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 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 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 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.
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 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, 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 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.
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.
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 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 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.
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 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, 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 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.
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.
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.
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.
Clarksville Christian Writers - Writer's Workshop, Oct. 4, 2015sarat1701
This document provides information about a writers workshop on structure, plotting and more for writing novels. It introduces the speakers, Hannah Conway and Sara Turnquist, who are both authors. It discusses various brainstorming and outlining techniques including mind mapping, plot points, and the LINDY HOP method of outlining a story. The LINDY HOP method breaks a story down into initial events, inciting incidents, noble quests, disappointments, choices, climaxes, overhauls and resolutions. An example is then provided of applying these techniques to outline the story of a brooding CIA agent.
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.
You Don't Have to Make It Up: Breaking Into the Non-Fiction Marketggaldorisi
This document summarizes a lecture on breaking into the non-fiction book market. It discusses that non-fiction is easier to enter than fiction as it focuses on expertise in a topic rather than creative storytelling. It also emphasizes finding a topic you are passionate about and becoming an expert in through research. Further, it stresses convincing publishers that the topic has not been sufficiently covered elsewhere and that the author has a platform to promote the book. The summary provides the key high-level takeaways around subject selection, expertise, query letters, and book proposals.
Finding the Heart of Your Story: Your Original Ideaggaldorisi
This document summarizes a workshop on developing original story ideas. It discusses exploring the kernel of an original idea and shaping it into a story. Attendees will learn how to generate ideas, fan the spark of an idea into a fire by developing plot, characters, stakes, and setting. The workshop also covers focusing an idea and determining if it is just a story or something more substantial, like conveying an emotion or theme. Attendees will then learn how to turn their idea into a narrative by creating a treatment and outline to develop the story without being chained to the initial idea.
The Secrets Behind Everything Successful Novelggaldorisi
The document provides guidance on writing a successful novel, including common steps successful writers follow. It discusses establishing a clear plot, developing characters, and ensuring enough action to keep readers engaged. Specific techniques are presented, such as deconstructing a novel treatment or outline using plot points, character details, and scenario summaries. The importance of storytelling skills like suspense and believable motivations are also covered. Overall, the document offers practical advice focused on organizing one's ideas and learning from examples to produce a publishable novel.
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 summarizes a presentation given by Dick Couch at the Palm Springs Writers Guild on writing. It discusses Couch's background as a naval aviator and author. Couch explains that he writes about what he knows from his experiences. He writes adventure stories to relive the thrill of his past career. The presentation provides tips for writers, including starting small with articles and building experience, as well as the importance of establishing an online presence through websites and social media. It previews the next workshop on developing original story ideas.
This document discusses finding subjects and developing ideas for documentary films. It provides tips on following your passion, solving problems, making topics personal, asking questions, and going with your gut instincts. It also discusses finding compelling characters, exploring one's unique access, developing story ideas from various sources, testing potential subjects, and avoiding topics one doesn't have direct experience with. The document emphasizes narrowing in on topics that have personal meaning and significance. Overall, it provides guidance on selecting documentary topics and developing early ideas.
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 guidance on writing a successful non-fiction book. It discusses determining what type of non-fiction book to write (narrative or prescriptive), doing thorough research on the topic, and overcoming potential objections from publishers. Key steps include crafting a compelling query letter that hooks the agent/editor and addresses whether the topic has been sufficiently covered and whether the author has a platform. It also provides tips on writing a strong book proposal that outlines the book and shows the author is uniquely qualified. Examples of successful proposals for the books "Leave No Man Behind" and "The Kissing Sailor" are presented and summarized.
This document provides an overview and recap of a workshop on establishing an online presence as a writer. It discusses generating unique content, attracting an audience, and whether to do content creation yourself or with others. The workshop also reviewed prior lessons on why to write, writing for publication, writing fiction and non-fiction, and generating story ideas. Attendees were asked to develop a one sentence logline for a story idea.
This document provides guidance on finding a documentary subject and developing documentary ideas. It discusses four tendencies of documentaries, including recording/revealing, persuading, expressing, and analyzing. Tips are given such as following your passion, finding a compelling character, making it personal, and asking questions. The document emphasizes choosing a topic you have unique access to and personal connection with, and avoiding subjects you don't have direct experience with. It also provides examples of successful documentaries and encourages filmmakers to trust their instincts and passion in choosing a subject.
This document provides a summary of topics covered in previous weeks for establishing an online presence, including why write, writing for publication, and writing fiction and non-fiction. It then discusses finding the heart of a story by nurturing the original idea. This involves stating the idea in one sentence, focusing the idea from divergent to convergent thinking, and determining if it is just a story or has deeper intent. Developing the idea requires using who, what, why, where, when and how questions to expand the spark into a full narrative.
This document provides an overview of a seminar on why to write. It discusses that writers shape history through their works and outlines various writing mediums. It encourages building writing skills incrementally, from articles to books. It also stresses doing research by reading various publications to find story ideas and learn about different markets. Throughout, it shares advice from successful authors about working hard at writing and making time for it while balancing other responsibilities.
El documento discute el rol cambiante del bibliotecólogo en la sociedad de la información. Explica que la información es un recurso valioso para el progreso social y que las nuevas tecnologías han transformado la gestión y difusión de información. También describe cómo los bibliotecólogos ahora deben ser expertos en el acceso y manipulación de información en múltiples formatos para servir mejor a los usuarios en esta era digital.
La persona tiene hambre y quiere hacerse leche con chocolate, pero no tiene más sachets de leche, así que decide ir a comprar. Va a una tienda pero tiene problemas encontrando y comunicándose sobre los sachets. Se enoja y decide no volver. Luego va a una cafetería pero tampoco queda satisfecho con la experiencia. Finalmente, finge tener poderes de venganza por no haber recibido su café.
Este documento describe diferentes tipos de discriminación, incluyendo la discriminación social basada en defectos físicos o intelectuales, la discriminación racial que clasifica a personas por sus rasgos físicos, la discriminación laboral que trata a personas de manera inferior por motivos ajenos a su capacidad laboral como la edad, y la discriminación religiosa contra personas de diferentes religiones.
El documento narra la historia de un personaje que logra escapar de su encierro después de cavar un túnel. Celebra su libertad pero es derribado por un avión. Antes de desmayarse ve la marca del Illuminati, sugiriendo que fue capturado de nuevo por una fuerza mayor.
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.
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.
Clarksville Christian Writers - Writer's Workshop, Oct. 4, 2015sarat1701
This document provides information about a writers workshop on structure, plotting and more for writing novels. It introduces the speakers, Hannah Conway and Sara Turnquist, who are both authors. It discusses various brainstorming and outlining techniques including mind mapping, plot points, and the LINDY HOP method of outlining a story. The LINDY HOP method breaks a story down into initial events, inciting incidents, noble quests, disappointments, choices, climaxes, overhauls and resolutions. An example is then provided of applying these techniques to outline the story of a brooding CIA agent.
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.
You Don't Have to Make It Up: Breaking Into the Non-Fiction Marketggaldorisi
This document summarizes a lecture on breaking into the non-fiction book market. It discusses that non-fiction is easier to enter than fiction as it focuses on expertise in a topic rather than creative storytelling. It also emphasizes finding a topic you are passionate about and becoming an expert in through research. Further, it stresses convincing publishers that the topic has not been sufficiently covered elsewhere and that the author has a platform to promote the book. The summary provides the key high-level takeaways around subject selection, expertise, query letters, and book proposals.
Finding the Heart of Your Story: Your Original Ideaggaldorisi
This document summarizes a workshop on developing original story ideas. It discusses exploring the kernel of an original idea and shaping it into a story. Attendees will learn how to generate ideas, fan the spark of an idea into a fire by developing plot, characters, stakes, and setting. The workshop also covers focusing an idea and determining if it is just a story or something more substantial, like conveying an emotion or theme. Attendees will then learn how to turn their idea into a narrative by creating a treatment and outline to develop the story without being chained to the initial idea.
The Secrets Behind Everything Successful Novelggaldorisi
The document provides guidance on writing a successful novel, including common steps successful writers follow. It discusses establishing a clear plot, developing characters, and ensuring enough action to keep readers engaged. Specific techniques are presented, such as deconstructing a novel treatment or outline using plot points, character details, and scenario summaries. The importance of storytelling skills like suspense and believable motivations are also covered. Overall, the document offers practical advice focused on organizing one's ideas and learning from examples to produce a publishable novel.
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 summarizes a presentation given by Dick Couch at the Palm Springs Writers Guild on writing. It discusses Couch's background as a naval aviator and author. Couch explains that he writes about what he knows from his experiences. He writes adventure stories to relive the thrill of his past career. The presentation provides tips for writers, including starting small with articles and building experience, as well as the importance of establishing an online presence through websites and social media. It previews the next workshop on developing original story ideas.
This document discusses finding subjects and developing ideas for documentary films. It provides tips on following your passion, solving problems, making topics personal, asking questions, and going with your gut instincts. It also discusses finding compelling characters, exploring one's unique access, developing story ideas from various sources, testing potential subjects, and avoiding topics one doesn't have direct experience with. The document emphasizes narrowing in on topics that have personal meaning and significance. Overall, it provides guidance on selecting documentary topics and developing early ideas.
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 guidance on writing a successful non-fiction book. It discusses determining what type of non-fiction book to write (narrative or prescriptive), doing thorough research on the topic, and overcoming potential objections from publishers. Key steps include crafting a compelling query letter that hooks the agent/editor and addresses whether the topic has been sufficiently covered and whether the author has a platform. It also provides tips on writing a strong book proposal that outlines the book and shows the author is uniquely qualified. Examples of successful proposals for the books "Leave No Man Behind" and "The Kissing Sailor" are presented and summarized.
This document provides an overview and recap of a workshop on establishing an online presence as a writer. It discusses generating unique content, attracting an audience, and whether to do content creation yourself or with others. The workshop also reviewed prior lessons on why to write, writing for publication, writing fiction and non-fiction, and generating story ideas. Attendees were asked to develop a one sentence logline for a story idea.
This document provides guidance on finding a documentary subject and developing documentary ideas. It discusses four tendencies of documentaries, including recording/revealing, persuading, expressing, and analyzing. Tips are given such as following your passion, finding a compelling character, making it personal, and asking questions. The document emphasizes choosing a topic you have unique access to and personal connection with, and avoiding subjects you don't have direct experience with. It also provides examples of successful documentaries and encourages filmmakers to trust their instincts and passion in choosing a subject.
This document provides a summary of topics covered in previous weeks for establishing an online presence, including why write, writing for publication, and writing fiction and non-fiction. It then discusses finding the heart of a story by nurturing the original idea. This involves stating the idea in one sentence, focusing the idea from divergent to convergent thinking, and determining if it is just a story or has deeper intent. Developing the idea requires using who, what, why, where, when and how questions to expand the spark into a full narrative.
This document provides an overview of a seminar on why to write. It discusses that writers shape history through their works and outlines various writing mediums. It encourages building writing skills incrementally, from articles to books. It also stresses doing research by reading various publications to find story ideas and learn about different markets. Throughout, it shares advice from successful authors about working hard at writing and making time for it while balancing other responsibilities.
El documento discute el rol cambiante del bibliotecólogo en la sociedad de la información. Explica que la información es un recurso valioso para el progreso social y que las nuevas tecnologías han transformado la gestión y difusión de información. También describe cómo los bibliotecólogos ahora deben ser expertos en el acceso y manipulación de información en múltiples formatos para servir mejor a los usuarios en esta era digital.
La persona tiene hambre y quiere hacerse leche con chocolate, pero no tiene más sachets de leche, así que decide ir a comprar. Va a una tienda pero tiene problemas encontrando y comunicándose sobre los sachets. Se enoja y decide no volver. Luego va a una cafetería pero tampoco queda satisfecho con la experiencia. Finalmente, finge tener poderes de venganza por no haber recibido su café.
Este documento describe diferentes tipos de discriminación, incluyendo la discriminación social basada en defectos físicos o intelectuales, la discriminación racial que clasifica a personas por sus rasgos físicos, la discriminación laboral que trata a personas de manera inferior por motivos ajenos a su capacidad laboral como la edad, y la discriminación religiosa contra personas de diferentes religiones.
El documento narra la historia de un personaje que logra escapar de su encierro después de cavar un túnel. Celebra su libertad pero es derribado por un avión. Antes de desmayarse ve la marca del Illuminati, sugiriendo que fue capturado de nuevo por una fuerza mayor.
This document provides an overview of the Dutch Consortium for Rehabilitation's (DCR) advocacy work from 2011-2015. It discusses DCR's approach of linking community and systems approaches to empower communities while also improving service delivery chains. It highlights the importance DCR placed on advocacy capacity building, including training their own staff as well as local partners. Over time, DCR expanded its training to include more staff and local CSOs. Key activities included an advocacy course provided by INTRAC and experience sharing between country staff. The results of DCR's advocacy work are then showcased in country examples in Part III, demonstrating successes in influencing policies and services at local and national levels across several of the program countries.
The document summarizes key aspects of the Harlem Renaissance period between World War I and the Great Depression when black artists and writers flourished in the United States. It discusses how Harlem became the epicenter of black culture during this time due to the large population of African Americans that migrated north from the rural south. The document also provides context about the emergence of black intellectualism and increased cultural activity during this period, as well as how white patronage supported black writers and artists until the onset of the Great Depression in the early 1930s. Major figures of the Harlem Renaissance like Langston Hughes and Zora Neale Hurston are also introduced.
historical building restoration Kansas City
historic restoration companies Kansas City
historical renovation contractors Kansas City
building restoration contractors Kansas City
historic restoration contractors Kansas City
fire restoration contractors Kansas City
deck restoration contractors Kansas City
insurance restoration contractors Kansas City
american restoration contractors Kansas City
restoration contractors association Kansas City
building restoration jobs Kansas City
building restoration preservation Kansas City
historic building restoration Kansas City
building restoration inc Kansas City
building restoration companies Kansas City
building contractors Kansas City
building renovation Kansas City
Kansas City restoration Company
kansas city restoration contractors
building restoration hardware Kansas City
Elite building restoration Kansas City
building restoration before and after Kansas City
proto type buildings restoration hardware Kansas City
building restoration corporation Kansas City
brick building restoration Kansas City
american building restoration Kansas City
architectural building and restoration Kansas City
building restoration business cards Kansas City
restoration hardward building plans Kansas City
building restoration clip art Kansas City
building restoration project Kansas City
building design restoration Kansas City
storage buildings restoration Kansas City
metal buildings restoration Kansas City
building blocks restoration Kansas City
Introduction to wavelet transform with applications to dspJamal Jamali
The document discusses the limitations of the Fourier transform and introduces the wavelet transform as an alternative. It explains that the Fourier transform only shows frequency components but not when they occur, whereas the wavelet transform provides time-frequency representation. It then describes the basic principle of the wavelet transform and gives examples of its applications in fingerprint identification, audio/image compression, and signal processing. Finally, it concludes that wavelets provide an efficient tool for time-frequency analysis of real-world non-stationary signals.
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.
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 an agenda and discussion topics for an EWRT 1B class. It includes definitions of terms like transsexual, transphobia, persona, and others. It also discusses passages from the text "Spring Fragrance and Other Writings" by Sui Sin Far, focusing on how the passages relate to identity development and experiences with prejudice. The document assigns homework including finishing a research paper, evaluating blogging responses, revising an essay, and preparing for a final exam by considering concepts around passing and identity.
Dr. Rakhi Sawlani's document discusses using digital storytelling to teach science concepts. It explains the key elements of storytelling like plot, setting, characters, point of view, and theme. It then provides examples of 15 digital stories that were used to teach different science topics to students over 15 days. Assessment results indicated that the experimental group who learned through digital stories were more interested, motivated, and achieved better academic performance compared to traditional instruction. The document concludes that digital storytelling is an effective STEAM-based approach for teaching and learning science.
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 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.
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.
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.
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.
The document discusses various literary elements used in stories, including point of view, narrator, setting, conflict, plot structure, characters, themes, and devices such as irony and imagery. It provides definitions and examples of first, second, and third person points of view; reliable and unreliable narrators; types of settings; internal and external conflicts; elements of plot like exposition, rising action, climax, and resolution; different character types; direct and indirect characterization; themes; and examples of situational, verbal, and dramatic irony.
This document discusses using drama to see the world through other perspectives. It notes how drama can help students understand social situations and explore human intentions. Various drama techniques are described like context building, narrative action, and reflective action. The document also discusses theories related to humanism, aesthetics, and empowering students. It advocates for moving away from a "banking" model of education towards one where students can construct their own understandings. Overall, the document promotes using drama to cultivate empathy and self-actualization in students.
This document provides guidance for an English composition class. It includes assignments due for the week and tips on using transitional phrases in writing. It also discusses an in-class exercise on inserting appropriate transitions into sentences. Finally, it covers a lecture on analyzing literature, including elements like character, plot, imagery, and setting, and how to plan a literary argument paper.
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 an overview and syllabus for a college history course. It introduces the course, discusses expectations for students, and outlines some of the key topics and concepts that will be covered, including the importance of history, developing historical thinking skills, examining different perspectives, and understanding causes and effects. Students are encouraged to participate actively in class and develop their analytical abilities. The summary also references several historians and philosophers that will be discussed, like Machiavelli, Sun Tzu, and Maslow.
Dual Credit History 1301 1 THS Welcome Monday (short)eagleannouncer
This document provides an overview and guidelines for a college history course. It begins by welcoming students to college and explaining classroom expectations. It then discusses why history is important to study and how this course will cover a semester's worth of content in order to earn college credits. The document outlines what is expected of students, including participating actively and avoiding plagiarism. It introduces some key historical figures and concepts to help students understand events from different perspectives.
This document contains the agenda and notes for Class 16 of an EWRT 1B course. The class will include an exam on terms, changing exam teams, and presenting information for the next exam. It will also cover an introduction to the research essay assignment on trickster characters, including defining traits of tricksters and discussing characters from the play "Chinglish" as potential tricksters. Students will work in groups to discuss their topics and questions for the essay. The homework assigned is to study for an exam, post a discussion, and prepare for an upcoming library workshop to research paper topics.
This document provides guidance on using pronouns like "me" and "myself" correctly. It explains that "me" is an object pronoun that refers to the recipient of an action, while "myself" is a reflexive pronoun used with the subject "I", not in place of "me". Some examples are given to illustrate the proper uses of these pronouns. The document also discusses when to use "I" versus "me" in sentences with multiple people. Finally, it provides an agenda for an English class that includes discussing The Hunger Games, analyzing writing strategies, generating metaphors and similes, and preparing a draft of an essay.
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.
How Barcodes Can Be Leveraged Within Odoo 17Celine George
In this presentation, we will explore how barcodes can be leveraged within Odoo 17 to streamline our manufacturing processes. We will cover the configuration steps, how to utilize barcodes in different manufacturing scenarios, and the overall benefits of implementing this technology.
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
CapTechTalks Webinar Slides June 2024 Donovan Wright.pptxCapitolTechU
Slides from a Capitol Technology University webinar held June 20, 2024. The webinar featured Dr. Donovan Wright, presenting on the Department of Defense Digital Transformation.
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
How to Manage Reception Report in Odoo 17Celine George
A business may deal with both sales and purchases occasionally. They buy things from vendors and then sell them to their customers. Such dealings can be confusing at times. Because multiple clients may inquire about the same product at the same time, after purchasing those products, customers must be assigned to them. Odoo has a tool called Reception Report that can be used to complete this assignment. By enabling this, a reception report comes automatically after confirming a receipt, from which we can assign products to orders.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
2. AGENDA
• Presentation: Terms
• Discussion: “Uncle Willie”
• 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. TODAY’S PARTICIPATION
MEASURE
• Take out a piece of paper. Write your first and last name on it: This is
how I will take roll today.
• Using hash marks, keep track of your contributions to today’s class.
• Give yourself 1 point for being here. Give yourself another point any
time you read aloud, ask a question, or make a comment that furthers
our discussion.
• At the end of class, total your points and write the number at the top of
your paper, near your name.
4. 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.
5. 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.
6. 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.
7. 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.
8. “UNCLE WILLIE”
FROM I KNOW WHY THE CAGED BIRD SINGS
BY MAYA ANGELOU
1. Characters: Who is in this story?
2. Setting: Where are they?
3. Summary: Give a brief overview of the story
4. Themes: Which broad concepts are discussed?
5. Questions
a. How and why does Uncle Willie pass?
b. Why does it matter what strangers think of him?
c. Does he want to fit in, just this once, or is there a
deeper motive for his behavior?
d. Is his behavior understandable? Reasonable? Fair?
Ethical?
9. 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?
10. DISCUSSION
From Post #1
1. Describe a time when you were
unfairly judged on concrete identity
characteristics.
1. Describe a time when you passed
as someone or something you were
not. The passing can be either
purposeful or inadvertent.
12. • 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 500-1000 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.
13. BASIC FEATURES OF A PERSONAL
NARRATIVE:
A Well-Told Story
A Vivid Presentation of Places and
People
An Indication of the Event’s
Significance
14. A WELL-TOLD STORY
• Choose an interesting story
• Write an introduction that sets the
stage for your tale
• Shape it into an exciting or memorable
experience
• Arouse curiosity, build suspense, and
conclude action with the climax
• Prepare your readers to understand
the significance of your event.
A Well-Told
Story…Hm
mmm
15. WHAT STORY WILL YOU TELL?
• Where and when did it happen?
• Make a quick narrative ladder:
• Exposition (Setting)
• Rising action
• Climax
• Falling Action
• Resolution
16. 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
17. 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.
18. 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)
19. 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.
W
h
e
r
e
When
Active Verb Metaphorically
suggests bees
Temporal
transition
Naming
specific
objects
Who
and
What
20. 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?
21. 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
22. 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.
23. 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.
24. 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.”
25. 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.
26. 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.
27. 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.
28. 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.
29. 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
30. 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.
31. 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.
32. 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.
33. 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
34. 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?
35. 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.
36. 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.
37. 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.
38. AUTHOR: NELLA LARSEN
Nella Larsen is best known as the
author of two of the most famous
novels of the Harlem Renaissance,
Quicksand (1928) and Passing
(1929). Both novels deal with the
complicated lives of light-skinned
African American women who are
faced with both discrimination and
the temptation to forsake their
heritage and “pass” for white.
39. Her father died when she was two, and her mother then
married a man of, in Larsen’s words, “her own race and
nationality.” While it is known that Larsen did go to a small,
private elementary school with her white half sister, evidently
her parents found her existence increasingly embarrassing
in their society of Germans and Scandinavians. Although
Larsen had been raised in an all-white world, as an adult she
felt herself shut off from it, as well as from her own family. As
she told an interviewer many years later, she had little
contact with her mother and her half sister, because her
presence would be “awkward” for them.
LARSEN WAS BORN IN CHICAGO TO A DANISH
MOTHER AND A BLACK WEST INDIAN FATHER.
40. IF LARSEN WAS TO BE A WRITER, SHE
COULD NOT HAVE BEEN AT A BETTER
PLACE AT A BETTER TIME.
Not only was Harlem the center of black society, but black
writers and intellectuals were also using it as the base for
a new cultural movement, to be known as the Harlem
Renaissance. This creative community did more than
enable the members of a black intellectual elite, including
such writers as Larsen, Jessie Fauset, and Walter White,
to meet and exchange ideas; through their contacts in the
white publishing establishment, older writers, such as
Larsen’s close friend Carl Van Vechten, a white critic and
novelist, could help younger ones get their works
published.
41. IT IS UNCERTAIN WHY LARSEN’S
CAREER AS A WRITER ENDED SO
ABRUPTLY.
A very private person, Larsen was shaken by accusations of plagiarism,
when her short story “Sanctuary” (1930) was said to be similar to an earlier
story by Sheila Kaye-Smith. Because they had seen Larsen’s rough drafts,
however, her editors had no difficulty establishing her innocence. At about
that time, Larsen also discovered that her husband, chairman of the physics
department at Fisk, was in love with another woman. Nevertheless, it is
known that Larsen worked on three different novels and that she had one
of them almost completed. Larsen was still working on novels as late as
1932 and 1933, while she was living in Nashville in an attempt to revive her
marriage. It may have been the notoriety that attended her divorce from
Imes in 1933 that drove Larsen into anonymity.
In any case, there were no more novels. Larsen left Harlem and moved to
Greenwich Village. In 1941, after her former husband died and her alimony
ceased, Larsen went back to her original career of nursing. She died in
Manhattan on March 30, 1964, at the age of seventy-two.
42. 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. The
only part you may copy is your explicit
thesis. Do not write an introduction!
• Bring: A large Examination Booklet and
a blue or black pen or #2 pencil.