Ewrt 30 class 11 writer's workshop
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This document provides an agenda for an EWRT 30 class. It includes a list of terms to be covered, including unreliable narrator, setting, tone, symbol, and theme. It then defines each term. The rest of the document outlines a writers' workshop where students will get into groups, pass out their fiction stories for peers to provide feedback on, and work to revise their Fiction Project #2 which is due the following week. Homework includes posting paragraphs from the fiction project and completing a reading assignment.
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Ewrt 30 class 11 writer's workshop
This document provides an agenda for an EWRT 30 class. It includes a list of terms to be covered, including unreliable narrator, setting, tone, symbol, and theme. It then defines each of these terms. The rest of the document outlines a writers' workshop where students will get into groups, read each other's fiction stories aloud, provide feedback and comments, and engage in the revision process at home before submitting their fiction project. Homework includes posting paragraphs from their fiction and submitting the full project by the deadline.
Ewrt 30 class 11 writer's workshop
This document provides an agenda for an EWRT 30 class. It includes a list of terms to be covered, including unreliable narrator, setting, tone, symbol, and theme. It then defines each of these terms. The rest of the document outlines a writers' workshop where students will get into groups, read each other's fiction stories aloud, provide feedback and comments, and engage in the revision process at home before submitting their fiction project. Homework includes posting paragraphs from their fiction and submitting the full project by the deadline.
Ewrt 30 class 11 writer's workshop
This document contains the agenda and notes from an EWRT 30 class. The agenda includes discussing terms 26-30, having a writers' workshop for fiction project #2, and reviewing the homework. The terms discussed are unreliable narrator, setting, tone, symbol, and theme. The writers' workshop section instructs students to get into groups, provide feedback on each other's fiction drafts using a handout as a guide, and write comments on the stories. It outlines revision steps to be done at home. The homework assigned is to post paragraphs from the fiction project, submit the full revised project by the deadline, read "The Most Dangerous Game", and study for terms on the next test.
Ewrt 30 class 11 writer's workshop
This document contains the agenda and notes from an EWRT 30 class. The agenda includes discussing terms 26-30, having a writers' workshop for fiction project #2, and assigning homework. The terms discussed are unreliable narrator, setting, tone, symbol, and theme. The writers' workshop section instructs students to get into groups, provide feedback on each other's fiction drafts using a handout as a guide, and offers steps for revision at home. Homework assigned is to post paragraphs from the fiction project, submit the full project by the deadline, read "The Most Dangerous Game", and study for terms on the next test.
Ewrt 30 class 11
This document provides an agenda for an EWRT 30 class. It includes:
1. A list of terms 26-30 to be covered, including unreliable narrator, setting, tone, symbol, and theme.
2. Definitions for each of these terms. For example, it defines an unreliable narrator as one whose interpretation of events differs from the author's or is biased.
3. Instructions for a writers' workshop where students will get feedback on drafts of their fiction projects from peers in groups, using a handout as a guide.
4. Homework assignments which include posting paragraphs from their fiction project, submitting the full project, reading "The Most Dangerous Game", and
Ewrt 30 class 11
This document provides an agenda for an EWRT 30 class. It includes terms 26-30 to be discussed, with definitions: unreliable narrator, setting, tone, symbol, and theme. It outlines a writers' workshop for a fiction project, where students will get into groups, pass out their fiction for peers to read and provide comments and suggested revisions. The document provides steps for revising work at home as well. Homework includes posting paragraphs from one's fiction project, reading "The Most Dangerous Game", and studying the terms.
Ewrt 30 class 11 writer's workshop
This document provides an agenda for an EWRT 30 class. It includes a list of terms to be covered, including unreliable narrator, setting, tone, symbol, and theme. It then outlines a writers' workshop where students will get feedback on drafts of their fiction project in groups, using a handout as a guide. Steps for revision at home are outlined. The fiction project is due the following Friday before noon. Homework includes posting paragraphs from the fiction project and reading "The Most Dangerous Game" in preparation for a test on the terms.
Style
The document discusses various stylistic features that writers use when crafting novels, including setting, characterization, structure, point of view, and literary and language devices. It notes that these choices help create atmosphere and dramatic tension. Students will analyze extracts to identify how the writer creates atmosphere and tension through point of view, punctuation, sentence structure, literary devices, and word choice. They will then discuss their findings and conclusions in groups before attempting to write their own paragraph using stylistic features to convey a particular atmosphere.
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Ewrt 30 class 11 writer's workshop
This document provides an agenda for an EWRT 30 class. It includes a list of terms to be covered, including unreliable narrator, setting, tone, symbol, and theme. It then defines each of these terms. The rest of the document outlines a writers' workshop where students will get into groups, read each other's fiction stories aloud, provide feedback and comments, and engage in the revision process at home before submitting their fiction project. Homework includes posting paragraphs from their fiction and submitting the full project by the deadline.
Ewrt 30 class 11 writer's workshop
This document provides an agenda for an EWRT 30 class. It includes a list of terms to be covered, including unreliable narrator, setting, tone, symbol, and theme. It then defines each of these terms. The rest of the document outlines a writers' workshop where students will get into groups, read each other's fiction stories aloud, provide feedback and comments, and engage in the revision process at home before submitting their fiction project. Homework includes posting paragraphs from their fiction and submitting the full project by the deadline.
Ewrt 30 class 11 writer's workshop
This document contains the agenda and notes from an EWRT 30 class. The agenda includes discussing terms 26-30, having a writers' workshop for fiction project #2, and reviewing the homework. The terms discussed are unreliable narrator, setting, tone, symbol, and theme. The writers' workshop section instructs students to get into groups, provide feedback on each other's fiction drafts using a handout as a guide, and write comments on the stories. It outlines revision steps to be done at home. The homework assigned is to post paragraphs from the fiction project, submit the full revised project by the deadline, read "The Most Dangerous Game", and study for terms on the next test.
Ewrt 30 class 11 writer's workshop
This document contains the agenda and notes from an EWRT 30 class. The agenda includes discussing terms 26-30, having a writers' workshop for fiction project #2, and assigning homework. The terms discussed are unreliable narrator, setting, tone, symbol, and theme. The writers' workshop section instructs students to get into groups, provide feedback on each other's fiction drafts using a handout as a guide, and offers steps for revision at home. Homework assigned is to post paragraphs from the fiction project, submit the full project by the deadline, read "The Most Dangerous Game", and study for terms on the next test.
Ewrt 30 class 11
This document provides an agenda for an EWRT 30 class. It includes:
1. A list of terms 26-30 to be covered, including unreliable narrator, setting, tone, symbol, and theme.
2. Definitions for each of these terms. For example, it defines an unreliable narrator as one whose interpretation of events differs from the author's or is biased.
3. Instructions for a writers' workshop where students will get feedback on drafts of their fiction projects from peers in groups, using a handout as a guide.
4. Homework assignments which include posting paragraphs from their fiction project, submitting the full project, reading "The Most Dangerous Game", and
Ewrt 30 class 11
This document provides an agenda for an EWRT 30 class. It includes terms 26-30 to be discussed, with definitions: unreliable narrator, setting, tone, symbol, and theme. It outlines a writers' workshop for a fiction project, where students will get into groups, pass out their fiction for peers to read and provide comments and suggested revisions. The document provides steps for revising work at home as well. Homework includes posting paragraphs from one's fiction project, reading "The Most Dangerous Game", and studying the terms.
Ewrt 30 class 11 writer's workshop
This document provides an agenda for an EWRT 30 class. It includes a list of terms to be covered, including unreliable narrator, setting, tone, symbol, and theme. It then outlines a writers' workshop where students will get feedback on drafts of their fiction project in groups, using a handout as a guide. Steps for revision at home are outlined. The fiction project is due the following Friday before noon. Homework includes posting paragraphs from the fiction project and reading "The Most Dangerous Game" in preparation for a test on the terms.
Style
The document discusses various stylistic features that writers use when crafting novels, including setting, characterization, structure, point of view, and literary and language devices. It notes that these choices help create atmosphere and dramatic tension. Students will analyze extracts to identify how the writer creates atmosphere and tension through point of view, punctuation, sentence structure, literary devices, and word choice. They will then discuss their findings and conclusions in groups before attempting to write their own paragraph using stylistic features to convey a particular atmosphere.
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2. Instructions for a writers' workshop where students will get feedback on their Fiction Project #2 from peers in small groups.
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Dates will need changing if you download for your own students.
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This document provides an agenda and terms for an EWRT 30 class. The agenda includes reviewing terms 1-9, which define literary terms like drama, playwright, and script. It also covers a writer's workshop for fiction project #2. The workshop instructions ask students to provide feedback on each other's short stories in groups. They are given steps to revise their stories at home before the next class. Homework includes posting an excerpt of their story, reading a short play, and submitting the revised fiction project.
Ewrt 30 class 16
This document provides an agenda and terms for an EWRT 30 class. The agenda includes reviewing terms 1-9, which define literary terms like drama, playwright, and script. It also covers a writer's workshop for fiction project #2. The workshop instructions ask students to provide feedback on each other's short stories in groups. They are given steps to carefully revise their work at home before the next submission.
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Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
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· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
Reading Skills Presentation
This series addresses core concepts of reading, analyzing, and interpreting literature in the college classroom. This presentation is primarily meant to be a supplement to classroom lecture and discussion, but you may find it useful to review some key concepts for literary studies and improve overall skills in reading and interpretation.
209.20191.ENG11238A Assignments Essay 1 Final! Essay 1 .docx
209.20191.ENG11238A Assignments * Essay 1 Final!
* Essay 1 Final
* Essay 1 Final !
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ENG 1123 Online Summer Thompson
Essay #1: UNIT 1 –
Stories:The Disappearance, The Story of an Hour, The Yellow
Wallpaper, and Suicide Note
Instruc!onsInstruc!ons:
Compose a cri!cal analysis essay on one of the topics below.
Your essay should be well developed, unified, coherent, and
gramma"cally correct. Refer to the Grading Criteria for MCC
English Classes in the First Day Handout for this course.
Required length: 1 ½ -2 typed pages
You will have a chance to earn 5 bonus points on this essay
by following the direc"ons for checking your graded essay
in Turn It In and looking over the correc"ons and comments
(a#er I have graded it). Turn It In will show me if you viewed
your document or not. The direc"ons (with pictures) are in
this week's module "tled "Instruc"ons for Seeing
Correc"ons in Turn It In."
Create a thesis statement, and back up your claim with
support/evidence from the text. Support should contain clear,
specific examples from the story or stories you are analyzing, as
well as documenta"on for all text references. Include at least
one quota!on from the story in each body paragraph of your
essay, for a total of 4 quota"ons from the story/poem. *See
handouts about how ci"ng poetry is different than stories. It
would be a good idea to do an outline before wri"ng the essay.
Follow MLA format: Use size 12, Times New Roman font and 1-
inch margins; double space.
Include a Work Cited page. It is not included in the two-page
length requirement; it should appear on a separate page at the
end of your paper. You will automa"cally lose 20 points for not
including a Works Cited page.
Topics:
1. Analyze a character in one of the short stoires and show
how he or she is a dynamic, round, flat, or sta!c character
by examining his or her development over the course of the
story.
2. Choose one work from Units 1 and discuss how in
the story/poem society plays a part in imprisoning/s"fling
the main character.
3. Discuss the importance of se%ng in 1 work from Units 1.
Analyze how the se%ng ("me and place) adds meaning,
conflict, and/or relevance to the characters. Do NOT just
describe the se%ng and tell me “in this story the se%ng is
this. In that story the se%ng is that.” That is not analysis,
nor is it interes"ng. I want to know how and why the
se%ng is significant, what thisreveals about the characters,
the "me period, and the conflict within the story
StepsSteps:
Before beginning your paper, read the wri"ng handouts; use
them as a guide while working on your essay as well.
Use the outline form on the next page to plan your paper.
You may write/type directly o.
Ewrt 30 class 18
This document provides an agenda and information for an EWRT 30 class. It includes announcements about submissions to the Red Wheelbarrow literary magazine, upcoming assignments like a drama project and terms test, and guidelines for group work on short plays. Students are instructed to submit a self-assessment of their homework posts by the next class and given rules, expectations, and suggestions for collaborating effectively in their groups.
Description of how the concepts of the theory or model fit to the .docx
Description of how the concepts of the theory or model fit to the mission and philosophy of the institution
15%
Clearly and logically describes the fit of the theory or model to the institution’s philosophy and mission. Provides examples of how the theory or model fit to the philosophy and mission of the institution.
Clearly and logically describes the fit of the theory or model to the institution’s philosophy and mission.
No examples of how the theory or model fit to the philosophy and mission of the institution are described.
Fit of the theory or model to the mission and philosophy of the institution is described but lacks clarity in description.
Fit of the theory or model to the mission and philosophy of the institution is described but is not logical.
Does not include a slide on the fit of theory or model to the institution’s philosophy and mission.
I am responsible for slides 7-8 on the power point presentation! The above requirements are based on Watson’s theory. Use the posted reading material to complete the power point. APA format please
TEACHING AND LEARNING TO STANDARDS
Reading and Literature – A Glossary of Literary Terms
1
A GLOSSARY OF LITERARY TERMS
LITERARY DEVICES
Alliteration: The repetition of initial consonant
sounds used especially in poetry to emphasize
and link words as well as to create pleasing,
musical sounds. Example—the fair breeze blew,
the white foam flew.
Allusion: A reference to a well-known person,
place, event, literary work, or work of art to
enrich the reading experience by
adding meaning.
Characterization: Techniques a writer uses to
create and develop a character by what:
• he/she does or says,
• other characters say about him/her, or how
they react to him/her
• the author reveals directly or through a
narrator.
Dialect: Speech that reflects pronunciation,
vocabulary, and grammar typical of a
geographical region.
Flashback: Interruption of the chronological
(time) order to present something that occurred
before the beginning of the story.
Figurative Language: Language that has meaning
beyond the literal meaning; also known as
“figures of speech.”
• Simile: comparison of two things using the
words “like” or “as,” e.g. “Her smile was as
cold as ice.”
• Metaphor comparison of two things
essentially different but with some
commonalities; does not use “like” or “as,”
e.g. “Her smile was ice.”
• Hyperbole: a purposeful exaggeration for
emphasis or humor.
• Personification: human qualities attributed
to an animal, object, or idea, e.g. “The
wind exhaled.”
Free Verse: Poetry that does not conform to a
regular meter or rhyme scheme. Poets who write
in free verse try to reproduce the natural rhythms
of spoken language.
Foreshadowing: Important hints that an author
drops to prepare the reader for what is to come,
and help the reader anticipate the outcome.
Imagery: Words or phrases that appeal to the
reader’s sens.
Description of how the concepts of the theory or model fit to the .docx
Description of how the concepts of the theory or model fit to the mission and philosophy of the institution
15%
Clearly and logically describes the fit of the theory or model to the institution’s philosophy and mission. Provides examples of how the theory or model fit to the philosophy and mission of the institution.
Clearly and logically describes the fit of the theory or model to the institution’s philosophy and mission.
No examples of how the theory or model fit to the philosophy and mission of the institution are described.
Fit of the theory or model to the mission and philosophy of the institution is described but lacks clarity in description.
Fit of the theory or model to the mission and philosophy of the institution is described but is not logical.
Does not include a slide on the fit of theory or model to the institution’s philosophy and mission.
I am responsible for slides 7-8 on the power point presentation! The above requirements are based on Watson’s theory. Use the posted reading material to complete the power point. APA format please
TEACHING AND LEARNING TO STANDARDS
Reading and Literature – A Glossary of Literary Terms
1
A GLOSSARY OF LITERARY TERMS
LITERARY DEVICES
Alliteration: The repetition of initial consonant
sounds used especially in poetry to emphasize
and link words as well as to create pleasing,
musical sounds. Example—the fair breeze blew,
the white foam flew.
Allusion: A reference to a well-known person,
place, event, literary work, or work of art to
enrich the reading experience by
adding meaning.
Characterization: Techniques a writer uses to
create and develop a character by what:
• he/she does or says,
• other characters say about him/her, or how
they react to him/her
• the author reveals directly or through a
narrator.
Dialect: Speech that reflects pronunciation,
vocabulary, and grammar typical of a
geographical region.
Flashback: Interruption of the chronological
(time) order to present something that occurred
before the beginning of the story.
Figurative Language: Language that has meaning
beyond the literal meaning; also known as
“figures of speech.”
• Simile: comparison of two things using the
words “like” or “as,” e.g. “Her smile was as
cold as ice.”
• Metaphor comparison of two things
essentially different but with some
commonalities; does not use “like” or “as,”
e.g. “Her smile was ice.”
• Hyperbole: a purposeful exaggeration for
emphasis or humor.
• Personification: human qualities attributed
to an animal, object, or idea, e.g. “The
wind exhaled.”
Free Verse: Poetry that does not conform to a
regular meter or rhyme scheme. Poets who write
in free verse try to reproduce the natural rhythms
of spoken language.
Foreshadowing: Important hints that an author
drops to prepare the reader for what is to come,
and help the reader anticipate the outcome.
Imagery: Words or phrases that appeal to the
reader’s sens.
Column Writing by Joji Ubaldo Cabatic
This document provides guidance on writing columns. It defines a column as a piece of writing presenting the author's perspective on a subject supported by reasons and examples. Columns typically appear regularly under the same title/head and are written by the same person on timely topics. Qualities of a good columnist include being a keen observer with strong reasoning skills and respect for their institution. Columns can cover a variety of topics and take different forms, such as opinion, editorial, humor, or personality columns. Effective columns catch the reader's interest, clearly state the main point, support it with facts, include the author's opinion, and call readers to action. Writers should focus their columns, choose an engaging style, and balance entertainment with information.
Ewrt 30 class 18
This document provides an agenda and information for an EWRT 30 class. It includes announcements about submissions to the Red Wheelbarrow literary magazine, upcoming assignments and due dates, terms and definitions related to drama, and instructions for group work on short play projects. Students are asked to submit a self-assessment of their homework blog posts and to study for an upcoming terms test on drama. Group work on short plays will also be a focus of upcoming classes.
Similar to Ewrt 30 class 11 writer's workshop (20)
riting About LiteratureGenerally, the essays you write in lite.docx
riting About LiteratureGenerally, the essays you write in lite.docx
209.20191.ENG11238A Assignments Essay 1 Final! Essay 1 .docx
209.20191.ENG11238A Assignments Essay 1 Final! Essay 1 .docx
Description of how the concepts of the theory or model fit to the .docx
Description of how the concepts of the theory or model fit to the .docx
Description of how the concepts of the theory or model fit to the .docx
Description of how the concepts of the theory or model fit to the .docx
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Ewrt 1 at class 14
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1. It mentions French, cars, and unicorns in the first item.
2. The second item refers to bicycle tires, toothpaste, and a chemistry lab.
3. The third item mentions Africa, Little Red Riding Hood, and a matador.
Ewrt 1 at class 13
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Ewrt 30 class 11 writer's workshop
- 1. EWRT 30 Class 11
- 2. AGENDA • Terms 25-30 • Writers' Workshop: Fiction Project #2
- 3. TERMS 26-30 26. Unreliable narrator 27. Setting 28. Tone 29. Symbol 30. Theme
- 4. 26.An unreliable narrator is a fictional character whose interpretation of events is different from the author's or undependable because he or she is naïve or has a bias or a stake in the outcome of the plot. . 27.Setting: the locale, time, and social circumstances of a story (for instance, an Eastern town in winter, about 1950, in an upper-class private girls school). 28.Tone: the prevailing attitude (for instance, ironic, compassionate, objective) as perceived by the reader; the author's feelings toward the central character or the main events. 29.Symbol: a person, object, action, or situation, that, charged with meaning, suggests another thing (for example, a dark forest may suggest confusion, or perhaps evil), though usually with less specificity and more ambiguity than allegory. A symbol usually differs from a metaphor in that a symbol is expanded or repeated and works by accumulating associations. 30.Theme: the central idea or meaning of a story; what the work is about. When you express the theme in your own words, it should be worded in a complete sentence and universally expressed.
- 6. Poetry Workshop Get into your groups Pass out your fiction so that everyone in your group has a copy Take turns reading them aloud; Note obvious errors (typos, spelling) by marking on the text as the reader reads. Read everyone’s work before making comments about content, style, and conventions. Make sure each participant gets at least one thorough review of his or her work. Use the handout as a guide for your comments. Ask yourself the questions about each piece. Where should the writer focus his or her efforts in revision? Write on the story. Use the margins or the back for your comments. DO NOT write on the fiction revision workshop handout
- 7. Steps to Revision: AT HOME 1. Carefully and thoughtfully review the suggestions your readers have given you. 2. Make the changes that will improve your story. 3. Put aside the work for several hours or longer. This kind of literal space/time distance will allow you to gain some objectivity. 4. Revisit your story and the revision suggestions. 5. Make further changes. 6. Read your revised story aloud. 7. Revise again.
- 8. Project #2 Fiction 75 points
- 9. Homework • Post # 11: The best two or three paragraphs of your fiction project. • Submit Project #2: Due Friday, Week 7 at noon. Feel free to submit early: first come, first graded! • Reading: “The Most Dangerous Game” • Study terms: test #2 at our next meeting Well, maybe I should get started on this…..