The Longman Reader, 12th Edition Solution Manual

Instructor’s Resource Manual For The Longman Reader Twelfth Edition Judith Nadell John Langan Deborah Coxwell-Teague, Florida State University Prepared by Deborah Coxwell-Teague, Florida State University ________________________________________________________________________________ Copyright © 2019, 2016, 2012 by Pearson Education, Inc. or its affiliates. All Rights Reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise. For information regarding permissions, request forms and the appropriate contacts within the Pearson Education Global Rights & Permissions Department, please visit www.pearsoned.com/permissions/. ISBN-10: 0134761685 ISBN-13: 9780134761688 CONTENTS TEACHING COMPOSITION WITH THE LONGMAN READER vii At the Start of the Course Assigning the First Two Chapters in the Book Ways to Use the Book Creating a Process-Oriented Class Environment Some Cautions About Group Work Responding to Student Writing Using Portfolios to Evaluate Student Writing vii viii ix ix x xi xi SUGGESTED SYLLABI xiii xiv Syllabus #1: Essay-by-Essay Evaluation and Five Essays Syllabus #2: Portfolio Evaluation, Three Essays, and an End-of-the-Term Radical Revision Project xxiii 1 BECOMING A CRITICAL READER AND THINKER 1 Learning Objectives Opening Comments Larry Rosen, “Our Obsessive Relationship with Technology” 1 1 1 2 THE WRITING PROCESS 2 Learning Objectives Opening Comments Prewriting Activities Identifying the Thesis Activities Supporting the Thesis with Evidence Activities Organizing the Evidence Activities 2 2 2 2 3 4 3 DESCRIPTION 5 Learning Objectives Opening Comments Answers for Prewriting Activities Answers for Revising Activities Mario Suárez, El Hoyo Cherokee Paul McDonald, A View from the Bridge Judith Ortiz Cofer, A Partial Remembrance of a Puerto Rican Childhood Patricia Smith, Talking Wrong Michael Johnston, The Human Eye 5 5 5 6 7 8 9 11 12 4 NARRATION Learning Objectives iii Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. 13 13 Opening Comments Answers for Prewriting Activities Answers for Revising Activities Audre Lorde, The Fourth of July Lynda Barry, The Sanctuary of School Daniel “Nane” Alejandrez, César Chávez Changed My Life David Bardeen, Lives; Not Close Enough for Comfort Dorothea Lange, Migrant Mother 5 ILLUSTRATION Learning Objectives Opening Comments Answers for Prewriting Activities Answers for Revising Activities Kay S. Hymowitz, Tweens: Ten Going on Sixteen Casey Cavanaugh, Why We Still Need Feminism Stuart Rojstaczer, Gradeinflation.com: Grade Inflation at American Colleges and Universities Beth Johnson, Bombs Bursting in Air Emmy Blotnick, A Visual History of Shoes 6 DIVISION-CLASSIFICATION Learning Objectives Opening Comments Answers for Prewriting Activities Answers for Revising Activities Amy Tan, Mother Tongue David Brooks, Harmony and the Dream Francis Gilbert, What Makes a Great Teacher? Todd Kliman, Coding and Decoding Dinner Truity Psychometrics, The Best Careers for Your Personality Type 7 PROCESS ANALYSIS Learning Objectives Opening Comments Answers for Prewriting Activities Answers for Revising Activities Amy Sutherland, What Shamu Taught Me About a Happy Marriage Alex Horton, On Getting By Caroline Rego, The Fine Art of Complaining Werner Gundersheimer, A Mother’s Secret Antonio C. Novello, First Aid for Choking 8 COMPARISON-CONTRAST Learning Objectives Opening Comments iv Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. 13 13 14 15 17 18 19 20 22 22 22 22 23 23 24 25 27 29 30 30 30 30 32 32 34 34 35 36 38 38 38 38 38 39 40 41 43 44 46 46 46 Answers for Prewriting Activities Answers for Revising Activities Jeffrey N. Wasserstrom, A Mickey Mouse Approach to Globalization Pico Iyer, Chapels: On the Rewards of Being Quiet Stefany Anne Golberg, You Can Take It with You Savita Iyer, The Pros and Cons of Going Vegan Fatima Alissa, Before and After the Syrian Civil War 9 CAUSE-EFFECT Learning Objectives Opening Comments Answers for Prewriting Activities Answers for Revising Activities Jane S. Shaw, Nature in the Suburbs Leila Ahmed, Reinventing the Veil Jacques D’Amboise, Showing What Is Possible Juan Williams, The Ruling That Changed America DecideToDrive, OMG 10 DEFINITION Learning Objectives Opening Comments Answers for Prewriting Activities Answers for Revising Activities Jhumpa Lahiri, My Two Lives Laura Fraser, The Inner Corset Lillian Comas-Diaz, Hispanics, Latinos, or Americanos: The Evolution of Identity Josie Appleton, The Body Piercing Project Quinn Mathews, Global Warming Brochure 11 ARGUMENTATION-PERSUASION Learning Objectives Opening Comments Answers for Prewriting Activities Answers for Revising Activities Stanley Fish, Free-Speech Follies Mary Sherry, In Praise of The “F” Word Wendell Berry, Farming and the Global Economy Mike Rose, Blue-Collar Brilliance PAIRED READINGS: OBESITY IN AMERICA Michael Marlow & Sherzod Abdukadirov, Government Intervention Will Not Solve Our Obesity Problem Anna Brones, Should the Government Be Responsible for Regulating Obesity? v Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. 46 47 47 50 50 51 52 54 54 54 54 55 56 58 59 60 61 62 62 62 62 63 63 64 65 66 67 68 68 68 69 70 70 71 73 74 75 76 PAIRED READINGS: GENDER IN THE CLASSROOM Gerry Garibaldi, How the Schools Shortchange Boys Michael Kimmel, A War Against Boys? PAIRED READINGS: SELLING HUMAN ORGANS Alexander T. Tabarrok, A Moral Solution to the Organ Shortage Virginia Postrel, Need Transplant Donors? Pay Them Tami Luhby, Tal Yellin, and Caroline Matthews, Just How Much Better Off Are College Grads Anyway? 12 COMBINING THE PATTERNS Learning Objectives Hillary Rodham Clinton, Remarks to the United Nations: Fourth World Conference on Women Plenary Session Alice Steinbach, The Miss Dennis School of Writing Jonathan Swift, A Modest Proposal Paramount Pictures, Selma vi Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. 77 78 79 81 82 83 83 83 83 84 85 TEACHING COMPOSITION WITH THE LONGMAN READER Teaching offers many pleasures. Among the foremost, for us, is the chance to get together with colleagues to trade ideas, air classroom problems, share memorable moments, speculate about why some assignments set off fireworks and others fizzle—all of this helps us in our day-to-day teaching. In this Instructor’s Manual, we would like to share with you some thoughts about teaching first-year composition and about using The Longman Reader. We’ll explain our approach for introducing each pattern of development and indicate what we emphasize when discussing the professional selections in each section. We’ll provide suggested answers to the activities that conclude Chapters 1 and 2 and to the prewriting and revising activities that follow the introductions to the patterns of development. We’ll also offer suggested answers to the “Questions for Critical Reading” and “Questions About the Writer’s Craft” found after each professional selection. These responses aren’t meant to be definitive. We intend the responses to represent our views only. You may not agree with all our interpretations. That’s fine. If nothing else, our answers may suggest another way of viewing a selection. AT THE START OF THE COURSE There’s no denying that many students dread first-year composition—a bitter pill to swallow for those of us who have made the teaching of writing our lives’ work. But it’s important to understand that many students’ past experiences with writing have not been positive. Rather than trying to pretend that all our students are pleased about being in a composition class, we work to get out in the open any unhappiness they may have about writing and writing teachers. Here’s how we go about airing any negative feelings that may exist. On the first day of class, we acknowledge students’ feelings by saying something like, “I guess some of you wish that you didn’t have to take this course. In fact, you may feel that the only thing worse would be having to take a course in public speaking.” Our remark elicits smiles of self-recognition from many students, and the whole class seems to relax a bit. Then we ask students to talk about why they have such uneasy feelings about taking a writing course. Many have sad tales to tell about previous writing classes and writing teachers. Here are summaries of some of the comments we’ve heard over the years: • In the past, my essays were returned so covered with red ink that I could barely make out my own writing. I felt discouraged to see how much I had done wrong and angry to see my work covered over with comments. • I could never figure out what my teachers wanted. Different teachers seemed to look for different things. Since there were no clear standards, I’ve never understood the qualities that make up good writing. • Writing essays always took me too much time and felt like an endless chore. Getting a first draft done was hard enough, but revising was even worse. And the payoff for writing several drafts didn’t seem worth the effort. • I knew in my head what I wanted to say but didn’t know how to get my thoughts down on paper. My ideas never came out quite right. • I had writer’s block whenever I sat down to put pen to paper. I stared at the desk, daydreamed, fidgeted, and had real trouble getting started. Finally, just before an assignment was due, I dashed off something to hand in, just to get it over with. As such sentiments are aired, students discover that their experience has not been unique; they learn that others in class have had similar frustrating experiences. In addition, we tell the class that each semester many of our students recount comparable sagas of woe. We reassure the class that we understand the obstacles, both inner and outer, that they have to face when writing. And we tell them that we will work to make the first-year vii Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. composition course as positive an experience as possible. But we also say that we’d be dishonest if we told them that writing is easy. It isn’t. And, unfortunately, we have no magic formula for turning them into A-plus writers. On the other hand, because we are writers and because we work with writers, we know that composing processes can be satisfying and rewarding. We tell the class that we hope they’ll come to share our feelings as the term progresses. From here, we move to an activity that continues the ice breaking while also familiarizing the class with the workshop format we use frequently during the semester. Students form groups of two and then four, chatting with each other for about five minutes each time. To get them moving, we put some questions on the board: what are their names, where are they from, where are they living while attending college, what other courses are they taking, what is their intended major, and so on. After a few seconds of nervous silence, the class begins to buzz with friendly energy. When ten minutes or so have passed, we stop the activity and explain why we have devoted some precious class time to socializing. During the semester, we explain, the class will often meet in small groups and respond to each other’s work, learning a good deal from each other about writing as they do so. So it makes sense for them to get to know each other a bit right at the outset. We also explain our hope that they will find sharing their writing as interesting and enjoyable as chatting together. ASSIGNING THE FIRST TWO CHAPTERS IN THE BOOK During the first or second class, we emphasize to students that the course should help them become sharper readers as well as stronger writers. With that in mind, we assign Chapter 1 on “Becoming a Critical Reader and Thinker” before moving on to work on the writing process. When students come to class having read Chapter 1, we answer any questions they may have and go over the “Questions for Close Reading” and “Questions About the Writer’s Craft” that follow the selection from Larry Rosen. After this discussion of reading, we begin introducing the writing process, explaining how helpful it is for a writer to break down the task of writing into stages. We’ve found that many students have never viewed writing as a process, and our explanation of the steps is a great revelation to them. We are careful to emphasize that not everyone writes the same way; we explain that after trying out our recommendations about each stage of the process, students will most likely vary the process in ways that works best for them. We then assign the first part of Chapter 2, “The Writing Process” (up to “Discover Your Essay’s Limited Subject.”) In the next class, we discuss and practice prewriting. We tell the class that prewriting loosens a writer up. Exploratory and tentative, prewriting helps reduce the anxiety many people feel when facing the blank page. With prewriting, a writer doesn’t have to worry, “This better be good.” After all, no one except the writer is going to read the prewritten material. We work briefly with activities included in the chapter, such as the Prewriting Activity near the beginning of Chapter 2, but we tell our students that the best way for them to discover what prewriting is like is for them to try it for themselves. Therefore, we say, “Let’s suppose you had to write an essay on why students dislike English classes or what teachers could do to make English courses more interesting.” Then we ask them to select one prewriting technique discussed in the book (questioning the subject, brainstorming, freewriting, or mapping) to generate the raw material for such an essay. Often we invite them to compose their prewriting on their laptops if they have one handy, or to compose on paper if they prefer. We emphasize the point that prewriting is tentative and vastly different from finished work. Instructors who ask students to keep a journal might instead have them write a first journal entry in class. At the end of the class, we ask students to save the prewriting just prepared in class for possible use as the basis for an essay later in the term. And we assign the rest of the chapter and additional chapter activities; we also ask them to begin keeping a journal. In the next several classes, we finish the discussion of prewriting and work again in class on getting familiar with the various recursive stages of the writing process. After this, we introduce the patterns of development as invaluable aids to the writing process, from prompting ideas to organizing them coherently to easing the flow during the writing of a draft. viii Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. Throughout the course, we stress the recursive nature of the writing process and the fact that not everyone uses the same exact process or the same process for various types of writing assignments. We alternate in-depth study of the recursive stages of the writing process with work on the patterns of development. And we frequently have students reach back to material generated in the early prewriting sessions and, after feedback from other students, use it as the basis for more polished work. WAYS TO USE THE BOOK THE LONGMAN READER is arranged according to the following nine patterns of development: description, narration, illustration, division-classification, process analysis, comparison-contrast, cause-effect, definition, and argumentation-persuasion. Introductions to the patterns are designed to help students understand the distinctive features of specific rhetorical strategies. The Development Diagram in each chapter is a visual reference for how the rhetorical pattern is distinguished at each stage in the writing process. The text is organized so that the more accessible experiential patterns are presented first, before the more demanding analytic patterns. If you adopt a rhetorical approach in the course, you need not feel confined by the order of patterns in the book; each chapter is self-contained, which makes it possible for you to sequence the modes however you wish. And, of course, there’s no need to cover all of the readings in a chapter or even all of the rhetorical patterns. For rhetorically organized courses, we suggest that you emphasize early in the semester that professional composers don’t set out to write an essay or design a visual in a particular mode. The patterns emerge as the composers prewrite and organize their ideas; composers come to see that their points can best be made through a particular rhetorical strategy or combination of strategies. It’s helpful, we’ve learned, to assign selections before and after students write an essay. The first essay in each chapter is accompanied by an Essay Structure Diagram that outlines the reading, focusing on details specific to the rhetorical pattern. You may choose to assign these essays first. So, for example, if students are going to write a causal analysis, you might have them read Shaw’s “Nature in the Suburbs.” Then, after reviewing their drafts and seeing the problems they have had with, let’s say, causal chains, you might have them examine the way Juan Williams uses cause-effect in “The Ruling That Changed America.” Some instructors using a rhetorical approach in their courses place a special emphasis on exposition. If this is your orientation, you might want to begin with the illustration chapter. That section stresses the importance of establishing a clear thesis and providing solid support for the essay’s central point. Then you might move to the description and narration chapters; these underscore the importance of, respectively, a dominant impression and a narrative point, both developed through specific supporting details. If you prefer to design the course around themes rather than rhetorical patterns, the thematic table of contents (at the front of the textbook) will help you select essays on timely issues. For such a course, we recommend that you have students read a number of essays on a given theme. The fact that several essays on the same theme use different rhetorical strategies helps students see that the patterns are not ends in themselves, but techniques that writers use to make their points. CREATING A PROCESS-ORIENTED CLASS ENVIRONMENT We’ve found that creating a workshop atmosphere in the classroom helps students view writing as a process. When a new essay is assigned, we try to give students several minutes to start their prewriting in class. In other classes, time may be set aside for students to rework parts of their early drafts. We may, for instance, ask them to sharpen their introductions, conclusions, sentence structure, or transitions. ix Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. In our experience, it’s been especially productive to use class time for peer review of early drafts. For these feedback sessions, students may be paired with one other classmate, or they may meet with two or three other classmates. Feedback from someone other than the course instructor motivates students to put in more time on a draft. Hearing from other classmates that a point is not clear or that a paragraph is weakly developed encourages students to see that revision involves more than mechanical tinkering. They start to understand that revision often requires wholesale rethinking and reworking of parts of the essay. And after a few peer-review sessions, many students begin to identify for themselves the problem areas in their writing. You’ll find that many students squirm at the thought of reacting to their classmates’ work. So it’s not surprising that they tend to respond to each other’s essays with either indiscriminate praise or unhelpful neutrality. To guide students, we prepare a brief checklist of points to consider when responding to each other’s work. (You might, for example, adapt one of the checklists from the textbook, for example one from a pattern chapter that would fit a particular assignment.) With such a checklist in front of them, students are able to focus their impressions and provide constructive feedback. There are a number of ways to set up these peer-review sessions. Here are a few possibilities: • After pairing students or placing them in small groups, have each essay read aloud by someone other than the author. Students tell us that hearing another person read what they’ve written is invaluable. Awkward or unclear passages in an essay become more obvious when someone who has never before seen the essay reads it aloud. • Place students in small groups and ask them to circulate their papers so that everyone has a chance to read all the essays. Then have each group select one especially effective essay to read aloud to the rest of the class. Everyone discusses each essay’s strengths and what might be done to sharpen the sections that miss the mark. As you can no doubt tell, we believe that group work is an important part of what goes on in a composition classroom. Since it gives students the chance to see how others approach the same assignment, they come to appreciate the personal dimension of writing and develop an awareness of rhetorical options. The group process also broadens the audience for whom the students are writing and multiplies the feedback students get for their work, letting them see that their instructor is just one among many readers. Group activities thus help students gain a clearer sense of purpose and audience. Finally, we have found that peer review encourages students to be more active in the classroom. When students assume some of the tasks traditionally associated with the instructor, the whole class becomes more animated and students learn more than they would otherwise. SOME CAUTIONS ABOUT GROUP WORK If you are new to group work, you may have the uneasy feeling that the group process can deteriorate into enjoyable but unproductive chat sessions. That can happen if the instructor does not guide the process carefully. Here are several suggestions to steer you clear of some traps that can ensnare group activities. • First, we recommend you give very clear instructions about how students are to proceed. Providing a checklist, for example, directs students to specific issues you want them to address. • Second, we believe in establishing a clear time schedule for each group activity. We might say, “Take 12-15 minutes to read to yourself the essay written by the person on your left” or “Now that all the essays in your group have been read, you should vote to determine which is the strongest composition. Then take five minutes to identify one section of the essay that needs additional attention.” • Third, although we try to be as inconspicuous as possible during group work, we let students know that we are available for help when needed. Sometimes we circulate among the groups, listening to comments and asking a question or two. Other times we stay at the desk and encourage students to consult with us when they think our reaction would be helpful. x Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. RESPONDING TO STUDENT WRITING Beyond the informal in-class consultations just described, we also meet during the course with each student for at least two one-on-one conferences of about 15 minutes each. Individual conferences take a significant amount of time and energy on the instructor’s part, so if possible, cancel class for several days while you meet individually with students. Depending on our purpose, student needs, class size, and availability of time, a number of things may occur during the individual conferences. Most often, we review a second draft of an essay and point out areas we think are strong, along with areas that need further revision. This approach encourages students to interact with us more freely since their attention isn’t riveted to the comments and/or a grade already recorded on the paper. We’ve found that students are more likely to grow as writers when given the opportunity to revise their writing after receiving feedback from both peers and their teacher. If you choose to do essay-by-essay (rather than portfolio) grading, you might assign second drafts to which you’ve responded an “as-is” grade. After seeing your comments and the “as-is” grade you’ve assigned the draft, students would have the option of revising the essay for the possibility of a higher grade. That way, students who wish to work more on their writing would have the opportunity, and those who are satisfied with the grade they’ve received would not be required to revise. To help control your workload, you might give students who wish to revise a deadline by which they must resubmit their essay–perhaps two weeks from the day you returned to them the second draft. This would eliminate the possibility of students submitting to you several revised essays late in the term. In our oral and written comments to our students’ writing, we make a point of letting them know what we think they’ve done well in their essays, and we limit discussion of problems to the most critical points. Like everyone else, students are apt to overlook what they’ve done well and latch onto things that haven’t been so successful. If every error a student makes is singled out for criticism, the student—again, like everyone else— often feels overwhelmed and defeated. So unless a student is obviously lackadaisical and would profit from some hard-hitting teacherly rebukes, we try to make our comments as positive and encouraging as possible. And rather than filling the essay with reworked versions of, let’s say, specific sentences and paragraphs, we make liberal use of such remarks as these: “Read these last three sentences aloud. How could you streamline these sentences?” or “I believe this paragraph contradicts what you say at the beginning of the preceding paragraph? Am I correct, or am I missing something?” USING PORTFOLIOS TO EVALUATE STUDENT WRITING You may wish to have your students present a portfolio of their work for grading at the conclusion of the course, instead of giving grades for each composition in succession. Using such a portfolio system alters somewhat the way you respond to student’s second drafts as they are submitted, because you assign no grades to them. The written and oral feedback on a paper is geared solely to making the essay a more effective piece of communication rather than to justifying a particular low or high grade. This forces all concerned—instructors and students—to stay focused on how to improve writing rather than on what might pull a paper down or what score a composition should receive. If students balk at “floating free” of grades for the whole course, you might let them know, in general terms, the grade you’d assign if you had to give the draft a grade. For example, you might let a student know that, as is, her essay is in the C to C+ range, or that a very good draft is in the B+ to Arange. Many teachers tend to shoot a little on the low side with these grade estimates, making sure the student understands the need for further revision. You should indicate clearly at the start of the course that students must complete each assigned draft as well journal entries and so forth that you assign but that the writing component of their final grade will be based upon a portfolio of polished work. Many of us ask students to include in their portfolios drafts of each of the essays they wrote for the course, while others ask students to choose only three of the four or four of the five xi Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. essays they completed. If you allow students to leave one of their essays out of the portfolio, you might want to wait until late in the semester to share this information with them–after they have completed all of the essays for the course. If students know one of their essays does not have to be included, they may tend to work less on that essay than they would otherwise. Such a portfolio system has several advantages. It stresses to students that writing well is an ongoing process and encourages them to make subsequent revisions of their essays as they acquire new insights into writing. It forces them to take responsibility for their progress beyond the achievement they reach in the first submitted version of an essay. It instills the notion of a writing community, for once they have gotten beyond the initial series of structured feedback sessions that you have built into the course, students must initiate feedback from their peers and from the instructor on any revisions they do. Finally, such a system dramatizes the reality that writers write for other people and that reaching the audience, not jumping hurdles to get a grade, is the goal of writing. Many students embrace the opportunity to create electronic portfolios using platforms such as wix.com or weebly.com. As the instructor, don’t worry too much about your level of expertise with these platforms. You’ll likely be amazed at all that your students will be able to teach you and each other. You and your students can work together to decide what the portfolios should include. Many of us decide to include an “About Me” section (with the option of including photos, links to videos, etc.), a section for each of the essays included in the portfolio (possibly including various drafts of each essay), a section in which students include several of their journal entries they are most proud of, and a section in which students reflect on the writing they’ve done over the course of the term and how they have developed as composers and critical thinkers as a result of the work they have done. xii Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. SUGGESTED SYLLABI On the following pages we present two syllabi that will give you some further ideas on how to use The Longman Reader. Note that the syllabi assume the course meets twice a week for an hour and a half per session over the course of fifteen weeks. The syllabi can, of course, be adjusted to fit a variety of course formats. The first syllabus would likely work best in a classroom in which the teacher uses essay-by essay evaluation and students write two drafts of each essay. With this syllabus, students write a total of five essays over the course of the term. Feel free to play with the syllabus and make changes that work best for you and your students. The second syllabus is designed for a classroom in which the teacher uses portfolio evaluation and students write two drafts of the first three essays, as well as a third draft of each one for the final portfolio. This syllabus includes four essays, one of which is an argumentation-persuasion essay to which five weeks of the course are devoted, plus an end-of-the-semester radical revision project which asks students to take an idea they wrote about in one of their four essays and re-create that idea in another genre of their choice–for example, a magazine advertisement, pamphlet, skit, poem, short story, memoir, scrapbook, photo essay, poster, website, video, etc. If you like the design of the second syllabus but prefer essay-by-essay evaluation, you could substitute essay-by-essay evaluation for portfolio assessment. xiii Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. SYLLABUS #1–ESSAY-BY-ESSAY EVALUATION AND FIVE ESSAYS WEEK 1 Class 1 • Provide an introduction to the course and handle necessary business matters. • Direct a “getting to know each other” activity. (See page 2 of this manual.) • Have students prepare an in-class writing sample to get an initial sense of their writing needs. Do not grade these, and do not return them to students. They should be used to give you a general sense of where your students are as writers. • Assignment—Ask students to read Chapter 1, “Becoming a Critical Reader and Thinker” and make a of five things they learned that they think can help them become more critical readers and thinkers. list Class 2 • Have students get into small groups of 3-4 students and share their lists of five things they learned that they think can help them become more critical readers and thinkers. Then have each group share their discussion with the entire class. • Have students complete the pre-reading journal entry that precedes the essay at the end of Chapter 1, “Our Obsessive Relationship with Technology.” Ask for two or three volunteers to share what they wrote and provide positive feedback. • Read aloud with the class the essay at the end of Chapter 1, “Our Obsessive Relationship with Technology,” and discuss the reading and craft questions following the essay. • Introduce the writing process, with emphasis on prewriting. • Assignment—Have students read up to “Stage 2: Identify the Thesis” in Chapter 2 and make a list of five things they learned from the reading that they think they’ll be able to put to good use when they start working on their own essays. WEEK 2 Class 3 • Have students get in small groups of 3-4 students and share their lists of five things they learned from the assigned reading that they think they’ll be able to put to good use when they start working on their own essays. Then have each group share a couple of the things they discussed. • Have students do some practice prewriting; ask for a few volunteers to share their writing and give positive feedback. • Assignments—Have students read up to “Stage 4: Organize the Evidence” from Chapter 2 and make a list of five things they learned from the assigned reading that they think they’ll be able to put to good use when they start working on their own essays. xiv Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved. Class 4 • Have students get in small groups of 3-4 students and share their lists of five things they learned from the assigned reading that they think they’ll be able to put to good use when they start working on their own essays. Then have each group share a couple of the things they discussed. • Have students, in groups or as a class, do three of the activities from the first half of Chapter 2: one from “Activities: Prewrite,” one from “Activities: Identify the Thesis,” and one from “Activities: “Support the Thesis with Evidence.” Discuss answers as a class. • Assignments—Have students read up to “Stage 5: Write the First Draft” from Chapter 2 and make a list of five things they learned from the assigned reading that they think they’ll be able to put to good use when they start working on their own essays. WEEK 3 Class 5 • Have students get in small groups of 3-4 students and share their lists of five things they learned from the assigned reading that they think they’ll be able to put to good use when they start working on their own essays. Then have each group share a couple of the things they discussed. • While still in their small groups, ask students to discuss experiences they’ve had in the past with designing outlines and how they think outlines are supposed to help them during the writing process. Then have each group share a couple of the things they discussed. • Have students remain in their small groups or work individually to complete “Activities: Organizing the Evidence,” #1. Then have groups or individuals share their work with the class. • Assignments–Have students finish reading Chapter 2 and make a list of five things they learned from the assigned reading that they think they’ll be able to put to good use when they start working on their own essays. Class 6 • Have students share some of the items on their lists of what they learned from the assigned reading and submit the lists to you for review. • Read aloud in class and lead a discussion of Caylah Francis’s sample first draft, the peer review worksheet her classmate filled out, and Caylah’s revised draft. Have students comment on how the peer review helped Caylah write a stronger essay and on what they think of the revised essay overall–its strengths and weaknesses. Find out something about their previous experiences writing essays and how many have had experience writing essays that incorporate outside sources. • Introduce the first pattern of development, Description or Narration–your choice. • Assignment—Have students read Chapter 3, “Description,” through the student essay and accompanying commentary or, alternatively, Chapter 4, “Narration,” through the student essay and accompanying commentary. xv Copyright 2019, 2016, 2012 Pearson Education, Inc. All rights reserved.