The Longman Reader, 12th Edition Lecture Notes

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Instructor’s Resource ManualForThe Longman ReaderTwelfth EditionJudith NadellJohn LanganDeborah Coxwell-Teague,Florida State UniversityPrepared byDeborah Coxwell-Teague,Florida State University

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iiiCONTENTSTEACHING COMPOSITION WITHTHE LONGMAN READERviiAt the Start of the CourseviiAssigning the First Two Chapters in the BookviiiWays to Use the BookixCreating a Process-Oriented Class EnvironmentixSome Cautions About Group WorkxResponding to Student WritingxiUsing Portfolios to Evaluate Student WritingxiSUGGESTED SYLLABIxiiiSyllabus #1: Essay-by-Essay Evaluation and Five EssaysxivSyllabus #2: Portfolio Evaluation, Three Essays, and an End-of-the-TermRadical Revision Projectxxiii1 BECOMING A CRITICAL READER AND THINKER1Learning Objectives1Opening Comments1Larry Rosen, “Our Obsessive Relationship with Technology”12 THE WRITING PROCESS2Learning Objectives2Opening Comments2Prewriting Activities2Identifying the Thesis Activities2Supporting the Thesis with Evidence Activities3Organizing the Evidence Activities43 DESCRIPTION5Learning Objectives5Opening Comments5Answers for Prewriting Activities5Answers for Revising Activities6Mario Suárez,El Hoyo7Cherokee Paul McDonald,A View from the Bridge8Judith Ortiz Cofer,A Partial Remembrance of a Puerto Rican Childhood9Patricia Smith,Talking Wrong11Michael Johnston,The Human Eye124 NARRATION13Learning Objectives13

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ivOpening Comments13Answers for Prewriting Activities13Answers for Revising Activities14Audre Lorde,The Fourth of July15Lynda Barry,The Sanctuary of School17Daniel “Nane” Alejandrez,César Chávez Changed My Life18David Bardeen,Lives; Not Close Enough for Comfort19Dorothea Lange,Migrant Mother205 ILLUSTRATION22Learning Objectives22Opening Comments22Answers for Prewriting Activities22Answers for Revising Activities23Kay S. Hymowitz,Tweens: Ten Going on Sixteen23Casey Cavanaugh,Why We Still Need Feminism24Stuart Rojstaczer,Gradeinflation.com:Grade Inflation at American Colleges and Universities25Beth Johnson,Bombs Bursting in Air27Emmy Blotnick,A Visual History of Shoes296 DIVISION-CLASSIFICATION30Learning Objectives30Opening Comments30Answers for Prewriting Activities30Answers for Revising Activities32Amy Tan,Mother Tongue32David Brooks,Harmony and the Dream34Francis Gilbert,What Makes a Great Teacher?34Todd Kliman,Coding and Decoding Dinner35Truity Psychometrics,The Best Careers for Your Personality Type367 PROCESS ANALYSIS38Learning Objectives38Opening Comments38Answers for Prewriting Activities38Answers for Revising Activities38Amy Sutherland,What Shamu Taught Me About a Happy Marriage39Alex Horton,On Getting By40Caroline Rego,The Fine Art of Complaining41Werner Gundersheimer,A Mother’s Secret43Antonio C. Novello,First Aid for Choking448 COMPARISON-CONTRAST46Learning Objectives46Opening Comments46

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vAnswers for Prewriting Activities46Answers for Revising Activities47Jeffrey N. Wasserstrom,A Mickey Mouse Approach to Globalization47Pico Iyer,Chapels: On the Rewards of Being Quiet50Stefany Anne Golberg,You Can Take It with You50Savita Iyer,The Pros and Cons of Going Vegan51Fatima Alissa,Before and After the Syrian Civil War529 CAUSE-EFFECT54Learning Objectives54Opening Comments54Answers for Prewriting Activities54Answers for Revising Activities55Jane S. Shaw,Nature in the Suburbs56Leila Ahmed,Reinventing the Veil58Jacques D’Amboise,Showing What Is Possible59Juan Williams,The Ruling That Changed America60DecideToDrive,OMG6110 DEFINITION62Learning Objectives62Opening Comments62Answers for Prewriting Activities62Answers for Revising Activities63Jhumpa Lahiri,My Two Lives63Laura Fraser,The Inner Corset64Lillian Comas-Diaz,Hispanics, Latinos, or Americanos:The Evolution of Identity65Josie Appleton,The Body Piercing Project66Quinn Mathews,Global Warming Brochure6711 ARGUMENTATION-PERSUASION68Learning Objectives68Opening Comments68Answers for Prewriting Activities69Answers for Revising Activities70Stanley Fish,Free-Speech Follies70Mary Sherry,In Praise of The “F” Word71Wendell Berry,Farming and the Global Economy73Mike Rose,Blue-Collar Brilliance74PAIREDREADINGS:OBESITY INAMERICAMichael Marlow & Sherzod Abdukadirov,Government Intervention Will Not Solve Our Obesity Problem75Anna Brones,Should the Government Be Responsible for Regulating Obesity?76

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viPAIREDREADINGS:GENDERIN THECLASSROOMGerry Garibaldi,How the Schools Shortchange Boys77Michael Kimmel,A War Against Boys?78PAIREDREADINGS:SELLINGHUMANORGANSAlexander T. Tabarrok,A Moral Solution to the Organ Shortage79Virginia Postrel,Need Transplant Donors? Pay Them81Tami Luhby, Tal Yellin, and Caroline Matthews,Just How Much Better Off Are College Grads Anyway?8212 COMBINING THE PATTERNS83Learning Objectives83Hillary Rodham Clinton,Remarks to the United Nations:Fourth World Conference on Women Plenary Session83Alice Steinbach,The Miss Dennis School of Writing83Jonathan Swift,A Modest Proposal84Paramount Pictures,Selma85

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viiTEACHING COMPOSITION WITHTHE LONGMAN READERTeaching offers many pleasures. Among the foremost, for us, is the chance to get together with colleaguesto trade ideas, air classroom problems, share memorable moments, speculate about why some assignments setoff fireworks and others fizzle—all of this helps us in our day-to-day teaching.In thisInstructor’s Manual, we would like to share with you some thoughts about teaching first-yearcomposition and about usingThe Longman Reader. We’ll explain our approach for introducing each pattern ofdevelopment 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 andrevising activities that follow the introductions to the patterns of development. We’ll also offer suggestedanswers to the “Questions for Critical Reading” and “Questions About the Writer’s Craft” found after eachprofessional selection. These responses aren’t meant to be definitive. We intend the responses to representourviews only. You may not agree with all our interpretations. That’s fine. If nothing else, our answers maysuggest another way of viewing a selection.AT THE START OF THE COURSEThere's no denying that many students dread first-year composition—a bitter pill to swallow for those of uswho 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 arepleased about being in a composition class, we work to get out in the open any unhappiness they may haveabout writing and writing teachers.Here’s how we go about airing any negative feelings that may exist. On the first day of class, weacknowledge students’ feelings by saying something like, “I guess some of you wish that you didn’t have totake this course. In fact, you may feel that the only thing worse would be having to take a course in publicspeaking.” Our remark elicits smiles of self-recognition from many students, and the whole class seems to relaxa 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 ofthe 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. Ifelt discouraged to see how much I had done wrong and angry to see my work covered over withcomments.•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 washard enough, but revising was even worse. And the payoff for writing several drafts didn’t seem worth theeffort.•I knew in my head what I wanted to say but didn’t know how to get my thoughts down on paper. My ideasnever 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 tohand in, just to get it over with.As such sentiments are aired, students discover that their experience has not been unique; they learn thatothers in class have had similar frustrating experiences. In addition, we tell the class that each semester many ofour students recount comparable sagas of woe. We reassure the class that we understand the obstacles, bothinner and outer, that they have to face when writing. And we tell them that we will work to make the first-year

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viiicomposition course as positive an experience as possible. But we also say that we’d be dishonest if we toldthem that writing is easy. It isn’t. And, unfortunately, we have no magic formula for turning them into A-pluswriters. On the other hand, because we are writers and because we work with writers, we know that composingprocesses can be satisfying and rewarding. We tell the class that we hope they’ll come to share our feelings asthe term progresses.From here, we move to an activity that continues the ice breaking while also familiarizing the class with theworkshop format we use frequently during the semester. Students form groups of two and then four, chattingwith 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 coursesare they taking, what is their intended major, and so on. After a few seconds of nervous silence, the class beginsto buzz with friendly energy.When ten minutes or so have passed, we stop the activity and explain why we have devoted some preciousclass time to socializing.During the semester, we explain, the class will often meet in small groups andrespond to each other’s work, learning a good deal from each other about writing as they do so. So it makessense for them to get to know each other a bit right at the outset. We also explain our hope that they will findsharing their writing as interesting and enjoyable as chatting together.ASSIGNING THE FIRST TWO CHAPTERS IN THE BOOKDuring the first or second class, we emphasize to students that the course should help them become sharperreaders as well as stronger writers. With that in mind, we assign Chapter 1 on “Becoming a Critical Reader andThinker” 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 overthe “Questionsfor CloseReading”and“QuestionsAbout 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 awriter to break down the task of writing into stages. We’ve found that many students have never viewed writingas a process, and our explanation of the steps is a great revelation to them. We are careful to emphasize that noteveryone writes the same way; we explain that after trying out our recommendations about each stage of theprocess, students will most likely vary the process in ways that works best for them. We then assign the firstpart 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 andtentative, prewriting helps reduce the anxiety many people feel when facing the blank page. With prewriting, awriter doesn’t have to worry, “This better be good.” After all, no one except the writer is going to read theprewritten material. We work briefly with activities included in the chapter, such as the Prewriting Activitynear the beginning of Chapter 2, but we tell our students thatthebestwayforthemtodiscoverwhatprewriting is like is for them to try it for themselves. Therefore, we say, “Let’s suppose you had to writean essay on why students dislike English classes or what teachers coulddo to makeEnglishcoursesmoreinteresting.” Then we ask them to select one prewriting technique discussed in the book (questioning thesubject,brainstorming,freewriting,or mapping) to generate the raw material for such an essay. Often weinvite them to compose their prewriting on their laptops if they have one handy, or to compose on paper if theyprefer. We emphasize the point that prewriting is tentative and vastly different from finished work. Instructorswho ask students to keep a journal might instead have them write a first journal entry in class. At the end of theclass, we ask students to save the prewriting just prepared in class for possible use as the basis for an essay laterin the term. And we assign the rest of the chapter and additional chapter activities; we also ask them to beginkeeping a journal.In the next several classes, we finish the discussion of prewriting and work again in class on gettingfamiliar with the various recursive stages of the writing process. After this, we introduce the patterns ofdevelopment as invaluable aids to the writing process, from prompting ideas to organizing them coherently toeasing the flow during the writing of a draft.

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ixThroughout the course, we stress the recursive nature of the writing process and the fact that not everyoneuses the same exact process or the same process for various types of writing assignments. We alternate in-depthstudy of the recursive stages of the writing process with work on the patterns of development. And wefrequently have students reach back to material generated in the early prewriting sessions and, after feedbackfrom other students, use it as the basis for more polished work.WAYS TO USE THE BOOKTHE LONGMAN READERis 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 understandthe distinctive features of specific rhetorical strategies. The Development Diagram in each chapter is a visualreference for how the rhetorical pattern is distinguished at each stage in the writing process. The text isorganized so that the more accessible experiential patterns are presented first, before the more demandinganalytic patterns.If you adopt a rhetorical approach in the course, you need not feel confined by the order of patterns in thebook; 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 professionalcomposers don’t set out to write an essay or design a visual in a particular mode. The patterns emerge as thecomposers prewrite and organize their ideas; composers come to see that their points can best be madethrough a particular rhetorical strategy or combination of strategies.It’s helpful, we’ve learned, to assign selections beforeandafter students write an essay. The first essay ineach chapter is accompanied by an Essay Structure Diagram that outlines the reading, focusing on detailsspecific to the rhetorical pattern. You may choose to assign these essays first. So, for example, if students aregoing to write a causal analysis, you might have them read Shaw’s “Nature in the Suburbs.” Then, afterreviewing their drafts and seeingthe problemstheyhavehadwith,let’ssay,causalchains, you mighthave 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. Ifthis is your orientation, you might want to begin with the illustration chapter. That section stresses theimportance of establishing a clear thesis and providing solid support for the essay’s central point. Then youmight move to the description and narration chapters; these underscore the importance of, respectively, adominant 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 ofcontents (at the front of the textbook) will help you select essays on timely issues. For such a course, werecommend that you have students read a number of essays on a given theme. The fact that several essays onthe 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 ENVIRONMENTWe’ve found that creating a workshop atmosphere in the classroom helps students view writingas aprocess. 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.

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xIn our experience, it’s been especially productive to use class time for peer review of early drafts. For thesefeedback sessions, students may be paired with one other classmate, or they may meet with two or three otherclassmates. Feedback from someone other than the course instructor motivates students to put in more time on adraft. Hearing from other classmates that a point is not clear or that a paragraph is weakly developedencouragesstudentstoseethatrevisioninvolvesmorethanmechanicaltinkering.They start tounderstand that revision often requires wholesale rethinking and reworking of parts of the essay. And after afew 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 notsurprising that they tend to respond to each other’s essays with either indiscriminate praise or unhelpfulneutrality. To guide students, we prepare a brief checklist of points to consider when responding to each other’swork. (You might, for example, adapt one of the checklists from the textbook, for example one from a patternchapter that would fit a particular assignment.) With such a checklist in front of them, students are able to focustheir impressions and provide constructive feedback.There are a number of ways to set up these peer-review sessions. Here are a fewpossibilities:•After pairing students or placing them in small groups, have each essay read aloud by someone other thanthe author. Students tell us that hearing another person read what they’ve written is invaluable. Awkwardor unclear passages in an essay become more obvious when someone who has never before seen the essayreads it aloud.•Place students in small groups and ask them to circulate their papers so that everyone has a chance to readall the essays. Then have each group select one especially effective essay to read aloud tothe rest of theclass. Everyone discusses each essay’s strengths and what might be done to sharpen the sections that missthe mark.As you can no doubt tell, we believe that group work is an important part of what goes on in a compositionclassroom. Since it gives students the chance to see how others approach the same assignment, they come toappreciate the personal dimensionof writing and develop an awareness of rhetorical options. The groupprocess also broadens the audience for whom the students are writing and multiplies the feedback students getfor their work, letting them see that their instructor is just one among many readers. Group activities thus helpstudents gain a clearer sense of purpose and audience. Finally, we have found that peer review encouragesstudents to be more active in the classroom. When students assume some of the tasks traditionally associatedwith the instructor, the whole class becomes more animated and students learn more than they would otherwise.SOME CAUTIONS ABOUT GROUP WORKIf you are new to group work, you may have the uneasy feeling that the group process can deteriorate intoenjoyable but unproductive chat sessions. Thatcanhappen 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 achecklist, 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, “Take12-15 minutes to read to yourself the essay written by the person on your left” or “Now that all theessays 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 thatwe are available for help when needed. Sometimes we circulate among the groups, listening tocomments and asking a question or two. Other times we stay at the desk and encourage students toconsult with us when they think our reaction would be helpful.

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xiRESPONDING TO STUDENT WRITINGBeyond the informal in-class consultations just described, we also meet during the course with each studentfor at least two one-on-one conferences of about 15 minutes each. Individual conferences take a significantamount of time and energy on the instructor's part, so if possible, cancel class for several days while you meetindividually with students.Depending on our purpose, student needs, class size, and availability of time, a number of thingsmay occur during the individual conferences. Most often, we review a second draft of an essay and point outareas we think are strong, along with areas that need further revision. This approach encourages students tointeract with us more freely since their attention isn’t riveted to the comments and/or a grade already recordedon the paper.We've found that students are more likely to grow as writers when given the opportunity to revise theirwritingafterreceiving feedback from both peers and their teacher. If you choose to do essay-by-essay (ratherthan portfolio) grading, you might assign second drafts to which you've responded an "as-is" grade. Afterseeing your comments and the "as-is" grade you've assigned the draft, students would have the option ofrevising the essay for the possibility of a higher grade. That way, students who wish to work more on theirwriting would have the opportunity, and those who are satisfied with the grade they've received would not berequired to revise. To help control your workload, you might give students who wish to revise a deadline bywhich 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 whatwe think they’ve done well in their essays, and we limit discussion of problems to the most critical points. Likeeveryone else, students are apt to overlook what they’ve done well and latch onto things that haven’t been sosuccessful. 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 fromsome 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, wemake liberal use of such remarks as these: “Read these last three sentences aloud. How could you streamlinethese sentences?” or “I believe this paragraph contradicts what you say at the beginning of the precedingparagraph? Am I correct, or am I missing something?”USING PORTFOLIOS TO EVALUATE STUDENT WRITINGYou may wish to have your students present a portfolio of their work for grading at the conclusion of thecourse, instead of giving grades for each composition in succession. Using such a portfolio system alterssomewhat the way you respond to student’s second drafts as they are submitted, because you assign no gradesto them. The written and oral feedback on a paper is geared solely to making the essay a more effective piece ofcommunication rather than to justifying a particular low or high grade. This forces all concerned—instructorsand students—to stay focused on how to improve writing rather than on what might pull a paper down or whatscore a composition should receive. If students balk at “floating free” of grades for the whole course, you mightlet them know, in general terms, the grade you'd assign if you had to give the draft a grade. For example, youmight 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 A-range. Many teachers tend to shoot a little on the low side with these grade estimates, making sure the studentunderstands the need for further revision.You should indicate clearly at the start of the course that students must complete each assigned draft aswell journal entries and so forth that you assign but that the writing component of their final grade will be basedupon a portfolio of polished work. Many of us ask students to include in their portfolios drafts of each of theessays they wrote for the course, while others ask students to choose only three of the four or four of the five

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xiiessays they completed. If you allow students to leave one of their essays out of the portfolio, you might want towait until late in the semester to share this information with them--after they have completed all of the essaysfor the course. If students know one of their essays does not have to be included, they may tend to work less onthat essay than they would otherwise.Such a portfolio system has several advantages. It stresses to students that writing well is an ongoingprocess and encourages them to make subsequent revisions of their essays as they acquire new insights intowriting. It forces them to take responsibility for their progress beyond the achievement they reach in the firstsubmitted version of an essay. It instills the notion of a writing community, for once they have gotten beyondtheinitialseriesofstructuredfeedbacksessionsthatyouhavebuiltintothecourse, students mustinitiate feedback from their peers and from the instructor on any revisions they do.Finally, such a systemdramatizes the reality that writers write for other people and that reaching the audience, not jumping hurdles toget a grade, is the goal of writing.Many students embrace the opportunity to create electronic portfolios using platforms such as wix.com orweebly.com. As the instructor, don’t worry too much about your level of expertise with these platforms. You’lllikely be amazed at all that your students will be able to teach you and each other. You and your students canwork 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 inthe portfolio (possibly including various drafts of each essay), a section in which students include several oftheir journal entries they are most proud of, and a section in which students reflect on the writing they've doneover the course of the term and how they have developed as composers and critical thinkers as a result of thework they have done.

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xiiiSUGGESTED SYLLABIOn the following pages we present two syllabi that will give you some further ideas on how to useTheLongman Reader. Note that the syllabi assume the course meets twice a week for an hour and a half persession over the course of fifteen weeks. The syllabi can, of course, be adjusted to fit a variety of courseformats.The first syllabus would likely work best in a classroom in which the teacher uses essay-by essayevaluation and students write two drafts of each essay. With this syllabus, students write a total of five essaysover the course of the term. Feel free to play with the syllabus and make changes that work best for you andyour students.The second syllabus is designed for a classroom in which the teacher uses portfolio evaluation andstudents write two drafts of the first three essays, as well as a third draft of each one for the final portfolio. Thissyllabus includes four essays, one of which is an argumentation-persuasion essay to which five weeks of thecourse are devoted, plus an end-of-the-semester radical revision project which asks students to take an idea theywrote about in one of their four essays and re-create that idea in another genre of their choice--for example, amagazine 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 substituteessay-by-essay evaluation for portfolio assessment.

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xivSYLLABUS #1--ESSAY-BY-ESSAY EVALUATION AND FIVE ESSAYSWEEK 1Class 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 gradethese, and do not return them to students. They should be used to give you a general sense of where yourstudents are as writers.•Assignment—Ask students to read Chapter 1, “Becoming a Critical Reader and Thinker" and make alistof five things they learned that they think can help them become more critical readers and thinkers.Class 2•Have students get into small groups of 3-4 students and share their lists of five things they learned that theythink can help them become more critical readers and thinkers. Then have each group share their discussionwith the entire class.•Have students complete the pre-reading journal entry that precedes the essay at the end of Chapter 1, “OurObsessive Relationship with Technology." Ask for two or three volunteers to share what they wrote andprovide positive feedback.•Read aloud with the class the essay at the end of Chapter 1, “Our Obsessive Relationship withTechnology," 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 offivethings they learned from the reading that they think they'll be able to put to good use when they startworking on their own essays.WEEK 2Class 3•Have students get in small groups of 3-4 students and share their lists of five things they learned from theassigned reading that they think they'll be able to put to good use when they start working on their ownessays. 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 positivefeedback.•Assignments—Have students read up to "Stage 4: Organize the Evidence” from Chapter 2 and make a listof five things they learned from the assigned reading that they think they'll be able to put to good use whenthey start working on their own essays.

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xvClass 4•Have students get in small groups of 3-4 students and share their lists of five things they learned from theassigned reading that they think they'll be able to put to good use when they start working on their ownessays. 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 theThesis 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 offive things they learned from the assigned reading that they think they'll be able to put to good use whenthey start working on their own essays.WEEK 3Class 5•Have students get in small groups of 3-4 students and share their lists of five things they learned from theassigned reading that they think they'll be able to put to good use when they start working on their ownessays. 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 designingoutlines and how they think outlines are supposed to help them during the writing process. Then haveeach group share a couple of the things they discussed.•Have students remain in their small groups or work individually to complete "Activities: Organizing theEvidence," #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 theassigned reading that they think they'll be able to put to good use when they start working on their ownessays.Class 6•Have students share some of the items on their lists of what they learned from the assigned reading andsubmit the lists to you for review.•Read aloud in class and lead a discussion of Caylah Francis's sample first draft, the peer review worksheether classmate filled out, and Caylah's revised draft. Have students comment on how the peer review helpedCaylah write a stronger essay and on what they think of the revised essay overall--its strengths andweaknesses. Find out something about their previous experiences writing essays and how many have hadexperience 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 accompanyingcommentary or, alternatively, Chapter 4, “Narration,” through the student essay and accompanyingcommentary.

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xviWEEK 4Class 7•Discuss descriptive or narrative writing and answer students' questions.•Discuss withstudents thestudent essay,"EnduringwithDignity:Akua's SurvivingChildren" andcommentary in Chapter 3, or the student essay "Letters from Dad" and commentary in Chapter 4. Discusshow students can apply what they learned from the sample student essay to their own writing.•Assignments—Have student read “El Hoyo” by Mario Suárez in Chapter 3, study the accompanying EssayStructure Diagram, and respond to the critical reading and craft questions following the selection.Alternatively, have them read “The Fourth of July” by Audre Lorde in Chapter 4, study the accompanyingEssay Structure Diagram, and respond to the critical reading and craft questions following the selection.Class 8•Discuss the assigned selection, the Essay Structure Diagram, and students' responses to the criticalreading and craft questions.•Have students do prewriting for one of the writing assignments at the end of the assigned description ornarration selection or at the end of Chapter 3 or 4. Using groups, have students share their prewriting andget feedback.•Review stages of the writing process including identifying the thesis, supporting the thesis with evidence,organizing the evidence, and writing the first draft that they will need to keep in mind as they begindrafting their descriptive or narrative essays.•Assignments—Have students read a second assigned selection from Chapter 3 or 4, answer and the criticalreading and craft questions following it, and prepare a draft of the description or narration essay.WEEK 5Class 9•Discuss the assigned selection and students' responses to the accompanying questions. In addition, reviewthe end of the chapter visual text and accompanying critical reading and craft questions following theselection.•Initiate peer review on students’ description or narrative essays. Have students use the chapter'sRevision/Peer Review Checklist.•Review stages of the writing process including revising the essay and editing and proofreading.•Assignment—Have students revise the description or narrative essay.Class 10•Before collecting students’descriptionor narrativeessays, give them 20 minutes to read through theirdrafts one more time and pencil in any last minute revisions they'd like to make.

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xvii•Introduce the next pattern of development--Illustration. Provide students with a general overview of thispattern of development.•Assignments—Have students read Chapter 5, “Illustration,” through Charlene Adams' student essay"Professors Open Up About the Benefits of a College Degree" and the accompanying commentary.WEEK 6Class 11•Pass back students' descriptive or narrative essays with your feedback. (You might prefer to do this towardsthe end of the class, rather than at the beginning.)•Discuss the student essay and commentary in Chapter 5, "Illustration," and answer students' questionsabout the chapter. Ask students to reflect on what they learned from reading the student essay andaccompanying commentary that could help them strengthen their own writing.•Have students do in class Activities 1 and 2 in “Activities: Illustration” in Chapter 5. Use groups or pairsto share responses to both activities. Read aloud responses to Activity 2.•Assignments—Have students:a.Complete Activity 4 in “Activities: Illustration” in Chapter 5, “Illustration.”b.Read “Tweens: Ten Going on Sixteen” by Kay S. Hymowitz in Chapter 5, study the Essay StructureDiagram that accompanies the essay, and respond to the critical reading and craft questionsfollowing it.Class 12•Have students share results of Activity 4 from Chapter 5, “Illustration,” either in groups or by readingaloud to the class. If there is not enough time for group work, collect student responses and reviewquickly after class.•Discuss the assigned reading selection, the Essay Structure Diagram that accompanies the reading, andtheir responses to the reading and craft questions following the essay.•Assignment—Have students do Activity 4 in “Activities: Illustration.” Also have them read anotherprofessional selection from the chapter and complete the questions that follow the reading(s).WEEK 7Class 13•Go over Activity 4 in Chapter 5.•Discuss and answer questions on the assigned professional selection and the critical reading and craftquestions from Chapter 5.•Have students do prewriting for one of the writing assignments at the end of the assigned selection or at theend of Chapter 5. Using groups, have students share their prewriting and get feedback.

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xviii•Review stages of the writing process including identifying the thesis, supporting the thesis with evidence,organizing the evidence, and writing the first draft that they will need to keep in mind as they begindrafting their illustration essays.•Assignments—Have students prepare a draft of the illustration essay. Also have them read a secondassigned selection from Chapter 5, “Illustration,” and prepare to discuss the reading and craftquestions at the end of the selection.Class 14•Initiate peer review on students’ illustration essays. Use the Revision/Peer Review Checklist in the chapter.•Discuss the assigned reading selection and accompanying questions. In addition, review the end of thechapter visual text and accompanying critical reading and craft questions following the selection.•Review stages of the writing process including revising the essay and editing and proofreading.•Assignments—Have students revise the illustration essay.WEEK 8Class 15•Pass back and discuss students’ illustration essays. (You might prefer to do this towards the end of theclass rather than at the beginning.)•Introduce the next unit on either division-classification or process analysis. Read in-class and with yourstudents the sample student essay ("The Benchers, the Nappers, the Jellyfish, and the Musicians" inChapter 6, or "Don't Write Poetry--Be a Poet" in Chapter 7) and discuss with students what works well,along with any shortcomings you see. Talk with students about what they can learn from reading andreflecting on the student essay that can help them better understand the pattern of development and howthey can use the pattern as they begin thinking about their third essay.•Assignments—Have students:a.Read Chapter6,“Division-Classification,”through "Revision Strategies" and complete PrewritingActivities 1 and 2 in Chapter 6. Alternatively, read Chapter 7, “Process Analysis,” through "RevisionStrategies" and complete Prewriting Activities 1 and 2 in Chapter 7.b.Read "Mother Tongue" by Amy Tan in Chapter 6. Alternatively, read “What Shamu Taught Me Abouta Happy Marriage" by Amy Sutherland in Chapter 7. Prepare to discuss the critical reading and craftquestions at the end of the selection.Class 16•Discuss and answer questions about Chapter 6 “Division-Classification.” Go over Prewriting Activities 1and 2 in Chapter 6. Alternatively, discuss and answer questions about Chapter 7, “Process Analysis,” andgo over Activities 1 and 2 from Chapter 7.

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xix•Discuss the assigned reading selection, the accompanying Essay Structure Diagram, and the criticalreading and craft questions.•Assignments—Have students read “What Makes a Great Teacher?” by Francis Gilbert or anotherreading selection in Chapter 6 and answer the reading and craft questions at the end of the selection.Alternatively, read “The Fine Art of Complaining” by Caroline Rego or another reading selection inChapter 7 and answer the reading and craft questions at the end of the selection.WEEK 9Class 17•Discuss the assigned reading and accompanying critical reading and craft questions from Chapter 6,“Division-Classification.” Also, read and review with students the visual text at the end of the chapter.Alternatively, discuss the assigned reading and accompanying critical reading and craft questions fromChapter 7, “Process Analysis,” and read and review with students the visual text at the end of the chapter.•Have students do prewriting for one of the writing assignments at the end of the assigned division-classification or process-analysis selection or at the end of Chapter 6 or 7. Using groups, have studentsshare their prewriting and get feedback.•Review stages of the writing process.•Assignments—Have students prepare a draft of the division-classification or process-analysis essay.Class 18•Initiate peer review on students’ division-classification or process-analysis essays. Use the chapterRevision/Peer Review Checklist.•Assignments—Have students revise the division-classification or process-analysis essay.WEEK 10Class 19•Collect students' division-classification or process analysis essays.•Introduce Comparison-Contrast or Cause-Effect--your choice.•Assignment—Have students:a.Read Chapter 8, “Comparison-Contrast,” through the student essay "Buying a Cross-CountryMountain Bike" and the accompanying commentary. Alternately, read Chapter 9, "Cause Effect,"through "Party with a Purpose" and the accompanying commentary.Class 20•Pass back and discuss students’ division-classification or process-analysis essays. (You might prefer to dothis at the end of class rather than at the beginning.

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xx•Discuss and answer questions on Chapter 8, “Comparison-Contrast,”and go over the student essayand commentary. In class, have students do PrewritingActivity1 in Chapter8. Use groups to shareresponses to the activity. Alternately, discuss and answer questions on Chapter 9, “Cause-Effect,”andgooverthe student essay and commentary. In class, have students do PrewritingActivity1 in Chapter9. Use groups to share responses to the activity.•In class, read and discuss "A Mickey Mouse Approach to Globalization" in Chapter 8, along with the EssayStructure diagram and questions accompanying the reading. Alternately, read and discuss "Nature in theSuburbs" in Chapter 9, along with the Essay Structure Diagram and questions accompanying the reading.•Assignments—Have students:a.Read an additional selection in Chapter 8, “Comparison-Contrast” (or alternately, in Chapter 9,"Caurse-Effect") and answer the critical reading and craft questions following the selection.WEEK 11Class 21•Discuss the assigned selection and accompanying questions, and then read and review with students thevisual selection at the end of Chapter 8 or Chapter 9, including the critical reading and craft questionsfollowing the selection.•Have students do prewriting for one of the writing assignments at the end of the assigned comparison-contrast selections or at the end of Chapter 8 or Chapter 9. Using groups, have students share theirprewriting and get feedback.•Assignment—Have students prepare a draft of the comparison-contrast or cause-effect essay.Class 22•Initiate peer review on students’ comparison-contrast essays. Ask students to use the Chapter 8 or 9Revision/Peer Review Checklist.•Assignments—Have students revise the comparison-contrast essay.WEEK 12Class 23•Collect the revised comparison-contrast or cause-effect essays.•Introduce the next unit on either definition or argumentation-persuasion. Read in-class and with yourstudents the sample student essay “’Tweet, Tweedle-lee-dee’ (118 Characters Left)” in Ch 10 or "It’sAbout Time, Augusta!" in Chapter 11 and discuss with students what works well, along with anyshortcomings you see. Talk with students about what they can learn from reading and reflecting on thestudent essay that can help them better understand the pattern of development and how they can use thepattern as they begin thinking about their next essay.•Assignments—Have students

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xxia.Read Chapter 10, “Definition,” through "Revision Strategies" and complete Prewriting Activity 2 inChapter10.Alternatively,readChapter11,“Argumentation-Persuasion,”through"RevisionStrategies" and complete Prewriting Activity 1 in Chapter 11.b.Read "My Two Lives" by Jhumpa Lahiri in Chapter10, the accompanying Essay Structure Diagram,and prepare to discuss the critical reading and craft questions at the end of the selection. Alternatively,read “Free-Speech Follies" by Stanley Fish in Chapter 11, the accompanying Essay Structure Diagram,and prepare to discuss the critical reading and craft questions at the end of the selection.Class 24•Pass back and discuss students’ comparison-contrast or cause-effect essays. (Instead of doing this atthe beginning of class, you may prefer to give them back their essays towards the end.)•Discuss and answer questions about the assigned reading. Review the Essay Structure Diagramthataccompanies the reading and go over students’ responses to the critical reading and craft questions.•Assignments—Havestudentscomeupwithalistoffourpossibletopicsfortheirdefinitionorargumentation-persuasion essays.Also have them read “The Inner Corset” and “The Body PiercingProject” in Chapter 10 or, alternatively, ask them to read “In Praise of the ‘F’ Word” and “Blue-CollarBrilliance” in Chapter 11, and prepare to discuss their responses to reading and craft questions followingthe selections.WEEK 13Class 25•Have students get into small groups and share their list of four possible topics for their essays. Ask groupmembers to help each other narrow their lists down to one or two topics they might write about.•Discuss assigned readings and students’ responses to the questions that accompany the readings.•Assignments—Have students read “Hispanics, Latinos, or Americanos: The Evolution of Identity" and"Global Warming Brochure” in Chapter 10 or, alternatively, ask them to read one of the three sets of"Examining an Issue" essays in Chapter 11 and answer the critical reading and craft questions followingthe selections.Class 26•Discuss assigned readings and students’ responses to the questions that accompany the readings.•Use any extra class time by having students start writing a draft of their definition or argumentation-persuasion essays.•Assignments—Finish the draft of the definition or argumentation-persuasion essay.

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xxiiWEEK 14Class 27•Initiate peer review on students’ definition or argumentation-persuasion essays. Ask students to use thechapter checklist during the peer-review session.•Assignments—Have students revise their drafts.Class 28•Collect definition or argumentation-persuasion essays.•Give students class time to begin working on a two-page double-spaced reflection on the course, whatthey've learned, what class activities and assignments most helped them grow as writers and criticalthinkers,and what work they've done that they are most proud of.•Assignments—Have students complete their reflections and revise them for the next class.WEEK 15Classes 29 and 30•Use these two last classes to return students' definition or argumentation-persuasion essays and have eachstudent make a short presentation (around 3 minutes) to the class. Ask them to share what they consider thebest essay they wrote during the semester, the essay's subject, and two or three things they learned from thecourse that they believe they'll be able to transfer to other college courses they take and beyond.

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xxiiiSYLLABUS #2—PORTFOLIO EVALUATION, FOUR ESSAYS,AND AN END-OF-THE-TERM RADICAL REVISION PROJECTWEEK 1Class 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.Let your students know the purpose of the assignment and that you won't grade it or return it tothem.•Assignment—Ask students to read Chapter 1, “Becoming a Critical Reader and Thinker” and make a listof five things they learned that they think can help them become more critical readers and thinkers.Class 2•Explain to the class that you'll be using portfolio assessment in the course, rather than paper-by-papergrading. Discuss with them the advantages and the disadvantages of this approach, and help themunderstand that the advantages outweigh the disadvantages. Also review with them what you expect themto include in the final portfolios. Let them know that they should begin working on their portfolios soon--that they can go ahead and start working on their "About Me" section. (See the introductory pages of thisInstructor’s Manualfor more information on portfolio evaluation.)•Have students get into small groups of 3-4 students and share their lists of five things they learned that theythink can help them become more critical readers and thinkers. Then have each group share their discussionwith the entire class.•Have students complete the pre-reading journal entry that precedes the essay at the end of Chapter 1, “OurObsessive Relationship with Technology." Ask for two or three volunteers to share what they wrote andprovide positive feedback.•Read aloud with the class the essay at the end of Chapter 1, “Our Obsessive Relationship withTechnology," 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 4: Organize the Evidence” in Chapter 2 and make a list offive things they learned from the reading that they think they'll be able to put to good use when they startworking on their own essays.WEEK 2Class 3•Have students get in small groups of 3-4 students and share their lists of five things they learned from theassigned reading that they think they'll be able to put to good use when they start working on their ownessays. Then have each group share a couple of the things they discussed.

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xxiv•Lead class in a discussion of anything regarding the first three stages of the writing process you feelshould be covered more fully.•Have students do some practice prewriting; ask for a few volunteers to share their writing and give positivefeedback.•Assignments—Have students read the rest of Chapter 2 and make a list of five things they learned from theassigned reading that they think they'll be able to put to good use when they start working on their ownessays.Class 4•Have students get in small groups of 3-4 students and share their lists of five things they learned from theassigned reading that they think they'll be able to put to good use when they start working on their ownessays. Then have each group share a couple of the things they discussed.•Read aloud in class and lead a discussion of Caylah Francis's sample first draft, the peer review worksheether classmate filled out, and Caylah's revised draft. Have students comment on how the peer review helpedCaylah write a stronger essay and on what they think of the revised essay overall--its strengths andweaknesses. Find out something about their previous experiences writing essays and how many have hadexperience 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 accompanyingcommentary or, alternatively, Chapter 4, “Narration,” through the student essay and accompanyingcommentary.WEEK 3Class 5•Discuss descriptive or narrative writing and answer student questions.•Read and discuss with students the student essay in Chapter 10 (Leanna Stoufer's "Enduring with Dignity:Akua's Surviving Children") or the student essay in Chapter 11 (Laura Rose Dunn's "Letters from Dad").Ask students to talk about what they see as the strengths and weaknesses of the essay, along with what theylearned while reading and thinking about the essays that might help them as they write their first drafts.You might ask them to first discuss these ideas in small groups, and then ask each group to share their ideaswith the rest of the class.•Assignments—Have students:a.Read “El Hoyo” by Mario Suárez, the accompanying Essay Structure Diagram, and answer thereading and craft questions following the assigned selection. in Chapter 3. Alternatively, read“The Fourth of July” by Audre Lorde, the accompanying Essay Structure Diagram, and answer thereading and craft questions following the assigned selection or another in Chapter 4.c.Make sure students understand that during the next class they will share the progress they've made sofar in setting up their portfolios.

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xxvClass 6•Have students take ten minutes to write a paragraph in which they share with you what they've done so farwith their final portfolios.•Discuss the assigned selection, the Essay Structure Diagram, and students' responses to the criticalreading and craft questions.•Have students do prewriting for one of the writing assignments at the end of the assigned description ornarration selection or at the end of Chapter 3 or 4. Using groups, have students share their prewriting andget feedback.•Review stages of the writing process including identifying the thesis, supporting the thesis with evidence,organizing the evidence, and writing the first draft that they will need to keep in mind as they begindrafting their descriptive or narrative essays.•Assignments—Have students read a second assigned selection from Chapter 3 or 4, answer and the criticalreading and craft questions following it, and prepare a draft of the description or narration essay.WEEK 4Class 7•Discuss the assigned selection and students' responses to the accompanying questions. In addition, reviewthe end of the chapter visual text and accompanying critical reading and craft questions following theselection.•Initiate peer review on students’ description or narrative essays. Have students use the chapter'sRevision/Peer Review Checklist.•Review stages of the writing process including revising the essay and editing and proofreading.•Assignment—Have students revise the description or narration essay.Class 8•Before collecting students’descriptionor narrativeessays, give them 20 minutes to read through theirdrafts one more time and pencil in any last minute revisions they'd like to make.•Introduce the next pattern of development--Illustration, Division-Classification, or Process Analysis.Provide students with a general overview of this pattern of development.•Assignments—Have students read Chapter 5, 6, or 7 through the student essay and the accompanyingcommentary.

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xxviWEEK 5Class 9•Pass back and discuss students’ description or narration essays to which you have responded.•Read and discuss with students the student essay in Chapter 5 (Charlene Adams' "Professors Open UpAbout the Benefits of a College Degree"), the student essay in Chapter 6 (Catherine Gispert's "TheBenchers, the Nappers, the Jellyfish, and the Musicians"), or the student essay in Chapter 7 (Jared Mosley's"Don't Write Poetry--Be a Poet"). Ask students to talk about what they see as the strengths and weaknessesof the essay, along with what they learned while reading and thinking about the essay that might help themas they write their first drafts. You might ask them to first discuss these ideas in small groups, and then askeach group to share their ideas with the rest of the class.•Have students do in class Activities 1 and 2 in “Activities: Illustration” in Chapter 5, "Activities:Division-Classification" in Chapter 6, or "Activities: Process Analysis" in Chapter 7. Use groups or pairsto share responses to both activities. Read aloud responses to Activity 2.•Assignments—Have students read the first professional reading selection in Chapter 5, 6, or 7 and theaccompanying Essay Structure Diagram. In addition, ask them to respond to the critical reading and craftquestions following the reading.Class 10•Spend the first ten minutes of class talking with students about their final portfolios. Let them know thatthey should go ahead and start working on the portfolio draft of their first essay (description or narration)for inclusion in the portfolio.•Answer students' questions about Chapter 5, 6, or 7 and discuss Activity 1.•Discuss the assigned reading selection.•Have students do an in-class invention exercise (freewriting, mapping, brainstorming--see Ch 2) to helpthem come up with ideas for their illustration, division-classification, or process analysis essays. Have themshare their ideas in small group and give each other feedback.•Review stages of the writing process including identifying the thesis, supporting the thesis with evidence,organizing the evidence, and writing the first draft that they will need to keep in mind as they begindrafting their essays.•If time allows, have students begin writing their illustration, division-classification, or process analysisessays in class.•Assignment—Write a draft of your illustration, division-classification, or process analysis essay.WEEK 6Class 11•Initiate peer review on students’ first drafts of their illustration, division-classification, or process analysisessays.Ask students to revise their essays and be ready to submit them to you by the next class.

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xxvii•In class, read and discuss the end of the chapter visual text and accompanying critical reading and craftquestions following the selection.•Review stages of the writing process including revising the essay and editing and proofreading.•Assignments: Have students write a revised draft of their essay and be ready to submit at the beginning ofthe next class.Class 12•Before turning in revised illustration, division-classification, or process analysis essays, ask students toread through them one more time and to make any last minute changes they'd like to make. Let them knowthat you will not penalize them for turning in essays that might look a little messy.•Introduce the next unit on either comparison-contrast, cause-effect, or definition. Read in-class and withyour students the sample student essay--"Buying a Cross-Country Mountain Bike" in Chapter 8 , "Partywith a Purpose" in Chapter 9, or “’Tweet, Tweedle-lee-dee’ (118 Characters Left)” in Chapter 10--anddiscuss with students what works well, along with any shortcomings you see. Talk with students aboutwhat they can learn from reading and reflecting on the student essay that can help them better understandthe pattern of development and how they can use the pattern as they begin thinking about their next essay.•Assignments—Have students read Chapter 8, 9, or 10 up to the student essay discussed in today’sclass and complete Prewriting Activity 1 in the chapter.WEEK 7Class 13•Pass back and discuss with students their illustration, division-classification, or process analysis essays towhich you have responded.•Have students form small groups of 3 or 4 students and share the work they did for Prewriting Activity 1.Then have them share their small group discussion with the entire class.•Discuss the assigned reading with the class and answer any questions they have.•Assignments—Have students read the first professional selection in the chapter and the accompanyingEssay Structure Diagram. Also ask them to complete the critical reading and craft questions that follow theessay. In addition, tell students to begin thinking about the topic they’d like to write about for theircomparison-contrast, cause-effect, of definition essay and to come up with a list of four possible topics.Class 14•Have students form small groups of 3 or 4 students and share their lists of four possible topics for theiressays. Then have them share their small group discussion with the entire class.•Discuss with students the assigned essay, the Essay Structure Diagram, and their responses to the criticalreading and craft questions.•Have students do one of the Prewriting Activities in the chapter. Use groups to share results.

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xxviii•Assignments—Have students read an additional professional selection in the chapter, consider how theywould respond to the questions following the reading, and prepare a draft of the comparison-contrast,cause-effect, or definition essay.WEEK 8Class 15•Initiate peer review on students’ first drafts of their comparison-contrast, cause-effect, or definitionessays. Ask students to revise their essays and be ready to submit them by the next class.•Discuss the assigned reading selection and students’ responses to the questions following the reading.•Read with students the final visual reading in the chapter and review and discuss the questions following itwith students.•Assignments—Have students revise their comparison-contrast, cause-effect, or definition essay.Class 16•Have students submit their comparison-contrast, cause-effect, or definition essay.•Talk with students about their final portfolios. Remind them that they should already have a revised draft ofboth their first and second essays in their portfolios--that they should not wait until the end of the term towork on their portfolio drafts. Also let them know that while these revised drafts should already be included,they can go back and work on them more as they'd like until they submit the portfolios to you at the end ofthe term. Let students know that in one week they will be expected to share with you and with the classwhat they've done thus far with their portfolios.•Assignments—Have students:a.Read Chapter 11: "Argumentation-Persuasion," through "Revision Strategies."b.Spend time thinking about a topic they'd like to explore in your research essay. They need to make sureto choose a topic they find engaging.c.Work on final portfolios.WEEK 9Class 17•Pass back and discuss with students their comparison-contrast, cause-effect, or definition essays towhich you have responded.•Introduce “Argumentation-Persuasion” to students and discuss assigned reading--especially the"Development Diagram: Writing an Argumentation-Persuasion Essay," "Rogerian Strategy: A Checklist,"and "Questions for Using Toulmin Logic: A Checklist." Consider dividing students into groups and givingeach group one of these topics to present to the class.•Assignment—Have students:

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xxixa.Read the student essay ("It's About Time, Augusta" by Lydia Gumm) and the commentary thatfollows.b.Begin narrowing down the list of topics they might choose to explore in their argumentation-persuasion essay.c. Work on final portfolios.Class 18•Share in small groups their final portfolios in progress. Then have each group report to the class.•Read aloud and discuss "It's About Time, Augusta" by Lydia Gumm and the commentary that follows. Besure to discuss with students the sources Lydia chose to use in her essay and why she likely chose thosesources. You need to get them started thinking about the kinds of sources that would be appropriate in theirargumentation-persuasion essays.•Have students make a list of five topics they might consider for the topic of their argumentation-persuasionessays. Then have them get into small groups and discuss the possible topics. Encourage students to goahead and tentatively decide on a topic.•Assignments—Have students:a.Write a paragraph in which they share with you the topic they have tentatively decided to focus on intheir argumentation-persuasion essays.b.Read Chapter 11 professional essays by Stanley Fish ("Free-Speech Follies") and Mary Sherry("In Praise of the 'F' Word") and answer the "Questions for Critical Reading" and "Questions aboutthe Writer's Craft" at the end of each selection.WEEK 10Class 19•Collectstudentsparagraphsaboutthetopicthey'vetentativelydecidedtofocusonintheirargumentation-persuasion essays.•Discuss the assigned readings and students’ responses to the questions following the readings.•Assignments—Have students:a.Read either the two essays by Marlow/Abdukadirov and Brones or the two by Garibaldi and Kimmeland answer the "Questions for Critical Reading" and "Questions about the Writer's Craft" at the end ofeach selection.b. Get started looking for outside sources they might use in their argumentation-persuasion essays.Class 20•Discuss the assigned readings (either Marlow/Abdukadirov and Brones or the two by Garibaldi andKimmel.

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xxx•Discus in small groups the possible sources for their argumentation-persuasion essays that they've foundsofar and how they might use those sources. Have each small group report back to the class.•Assignments—Have students bring in a list of at least three sources they have found so far that they areconsidering using in their argumentation-persuasion essays. Also have them read Appendix A; “A Guide toUsing Sources” and make a list of things they learned from the reading that they can use in their ownargumentation-persuasion essays.WEEK 11Class 21•Have students meet in small groups to share their lists of things they learned from the reading that they canuse in their own argumentation-persuasion essays. Have each group share their discussion with the rest ofthe class.•Lead the class in a discussion of material not brought up so far in class that you feel you need to stressfrom the assigned reading.•Have students begin working in class on assembling their annotated bibliographies, using theinformation they brought to class on sources they plan to use. Refer them to the latter part of Appendix Awhere documentation rules are presented.•Assignment—Have students:a.Continue working on their annotated bibliographies and ask them to submit them to you at thebeginning of the next class.b.Write the first draft of their argumentation-persuasion essays. Let them know that this draft is simply abeginning—that they don't have to have everything figured out yet—that this essay is more complexthan the ones they've previously written in the course—that they'll be taking this essay through an extradraft—so this first draft can be rough.Class 22•Continue discussion of Appendix A and sections you consider most pertinent to the essays your students arewriting.•Have students share both their annotated bibliographies and their first drafts in small groups. The purposeof this peer review is to share their rough drafts and get ideas from each other on how they might maketheir essays stronger.•Ask students to take ten minutes to write and tell you what their argumentation-persuasion essay is about,what they've done so far, and what they plan to do in the next draft.•Assignments—Have students continue finding appropriate sources as needed to use in their argumentation-persuasion essays, update their annotated bibliographies as needed, and work on the second drafts of theirargumentation-persuasion essays.

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xxxiWEEK 12Class 23•Provide students with feedback on the writing they turned in during the last week on what theirargumentation-persuasion essay is about, what they've done so far, and what they plan to do in the nextdraft.•Continue discussing Appendix A and sections you consider most pertinent to the essays your students arewriting.•Assignments—Have students prepare second drafts to submit to you at the beginning of the next class.Make sure they know that this draft should include a list of Works Cited (or a list of References if they'reusing APA style) and parenthetical documentation.Class 24•Continue discussing material presented in Appendix A, emphasizing correct MLA or APA formatting--depending on the documentation style your students are using. Take time to read aloud in class the studentessay by Lydia Eileish Kelly, her Works Cited page, the annotations that accompany both the essay and thelist of Works Cited, as well as the commentary that follows the essay.•Give students the option of submitting their second drafts to you now or taking time (if they need it) tomake further revisions and submit them to you (either in person or electronically--your choice) withinthe next 24 hours (so that you can return drafts to all students during the next class). Giving students thisoption would allow those who need it to apply what they learned in class today as they revise and shouldlighten your work load a bit--at least for a short while.•Assignments—Have students:a.Prepare their second drafts to submit to you within 24 hours (if they haven't already given them to you).b.Read another pair of "Debating the Issue" essays in Chapter 11 and answer the "Questions for CriticalReading" and "Questions About the Writer's Craft."WEEK 13Class 25•Return second drafts of the argumentation-persuasion essays with your feedback.•Discuss the assigned "Debating the Issue" essays and students answers to the accompanying questions.•Assignment—Have students prepare a third draft of the cause-effect essay for peer review.Class 26•Initiate peer review on students’ argumentation-persuasion essays.•Have students freewrite about possibilities for their radical revision projects. Let them know that this

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The Longman Reader, 12th Edition Lecture Notes - Page 1

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