorphosis, three chapter summaries are provided: Chapter 1 details Gregor waking up as a cockroach and his family's initial reaction. Chapter 2 explores Gregor's loneliness and his sister's compassion. Chapter 3 finds Gregor weakening as the family acclimates to his condition. Potential discussion questions are posed about characters and applying psychoanalytic theory.
This document provides an agenda and information for an online EWRT 1C class on Franz Kafka's novella "The Metamorphosis". The class will include reading the novella, an introduction to Kafka as the author, and discussing the historical and literary contexts. Kafka is introduced as an Austrian-Jewish writer from Prague in the late 19th/early 20th century. The novella is then analyzed including its use of third-person narration from the perspective of Gregor Samsa after he transforms into an insect. Students are assigned to read the novella and answer one of several discussion questions in 200-300 words for homework.
2. AGENDA
Presentation: Terms
Discussion:
• Personal Passing Experience
• Being Judged by Concrete Identifiers
Lecture: Writing Strategies for in-class essay #1:
• Basic Features of a Personal Narrative
In-Class Writing
• A Well-Told Story
• A Vivid Presentation of Places and People
• An Indication of the Event’s Significance
3. TERMS
1. Bias: A preference or an inclination, especially one that inhibits
impartial judgment; an unfair act or policy stemming from
prejudice.
2. Culture: Behavior patterns, arts, beliefs, language, institutions,
and all other products of human work and thought.
3. Difference: A characteristic that distinguishes one person from
another or from an assumed norm, or the state of being
distinguished by such characteristics. Social justice issues
such as racism, classism, sexism, and heterosexism usually
center on the negative perception of difference by the dominant
group. Viewed positively, difference can be a catalyst for equity,
recognition of interdependence, and a source of personal
power.
4. 4. Discrimination: Treatment or consideration based on class or
category rather than individual merit; partiality or prejudice.
5. Diversity: The quality of being diverse; a respect in which
things differ; variety.
6. Equality: The state or quality of treating everyone in an equal
manner.
7. Ethnicity: A perception of being alike, a sense of peoplehood
by virtue of sharing a common ancestry (real or fictitious), values,
and behavior.
5. 8. Fluid Identity: The concept that identity is not rigid but can and
does change. This idea is often used in terms of gender, sexuality,
and race, as well as other factors of identity. This concept is
fundamentally contrary to binary systems. People who feel their
identity is fluid often believe that rigid categories are oppressive
and incapable of accurately describing their experience and
identities.
9. Oppression: Arbitrary and cruel use of power; using severe or
unjust force or authority. An unjust situation where, systematically
and over a long period of time, one group denies another group
access to the resources of society. Race, gender, class, sexuality,
nation, age, ethnicity, disability status, and religion constitute
major forms of oppression.
6. 10. Passing: Historically, passing has been defined in terms of racial
passing. It refers to a deception that allows a person to take advantage
of certain roles or opportunities from which he or she might be barred in
the absence of this posed identity. The most common racial passer, of
course, was the African American who lacked those characteristics
typical of his race. These mixed race people had physical appearances
that allowed them to be perceived and treated as if they where white.
But passing is not limited to African Americans assuming white roles in
society; it is not even limited to a racial basis. People pass in a variety of
ways and for a variety of reasons—from Blacks who pass for white, to
Jews who pass as Gentiles, to gays who pass for straight, for women
who pass for men—and the opposite of all of these. Reverse passing,
though less prevalent, also exists in multiple forms.
7. How do we express our own
identities?
How much do we reveal
about ourselves and when do
we do so?
How do we decide?
What does society expect
from us in terms of revealing
who we are?
8. Write a paragraph or two describing a
time when you were unfairly judged on
concrete identity characteristics. OR
Write a paragraph or two describing a
time when you passed as someone or
something you were not. The passing
can be either purposeful or
inadvertent.
9.
10. • This essay exam will be at our next meeting.
• You can use a one page outline from which to write.
• You will have approximately 90 minutes
• Bring a blue or green book, pens or pencils, and your outline
In a narrative essay of two to three pages (600-1000 words),
respond to one of the following prompts:
1. Tell about an experience when you were unfairly judged based on
concrete identity characteristics.
2. Tell about an experience when you passed as someone or
something you were not. The passing can be either purposeful or
inadvertent.
11. BASIC FEATURES OF A PERSONAL NARRATIVE:
•A Well-Told Story
•A Vivid Presentation of Places and
People
•An Indication of the Event’s Significance
12. A WELL-TOLD STORY
Choose an interesting story
• Shape it into an exciting or
memorable experience
• Arouse curiosity, build suspense,
and conclude action with the
climax
Begin at the beginning
• Write an introduction that sets the
stage for your tale
• Prepare your readers to understand
the significance of your event.
13. WHAT STORY WILL YOU TELL?
Where and when did it happen?
Make a quick narrative ladder:
• Exposition (Setting)
• Rising action
• Climax
• Falling Action
• Resolution
14. DEVELOP YOUR STORY
Develop your story in the body paragraphs
• Use action verbs and verbal phrases (the –
ing or “to” form of a verb: laughing, to
laugh)
•She drew the shades; I took my position;
nudging her aside, I passed the crowd;
• Use temporal transitions to cue readers
and move the narrative through time.
•Just after; when; still; no longer; after a few
days; for a week or so; before long; one
afternoon
15. USE PREPOSITIONAL PHRASES TO DESCRIBE
He chased Mikey and me around the
yellow house and up a backyard path
we knew by heart: under a low tree, up
a bank, through a hedge, down some
snowy steps, and across the grocery
store’s delivery driveway.
16. THE GOAL: CREATE A VIVID PRESENTATION OF
PLACES
Recreate the time and place of the event
• Ground readers in specifics:
• When? Christmas morning; one day in late fall, Saturday night
• Where? At a 7-11 in San Jose, at my Aunt Helen’s Easter party, In the
back alley of a club in Sunnyvale
Name specific objects
• White, spherical snowball
• City clothes
• Translucent skin
• Dirty sidewalk
Use similes and metaphors to draw comparisons
• Simile: The car rumbled like an approaching storm.
• Metaphor: I wanted to slingshot myself into the future. (compares
himself to a stone)
17. DESCRIBING THE PLACE
The shopping center was swarming with frantic last-
minute shoppers like ourselves. We went first to the
General Store, my favorite. It carried mostly
knickknacks and other useless items which nobody
needs but buys anyway. I was thirteen years old at
the time, and things like buttons and calendars and
posters would catch my fancy. This day was no
different. The object of my desire was a 75-cent
Snoopy button.
18. THE STRATEGY: LISTING KEY PLACES
Make a list of all the places where
the event occurred, skipping
some space after each entry on
your list.
In the space after each entry on
your list, make some notes
describing each place. What do
you see (except people for
now)? What objects stand out?
Are thy large or small, green or
brown, square or oblong? What
sounds do you hear? Do you
detect any smells? Does any
taste come to mind? Any
textures?
19. THE GOAL: MAKE A VIVID PRESENTATION OF
PEOPLE
Descriptive details of behaviors or actions
• She stuck her hand in the bag and picked up the
poor, little dead squirrel.
• He drew his hands through his long, greasy hair
A bit of dialogue
• “Poor dear,” she murmured
• “Get out of my house,” he screamed
Detail the person’s appearance
• A thin woman: all action
• He wore dress clothes: a black suit and tie
20. DESCRIBING THE PEOPLE
It wasn’t until my father opened the door that I realized
something terrifyingly life altering was about to be
revealed. Always movie-star handsome, he looked
older than I had remembered him, and his light
green eyes had gone dull.
When I showed up, my father’s eyes were Caribbean
clear, yet huge and eerily calm, though it was hard
to see the rest of his face through all the white tape
and the plastic tubing.
21. THE STRATEGY: RECALLING KEY PEOPLE
List the people who played
more than a causal role in the
event
Describe a key person: Write a
brief description of a person
other than yourself who
played a major role in the
event. Name and detail a few
distinctive physical features
or items of dress. Describe in
a few phrases this person’s
way of moving and gesturing.
22. WRITING KEY SCENES IN DIALOGUE
Next thing I knew, he was talking about calling the police and having
me arrested and thrown in jail, as if he had just nabbed a professional
thief instead of a terrified kid. I couldn’t believe what he was saying.
“Jean, what’s going on?”
The sound of my sister’s voice eased the pressure a bit. She
always managed to get me out of trouble. She would come through
this time too.
“Excuse me. Are you a relative of this young girl?”
“Yes, I’m her sister. What’s the problem?”
“Well, I just caught her shoplifting and I’m afraid I’ll have to call the police.”
“What did she take?”
“This button.”
“A button? You are having a thirteen-year-old arrested for stealing a button?”
“I’m sorry, but she broke the law.”
23. THE STRATEGY CONTINUED: USE DIALOGUE
TO CONVEY IMMEDIACY AND DRAMA
Reconstruct one important
conversation
• Try to remember any especially
memorable comments, any
unusual choice of words, or any
telling remarks that you made or
were made to you.
• Try to partially re-create the
conversation so that readers will
be able to imagine what was going
on and how your language and the
other person’s language reveal
who you were and your
relationship.
24. THE GOAL: INDICATE THE EVENT’S
SIGNIFICANCE
Show that the event was important
• Dramatize the event so readers can understand your
feelings about it.
• Show scenes from your point of view so readers can
identify with you.
Tell us that the event was important
• Tell how you felt at the time of the experience
• Tell how you feel about it now, in reflection.
25. AUTOBIOGRAPHICAL SIGNIFICANCE
Telling the story from your point of view:
As the officers led me through the mall, I sensed a hundred
pairs of eyes staring at me. My face flushed and I broke out in a
sweat. Now everyone knew I was a criminal. In their eyes I was
a juvenile delinquent, and thank God the cops were getting me
off the streets. The worst part was thinking my grandmother
might be having the same thoughts. The humiliation at that
moment was overwhelming. I felt like Hester Prynne being put
on public display for everyone to ridicule.
Show and tell how you felt at the time:
I felt like a terrible human being. I would rather have stayed in
jail than confront my mom right then. I dreaded each passing
minute that brought our encounter closer.
26. THE STRATEGY: RECALL
REMEMBERED FEELINGS AND
THOUGHTS
• What were your expectations before the event?
• What was your first reaction to the event as it was happening
and right after it ended?
• How did you show your feelings? What did you say?
• What did you want the people involved to think of you? Why did
you care what they thought of you?
• What did you think of yourself at the time?
• How long did these initial feelings last?
• What were the immediate consequences of the event for you
personally?
Pause now to reread what you have written. Then write another
sentence or two about the event’s significance to you at the time it
occurred.
27. THE STRATEGY CONTINUED: EXPLORE
YOUR PRESENT PERSPECTIVE
• Looking back, how do you feel about this event? If you understand it
differently now than you did then, what is the difference?
• What do your actions at the time of the event say about the kind of
person you were then? How would you respond to the same event if it
occurred today?
• Can looking at the event historically or culturally help explain what
happened? For example, did you upset racial, gender, or religious
expectations? Did you feel torn between identities or cultures? Did you
feel out of place?
• Do you see now that there was a conflict underlying the event? For
example, were you struggling with contradictory desires? Did you feel
pressured by others? Were you desires and rights in conflict with
someone else’s? Was the event about power or responsibility?
Pause to reflect on what you have written about your present perspective.
Then write another sentence or two, commenting on the event’s
significance as you look back on it
28. GOAL: FORMULATING A TENTATIVE
THESIS
Readers do not expect you to begin your narrative
essay with the kind of explicit thesis statement typical
of argumentative or explanatory writing. If you do
decide to tell readers explicitly why the event was
meaningful or significant, you will most likely do so as
you tell the story, by commenting on or evaluating
what happened, instead of announcing the significance
at the beginning. Keep in mind that you are not obliged
to tell readers the significance, but you must show it
through the way you tell the story.
29. NARRATIVE ESSAY THESIS EXAMPLE
“When the Walls Came Tumbling Down”
by Trey Ellis
A year before his death, my dad was forced to come
out to me. I thought he was in Paris for a vacation.
Instead, he was there for treatment with AZT, which in
1986 was experimental and not yet approved in the
United States for people infected with the virus that
causes AIDS.
30. STRATEGY: REVIEW THE EVENT’S
SIGNIFICANCE
Write a few sentences that
briefly summarize the
event for the reader.
Sometimes, this summary
of the event (and its
significance) can serve as
a thesis. Whether you are
going to use it in your
essay or not, writing a
clear, brief summary of
your story is a good idea. If
you can see how and why
the story is important, you
will be able to stay focused
as you write.
31. THE GOAL: WRITING A GOOD INTRODUCTION
The Strategy:
Arouse readers’ curiosity
• Begin with a surprising announcement
• Establish the setting and situation
Get readers to identify with you
• Tell them a few things about yourself
• Begin in the middle of the action or with
a funny or important dialogue
32. THE GOAL: WRITING A GOOD CONCLUSION
The Strategy:
Conclude with reflections on the meaning of the
experience? (avoid tagging on a moral)
Should you be philosophical? Satirical? Self critical?
To underscore the event’s continuing significance, can you
show that the conflict was never fully resolved?
Could you contrast your remembered and current feelings
and thoughts?
Should you frame the essay by echoing something from the
beginning to give readers a sense of closure?
33. FRAMING: INTRODUCTION
“Calling Home” by Jean Brandt
As we all piled into the car, I knew it was going
to be a fabulous day. My grandmother was
visiting for the holidays; and she and I, along
with my older brother and sister, Louis and
Susan, were setting off for a day of last-minute
Christmas shopping. On the way to the mall,
we sang Christmas carols, chattered, and
laughed. With Christmas only two days away,
we were caught up with holiday spirit. I felt
light-headed and full of joy. I loved shopping—
especially at Christmas.
34. FRAMING: CONCLUSION
Not a word was spoken as we walked to the car. Slowly, I sank
into the back seat anticipating the scolding. Expecting harsh tones,
I was relieved to hear almost the opposite from my father.
“I’m not going to punish you and I’ll tell you why. Although I
think what you did was wrong, I think what the police did was more
wrong. There’s no excuse for locking a thirteen-year-old behind bars.
That doesn’t mean I condone what you did, but I think you’ve been
punished enough already.”
As I looked from my father’s eyes to my mother’s, I knew this
ordeal was over. Although it would never be forgotten, the incident
was not mentioned again.
35. FRAMING
Framing is a narrative device that echoes the beginning in
the ending. The reader will then think of the beginning
while reading the ending.
In our example, Brandt begins her essay in the car on the
way to the mall. She ends her story on the car ride back
home; at this time, she reflects on the incident, adding
some discussion of the significance of the event.
Take a few minutes to consider how you might begin and
end your story using framing.
36. HOMEWORK Post: #2 Finish in-class writing and post
it: Basic Features: dialogue,
description, anecdote, framing,
outlining, significance
Read: Begin Larsen’s Passing
Study: Terms
Bring: A brief outline for your essay.
Bring: A large Examination Booklet and
a blue or black pen or #2 pencil.