Revising Drafts

Analysis
02/13/201111:53am
Exercises:
Critical Reading & Thinking Exercise with Beyond Words
Exploring Culture: The Influence of Ads
Exploring the Interplay of Text and Visuals
Lunch: Thinking about Generalizing and Stereotyping
My Ten Commandments: Examining Social Construction
Play It Again, Sam: Summary vs Analysis
Title: Visualizing an EssayAnalyzing a Text
Repainting the Starry Night: Visual/Textual Analysis
Critical Reading & Thinking Exercise with Beyond Words
Purpose:Exploringandanalyzingwritingwithacriticaleye.Thisexercisewillallowthestudentstheopportunitytoengagewith
atext,makingnotes,highlightingunknownwordsandphrases,arguingwiththeauthor,andquestioningthewrittenwordfor
validity.
Description:Thisexercisecallsforthestudentstoevaluateandfreewriteonatextofyourchoice(anad,aneditorial,aTV
commercial,etc.).PairedText:ActivityAccompaniesBeyondWords,ReadingTexts,(853).
SuggestedTime:30minutes
Procedure:
1. Find some opinion-oriented piece of writing/visual material of substantial length

and make enough copies for the class.
2. Have the students read the appropriate section in Beyond Words the night
before and go over the main points in class to refresh their memory.
3. Allow the students to read the text and employ the strategies outlined in
Beyond Words. Suggest to the students that they read it once straight through
and then begin to engage with the text.
4. Ask questions as the students are writing to help them along, such as, What is
the authors point?, What do you agree with? Disagree with?, What is
confusing?, Is the author effective in achieving their goal in the text?, etc.
5. Allow the students five to ten minutes to free write a response to the text and
pursue as they see fit.
Discussion/Followup:Askthestudentstobringapageofanopinionorientedpieceoftheirown.Havethemreadittotherestof
theclass.Whilethestudentreadshis/herpiece,studentswillwritedownandevaluatethedifferentpointsofthepresented
argument.YoucanthendiscusshowtoimprovethepieceusingsomeofthetoolstheyhavewhilereadingtheHandbookandyour
selectedtext.
Back to Top
Exploring Culture: The Influence of Ads
PurposeofExercise:ThisexerciseworkswellwithanAdbusterpaperorproject,orotherculturalanalysis/textualessay.It
considersvisualrhetoricandtheimages/textthatmotivatesaudiencesincertainways.Studentsexaminetheinfluenceofthe
variousmediaaroundthemthroughfreewritinganalysis,andalsopracticedescribingthevisualrhetoricofatextastheyanalyze
it.
Description:Studentsevaluateandfreewriteaboutaparticularadvertisementfromamagazine.Bringaselectionofmagazineads
orfeaturestotheclass,oraskstudentstocomepreparedwithsomeoftheirown.
SuggestedTime:20minutestoafullclassperiod
Procedure:Chooseoneadtoprojectontheoverhead.Remindstudentsthatrealpeopleareinventing(haveinvented)theseads
withatargetaudienceinmind.Asktheclassquestionslike:"Whatistheadselling?""Whatkindofvisualstimulationarethey
using?""Whoistheaudience?"Whatlifestyledoestheadsellorpromote?"Whatdoestheadinviteyoutoimaginemight
resultifyou...buythedress,drinktheBacardi,etc.?""Doyoubecomecool?"Whattypeofmagazinemightthisadappearin?
Prodtheclasstobeginthinkingcriticallyabouthowtheadtriestoworkonapotentialmarketdemographic.Whenyoufeelthey
havetheidea,passoutaselectionofadsandaskstudentstochooseonefromamongthem.Ifyouaskedthemtobringtheirown
magazine,askthemtoselecttheirfavoritead.Forminggroupsof23studentsisfine,ifyoudonthaveenoughadstogoaround.
Allowthemtostudytheadswhileyouexplainthepurposeoftheexercise.Remindthemtoconsiderwhatyouvetalkedaboutas
aclassonthefirstad,andapplythesesamequestionstotheirownad.Youmaywriteorprojectyourkeyquestionsontheboard.
Allowtheclassabout510minutestofreewriteonalltherhetoricalelementsthattheypickupfromthead,consideringthe
functionofeachelementinpromotingasale,andreachingademographic.Tellthemtofeelfreetodivergeintosomeotherarea
thattheadstimulates.
Afterwards,askthestudentstosharetheiranalysesandthediscoveriestheymade.Howdoesthatmakeyoufellaboutthese
companies?Whataboutpersuasivewriting?Howmuchareweresponsibleforourowncriticalthinking?Andcanweblamethe
companiesforcapitalizingoffourabsenceofcritique?
Didanyonediverge?(Letthemreadaloud)Anyonegetanygreatideasaboutsomethingyoudliketowriteabout?
Back to Top
Exploring the Interplay of Text and Visuals
Purpose:Tohelpstudentsexploretheinterplayoftextandvisualandfurtherexploretheeffectsofvisualrhetoric.Activity
Accompanies:HarryPotterandtheMysteryofMagic(OurOwnWords[OOW]20072008)
SuggestedTime:50Minutes
Procedure:
1.Gathertheclasstogetherasawholeandintroducetheactivitysmainsetofquestions:
How do these visuals inform the text? (How can visuals enhance a
text?)Likewise, how does the text inform the visual? (How can text enhance a
visual?)
How can picture or text placement/layout convey a different

emotion/intent/message?
How can font style/size/color choice convey different

emotions/intents/messages?
Does the combination of both text and image make an argument that neither
element could make on its own?
How does such visual rhetoric relate to the "Harry Potter" piece weve looked at
on OOW?
2.Walkthestudentsthrougheachsetofpicturesanddiscusshoweachofthefivequestionsapplytoourstudyoftheinterplayof
textandvisuals?
3.ReplaythevideoforHarryPotterinclassanddiscusshowyournewunderstandingoftheinterplayoftextandvisualsinforms
yourinterpretation.
4.PostQuestionActivity(ingroups):
Splitintogroupsof3or4andhavethemcreateasagrouptheirownversionofthisvisualrhetoricactivity.Studentscaneither
chooseoneimageandpairitwithmultiplewordstoconveydifferentmeanings,orchooseonewordtopairwithvariousimagesto
conveydifferentmeanings(inotherwords,theyeitherexperimentwiththeimageorexperimentwiththetext).Havethemdiscuss
(withintheirgroups)whytheyvemadethedecisionstheyhave,possiblyusingthefiveprocedurequestionsfromearlier;then
havethegroupspresenttheirimagesandexplanationstotheclassandattempttofosteradiscussion/debateatmosphere
concerningtheirchoices.
Back to Top
Lunch: Thinking about Generalizing and Stereotyping
PurposeofExercise:Thisexercisechallengesstudentstothinkabouthowthey(over)generalizeorstereotypegroupsofpeople
throughnonverbalques.
Description:Theinstructorwillpresenttwoimaginarymenus(oreventheirownlunchmenu)andaskstudentsquestionsabout
thelunchpatronusingonlywhattheyordered.Themenucanbeasregularorasstereotypicalastheinstructordesires.The
morestereotypicaloroutrageousthemenu,themorestimulatingandinterestingtheconversation.
Suggestedtime:2025(5minutesorlesstoreviewthemenuandgatherideas,15minutesforstudentstodiscusstheiranswers)
Procedure:Instructorshouldwritemenusontheboardorprovideahandouttostudents.Theformatcanbeasseenbelow:
LunchOrder#1:
DoubleMartini
TwelveounceTbonesteak
Frenchfries
Cornonthecob
ApplePiealamode
Stonewareplate
Bonehandledflatware
Papernapkins
LunchOrder#2
HotherbalTea
Pitasandwichwithavocadoandsprouts
Rawvegetableswithyogurtdip
Simplechinaplate
Stainlesssteelflatware
Clothnapkin
Givestudentsacoupleofminutestoreadthemenusandthinkaboutthekindofpersonwhomightchooseeitherone.Askthe
studentstoeitherwriteordiscussanswerstothefollowingquestionsorsomethingsimilar:
a)Whichoneofthesedinersinmoreconcernedabouttheenvironment?
b)Whichoneofthesedinersisafanofprofessionalfootball?
c)Whichofthesedinersismaleorfemale?
d)WhichofthesedinersisaRepublicanandwhichisaDemocrat?
e)Whichofthesedinersisover55,andwhichisunder40?
Afterstudentshavewrittendownorpreparedanoralresponsetothelunchorders,allowthemtodiscussanddefendtheirchoices.
Thisnotonlyopensupalivelyconversation,italsoallowsstudentstopracticesharingtheirideasinanacademicenvironment.
AdditionalInformation:Becausestudentsareconfrontingtheirownideasandperceptionsofothers,theinstructorneedsto
makesuretoretainacomfortableandopenspacefordiscussions.Heorsheshouldreinforcetheideathatnotallstudentsare
goingtoagreeandthatisokay.
Back to Top
My Ten Commandments: Examining Social Construction
Purpose:Toexaminethesocialconstructednessofourpersonalmoralcodes,anditsrelationshiptohowwhatwechoseto
includeorleaveoutofourwritingisdirectlyandintimatelyconnectedtooursociallyconstructedvalues.Thisworksespecially
wellwithinthecontextofthecommunitystrand.
Description:MyTenCommandmentsasksstudentstogeneratealistoftheirownpersonalcommandments(priortotheclass
period)andthenrankthesecommandmentsinvariouscategoriestoexaminehowmuchofourvalueshavebeeninfluencedbythe
differentcommunities.
SuggestedTime:Whenpreviouslyassigned,atleast30minutes.Whennot,usuallycloserto1hour
Procedure:Asahomeworkassignment,askeachstudenttogeneratealistoftheirownpersonal10commandments.Theydont
allhavetobeasgrandioseas"Illnevermurder"or"Illneversteal."Itellmystudentstoimaginethattheyareatabusstopand
areapproachedbyastrangerwhohasagreatdealofmoneyWhatare10thingsthatastrangerwouldneverbeabletoconvince
youtodo?(studentsaregenerallymorecomfortablewiththisifyoutellthemnoonebutyouwillseethislistevenbetter,tell
themnooneelsewillseeit.)
Inclass,askthestudentstolookovertheirlisttoseeifthesecommandmentsareindeedinviolableorifextremecircumstances
wouldallowthecommandmentstobebroken.(AstudentmightlistDonotkillbutbewillingtokillsomeoneifattacked,for
example.)Next,haveyourstudentscreateafourcolumngraph.Inthefirstcolumn,theyshouldlisttheirTenPersonal
Commandments.Inthenextcolumn,theyshouldratetheseonhowterribleaviolationtheyviewedthemtobenumber1would
beaveryminortransgression,whilea10wouldbeunthinkable.Inthethirdcolumn,theyshouldlistthenamesofthepeopleor
institutionsmostlikelytobehurtbythesetransgressions.Lastly,intheforthcolumnthestudentsshouldgivearatingnumberto
howseriousthisotherpartywouldviewthistransgression.
Ifstudentsarewilling,brieflyleadadiscussionallowingstudentstocommentontheirlistsandreflectonthelistsoftheir
classmates.Withorwithoutdiscussion,thechartoftenleadsmystudentstoseethatdifferentpeople(withdifferentvalues)view
eachtransgressiondifferentlyandthatabsolutesaredifficulttocomeby.Askthestudentstowriteaboutwhytherearesuch
discrepanciesinhoweachpartyratestheseriousnessofthesetransgressions.
Back to Top
Play It Again, Sam: Summary vs Analysis
Purpose:Tohelpstudentsdifferentiatebetweenanalysisandsummaryandthenapplythatknowledgetotheirowndrafts.This
worksinconjunctionwithanynumberofpapersinthe1101and1102strands,particularlywellifthestudentsaredoinganalysis
ofvisualtextsintheirpapers,thoughitcanbeadaptedforwrittentextsaswell.
Description:Throughvisuals,thisactivityasksstudentstodifferentiatebetweensummary(thisiswhathappens)andanalysis
(thisiswhyithappens)bywatchingamoviecliptwiceandwritingtwodifferenttextsinresponse.Asuccessfulclipissuggested
here,butyouwillneedaccesstowhateveryoushow(viaDVD,uTube,etc).Theactivityisalsoadaptabletoaworkshopformat,
requiringstudentstobringtheirdraftstoclass.
SuggestedTime:Aboutanhour
Procedure:Showanactionpacked,short(5min.)scenefromafilm,suchastheclipfromPulpFictioninwhichVincentand
JulesgototheapartmentoftheboyswhohavestolenMarcellusWallacesbriefcase(Playitfromwhentheywalkintothe
apartmentuntiltheyshootthem).Thissceneworkswellbecausethereareanumberofunansweredquestionsinit.
Askstudentstowriteaoneparagraphsummaryofwhattheyveseen,givingthem+/10minutes.Discusswhattheycameup
withintheirsummaries,havingthemreadtheiractualtextsaloud.Besuretonoteifsomethingtheysayisanalysis.Trytokeep
themfocusedonplotsothattheyunderstandthegenreconventionsofsummary.Makenoteofwhatdelineatesagoodsummary
ontheboard(featuresliketoneorobjectivity,selectivityorinclusivity,etc).
Showtheclipagain.Encouragingthemtowatchcloselytoseeifwemissedanything.Whenitsfinished,askthemtoturntheir
papersoverandwriteaoneparagraphanalysis.Makesuretogivethematleast10minutesthistime.Discusstheirresponses
again,notingifsomethingissummary.Iwritetheanalyticalpointsontheboard.Thismighttakealittleprodding,butoncethey
getthehangofit,youshouldhavenoshortageofresponses.
Thiscanalsohelpwiththeconceptsofclaimsandevidencebewaryofstudentsjumpingtoconclusionsandaskthemfor
evidencefromthetext(film)tosupporttheirclaims.Takeoneoftheresponsesandstartadeeper,discussionbasedanalysis.
Whatconclusionscanwedrawabout,say,thebriefcaseinthePulpFictionscene?Howdoweknowthis?
Toadaptthisexercisetoaworkshop:
Askthestudentstobreakintopairsandreadeachothersdraftsinsearchofsummary,circlingtheportionstheyfind.Afterwards,
havethestudentsdiscusshowthesummaryportionsmightbecomeanalysis.Somegroupsmayneedalittleguidance,otherswill
getitrightaway.
Back to Top
Title: Visualizing an EssayAnalyzing a Text
Purpose:Thisexercisegetsstudentsinthepracticeofsummarizingargumentsandthinkingaboutotherswritinginalternative
ways.Ioftenusethisexercisetoinitiatediscussionaboutassignedreadings,butIalsohavestudentsdothiswiththeirown
writing.SinceIoftenframethisexerciseasdesigningadvertisementsforessays,thisseguesnicelyintodiscussionsaboutimages
asarguments.
Description:Inthisexercise,studentsworkingroupstodeterminethemainargumentsandmainelementsofatext.Eachgroup
worksattheboardtodesignavisualinterpretationofatext.Toaddacompetitiveedgetothisexercise,Itellstudentsthatthe
classwillvoteonthebestdesign.
Procedure:Organizetheclassintogroupsoffourorfiveandaskeachgrouptoreviewthetextandanswerthefollowing
questions:whatistheauthorarguinginthistext?Whataretheimportantelements/argumentsinthistext?Whatpartsofthetexts
didyoufindinteresting?Havesomeoneineachgrouprecordtheirfindings.Next,giveeachgroupaworkspaceattheboardand
somedryerasemarkers.Usingtheirresponsestothequestionsasaguide,askstudentstocreateanimagethatillustratestheir
ideasandalsogivesageneralimpressionofwhatthetextisabout.Whenthegroupsfinishtheirwork,theypresenttheirvisuals
andexplaintheirreasoningfortheirdesign.Aftereachpresentation,Ithenasktheotherstudents:isthisvisualanaccurate
interpretationofthetext?Whyorwhynot?Whenthisexerciseiscompleted,thestudentshaveagoodsenseofthetextandhavea
senseofthemovestheauthormadetomakeherargument.
Back to Top
Repainting the Starry Night: Visual/Textual Analysis
PurposeofExercise:Allowsthestudentstolookcriticallyandinterpretivelyatvisualimagesaswellaspracticingclosereading
oftexts.Combiningvisualandtextualrhetoricasseparatelyandcollaborativelyimportanthelpsstudentpreparefora
visual/textualanalysispaper.
Description:Forthisactivity,youwilluseVincentVanGoghsTheStarryNight,RobertFaglessTheStarryNight.Anne
SextonsTheStarryNight,andDonMcLeansVincentinordertohavethestudentsmovepastsummarizingvisualimages
andbegintocloselyanalyzeimagesastheywouldtexts.Studentswillnotonlyanalyzeimagesandtextsseparatelybutalsosee
theintersectionsbetweenvisualandtextualelementsanddevelopanappreciationforhowthisrelationshipcanalterour
understandingofworksthatincorporatebothaspects(suchasfilms).
SuggestedTime:30minutesoranentireclassperiod,dependingonthelengthofthediscussion.
Procedure:Dividethestudentsintogroupsofthreeorfour;eachgroupshouldbeassignedonepoem/songdealingwithVincents
painting.Youcanhavethestudentscompletethesereadingspriortothedayyoudothisactivityoryoucanhavethemreadover
theirspecificpoem/songinthegroups.
Havethegroupscloselyanalyzethewordsandthemeaningbehindthepoem/song.Ithelpstohavetheartworkdisplayedinthe
background(orprintoffapictureforeachgroup).Askthestudentsforsimilaritiesbetweenthewordsofthepoemandthevisuals
inthepainting.Haveanyimagesinthepaintinginspiredcertainpartsofthepoem?Whatimage/colorinthepaintingstruckthe
authorofthepoem/song?Whatfirststrikeseachstudent?Hastheauthoralteredanythinginthepainting?Whatdetailsarelostor
addedinthesetranslations?Dothesetextualtranslationsconveyadifferentmeaningorevokeanotheremotion?
Nextbeginwithageneraldiscussionaboutthepainting,focusingonthestudentsowninterpretationofit.Next,Igoaroundto
eachgroupandcloselyanalyzethewordsofthepoemsandsonginconnectionwiththeimage.BeforeyoudiscussMcLeans
song,Iliketoplaythesong,whichallowsustoalsoanalyzethetoneofthemusic;Iaskthemhowthemusicelementmayexplain
oralterthefeelingevokedbythepaintingorthesong.Ialsoaskthestudentsquestionsaboutthedifferenttitleseachartist
choosestouse,thedifferentoccupationsofVanGogh,Fagles,Sexton,andMcLean(whatdotheyhaveincommon?),andif
religionbecomesaimportantaspectinanyoftheinterpretationstoVanGoghspainting,oreveninthepaintingitself.
Discussion/Followup:
Attheendofthediscussion,youcouldhaveeachgroupmaketheirownsongorpoembasedontheirinterpretation.Whatpartdo
theywanttofocuson?Whatwouldtheirtitlebe?Evenifthestudentsdonotcreatetheirownpoemorsong,youcouldhavea
discussionaboutthepossibletitlesorimagestheywouldfocusonintheirownversion.Youcanalsopointoutthatthereisnot
onecorrectinterpretationofavisualtext,whichthesepoemsandsongdemonstrate.
AdditionalInformation:DevelopedfromRobertAtwansGuidelinesforWritingaboutVisualArt(foundinConvergences)
providesanunderstandingofhowtoanalyzeanimageandhowtotreattheimageasatypeoftext.Atwansquestions,paired
withmyloveofDonMcLeansVincent,leadtothisexercise.
Back to Top
Audience
02/13/201101:25pm
Exercises:
Abstract Shapes: The Importance of Visual Description
Audience and Voice Exercise
Brain Teaser: Voice Without Word Choice
Changing VoicesThe Helpful and Unhelpful Voices in Our Heads
Comparing Tone and Style

PurposeofExercise:Thisexerciseshowsstudentsthecomplexrelationshipbetweenanobjectandthelanguageweuseto
describeit.Studentslearntheimportanceofconsideringtheaudiencesreceptionofmeaningsintheirwordchoice.Thisisuseful
inthedraftingprocessofavisualanalysisofanykindevenanethnographywhenanauthorsattentiontoaudienceintheir
descriptionsofanothergroupisvital.
Description:Theclassworksinpairstotryanddescribeanddrawarandomabstractshape.Aprizegoestothepairwhose
describershasbestconveyedthedescriptionoftheshapesuchthatthedrawercanmostaccuratelyrecreateit,sightunseen.They
willneedpaperandpencils,andyouwillneedawhiteboardandmarker.
ProcedureDividestudentsintopairs.Askthepairstomovesothatonepersonisfacingthewhiteboardandonepersonisfacing
awayfromit.Thepersonfacingawayfromtheboardneedspaperandpen/pencil.Oncethepeoplewhoaresupposedtobefacing
awayfromtheboardaresituated,drawanabstractshape(anycombinationoflines,arcs,shapes,symbols,etc.)ontheboard.
Letthestudentfacingtheboardseetheboardandlookatthepictureforabout30seconds.Thengivethemtwominutesto
describeittotheirpartners.Thedescribersarenotallowedtousetheirhandsatall.Thepartnerswhoarelisteningtothe
descriptionsmusttrytodrawwhatisbeingdescribedtothem.Oncetimeisup,askeachpairtodisplaytheirresultstotheclass.If
youwant,youcanbethejudgeandgivethegroupthatcomesclosestaprize.
Havegroupmembersswitchrolesandrepeatthisexercisewithanewabstractimage.Oncethesecondroundisover,holdaclass
discussionaboutthedifficultiesstudentsencounteredineitherorbothroles.Whichjobdidtheythinkwasharder?Whydidyou
askthemtodothisexercise?Andsoon.
Back to Top
Audience and Voice Exercise
PurposeofExercise:Thisexerciseraisesawarenessofrhetoricalsituationandaudiencewhendevelopingvoice.Workswellwith
thereadingRoleofAudiencesinOnWriting.Itcanbeappliedtoanynumberofpapertopics.
Description:Breakingtheclassintosmallgroups,youwillassignadifferentpersona,audience,andsituationtoeachgroup.The
groupswillthencomposealetterinthevoiceoftheirpersona,conveyingthesituationtotheiraudience.
Procedure:Forthisexercise,youwillhaveyourstudentsbreakupintogroupsofthreeorfour.Usingthelistbelow,havethe
eachgrouppickaletterornumberfromeachgroup.Forexample,grouponewillpickaletterAH,oneletterfromJQ,anda
number18.WriteGroupOneontheboard,thenwritetheirchoicesunderneath.Ihavethemmakeupsillygroupnames
becauseitseemstogetthemmoreinvolved.Repeattheprocesswitheachgroup.Aftertheyhaveallchosen,tellthemwhateach
letterornumberstandsfor,andwhatcategoryitisin.
Situation
A.needmoney
B.wonthelottery
C.engaged
D.gotaticket
E.failedatest
F.gotintolawschool
G.gotapromotion
H.gotfired
Voice
J.kindergartenteacher
K.GeorgeW.Bush
L.ArnoldSchwartznegger
M.KermittheFrog
N.DarthVader
O.pregnantmother
P.pilot
Q.teenager
Audience
1.groupoflawyers
2.groupofdoctors
3.kindergartenclass
4.bestfriend
5.exboy/girlfriend
6.boss
7.preacher
8.cheerleaders
SoifgrouponepicksC,L,and8,thentheyhavetowriteinthevoiceofakindergartenteacher,tellingagroupofcheerleaders
thattheygotengaged.
Haveeachgroupworktogethertocreatealetterorstory.Remindthemthattheyshouldthinkaboutthekindoflanguagethat
personorgroupwouldunderstandorusemost.
Whentheyarefinished,havethemreadthemoutloud,usingthevoiceifpossible.
Back to Top
PurposeofExercise:Thisexercisefosterscreativethinkingindescriptions,developmentofvoice,andplayingeffectivelywith
sarcasm.
Description:Studentsmustwritewithoutthefreedomofwordchoice,forcingthemtocompensateanddevelopotheraspectsof
theirvoicewiththeselectionofadjectivesyougivethem.Youshouldconsidersomeunlikelypersons,places,andthingstopair
thoseadjectiveswith.
Procedure:Compileyourgroupofwordsoneofafewways.Eitherhavetheclass(withouttellingwhy)contributeadjectivesand
adverbsoftheirowntowriteupontheboard,orwiththeirhelp,selectanumberofthemfromarecentreading.Selectafew
adjectivesfromamongthese.Then,askthemtodescribecertainoccupationsorentitiesusuallynotgroupedwiththosewords.For
instance,selectthreewordsoutofthegroup,likeCornucopian,opulent,oraffluentandaskthemtodescriberabeggar.Or,
youmightaskthemtodescribeArnoldSchwarzeneggerusingthewordsTenuous,Feeble,andSickly.
Thetrickisforthemtocreativelyusingothercomponentsofstyle,namelytheirimaginationbutalsothingsliketoneand
sentencestructuredescribethesepeople,places,thingsbytheiradjectiveantonyms.Importantly,theycanteversaythatthe
beggar,forexample,wassimplynotanyofthosewords.Perhapstheyllcomparehimtootherbeggars,i.e."hewasanupper
class,highfluting,ratheropulentlydressedbeggar",orperhapstheyllhavethebeggarimaginebeingsuchthingsthoughheisnt.
Ifyourclassisstuck,givethemthisexampletohelpthemseewhatspossible.
Theexercisesmaingoalistoimprovetheircreativity,forcingthemtowriteoutofadifficultsituationwithsomethingotherthan
wordchoiceandtodiscoverhowcolorfulsarcasmmightwork.Takenoteofthewaysstudentstrytogetoutofitbecausethis
isanexercisethatyoucandorepeatedly,usingdifferentwordsandwithdifferentobjectstodescribe.Ifyouhavetheclassrepeat
it,maketheirfirstescapetechniquestaboofortheirnextattempt.
Discusstheresultsasaclass.Ifyoureworkingthroughadraftorashortstoryoranarticle,etc,youmightassignajournalin
whichtheytakeaperson,place,orthingfromtheirpieceandretooltheirdescriptionusingwhattheyvelearned.Anotheroption
istoaskthemtobringtheirdrafttoclass,andperformtheexercisethesecondtimeontheirownwriting.
Back to Top
Changing VoicesThe Helpful and Unhelpful Voices in Our Heads
Purpose:Thisexerciseshouldbehelpfulwhenstudentsarefeelingstuckinthemiddleoftheirwriting(andsemester)andlack
anyfreshideasanexercisetobreakupthelogjamoffrustrationandboredom.
Description:Thisexercisepromptsstudentstounderstandallthementalaudiencestheyunconsciouslyhavelisteningtothem
whilewritingandhowthismightaffecttheirwritinginnegativeways.Ithopefullyencouragesthemtoreleasethosenegativeor
criticalvoicesthatmightcutoutthecreativityordetailtheycouldputintotheirwriting.
Procedure:
1. Ask students to take out a clean piece of paper and write their names on the
top.
2. Give them a good five to ten minute writing topic, depending on your time--the
longer the better, which gives some room for creativity and description, but has
enough specific details that you dont need to spend extra time thinking up
ideas. For example, pretend you are sitting in a doctors office, or remember a
real time that you were, and write about it. You can make up the details and
situation, but this person has to be you. Another example: you are packing for a
trip with your family. Describe what is going on and what you are thinking.
3. Now pass around cut-out photos of interesting looking people from magazines.
Let them choose which one they want. You will want to have enough available
so that the students can have lots of choices. Ask them to make up a name for
that person.
4. Tell them to put that name on another piece of paper. This will be handed in as
well, but tell them you will not know who wrote the piecethe person in the
picture is the writer, and the student will remain completely anonymous. Ask
them to write about the same topic, but pretend they are this person doing the
writing. Write about how they experience things, what they see, what they
think. Tell them to be as imaginative as they want, but to take that person
seriously (dont make fun of them, make them real).
5. After they are done, start a discussion about which seemed "better" to them, or
more interesting. Let them know there is no right answer. Some students will
prefer the first and probably the majority will prefer the second. Ask about the
different writing experienceswho was their audience, what were the helpful
and unhelpful voices in their head, was it good to be in disguise as a writer?
Perhaps the disguise will lead you to your strongest writing voice.
6. Finish the discussion by talking about our own voice as writers and negative
voices that inhibit writing. Remind them that although they were in disguise,
they were still the ones doing the writing, and perhaps when their writing seems
bland or inhibited, they should try enlarging their voice as writers.
Back to Top
Comparing Tone and Style
Purpose:Thisexercisedemonstratestostudentssomeofthewaysthattoneandstylearelinkedingoodwriting.
Description:Thisexerciseisusefulfortheteachingofthepersonal/memorynarrative.
Procedure:
1. Take two pieces of writing of vastly different tone and style and bring in copies
of them for your students. Use the opening italicized section of "Prologue: I Hate
Myself and I Want To Die" from Elizabeth Wurtzels Prozac Nation and the first
chapter from both The Hitchhikers Guide To The Galaxy and The Restaurant at
the End of the Universe, which were both written by Douglas Adams. Prozac
Nation is incredibly serious and pretty depressing. However, it also has some
decent writing and much of the section is useful for the teaching of the personal
memory paper. These works differ significantly in both tone and style from each
other.
2. Ask students to read both excerpts out loud and then discuss the different
techniques used. This is a way to introduce style and tone or to reinforce them
later on in the semester. Prompt the students to begin a group discussion about
the difference between tone and style in each of the pieces. Provide for them a
set of questions to get them started:
o
What is the tone in the first piece?
How is it different in the second piece?
Why is this important/why does this matter?
How does it affect the audience?
What will work for your writing?
Details and Descriptions

02/13/201112:47pm
Exercises:
Character Development: Making Those Characters A Little More ThreeDimensional
Exploding a Moment: Developing Details
Food and Family: Description
Fortune Cookies: Focusing a Description
Fun with DeathAdding Depth and Creativity to Your Writing
Good Humor: Using Humor Effectively
Learning to LieThe Importance of Including Details
Silent Film ExerciseCreating Original Dialogue and Writing Descriptively
Snap Shots: Details & Point of View
Symbols of Memory: Using Detail to Establish Meaning
The Exquisite Corpse: Fun With Syntax
Unpacking the Object: Descriptive Details
What Is It? Enriching Descriptive Writing
PurposeofExercise:Thisexerciseshowsstudentsthecomplexrelationshipbetweenanobjectandthelanguageweuseto
describeit.Studentslearntheimportanceofconsideringtheaudiencesreceptionofmeaningsintheirwordchoice.Thisisuseful
inthedraftingprocessofavisualanalysisofanykindevenanethnographywhenanauthorsattentiontoaudienceintheir
descriptionsofanothergroupisvital.
Description:Theclassworksinpairstotryanddescribeanddrawarandomabstractshape.Aprizegoestothepairwhose
describershasbestconveyedthedescriptionoftheshapesuchthatthedrawercanmostaccuratelyrecreateit,sightunseen.They
willneedpaperandpencils,andyouwillneedawhiteboardandmarker.
Procedure:Dividestudentsintopairs.Askthepairstomovesothatonepersonisfacingthewhiteboardandonepersonisfacing
awayfromit.Thepersonfacingawayfromtheboardneedspaperandpen/pencil.Oncethepeoplewhoaresupposedtobefacing
awayfromtheboardaresituated,drawanabstractshape(anycombinationoflines,arcs,shapes,symbols,etc.)ontheboard.
Letthestudentfacingtheboardseetheboardandlookatthepictureforabout30seconds.Thengivethemtwominutesto
describeittotheirpartners.Thedescribersarenotallowedtousetheirhandsatall.Thepartnerswhoarelisteningtothe
descriptionsmusttrytodrawwhatisbeingdescribedtothem.Oncetimeisup,askeachpairtodisplaytheirresultstotheclass.If
youwant,youcanbethejudgeandgivethegroupthatcomesclosestaprize.
Havegroupmembersswitchrolesandrepeatthisexercisewithanewabstractimage.Oncethesecondroundisover,holdaclass
discussionaboutthedifficultiesstudentsencounteredineitherorbothroles.Whichjobdidtheythinkwasharder?Whydidyou
askthemtodothisexercise?Andsoon.
Back to Top
PurposeofExercise:Thisexercisefosterscreativethinkingindescriptions,developmentofvoice,andplayingeffectivelywith
sarcasm.
Description:Studentsmustwritewithoutthefreedomofwordchoice,forcingthemtocompensateanddevelopotheraspectsof
theirvoicewiththeselectionofadjectivesyougivethem.Youshouldconsidersomeunlikelypersons,places,andthingstopair
thoseadjectiveswith.
Procedure:Compileyourgroupofwordsoneofafewways.Eitherhavetheclass(withouttellingwhy)contributeadjectivesand
adverbsoftheirowntowriteupontheboard,orwiththeirhelp,selectanumberofthemfromarecentreading.Selectafew
adjectivesfromamongthese.Then,askthemtodescribecertainoccupationsorentitiesusuallynotgroupedwiththosewords.For
instance,selectthreewordsoutofthegroup,likeCornucopian,opulent,oraffluentandaskthemtodescriberabeggar.Or,
youmightaskthemtodescribeArnoldSchwarzeneggerusingthewordsTenuous,Feeble,andSickly.
Thetrickisforthemtocreativelyusingothercomponentsofstyle,namelytheirimaginationbutalsothingsliketoneand
sentencestructuredescribethesepeople,places,thingsbytheiradjectiveantonyms.Importantly,theycanteversaythatthe
beggar,forexample,wassimplynotanyofthosewords.Perhapstheyllcomparehimtootherbeggars,i.e."hewasanupper
class,highfluting,ratheropulentlydressedbeggar",orperhapstheyllhavethebeggarimaginebeingsuchthingsthoughheisnt.
Ifyourclassisstuck,givethemthisexampletohelpthemseewhatspossible.
Theexercisesmaingoalistoimprovetheircreativity,forcingthemtowriteoutofadifficultsituationwithsomethingotherthan
wordchoiceandtodiscoverhowcolorfulsarcasmmightwork.Takenoteofthewaysstudentstrytogetoutofitbecausethis
isanexercisethatyoucandorepeatedly,usingdifferentwordsandwithdifferentobjectstodescribe.Ifyouhavetheclassrepeat
it,maketheirfirstescapetechniquestaboofortheirnextattempt.
Discusstheresultsasaclass.Ifyoureworkingthroughadraftorashortstoryoranarticle,etc,youmightassignajournalin
whichtheytakeaperson,place,orthingfromtheirpieceandretooltheirdescriptionusingwhattheyvelearned.Anotheroption
istoaskthemtobringtheirdrafttoclass,andperformtheexercisethesecondtimeontheirownwriting.
Back to Top
Character Development: Making Those Characters A Little More Three-Dimensional
PurposeofExercise:Thisisahandoutstyleexerciseforprotagonistdevelopmentinwritingshortstories.
Description:Youmightdistributethishandoutinclassforstudentstofilloutduringclasstime,oraskthemtofillitoutasatake
homejournalfordiscussion/draftinginclass.
SuggestedTime:15minstoentireclassperiod
Procedure:AskStudentstocompletethefollowingHandout,eitherathome,orduringclasstime:
Character
FullName:
Sex(dontwrite,yes,please.):
AgeandDateofBirth(asyourstorydoesnotneedtohaveacontemporarysetting):
BirthCity:
ParentsNames:
Siblings:
Ethnicity:
Pets:
Education:
FavoriteMovie:
FavoriteTVShow:
FavoriteBook:
FavoriteFood:
FavoriteDayoftheWeek:
FavoriteHobby:
FavoriteDrink:
FavoriteBand:
FavoriteSong:
FavoriteHalloweenCostume(ifs/hecelebratedHalloween):
Religiousaffiliation:
Politicalaffiliation:
Loveinterest(s):
PhysicalDescription
EyeColor:
HairColorandStyle:
Height:
Weight:
SkinTone:
FacialDescription(doess/hehaveauniquenose,forehead,eyes,ears,lips,ect.?):
Clothes(whats/heiswearingorusuallywears):
OtherPhysicalCharacteristics(ghettobooty,busty,muscular,corpulent,scrawny,disproportioned,ect.):
DefiningMoments
Theonechildhoodinstancegoodorbadthatindeliblyaffectswhothischaracterisnow:
Thecharactersproudestmoment:
Thecharactersmostembarrassingmoment:
Thecharacterscareergoalsoffutureaspirations/ambitions:
Whomthecharacterwouldmostliketohavedinnerwith(pastorpresent)andwhy:
Threeadjectivesthecharacterwouldusetodescribehim/herself:
Postsecret
Whatwouldyourcharacterspostsecretsay?Howwoulditbedesigned?
Taketimeinclasstodiscusscharacterdevelopment,andthecharacterstheycreated.Havestudentsbeginasceneinwhichtheir
characterconfrontsaspecificsituation/conflict.Or,ifstudentshavealreadybeguntheirstories,havethemreviseasceneinwhich
theircharacterstraitsaremoreapparent.
Back to Top
Exploding a Moment: Developing Details
Purpose:Thisactivityhelpsstudentsdeveloptheirideasandcanbeusedatanystageinthewritingprocess,butisoftenmost
helpfulafterthestudentswritetheirfirstdrafts.
Description:Thisrevisiontechniqueisespeciallyhelpfulinelicitingrichdetails(andthestudentswilllovethelengthitaddstoa
draft).Itsalmostlikewritinginslowmotionslowingdownthemomenttocapitalizeonsights,thoughts,feelings,andmore.
Procedure:
1.Readorallythefollowingparagraph:
Iwokeuplatethismorningasusual.Ihadnocleanclothesandthefridgewasnexttobare.TrafficwasheavyasIspedtowork.
SomejerkcutmeoffandIalmosthadawreck.AtworkIwenttomydeskandtherewasanotetogoandseetheboss.Iwaited
outsideherofficeforawhilebeforeshecalledmein.Icouldntfigureoutwhyshewantedtoseeme.Iwentinsideandsatdown.
Mybosshandedmeanenvelope.ShetoldmethatmyserviceswerenolongerneededandthatIwasfreetogo.Igotmy
belongingsfrommydeskandleft.Thedrivehomewasquick.Iamnowunemployed.
2.Pointoutthelackofdetailsinthisparagraph.Explainthatanyoneofthesesentencescouldbe"exploded"tocreatean
interestingstory.IthenreadthemthefollowingexplosionIwroteasanexample:
SomejerkcutmeoffandIalmosthadawreck.Ihatepeoplewhocantdrive.Idecidedtoteachhimalittlelessonbyplayingnear
bumpercarswithhisbrightred300ZX.Hekepthittinghisbrakes,andeventuallyevenshookafistofrageatme.Igiggled
gleefullykindoflikethatladyinFriedGreenTomatoeswhogotimmensepleasurefromrepeatedlyrearendingthecarofthe
personwhohadstolenherparkingspace.Spaceiscrucial,andthatjerkwillprobablythinktwicebeforehecutsintomineagain.
3.Nowpassoutcopiesofthefirst(bland)paragraphtostudentswhiletheyaregettingintopairs.Tellthemtochooseone
sentencetoexplode,makingupthemostinterestingdetailstheycanaslongastheiradditionswillstillfitinthefactsofthe
originalparagraph.
4.Aftergivingthem1520minutes,readtheoriginalparagraphagainorallyonesentenceatatime,askingforvolunteerstoshare
theirexplosions.Studentsusuallyenjoythistimeandareeagerbothtoshareandtolistentoeachothersexplosions.
5.Finally,afterdiscussingthedifferencesbetweenthebarebonesofthefirstparagraphandtherichdetailsoftheirexplosions,
havestudentstakeouttheirmostrecentdraftsandchooseasentencetheyfeelisripeforexplosion(withactualdetailsthistime).
Havestudentsexplodethemoment(s)theyvechosenasameansofaddinginterestingdetailstofuturedrafts.
Back to Top
Food and Family: Description
Purpose:Thisactivityisintendedtoinspirestudentstowriteverydescriptively,anditcanbeusedasaninventionexercisefora
personalessayin1101oraresearchessayin1102
Description:ByusingapreviousverydescriptiveessayfromOOW,studentscreatealistof10favoritefoods,narrowdown,and
endupwritingdescriptiveparagraphsaboutthem,includingwhentheyfirsthadthem,andotherdetaildriveninquiries.The
activityrelatestoNoWoman,NoCryinthe20062007editionofOurOwnWords.
SuggestedTime:3045minutes(Ifstudentsdontreadtheessayaheadoftime,thiscouldverywellencompassanentireclass
period).
Procedure:
1.Havestudentsmakealistoftheirtenfavoritefoodsfromchildhoodintheirjournalsorwhereveryouhavethemdoinvention
exercises(or,dependingonwhatyouarehavingthemwriteabout,youcouldmodifytheexerciseandhavethemmakealistof
leastfavoritefoods,currentfavoritefoods,tenfoodstheywouldmostliketotry,tenfavoriteethnicfoods,etc).Thisstep
shouldnttakelongerthanaboutfiveminutesformoststudents.
2.Oncemoststudentshavecompletedtheirlist,havethemanswersomequestionsabouteachitemontheirlist.Whenorwhere
didyoufirsteatthisfood?Whoservedittoyou?Howoftendidyoueatthisfood?Whatmemoriesdoyouassociatewiththis
food?Doyoustilleatthisfoodtoday?Howisthisfoodprepared?
3.Now,haveyourstudentschooseseveralitemstoexaminemorethoroughly.Havethemcreatealistofadjectivesthatcouldbe
usedtodescribeeachword.Encouragethemtothinkaboutusingallfivesenses.
4.(Ifnotreadaheadoftime)DisplayNoWoman,NoCryontheprojectorscreenandhavestudentsreadtheessay.
5.Havethestudentsdiscussthefollowingquestions:
What about this essay is particularly powerful?
Do any images (sensory details) pop out at you?
Why do those particular images stand out and what do they do for the essay?
What is effective about the organization/focus?
What, if anything, doesn't work for you?
How does food function as an organizing factor in this essay?
How does the author transition from food to family?
Is the transition effective?
How does the piece "move" overall?
In regards to the essay overall, what could have been done differently?
6.UsingNoWoman,NoCryasanexampleofeffectivedescription,tellyourstudentstochoosethreefoodsfromtheirliststo
writeaparagraphabout.Ifpossible,havethemincludeavividdescriptionoftheitemaswellasaspecificmemorythatrelatesto
thatfood.
7.Callonafewstudentstosharetheirbestparagraph,anddiscusswhattechniqueseachstudenthasusedeffectivelyintheir
writing.
ThisactivityisdesignedforaTECclassroom.Itcanbemodifiedforemploymentinatechnologyfreeclassroomifyoumake
havethemreaditaheadoftimeorevendisplayitandhavestudentsreaditoutloud.(Itsnotverylong)
DontletyourstudentsgethunguponStep1.Somestudentshaveahardtimecomingupwithsomethingliketheirtopten
FAVORITES,soyoucouldsuggestthattheysimplylistthefirsttenthingsthatpopintotheirminds.Havesomebackupquestions
andanadditionalangleforfastworkingstudentstocontinueworkingonsothattheyhavesomethingtokeepthemoccupiedas
slowerstudentsarestillcompletingthebasicexercise.
Back to Top
Fortune Cookies: Focusing a Description
PurposeofExercise:Workswellwithapersonalessaycomposition.Thisisa"stretchingexercise"thatcallsforstudentsto
expandanddevelopaparticularthought,thenreviseandnarrowthescopeofthatthought.Goodforinspiringnewideasmid
project,orstartinganewone.
Description:Studentstakeafortunecookiefortuneandmanipulateit.Ifyoudliketobringactualcookies,doso!Otherwise,you
cansearchonlineforfortunecookiephrasesonsiteslikefortunecookiemessage.com.Youmightcompiletheseontopaperstrips
andhandthemoutindividually.Requiressomeprintingandprecutting.
Procedure:Eachstudentchoosestheirownfortunecookie(orgrabsafortuneoutofyourbox,bag,etc)andwritesdowntheir
fortuneatthetopofacleanpage.Haveafewextrafortunesonhandincasesomestudentsreceiveafortunethatistoocrypticor
foronesthatthestudentjustdoesntlike.
Nowgivethestudentsafewmomentstoconsidertheirfortunes,thenaskthemtorewritetheirfortuneinafewsentences.They
canadaptandexpandtheirfortunesbuttheymuststicktotheoriginalspiritandintentofthefortune.Forexample,aprediction
aboutthestudentspersonalityshouldremainabouttheirpersonalityandnotstraytootherpossibilitieslikefuturesuccess,
relationshipsandsoon.
Nowtellthestudentstounderlineanystrongwordsordescriptionstheywroteintheirrevisedfortunes.Theseshouldbewhatever
wordsmakeastrongimpressiononthestudent.Usingtheunderlinedwordsasaguide,havethestudentswriteashortfortunefor
themselvesthatwouldbeappropriatetoputinsideafortunecookie.DontfeelconstrainedbyChineseRestaurantlanguage,doit
inyourownwords.
Discussthenewfortuneswithingroupsorsharewiththeentireclass.Considerthenatureofthetypesofchangesthatweremade
andquestionwhythestudentmadethosechanges.Theteachercouldthenaskthestudentstousetheunderlinedwordsaskey
wordsinanideaclusterortreetodevelopotherpersonalideasforalongerpieceofwriting.
Thisgivesstudentsalightstretchingexercisebeforeagoodwritingworkout.Itencouragesthemtothinkaboutthemselvesandtry
tocapturesomenarrowaspectoftheirindividualcharter,orhopesorfears,andnarrowthemdowntojustafewwords.Thenthey
aregivenanopportunitytoexpandonthesefewwordsandsaymoreaboutthemselves.
Back to Top
Fun with DeathAdding Depth and Creativity to Your Writing
PurposeofExercise:Thisexercisehelpsstudentsworkonusingdetailsintheirwriting.Mostobituariesaredullandgivefew
details.Usethisasawaytohavestudentsactuallydowhatanobitismeanttodocelebratethelifeofapersonwhohasdied.
Somemayfindthismorbidbutitdoesnthavetobehavethemfocusoncreativityandpositivesintheirpersonslife.Itwill
offerachanceforgroupstoworktogetherandshowsthemhowtoadddepthandcreativitytopoorwriting.
Description:FunWithDeath"isagroupexercise,soyoucanuseyourworkshopgroupsorcreatenewgroupsforyourstudents
toworkwith.Itcanbeawayforstudentstobecomemorefamiliarwithworkingwithotherpeopleandlearningtoworkinsidea
groupenvironment.
SuggestedTime:Atleast30minutes
Procedure:CutoutobituariesfromanewspapersuchasfromthelocalpaperoreventheNewYorkTimes.Giveeachgroupan
obituaryandhavethemadddepthtothewritingbyrewritingthemasawholegroup(onlyonerewritepergroup,thatis).When
theyaredone,haveonepersonfromeachgroupreadtheobitaloudtotheclass.Thenhavetheclass(andyourself)askthem
questionswhichwillleadtomoredetailsthattheymissed,i.e.Whatwashersistersname?WhatcompanywassheVPfor?What
wasthenameofherloverinthemailroom.etc?Dontletthemansweroutloudtellthemtheywillhavetowritethemdownand
rewritetheobitagain.Givethemabout10minutestofinish.
Followupwithjournalassignmentaskingthemtowritetheirownobitsandalsoaskingthemtomakeconnectionsbetweenwhat
theylearnedwritingtheobitsandwhattheycanthenapplytotheirownwriting.
Back to Top
Good Humor: Using Humor Effectively
Purpose:Thisexerciseisintendedtopromptdiscussionabouttheuseofhumorinwriting,howitcanbothhelpandhinder.
Description:StudentsevaluatehumorinthestudentessayBOOfromOurOwnWords(200405).Usingthestudents
suggestionsaspointsofanalysis,theprosandconsofeachhumorousinstanceintheessaycanbediscussed,remedied,expanded
on,etc.Also,thisisagoodessaytobeginadiscussiononvoiceandwhyitmightworkintheauthorsadvantagetousea
humoroustone.Thisactivityisagoodonetoreinforcetheimportanceofrhetoricalsensitivitybybringinginanalysisofaudience
andaudiencereception.
TimeSuggested:50minutes
Procedure:Thebasicconceptissimplytopickapartthepaper,lookingspecificallyforhumorousmomentsandtheireffects
(intendedornot).Havestudentsindividuallyoringroupshighlightexcerptsfromtheessaythatmadethemlaughorthatthey
thinkweremeanttobefunny.Usingthestudentssuggestionsaspointsofanalysis,discusstheprosandconsofeachhumorous
instance,suggestwaystoremedyorexpandontheseusesofhumor.
Somediscussionquestions:
Why do you think the author chose a humorous tone here?
Does it work for the author to use humor in this instance? Why or why not?
How does the author accomplish humor? (through diction, rhetorical

questioning,
How does the author use language or word choice to accomplish a humorous
tone?
How can the language be altered to create another tone?
Perhaps have students rewrite each humorous part using a different tone. How
does it change the reception of the information? How would it change the paper
as a whole?
What does the author make reference to in order to accomplish humor? Are they
relevant references? Can the audience identify?
How is the authors ethos affected by his use of humor?
AdditionalInformation:SamplePassagefromBoo:Theroomisblackerthanthenightskyonanewmoon.Clutchingtothe
warm,reassuring,nonpsychoticbodyinfrontofyou,youloweryourhead,coweringfromtheutterterrorconvergingonyou
fromallpossibleangles.Youmovelikeabatoutofthehellthatyouarenowintowardswhatyoudesperatelyhopeisanescape.
Suddenlyinthehustle,youhearascream,whichisinstantlydrownedoutbythebloodylunaticslammingintothechainlink
fencemereinchestoyourright.Turningbacktowhatyoufigureisforwardyoufindthatthepersoninfrontofyouisgone!
Youreallalone,withoutyourtrustyguide.Itsimpossibletoseewheretogo,andamultitudeofeerilyloudnoisesmakeyoufeel
alevelofdiscomfortunequaledbyeventhatantiseptichospitalsmellinthedoctorsoffice.Wait!Theresalightupahead,and
thatlookslikethatlostsoulformerlyinfrontofyou!Makingamaddashtorejoinacomradelostintheconfusionofthishellyou
feellikeyoujustmightgetoutofhere.Butthenjustasquicklyasyourelationhit,allhopeislost.Yourleadersjeansandtshirt
havenowbecometornrags,andthatpurseshewascarryingisnowatwelveinchmachete!Thisisnotanotherhorrorfilm,itsnot
abadnightinabusy,crimeriddencity,norareyoujusthavingabaddayatashoppingspreefilledwiththousandsofbloodthirsty
peoplelookingforthebestdeal.ItstheexperiencemillionsofAmericansflocktoeveryyear.Butisitreallyworthit?Andwhat
doesthisreallysayaboutusasapeople?
(TheHumorousSetup:Thewriterhintsatthehumoroustoneofthepaperinthesecondsentence,butleavesushangingforabit
ashedescribeswhatwilleitherbeatrulyfrighteningorelsehumorous/zanyexperience.Bythetimehemakestheshopping
spreereference,whichistactfullyplacedattheendofthe(ratherlong)paragraph,wearepreparedforthecomictoneofthe
paper.)
Uponobservationofthefacts,HalloweenHorrorNightsjustdoesntseemlikeaworthwhileventure.Notonlyisitexpensive,but
theparkisalsodenselycrowded.Itsplaguedbybadparking,continuouswallsofcrowds,andlineslongerthanthosefoundatthe
DMV,andonceagain,itsexpensive.ItjustdoesntseemtobesomethingthatwouldattracttheaverageAmerican.Idontknow
toomanypeoplewholikespendingmoney,justtowaitaroundindifferentspotsallnight,especiallywhenmostofuscanfind
jobsthatactuallypayustodoexactlythesamething.
(ComicRhythm:likestandupcomedyorsitcoms,ahumorousessayshouldhaveasenseofrhythmwithitscomicmoments.Too
sparseandthereadergetsbored;toofrequentandhe/shebecomesdistracted.)
Thewholeexperiencecanbeveryaggravating.ItsactuallyawonderwhysomanymigratetoUniversalStudiosHalloween
HorrorNights.Firstofallticketsstartoffataround$59.DealsforFloridaresidentsnotwithstanding,thatsalotofmoney,
especiallytotheyoungeragegroupmorelikelytogo.Tosomeoneagedaboutfourteentoabouttwentyfive,theagegroupthat
seemstobemostwidelypresent,sixtydollarscanbeamajordentinoneswallet.Andthatsjustthepriceofadmission.Keeping
withthethemeofmostthemeparks,sportsevents,insurancecompanies,andreligiousinstitutions,UniversalStudiossqueezes
youforeverypennyyourworth.Theparkmakessurethatnoonebringsintheirownmerchandise.Theyactuallyphysically
searchyouandyourbelongings.Grantedthereasonforthatistostoptheflowofdrugs,alcohol,andweaponsintothepark,butif
theycatchyoubringinginapicnicbasketofsandwiches,oranyoutsidefood,theyllmakeyougetridofitbeforeyoureallowed
entryintotheattraction.Aftertheystripyouofyourdignityandyourcarefullyhandcrafted,30centsandwiches,theymakesure
tocleanyououtbyoverchargingeverysingleproductinside.Irememberonesliceofpizzaandasmalldrinkfellsomewherein
theneighborhoodoftentofifteendollars.Needlesstosay,otherthanabottleofwater,thatwastheonlypurchaseImade.This
wouldlogicallyseemlikeenoughtodrivemostpeopleawayfromtheattraction.AsanAmericanmyself,Icantellyouthe
overwhelmingjoywetakeinspendingourmoney.SomuchinfactthatIthinktheyshoulddoubletheentrancefee.Thatsright,
andStarWarswasbasednatruestoryalongtimeagoinagalaxyfar,faraway.Butbecausethinningourwalletsisnotenoughto
keepseeminglyanybodyfromattending,HorrorNightstriestoscareusawayagain.
(HumorousDiction:Noticehowthewriterisplayfulwithhislanguage.Thepeoplemigratetothepark,likesomanyflocksof
birds;theplayonthemeandthemepark;theslightlyoverthetopreferencetohandcraftedsandwiches.TooFunny?But
canhumorbedistracting?IsthelineaboutStarWarsfunny,orjustsilly?Howfaristoofar?)
Afterdroppingsixtydollarsonaticket,thirtyorsoonthetrip,andanothersmallfortuneinside,youaremetwithoneofthemost
crowdedlocationsonearth,onlybeatenbytheonebillionpluspopulationofChina,andthatsdebatable.Thelinesare
notoriouslyfamousfortheirlength.Theyrealmostbetterknownthantheattractionsthemselves.Everytimetheeventisthe
subjectofconversation,thelonglinescomeupasanissue.Thewaittimesaresowellknowninfact,thatwhensomeonetells
abouthourlongwaits,peopleshowsurprise,andremarkabouthowtheymustbegettingshorter.TheaveragetimeIvehadto
waitinthepasthasbeennolessthantwohours.Ivenevergottenintoanattractionfasterthanfortyfiveminutes,andthatwason
abluemoon,duringaplanetaryalignment,atthestrokeofmidnight.Withthesewaittimes,youcanonlyexpecttoexperiencea
fractionoftheattractionsyoupaidtosee.Infact,whenyougo,youpayfullwellknowingthatyoullonlybeseeingabouttwoor
threeofthehauntedhousesoffered.Eventhoughyourecarryingthatluckyrabbitsfoot,youwokeupontherightsideofthe
bed,andapartofyouishopingthatsomehow,someway,throughtheinterventionofahigherpower,youwilljusthappentobe
theonlypersonintheworldgoingonyournight,butyouknowbetter.Butbecausethelineskeepreturningalongwiththeevent
yearafteryear,thisisobviouslynotenoughtoturnpeopleaway.Butlonglinesandemptybankaccountsarenttheendofthe
horrorthatisHalloweenHorrorNights.
(AppropriateComicalReferences:Doesthelineaboutplanetaryalignmentseemappropriateforthesubjectmatter?Evenwhen
tryingtomakethereaderlaugh,thehumorstillmanagestoremainrelevantandappropriate.Transitions:noticehowthelasttwo
paragraphshavesimilartransitionalsentencesattheend.Howdoesthewriteravoidboringrepetitionwithhumor?)
Notonlyarethelinesinsanelylong,theparkitselfiscrowdedbeyondbelief.Justwalkinguptothefrontgatescansometimesbe
anactofpureagility,speed,strength,andsatelliteimagery,inordertofindapaththrough.Butonceinside,nothingwillhelpyou
navigatethroughthemasses,unlessofcourse,youhappentobeoneofthefewmysticalhumansthatcanfly.Thereisaliteral
swarmofpeople,everywhereyoulook.Theparks7p.m.openingislikeadinnerbelltoastarvedwolfpack,andtheplaceis
packedtightnomorethanfifteenminutesafterthehoardsofexcitedpatronsareunleashed.Youandyourfriendsfindyourselves
backinkindergarten,holdinghandsasyoutravelfromplacetoplace,soasnottogetlost.Iftheattractionsarentenoughforyou,
justgoingfrompointAtopointB,isaneventinitself.Justwalkingaround,youwillrepeatedlyfindyourselfinintimatecontact
withcompletestrangers.Journeyingfromplacetoplacecansometimesbeanexperienceofpersonalviolationbyhalfofthe
peopleyoucomeacross.Buteventhecombinedissuesoftheprice,thewait,andthecanofsardineseffectcreatedbytheparks
popularityarentenoughtoturnpeopleaway.
(Again:Isthishumoreffective,ortoomuch?Ifitseffective,why?Ifitstoomuch,atwhatpointandforwhatreason?)
Back to Top
Learning to LieThe Importance of Including Details
Purpose:Thisexerciseencouragesstudentstodiscoverandinventconvincingdetails.Thisisagoodexercisetouseinthe
beginningofthedraftingprocess,whenstudentsarebusybuildingtheirearlywritingthroughthediscoveryofsignificantdetails
butitisalsoalessoninrevisioninthatinformationanddetailmaybeaddedatanypointduringthedraftingsequence.
Description:LearningtoLiemakesuseofeachstudentsexperience,throughtheselectionofexactdetails,imagery,andsense
evocations,inordertoilluminatetheroleofspecificityinthewritingprocess
SuggestedTime:Aslittleas1520minutes,ornearlyanentiresessiondependingonthenumberofstudentsampleschosento
bereadaloudandquestioned.
Procedure:Askthestudentstowriteintwoorthreesentences,threeunusual,startling,oramusingthingstheydidorthat
happenedtothem.Onethingmustbetrue,theothertwomustbe"lies".Askthemtousespecificdetails.
Readoneexampleasfollows:
Elvis Presley wrote me a two-sentence letter after I sent him a poem I written
about him and a picture of my sister in a bikini.
The first time I heard him play, Buddy Rich through me a drum stick during a
drum roll and never missed a beat.
I asked Mick Jagger to sign a program for me, but he said he preferred to sign
my left, white shoe. And he did.
Havethestudentswritethreeoftheirown.Thenhavestudents,onebyone,readthemtotheclass.Otherstudentsareallowedto
askthreequestionsthatpertainspecificallytothedetails.Forexample,someonemightask(usingtheexampleabove),"Whydid
yousendElvisyoursisterspictureinsteadofyourown?"Or"WhatwasBuddyRichplaying?"Or"Doyoustillhavethewhite
shoe?"
Thewritershavetobeabletothinkontheirfeet,tomakeupmoreconvincingdetails,to"lie".Thenaskforavoteastowhich
storyistrueandwhichwerefictitious.Itissurprisinghowmanystudentsfindthattheyarealreadyexcellent"storytellers."
Back to Top
Silent Film ExerciseCreating Original Dialogue and Writing Descriptively
Purpose:Thisexercisewillactivelyexposestudentstotheirownassumptionsandbiasesaswellasthoseoftheirpeers.Students
willgainperspectiveintothefilmmakersworldviews.Italsoprovidesanexperiencetowritedescriptively,creatingoriginal
dialogueforanexistingtextbyexaminingbodylanguage,shots,andpacing.
Description:Theteacherplaysaclipfromapreferablyobscurefilm.Then,dividethestudentsintogroupssothattheycancreate
adialoguefortheclipthatwasplayed.Indoingso,eachgroupshouldconsiderbothbodylanguage,pacing,andshotssothatan
appropriatetoneandplotcanbeapplied.Eachgroupshouldpresentwhattheyvedoneandpresentittotheclass,makingan
argumentforhowtheirexchangecouldmatchupwithwhatwasshown.Byreviewingtheclipwiththesoundtrackinplace,
studentscanseehowtheirassumptionmaketheintentionsofthefilmmakersaswellasgetagreaterideaofhowtheirjudgments
arebasedintheirexperienceswithothermedia.
Procedure:Chooseascenefromamotionpicture.Obscurefilmswillprobablyworkbestsincefewerstudentswillknowthem
already.Thesceneshouldhaveplentyofactionoravarietyofcharacters.Playthefilmcliptotheclasswithoutsound,butfirst
explainthatafterwardstheywillwriteadescriptiveaccountoftheclipasagroup.Suggestthattheymightwanttofocusona
singlecharacter,inventdialogue,depicttheplaceandtime,createasituationorbackground,orsaywhathappensnext.Letthem
writeandsharetheirdescriptionswiththeclass.Playtheclipagainwiththesoundonandprovidethenecessarycontextual
details.Thenyoumaywanttoaskthemtowriteaboutthesimilaritiesanddifferencesbetweenthegroupaccountsandthe
screenwriters.
AdditionalInformation:Ithinkthisactivityaffectsstudentsmoreiftheyperformitaftertheirfirstpaperoraftertheyhave
participatedinseveralworkshopsorhavereadseveralselectionsfromOurOwnWords.Sinceitsintentismoreconceptualthat
practical,itsuitsanydraftstage.
Back to Top
Snap Shots: Details & Point of View
PurposeofExercise:Fosterscreativeexplorationofpointofview,detaileddescription,andnarrativeasindividualsand
collaboratively.Goodforashortstoryorpersonalessayassignment.
Description:Youwillneed513interestingphotographsorstillsforyourstudentstoworkwith.Thisexerciseallowsstudentsto
takeapointofviewandcreateacontextforit.Theythengivethepicturespurposeinrelationtothecontexttheyhavecreated.It
forcesthemtobounceideasoffoneanotherinsmallgroups,andtocreateaplausiblestartforafictionalworkusingapointof
viewotherthanthepersonal"I".
Procedure:Placestudentsingroupsoftwo,givingeachgrouponepicturebetweenthem.Separately,eachstudentdecidesthe
cameraspointofview,creatingacharacterforthatpointofview.
Telling:
Who he/she is- include physical description and other pertinent information.
Where he/she is.
Why he/she is there- what is the significance of the setting.
With relevance to this character, find an object in the picture that serves as
important to the camera person. Describe what it is and why it is important.
Comingbackintothegroupsoftwo,nowtakeeachstudentspointofview,includingitscontextualinformation,anddevelopa
"leadin"(aparagraph)foranovel,shortstory,poem,oressay.Iftherestime,haveeachgroupsharewiththeclassandperhaps
usethisforumtopointouteffectivedetails,etc.
Youmayalsochoosetodothisexercisebyprojectingupto5snapshotsontheoverhead.Givetheclass5+minutestoconstructa
leadinforeachphoto,beingsuretoaddressthe4elementsabove.Taketimetodiscussasaclass.
Back to Top
Symbols of Memory: Using Detail to Establish Meaning
Purpose:Thisactivitycouldbeusefulasatoolforexploringtheuseofsensorydetailandmemorytoexpressemotions;itteaches
studentstoreadformultiplemeanings,anditaccompaniesHelenaBuonagurio'sNotSoPerfectPancake(200203OOW)orNa
Tech's,RedHibiscus(200405OOW).
Description:Studentsoftenfinditdifficulttosuccessfullyincorporatesensorydetailtoexpressemotionsintheirownwriting.
Withthisexercise,studentswillfocusonaspecificobjectandexpresstheiremotionsusingdetailsaboutthisobject,whilealso
consideringthepossibilityforanobjectorplaceofsignificancetohavemultiplemeaningsandassociationsinoneslife
experience.HelenaBuonagurio'sNotSoPerfectPancake,revealsthepowerofmetaphorsindevelopingmeaning:Helena
compareshermothersnotsoperfectpancakesnotonlytoheroveralllifeexperiencebutalsotohermotherslove.NaTechs
RedHibiscusprovidesagoodexampleforhowyoucanemployaspecificobjectanddescribeitusingsensorydetailinorderto
showitsconnectiontoameaningfulrelationship(i.e.theredhibiscussconnectiontotheauthorspast).Drawingononeofthese
examples,studentswilllearntocraftmeaning(s)fromasingleobject.
Procedure:
1. After reading Red Hibiscus or Not So-Perfect Pancake discuss, allowing

students to explore the meaning that the author draws from this single image
(red hibiscus) or have them underline metaphors used to convey multiple
meanings (i.e. the metaphors for pancakes). Students should underline
images/metaphors and evaluate the titles meaning in relation to the narrative.
Have them find places where the meaning and image merge.
2. After this discussion, have students, individually, choose an object important to

them and free write for 15 minutes (total5 minutes for each section) on each
of the following: a specific person it is related to; a specific place it reminds
them of; and a specific memory of an event that it conjures in their minds. *If
students seem to be having trouble thinking of an object, ask them to
remember an event or a place from childhood (or high school even). Then have
them think about associated memories.
3. Students should be sure to use concrete sensory detail (describe the object
using their five senses) in their descriptions: what does the object look like? Feel
like? Smell or taste like? Where did it come from? Does it have other
associations attached to it? For example, in Red Hibiscus the author describes
what the hibiscus flower represents.
4. Ask a couple of students to share their object and its associated
descriptions/memories. Then ask students to respond with their own
associations with those objects and memories, which the authors free-writes
may have sparked. This hopefully should lead to a discussion about meaning
being relative and the importance of sensory detail in appealing to a readers
emotions.
Back to Top
PurposeofExercise:ThisMadLibsstyleexercisegetsstudentsthinkingabouthowlanguageworksviaanunderhanded
grammarrefresher,andjarringthemoutoftheworldofconsciouslanguageuse.
Description:Youwillneedindexcards;colorcodedworkbest.Theideaisthatbystringingtogetherrandompartsofspeech,
sentencescanbeconstructedwhich,whiletheydonotmake"sense,"have,nonetheless,aninternalgrammaticallogic.
Procedure:Colorcodedindexcardsworkwellforthis:designateacolorforeachpartofspeech,makingsurethattherearetwice
asmanycardsfornounsandadjectives(youmightaskstudentstoprepforthelessonbybringingintheirowncards).Some
studentswhohavetroublevisualizingwhatkindsofwordsfitintoeachcategory(Noun,Verb,Adjective,Adverb)mayfeeltoo
embarrassedtoask,sogiveafewquickexamplestogetthemgoing.Askeachstudenttowritedowntwonouns,twoadjectives,
oneverbandoneadverbeachonitsowncard.
Aftertheyhavewrittendowntheirwordscollectthemintofourstacksbycolorandshufflethem.Distributethecardssothateach
studentonceagainhasaverb,anadverb,andtwoeachofnounsandadjectives.Atthispointtheyshouldbegintoarrangetheir
cardstoformsentences.Articlesandpossessivepronounsmaybeinsertedwhereverneededandverbtensesmaybechangedor
nounschangedfromsingulartopluralorviceversa.Whenallarefinishedgoaroundtheroomandaskeachstudenttosharehisor
hersentence.
Discusseachsentenceintermsoflanguageplayandgrammar.Youmightemphasizegrammarandfocusonsubjectverb
agreement,subjectactionobject,ortheeffectofpunctuation.Or,youmightfocusonthepowerofwordplay,active,illustrative
verbs,oddpairings,connotations,metaphor,etc.Helpstudentsapplywhattheyvelearnedtotheirowndrafts.
Iftimeallows,studentscouldbeaskedtowriteaparagraphorapoemaroundtheirsentencetoshareanddiscusswiththerestof
theclass,orasajournal.
Back to Top
Unpacking the Object: Descriptive Details
Purpose:Drawingonachildhoodmemory,thisactivityallowsstudentstodiscovertheimportanceofdescriptivedetails.This
activityaccompaniesAutumnT.Harrell'sJesusLives(200405OOW).
Description:LikeHypertextfromtheInkwell,thisactivityservestwopurposes:1)topromoteclassdiscussion,especially
duringthefirstfewclasses;and2)tointroducestudentstotheideaofusingdescriptivedetailswhentheywrite(thisexercisemay
bemosteffectivewiththeVisualStrand).Thisactivitycanserveasanicebreaker(ifusednearthebeginningofthesemester),or
itcanbeusedtoreenergizeyourstudentsaroundwhenyouareabouthalfwayintothesemester(orevenneartheend).
SuggestedTime:Ifeveryonesharestheirfreewrite(andIwouldrecommendthat),theactivitycouldtakethewholeclassperiod.
Ifnot,thenplanon2030minutes.
Procedure:
1. Have someone read Jesus Lives out loud.

2. Using the poem as an example, ask the students to:
Think of an object that you have come in contact with for as long as you can
remember: a childrens book or a piece of jewelry, a stuffed animal, a picture, or
a rock. Give them a minute to picture their object fully.
3. Now ask them to write according to the following questions (they dont have to
hit each one):
o
What is the object?
Where is it? Where are you?
What does it smell like? What color is it? What does it look like?
Who does it remind you of? What is its texture?
Youre starving. You figure, Why not? You eat the object. What does it
taste like?
You shake the object. What does it sound like?
Do you, like the speaker in Jesus Lives, take this object for granted?
When have you bump[ed] into it, alarmed? You get a tap on the
shoulder. Its your mother and your best friend, or your aunt and your
second grade teacher. How do they react to the object? How do they
interact with it? What do they say about the object?
4. Allow students to write about the object for about 7 minutes.

5. Pick some people to share, or (better) let everyone read his or her piece,
allowing a question or two from other students after each reading. Since these
are objects that the students care about and come in contact with often, there
should be a built-in attention to detail and an excitement level in writing (and,
hopefully talking) about each piece.
Back to Top
What Is It? Enriching Descriptive Writing
PurposeofExercise:Thisexercisestimulatesstudentstoenrichtheirdescriptivewritingbyusingaplainobjectandwriting
aboutitinanextravagantwayusinglotsofdetail,metaphor,andimagery.Itmakesstudentsdevelopandpossiblyappreciatea
creativeapproachtothewritingmethod.
Description:Studentswilltakeanormalobjectandwriteacreativedescriptionandnarrativeabouttheobjectoftheirchoice.By
followingasetofquestionsprovidedbytheinstructor,studentswillwriteaprosestyleresponsenotjustalistorcatalog.
Procedure:Studentsshouldpickanobjectthattheyhaveeasyandtangibleaccessapen,teddybear,awashcloth,IDcard,
whatevertheydesire.Theyshouldthenwriteacreativeresponseusingthefollowingquestionsorasimilarformat:
1. You look around the room and see your object. How well can you see it? Where
is the light coming from?
2. You walk over to your object. How many steps did it take?
3. Your object is lying next to several other things. One of these things reminds you
of something or someone else. What does it remind you of?
4. Pick up the object. How heavy is it? Can you toss it in the air?
5. Put the object close to your eyes, so close that it becomes blurry. What do you
see? (tiny bumps? little lines?)
6. Put your object against your ear. Does it make a sound? What does that sound
(or lack of sound) remind you of?
7. Put your object under your nose. What does it smell like? What does the scent
remind you of?
8. While you have the object this close to your face, you might as well taste it. Go
ahead, stick out your tongue. What is that taste? What does it remind you of?
9. You are getting tired of this exercise. Get rid of your object. Dispose of it
somehow. How did you get rid of it and how do you feel now that it is gone?
Inorderforstudentstosuccessfullycompletetheexercise,eachquestionmustbeansweredinsentenceform.Encouragestudents
tobecreativeinthedescriptionoftheobjectanditspurpose
Genre
01/30/201111:04am
Exercises:
Genre Knowledge: Linking Movies and Music to Genres of Writing
Genre Scavenger Hunt
Genre and Rhetorical Situation: Choosing an appropriate Genre
Genre and Reflection Exercise: Using Reflection to Understand Genre
Comparing Digital Genres: Facebook, Twitter, and Text Messaging
Genre Knowledge: Linking Movies and Music to Genres of Writing
PurposeofExercise:Thisexercisehelpsstudentsunderstandthatwritersusegenretoreachavarietyofdifferentaudiences
(themselves,friends,peers,instructors,employers,parents,andmore)withlotsofdifferentexpectations.Toreachanaudience
effectively,writersneedtobeflexibletheyneedtobeabletoanalyzeandmakedecisionsabouthowtoapproachanywriting
situation.Developinggenreknowledgepreparesstudentstoassessthewritingsituationstheyllencounterincollegeandbeyond.
Description:Studentsworkinsmallgroupstoidentifyconventionsofvariousmoviegenresanddiscussaudienceexpectations.
Eachgrouppresentstheconventionsoftheirgenretotheclass,andclassdiscussionallowsforidentificationof
similarities/differences/connectionsbetweengenres.Thediscussionshiftstogenresofmusic,whereconventionsareidentifiedbut
alsotheblurrinessofgenresisdiscussed.Allthisdiscussionaboutthefamiliarmoviesandmusicgetsstudentstoidentify
whatagenreis,howwemightdefineitoratleastqualifyit,andfinallywhatanaudienceexpectsfromaparticulargenre.
Studentshavesomeconfidenceabouttheconceptofgenreforthenextstep,thediscussionofthelessfamiliarwritinggenres.In
groups,studentsidentifyconventionsofvariousgenresofwritingtheacademicessay,atextmessage,anewsletter,aposter,a
website,alabreport,anobituary,amagazinearticleandreportback.Theclassthendiscusseswhatthesegenresinclude,how
theymightbedefined,andwhataudiencesexpectfromeachgenre.
SuggestedTime:3050forexercise;plus20minutessuggestedforjournalwritingwhichcanbeassignedinclassoras
homework
Procedure:Dividestudentsintosmallgroups.Assigneachgroupamoviegenre(horror,romanticcomedy,drama,action,thriller,
comedy,documentary,orother).Havestudentsanswerthefollowingquestions:
1. Genre: What are the conventions of your groups movie genre?

2. Audience: Who goes to/rents/watches this type of movie?
3. Audience Expectation: What does an audience expect to
experience/feel/learn/see from this genre?
4. Evidence: Provide 3 examples of movies that fit this type and explain why they
fit.
Movetoclassdiscussionaskeachgrouptopresenttheirgenrewhileyounotetheirpointsontheboard;onceallgroupsare
done,engageinclassdiscussiontoaddmoreconventionsorexpectations,drawconnectionsbetweengenres,andallowstudentsto
comeupwithgenresandconventionsyoudidnotoriginallyassign.
Next,askstudentstolookattheiriPodsorphonesorwherevertheirmusicisstored.Askforsomefavoritesongsandwritethem
ontheboard.Thenaskstudentstodefinethegenreofeach,oraskinwhichgenrethesongiscategorizedintheiriPod?Continue
classdiscussionbyaskingforothergenresofmusic,withconventionsandsongexamples.Asktheclasstocomeupwithagenre
bleederorsongthatisdifficulttocategorize(i.e.JimmyBuffettsMargaritavillestraddlescountryandpop,BlackEyedPeas
BoomBoomPowstraddlesR&B,HipHop,andPop,KidRocksRollOnisacountrysongoftencategorizedasRapbecause
oftheartistsotherwork).Atthispoint,theinstructormaychoosetomovebacktothemoviediscussiontoidentifygenre
bleedersbutonlyforaminuteortwosothediscussioncanmovetowriting.
Next,movetheclassintoadiscussionofgenresofwriting.Askthemtoidentifydifferenttypesofwritingfromclassreading
assignments,towritingtheydoeveryday,towritingtheyseeinpublic.Thenorganizeintocategoriesgenresandsubgenreson
theboard.Thisexerciseoftenrequiresmorepromptingthanmoviesandmusicstudentsdontalwaysthinkaboutwritinggenres
whentheyencounterthem.Ifnecessary,breakthemoffintosmallgroupsagaintoidentifyasmanytypesofwritingastheycanin
2minutes.Thencomebacktogether.
Ontheboard,asyoucategorizewritingintogenresandsubgenres,askstudentstodirectyou.Promptthemtoconsiderwhich
genresareparallelandwhicharesubgenresofanother.Besuretoaskthemforawiderangeofexamplesgenresoffiction,
genresofprofessionalwriting,genresofpersonalwriting(theyneverseetextingaswritingsoitsagoodonetostartwith),etc.
Astheybegintomakesenseofwritinggenres,theywilloffermoreexamples.Theboardshouldbecomecrowdedwithexamples
andarrowsdrawingconnectionsbetweengenres.
Askstudentstoidentifytheoneelementthatisalwaysafactorindecidingonagenretocomposein,whetheryouarecomposing
inwriting,inmusic,orinfilm:Audience.
Finally,askstudentstocompleteajournal,inclassorashomework.Thefollowingpromptscanbeused:
How do you define genre?
Does your definition hold true for movies, music, and writing, or does it differ
between media?
What makes a genre definable, or what makes us able to categorize a genre?

Provide an example of a genre of writing and illustrate its categorization.
List 10 genres of writing you use here at FSU regularly, both in and out of class.
What are the audiences for the genres you mention above?
What genre are you writing in now? Define it and identify its audience.
What is the role of audience in considering genre? Why does audience matter?
Back to Top
Genre Scavenger Hunt
PurposeofExercise:Thisexerciseisagreatwaytogetstudentsactivelythinkingoutsideoftheirunderstandingofgenrein
musicandmovies.Itismeanttogetthemoutsideoftheclassroomandupandmovingaround.Moreimportantly,itisgreat
exercisetoshowstudentshowwritingispublicandthatwritingcantakemanyformsincludingeverydayuse.Theexercisehelps
studentsbegintomakeconnectionsbetweenthewritingtheydointheclassroomandthewritingtheydooutsidetheclassroom.
Description:Havestudentsingroupsoftwoorthreeandgivethemalistofthingstheymustfindrelatingtogenrewithinthe
WilliamsBuilding.
SuggestedTime:3040minutes;plus20minreflectiontobringitalltogether
Procedure:Putstudentsintogroupsoftwoorthree.Letthemknowtheywillbeworkinginthesegroupsandcantexpandto
includetwogroupsinone.Tellthemtheywillbedoingagenrescavengerhuntandinordertocompleteittheymustventure
intothehallsofWilliams.AnywhereinWilliamsisfairgamebuttheycantleavethebuilding.Thefirsttwoteamsbackwins
**Note:youdonthavetohaveaprizebutyoucanifyouwouldlike.Candyworksorbonuspointsonhomeworkoninclass
assignments.
TheHunt:
**Note:thehuntworksbestifstudentsusetheircellphonestotakepicturesandvideos,butapenandpaperworksjustaswell.
Soifonegroupdoesnthaveaphonethathasthesefunctionstheycanstillparticipate.
Studentsneedtocomebackwiththefollowingitems
1. 5 different examples of genresthey must document them by taking pictures

with one of the group members phones. Note: Some examples they could find
someone on a laptop, someone texting, a professor teaching, a literature book,

a poster, etc.
2. Find one person in the Williams building to define genre theory (they have to get
a name of the person)they must document this by video recording them with
their phone or jotting notes while the person talks
3. Find an example of an old genre and new genrethey must document them
by taking pictures and jotting down on a piece of notebook paper why they
represent old and new genres (these must be different than the 5 examples of
genre they found in #1) **Note: newer genres can include digital genres, so for
example a picture of a text message
4. Find two examples of genres in action in other words find two examples of
people working in genres (you can give them a hint: could be someone typing
up a note)they must document them by taking pictures
5. Predict a new genre based on your understanding of genre theory
TheReflection:Inaquickreflection,respondtothefollowingquestions:
Whatdidyoulearnaboutgenreinthescavengerhunt?Whymightthescavengerhunthavebeenuseful?Redefinegenre.How,if
atall,doesyourdefinitionofgenrekeepexpanding?
Back to Top
Genre and Rhetorical Situation: Choosing an appropriate Genre
PurposeofExercise:Thisexercisehelpsstudentsunderstandthatgenreislinkedtorhetoricalsituation,andthatthechoiceof
genreisoneawritermustcarefullydecideusingavarietyoffactors.Keytomakingtheappropriatechoiceisaudience,message,
andoccasionallfactorsintherhetoricalsituation.InorderforstudentstowritesuccessfullybeyondtheFYCclassroom,they
mustunderstandhowtomakechoicesappropriatetothewritingsituation.Understandingthefactorsthatdeterminetherhetorical
situationandhowgenreandaudienceconnectwithineachsituation,willhelpstudentsmakechoicesthatwillleadtosuccessful
writinginothercontexts.
*SomeknowledgeofLloydBitzersarticleTheRhetoricalSituationisespeciallyhelpfulforthisactivitywhetheritsthe
teachersfamiliarityorwhetherthearticleisassignedasreadingisuptoyou.
Description:Studentsworkatstationsintheclassroom,usingthesameoverallscenariotowriteusingadifferentgenrefor
eachrhetoricalsituationthescenariohascreated.Thescenarioisacaraccidentwhichrequirescommunicationtodifferent
audiences,andforcesstudentstothinkabouttherhetoricalsituationandhowitchangesbasedonaudienceandgenre.
SuggestedTime:50minutes;plus20minutessuggestedforreflectionwritingwhichcanbeassignedinclassorashomework
Procedure:Beforeclassstarts,posteachscenario(onpaper)atdifferentpointsintheclassroom,creatingawritingstationfor
each.Forcingstudentstophysicallymovebetweenstationsemphasizesthechangeinrhetoricalsituation,anditallowsstudentsto
writeattheirownpaceandcollaboratewithanewgroupateachstation.
Note:Forcomputerclassrooms,adaptthisexercisebycreatingonehandout/DiscussionBoardpostthatstudentscanuseasa
guidelinetowriteoncomputers.Addinasmallgroupdiscussionabouttheassignmentbeforetheybeingwritingsothereisan
elementofcollaboration,theassignmentisunderstood,andquestionscanbebroughtup(orstoptheclassforaminuteaftereach
stationtodiscussthenext.
(Instructionstogivestudents:Amessageiscommunicatedsuccessfullyifitisreceivedbyitsintendedaudience.Themessage
conveyedintwodifferentgenresmightinvolvethesamecontent,buttheconventionsusedtocommunicatethismessagemaybe
drasticallydifferentdependingonfactorsoftherhetoricalsituation.Inthisexercisewellanalyzethewaysconventionsareused
tocommunicatemessages,theunderlyingassumptionsassociatedwithdifferentgenres,andthechoiceswemustmakewhen
writingbasedontheaudienceforwhichwearewriting.Forallscenarios,sticktothedetailsinthestoryprovidedbuttailor
yourwritingappropriately.Writeeachpiecetothespecificaudience,analyzingbeforeandasyouwrite,howconsidering
youraudienceandyourgenrevaries.)
Dividestudentsintosmallgroupsateachstationsoeveryonestartsatdifferentplaces.Encouragethemtocollaboratein
discussinggenreconventions,whiletheinstructorcirculatestogetinvolvedinthediscussionateachstation.Theoverall
rhetoricalsituationisasfollows:
EarliertodayyouwereinacaraccidentwhiledrivingyourgrandmotherscaronyourwaytotakeyourBiologymidterm.Luckily
youwerenothurt,norwereanyothers,butyourvehicleandanotherhavesignificantdamageandareheadedtotherepairshop.
Sinceyouweretextingyourfriendwhiledrivinginsteadofpayingattention,youranthrougharedlight,sotheaccidentwasyour
fault.Policerespondedtothesceneandyourinsurancecompanyhasbeennotified.Yourgrandmotherscarwastowedawayto
getrepaired.
Usethefollowingscenariosforeachstation:
Scenario#1
Younowhavetowritealettertoyourgrandmothertellingherabouttheaccident.Writethisinthegenreofaletter,whicheverof
thoseyouwouldusetocommunicatewithGrandma.Somethingstoconsiderasyouwrite:
What content should be included for this genre? (What information and details
are relevant in this letter to your grandmother?)
What is the style of the language used?
What format is it written in? How could I tell by looking at it that it is a letter?
Scenario#2
Becauseofthecaraccident,youaremissingyourBiologymidterm.Yourprofessorisoldandornery,andyouareprettysurehe
saidifyoumissthemidtermorfinal,yourgradeiszeronomakeupsatthebeginningofthesemester.Youarestressedout!
Bythetimethepolicecleartheaccidentscene,themidtermisoverandyouareheadedhome.WriteanemailtoyourBiology
professor,explainingwhathappenedandappealingtohimforanotherchancetotakethemidtermortomakeitupsomehow.
Writetheemail,consideringtheaudienceandthesituationaswellasthefollowing:
What content should be included? What details are relevant? Or too much?
What style of language should you use for this email?
What else is appropriate?
Scenario#3
Writeatextmessagetoafriendyouarefinishedattheaccidentsceneandneedaride.Writethisinthegenreofatxtmsg
explainingwhatyouneed,why,andfromwheretowhere.Somethingstoconsider:
What content should be included for this genre? (What info/details are relevant
in a text message?)
What is the style of the language used in a text message to a friend?
What format is it written in? How could I tell by looking at it that it is a text
message?
Scenario#4
Youarenowwritingabouttheaccidentinthediary/journalyoukeeptorecordyourthoughtseverynightbeforeyougotobed.
Youhavehadaroughday,andyouretryingtomakesenseofthingsbeforegoingtosleep.Writethisinthegenreofajournal
entry.Somethingstokeepinmind:
What content should be included for this genre? What details are relevant?
What is the style of the language used? Who is the audience?
What format is it written in? How is it obviously a journal entry?
Scenario#5
Youaredoingsomeonlineresearchaboutcaraccidentsafewweeksafteryouraccidenthappenedbecauseithadabigimpacton
youeventhoughyouwereunhurt.Youstumbleacrossablogwherepeoplesharetheirstoriesabouthowcaraccidentshave
impactedtheirlives.Thereisanopenforumforanyonewhowantstopostanentrytodoso.Youreadaboutsomehorrific
accidentsthatleftpeoplewithpermanentdamageorloss.Youarestruckbythefactthatyourcaraccident,whileinconvenientand
abitscary,wasnothingasbadasitmighthavebeen.Youdecidetotellyourstory.Writeablogentrydetailingyourexperience
andexplainingitsimpactonyou.Somethingstokeepinmind:
What content would you include in this genre? Why?
What is the style of the language used? What format is it written in?
What are the conventions of a blog?
Who is the audience?
Scenario#6
YouareassignedanessayforyourPsychologyclassonthetopicofhumanbehaviorandwhatmakespeoplechangelearned
habits.Theassignmentrequiresthatyouindicatewhythetopicisimportanttoyouasthewriterofit.Youdecidetowriteabout
distracteddriving,andyouincludeyourstoryabouttextinganddrivingastheintroduction,usingthispersonalexperiencetoset
thestageforyouressayandexplainyourinterestinthetopic.Itissignificantforyoubecausetheaccidentremindsyouofanother
timeinyourlifewhenyouhadaclosecallthatleftyouwithagreatersenseofappreciationforlife.Butyoustillengagedin
textingwhiledriving,soitoccurstoyouthatyoudidntlearnthelesson.WritetheintroductiontothisPsychessay,keepingthe
followinginmind:
What genre are you writing in and what are its conventions?
Who is the audience and what are its expectations?
What details are relevant to this introduction?
What does this part of the essay need to do? How will you achieve that goal?
ReflectiononRhetoricalSituationandGenre:
Reflectontheexperienceofwritingindifferentgenresforeachrhetoricalsituation.Usethefollowingpromptsasaguideline:
How did you know what was appropriate for each genre?
For each scenario, how did your audience impact what and how you chose to
say?
Compare any two scenarios and discuss the significant differences in rhetorical
situation (discuss purpose, audience, intended outcome, and appropriateness of
writing style for each).
How does your understanding of genre, audience, and rhetorical situation

influence the choices you make in writing?
What 5 elements from this exercise can you apply to a writing assignment you
are currently working on in any other class? In other words, what did you learn
by doing this that you can now transfer to another writing situation?
Back to Top
Genre and Reflection Exercise: Using Reflection to Understand Genre
PurposeofExercise:Thisexercisehelpsstudentsarticulatehowgenreplaysaroleintheirunderstandingoftheirownwriting
andwritingprocess(es).Usingreflectionasthemethodbywhichtheyexploretheirunderstandingofgenreandkeytermsin
writing,studentscanbegintomakeconnectionstohowtheunderstandingofgenreaidstheirabilitytowritemoresuccessfully.
Description:Thisisafourstepexercisethatnormallyspansatleasttwothreeclassperiodsandismostoftenhelpfulwhendone
duringweektwoorweekthreeofthesemester.Additionally,itworksbestifyouhavethestudentsreadseveraldifferentreadings
thatareinseveraldifferentgenres.Soforexamplehavestudentsreadashortmemoir,anewspaperarticle,andaninquirybased
essayashomeworkduringthisweekofclass,sotheyhaveavarietyofgenresthatyouknowtheyhaveread.
Note:ThisactivityworkswellwhenusedalongsidetheactivityGenreKnowledge:LinkingMoviesandMusictoGenres
ofWriting.
SuggestedTime:2530minutesperclassperiod;plus30mindiscussionattheendofthesecondclassanda20minreflectionto
bringitalltogether
Procedure:
**Note:ifyoudonotteachinacomputerclassroomyoucanhavethestudentswriteinanotebook.
Step1:KeyTerms
Duringthesecondweekofclasshavestudentstake20minorsotorespondtothefollowingquestions:
Inthisquickreflection,thinkaboutwordsortermsthatyoubelieveareimportantincreating"good"writing(thinkaboutyour
ownwritingandyourmethodofwriting...whattermswouldyouassociatewiththis?).Generatealistof510termsanddefine
them.Nextgivespecificexamplesofauthorsand/orpiecesthatyoubelieveusethesetermsanddosoinagoodway.Finally,tell
whyyoubelievethelistyouhavecreatedisimportanttowriting,specificallyyourownwriting.
Afterhavingstudentsgeneratethislisthavethemholdontoituntilthenextclass.
Step2:UnderstandingGenre
Havethestudentspulluptheirlistfromthefirstdayandreflectiontothefollowingquestions:
Ifyouhadtodefinegenrebasedonyourreadingsandyourownunderstandingofgenre,whatwouldthatdefinitionbe?Think
abouteachofthereadingsandtheirspecificgenreandsupportyourdefinitionwithexamplesfromthethreereadingssofar.Be
specific.Talkthroughhoweachauthorusesgenre.
Step3:ClassDiscussion
Leadaclassdiscussionusingthefollowingquestionsasaguideline:
Whyisitimportantthatyoulearnaboutdifferentgenresofwriting?Whylearnaboutkeytermssuchasgenre,audience,purpose,
rhetoricalsituation,etc?Whatdoesitdoforyourwritingtounderstandthesekeyterms?Howdothesetermscontributetoyour
developmentasawriter?
Step4:BringingitTogether
Aftertheclassdiscussionhasthestudentsreflectonthefollowingquestions:
Revisityourkeytermsandyourreflectionongoodwriting.Howhasthischangedormorphed?Wouldyouadd/deleteanykey
termswhyorwhynot?Walkthroughyourwritingprocess.Howdoesyournewunderstandingofgenreaffectyourwriting
process?
Back to Top
Comparing Digital Genres: Facebook, Twitter, and Text Messaging
PurposeofExercise:Thisactivityprovidesstudentswithachancetodevelopandapplygenreknowledgetodigitalgenrestosee
howtheyarebothsimilartoanddifferentfromeachotherandanaloguegenres.BycomparingthedigitalgenresoftheFacebook
statusupdate,thetweet,andthetextmessage,studentsareabletoseehowdigitalwritingrespondstodiversepurposesand
audiences.
Description:Inthisactivity,studentscompare(theirownorothers)theFacebookstatuses,tweets,andtextmessagesand
completeaseriesofwritinganddiscussiontaskstolookatthegenresthatshapetheirown(andothers)writingindigitalmedia.
SuggestedTime:2030minutes,butflexible
Procedure:
First,havestudentscollectacertainnumberofFacebookstatuses,tweets,andtextsmessageseithertheirownorfromothers.If
youareinacomputerclassroom,thiscanbedoneinclass.Ifnot,itmaybeusefultogivestudentsahomeworkassignmentin
whichtheycollectandmaybeevenprintoutthesesnippetsoftext.
Next,havestudentstakeamomenttowriteaboutifandhowtheyusethesethreekindsofwriting.Youmightpromptthemwith
one(orseveral)ofthefollowingquestions:
DotheyFacebook?Tweet?Writetextmessages?Whenandwithwhatdigitaltechnologies?Dotheyusethemforthesame
purposes?Dotheyusethemfordifferentpurposesandindifferentsituations?Whodotheyplantoreachwhentheywritea
Facebookstatus,tweet,ortextmessage?Inshort,howdotheydecidewhethertowriteaFacebookstatus,tweet,ortext?
Third,havestudentstakeaminutetowriteabouthowthesegenresarebothsimilartoanddifferentfromeachother.Youmight
promptthemwithone(orseveral)ofthefollowingquestions:
Whatkindofwritingdoeseachvenueallowyoutodo?Whatdoesntitallowyoutodo(thatis,whatconstraintsdoesitputon
you)?Howdoeseachgenreallowyoutoconnecttextswitheachother?Howdotheyincorporate(ornot)images?Whatdoyou
thinkisthehistoryofthisgenre?
Finally,bringstudentstogetherforadiscussionandreflection.Whatkindofpatternsemergeastheysharewhattheyvewritten?
Aretheregeneralizationsthatcanbedrawnaboutthewayweusetheseparticulardigitalgenres?And,finally,howdotheusesof
Facebookstatuses,tweets,andtextmessagesdifferfromthegenrestheyuseinschool?Andwhymightthatbe?
Back to Top
English Department Writing Resources

EnglishDepartmentWritingResources/CollegeComposition/TheInkwell/Grammar
Grammar
01/30/201102:39pm
Exercises:
Sprinkle in those Comma and Semicolons
1101's One-of-a-Kind Apostrophe Test
Chaos is (not) our Friend (?) - Editing for Clarity
Proofreading Pitfalls Handout for Self-Editing
Grammar Remediation
Helpful Documents:
Document1Apostrophe_Test
Document2Clarity(pdf152.18kB)
Document3Parts_of_Speech(pdf151.68kB)
Document4Proofreading_Pitfalls(pdf132.85kB)
Document5Comma_explanation(pdf191.01kB)
Document6The_the_impotence_of_proofreading(pdf173.10kB)
Document7Comma_Fun(pdf268.11kB)
Sprinkle in those Comma and Semicolons
PurposeofExercise:Thisexerciseworkstoexploreissuesofgrammarandpunctuationinmeaningfulways.Theactivityfocuses
ontheconfusionsurroundingcommasandsemicolons.
Description:Thisexerciseincludesahandoutforstudentstoreviewbeforetheclass,avideotowatchtostartoffthelesson,and
asetofsamplesentencestouseingameshowfashion.Youwillneedtocreatesomekindofprizeorincentiveforthe
winningteam,andyouhavetheoptionofaddingasmanyadditionalsentencesasyouwishtotheCommaFungame.
SuggestedTime:approx.30min.
Procedure:
Before class, inform students to look over the handout (Document 5) and to
ensure they understand the examples and the rules
When class begins, project up Taylor Malis poems The Impotence of

Proofreading (Document 6)
Then, move to the video of the poem
(http://www.youtube.com/watch?v=OonDPGwAyfQ)andaskstudentstobehonestabouthowmuchtimetheyspend
proofreadingandhowwelltheyunderstandpunctuationrules
Inform students that an epic competition is about to begin, and they have 5
minutes to ensure they understand the handout assigned last night. They can
either bring the handout up on their own computers, or you can project it up on
the main screen.
Break the class into even groups and ask them to give themselves a team
name. Write their names on the board for scorekeeping and encourage team
spirit.
Project up the Time for Comma Fun (Document 7). Explain the Rules:
o
You will project up one sentence at a time.
The first group to buzz in/raise their hands has a chance to answer. They
need to BOTH tell where the punctuation goes AND explain why/what rule
from the handout they applied.
They receive one point for the placement and one for the explanation. If
they answer incorrectly, they lose two points and the next team to raise
their hands gets a chance to answer
The team with the most points at the end of the game wins the prize
you have predetermined (perhaps a free pass on the next journal, perhaps
they get to choose a treat you will bring next class).
(Clearly, the rules and set up of the game are up to each teacher and
his/her class setup; these rules are just suggestions)
Back to Top
1101's One-of-a-Kind Apostrophe Test
Purpose:Thisexerciseisdesignedasafunclass"test"intheuseofapostrophes.Useitifyou'refindingmanysucherrorsin
studentwriting.
SuggestedTime:50minuteclassperiod.
Description:Ingroups,orindividually,studentsreadthefollowingparagraphsinsearchofapostropheerrors.Gooverthekey
withtheclass.AgoodexercisetopairwiththeMcGrawHillHandbook.
Procedure:Printcopiesofthefollowingstorytodistributetoyourclass.Ifyoulike,thiscanbeatakehomeassignmenttobe
pairedwiththeMcGrawHillHandbook.Studentscanworkindividuallyoringroups.
1101SONEOFAKINDAPOSTROPHETESTHANDOUT:
Well,saidtheCaptainswifeIknewitmightcometothis.HesbeenhintingaboutNASAsplansforsometimenow;itsscary
butifhehastogoonthis5yearsurveyoftheGindarisystem,well,hehastogo...Imamilitarywife...andthemilitarys
alwayscomefirstwithGlen.shefinished,somewhatsadly.ThenshelookedimploringlyattheGeneral.PleaseGeneral
Henderson,youvegottotellme!Dotheresearchersplansincludetryingtocontactanypossibleinhabitantsofthatstarsystem?I
mean,whatiftheyrenotveryfriendly?
OhnowMrs.Lovelace,chuckledtheGeneralYourelettingyourimaginationsworstfearspreyonyourmind!Thepossibilities
ofotherbeingscontactingusareminusculeatbest!Butremember,yourclosestfriendsconcernsmustnottemptyouintotelling
themthetruthaboutyourhusbandsmission!NASAsplansaretoosensitivetopubliclydiscussjustyet;wevebeenwaitingforthe
righttime...itcouldcomeatamomentsnotice...andthoughhefinishedspeaking,theGeneralslipscontinuedtomoveashe
stareddreamilyoffintospace.
Allofasudden,Mrs.LovelacescreamedYOWWWEEEEEZ!Thecatstailhadbrushedagainstherfetchinglyexposedcalves,
andinherreverieitsunexpectedpresencehadstartledher.TheGenerallookedatherwithsomeconcernandnotalittle
admiration.IveheardsomescreamsinmytimeMrs.Lovelace,butthatsa10ifIeverheardone!
Mrs.Lovelacesmirkedbackathim.Doyouoftenratewomenas10s,General?sheaskedcoyly.Suddenly,theGeneralwas
remindedofhisoldSundayschool;thechurchsschoolroomhaddisplayedMosestencommandments,andforsomereason
Thoushaltnotcovetthyneighborswifepoppedintohismindjustthen.
Mrs.Lovelace,herhandsmaintainingaconstant,expressivesummaryoftheirown,continued:Glensbeenplanningforsome
timenowtobegone...attimesIvealmostfeltasifhesalreadyleft;ourFridaynightgettogethershaventhappenedforsome
time...,andthenbothofherhandsconstantgesturingsuddenlyceasedassheclaspedthegeneralsarmandsaidinherbest
bedroomvoiceHellbegonealongtime,wontheGeneral?Andadmitit,youreapartoftheprojecttoo.Whenhedoesreturn,the
projectsnextsubjectwillyoube,isntthatright?Shametoloseyetanothersexymantospace...
TheGeneralsmouthfeltverydryasheadmittedYoureright...Lois...uponGlensreturn,Illbeshippingoutformystretch
at...
Dont,LoisshandsseemedtosayasshelayonegentlyagainsttheGeneralslips,strokinghisbaldheadwiththeother.The
Generalsmindbecameablankofnonverbals:yowzasandhubbahubbasfilledhishead.
ButLois,itsnotright!hemanagedtosay,justbeforeLoisseyesrolledbackintoherhead,herscalpsplitopen,herskinsseams
quicklydetachedfromeachother(droppingtothefloor)andherfourclawstalonsrakedthroughtheGeneralsstomach,
evisceratinghiminonefellswoop.
Good,thoughttheScanlonDidtracfromtheGindarisystemasitsteppedthroughtheentrailsmessandregathereditswoman
suit,oncemoresituatingitselfintoLoissappearance.Thesebusybodyearthlingsneverseemtoknowwhentheyrenot
welcome!NowletsseeaboutonelastFridaysgettogetherwithGlen.
1101SONEOFAKINDAPOSTROPHETESTANSWERKEY
Well,saidtheCaptainswifeIknewitmightcometothis.He'sbeen
thewifeofthecaptain
hintingaboutNASA'splansforsometimenow;itsscarybutifhehastogo
theplansofNASA
onthis5yearsurveyoftheGindarisystem,well,hehastogo...Imamilitarywife...andthemilitary'salwayscomefirstwith
Glen.shefinished,somewhatsadly.ThenshelookedimploringlyattheGeneral.PleaseGeneralHenderson,you'vegottotell
me!Dotheresearchersplansincludetryingtocontactanypossibleinhabitantsofthatstar
theplansoftheresearchers(therearemanyresearchers/i.e.,pluralnoun)
system?Imean,whattheyrenotveryfriendly?
OhnowMrs.Henderson,chuckledtheGeneralYourelettingyour
imagination'sworstfearspreyonyourmind!Thepossibilitiesofotherbeings
thefearsofyourimagination
contactingusareminusculeatbest!Butremember,yourclosestfriendsconcernsmust
theconcernsofyourfriends(plural).
nottemptyouintotellingthemthetruthaboutyourhusband'smission!NASA'splansaretoosensitivetopubliclydiscussjustyet;
wevebeenwaitingfortherighttime...itcouldcomeatamomentsnotice...andthoughhefinishedspeaking,theGenerals
lips
thenoticeofamoment
continuedtomoveashestareddreamilyoffintospace.
Mrs.Hendersonthoughttoherself,Why,that'sjustlikeHarry'snew,weird
habit!TheGeneralmustbeinvolvedinthisthing...YOWWWEEEEEZ!she
screamedaloud.Thecat'stailhadbrushedher,andinherreverieitsunexpectedpresencestartledher.TheGenerallookedather
withsomeconcern.
I'veheardsomescreamsinmytimeMrs.Henderson,butthatsa10ifIeverheardone!
Mrs.Hendersonsmirkedbackathim.Doyouoftenratewomenas10's,
Useanapostrophetopluralizenumbersmentionedasnumbers
General?sheaskedcoyly.Suddenly,theGeneralwasremindedofhisoldSunday
school;thechurch'sschoolroomhaddisplayedMoses'tencommandments,andforsome
theschoolroomofthechurch(singularnoun,add+s).
reasonThoushaltnotcovetthyneighbor'swifepoppedintohismindjustthen.
Mrs.Henderson,bothofherhandsmaintainingaconstant,expressivesummaryof
theirown,continued:Glen'sbeenplanningforsometimenowtobegone...attimesI'vealmostfeltasifhe'salreadyleft;our
Fridaynightgettogethershaven'thappenedforsometime...,andthenherhandsconstantgesturingsuddenlyceasedasshe
thereare2handsandTHEYaredoingsomething:thegesturesofherhands(plural).
claspedthegeneral'sarmandsaidinherbestbedroomvoiceHe'llbegonealongtime,won'theGeneral?Andadmitit,you'rea
partoftheprojecttoo.Whenhedoesreturn,theproject'snextsubjectwillbeyou,isn'tthatright?Shametoloseanothersexy
mantospace...
TheGeneral'smouthfeltverydryasheadmittedYou'reright...Lois
...uponGlen'sreturn,I'llbeshippingoutformystretchat...
Don't,Lois'shandsseemedtosayasshelayonegentlyagainsttheGeneral's
LoisENDSins,soasingularnounispossessingsomething,add+s
lipsandsoftlystrokedhisbaldheadwiththeother.
TheGeneral'smindbecameablankofnonverbals:yowzasandhubbahubbasfilledhishead.
Useapostrophe+stopluralizewordsmentionedASwords
ButLois,it'snotright!hemanagedtosay,justbeforeLois'seyesrolled
backintoherhead,herscalpsplitopen,herskinsseamsquicklydetachedfromeach
theseamsofherskin(i.e.,whatspossessedisplural,butthepossessorissingular).
other,droppingtothefloor,andherfourclawstalonsrakedthroughtheGeneral's
shehasmorethanoneclaw,andtheypossessthosenastytalons,soapostropheONLY.
stomach,evisceratinghiminonefellsweep.
Good.thoughttheScanlonDidtracfromtheGindarisystemasitstepped
throughtheentrailsmessandregathereditswomansuit,oncemoresituatingitself
entrailsisapluralnoun:theyarepossessingthemess,sos+apostropheonly.
intoLois'sappearance.Thesebusybodyearthlingsneverseemtoknowwhenthey'renotwelcome!Nowlet'sseeaboutonelast
Friday'sgettogetherwithGlen.
Back to Top
Chaos is (not) our Friend (?) - Editing for Clarity
Purpose:Thishandoutandexerciseisdesignedgetstudentstoconsider,andreadfor,clarity.Useitifcarelesserrorsinstudent
draftsprecludecomprehension.
TimeSuggested:30minutestoafull50minuteclassperiod.
Description:Copyanddistributethefollowinghandout.Ingroupsorasindividuals,studentsreadanexampleof
discombobulatedwritingandworkonmakingthetextcoherent.AgreatexercisetopairwiththeMcGrawHillHandbook.
Procedure:Copyanddistributethefollowingparagraph:
"WheneverImgettingreadingtoeatmycatisalwaysatmyfeetatthestoveIamalwaystrippingoverhimandswearingathim
neverthelessheissuchafunnycreaturehowmanycatscaneatartichokescorrectlyafterallwhenmyhusbandcooksthekitchen
smellsofstrongeroticspicesfromwhatIhaveincorrectlycalledthemiddleeastbutnowIrefertoassouthasianIdidntknow
thedifferenceandwasembarrssedtorealizeIwasreferringtoanactualincontinentincorrectlynomatterhowhardItryIhavent
beenabletoreproducehisbestdishesbutthenhedoeshavethebenefitofspendingmostofhislifeinpakistanwheredoweget
hourspecialtyspicesIbetyourwonderingbuttomysurpriseithasntbeendifficulttofindadecentethnicgrocerystoreallyou
needtodoislookintheyellowpagesheytheirsanovelideayouwouldntbelievehowfreshandinexpensivethefoodsatthese
storesarewhenweshopatourfavoritestorerhythymsofindiatheownersknownowustheyoftenencourageustobuythemost
recentshipmentofgoatmeatIwasntreallycrazyaboutthatcurrybutlovemakesyoudocrazythingslikehappilymarriedpeople
everywherewecompromisewhenitisaboutsomethingimportantwetalkandsometimesagreetodisagreethoughyouvegotto
beyourselfright"
Assemblestudentsintogroups,orallowthemtoworkasindividuals,perhapswiththehandbookforreference.Asthemto
considertheexampleofdiscombobulatedwriting:withoutpropercapitalization,spellingandpunctuation,wemight
unintentionallycreatepotentiallyembarrassingsentences.Tellthemtoseewhattheycandoaboutfixingthemessbelow.
Followupbygoingovertheparagraphwiththeentireclass,askingstudents/groupsto"solve"eachsentenceontheboardor
haveseveralstudents/groupsoffertheirsolutionstogetherandevaluatethemasaclass.
Back to Top
Proofreading Pitfalls Handout for Self-Editing
Purpose:Thisshortparagraphmakesagoodhandout,ordiscussionstartedontheoverheadsometimebeforethefinaldraftsofa
paperaredue.
Description:Thisisnotsomuchanexerciseasitisademonstrationforgoodproofreadingskills.Isometimescutupand
distributethisparagraphtotheclass,oryoucouldjustprojectitifyouhaveatechroom.
Procedure:Show/distributethefollowingfordiscussion:
AoccdrnigtorscheearchatanElingshuinervtisy,itdeosntmyyaerinwahtoredrtheltteersinawrodare,theolnyiprmoetnt
tihngistahtthefristandlsatltteerisattherghitpclae.Thersetcanbeatoatlmsesandyoucansitllraeditwouthitaporbelm.this
isbcuseaewedonotraederveylteter.
Back to Top
Purpose:ThisMadLibsstyleexercisegetsstudentsthinkingabouthowlanguageworksviaanunderhandedgrammarrefresher,
andjarringthemoutoftheworldofconsciouslanguageuse.
Description:Youwillneedindexcards;colorcodedworkbest.Theideaisthatbystringingtogetherrandompartsofspeech,
sentencescanbeconstructedwhich,whiletheydonotmake"sense,"have,nonetheless,aninternalgrammaticallogic.
Procedure:Colorcodedindexcardsworkwellforthis:designateacolorforeachpartofspeech,makingsurethattherearetwice
asmanycardsfornounsandadjectives(youmightaskstudentstoprepforthelessonbybringingintheirowncards).Some
studentswhohavetroublevisualizingwhatkindsofwordsfitintoeachcategory(Noun,Verb,Adjective,Adverb)mayfeeltoo
embarrassedtoask,sogiveafewquickexamplestogetthemgoing.Askeachstudenttowritedowntwonouns,twoadjectives,
oneverbandoneadverbeachonitsowncard.
Aftertheyhavewrittendowntheirwordscollectthemintofourstacksbycolorandshufflethem.Distributethecardssothateach
studentonceagainhasaverb,anadverb,andtwoeachofnounsandadjectives.Atthispointtheyshouldbegintoarrangetheir
cardstoformsentences.Articlesandpossessivepronounsmaybeinsertedwhereverneededandverbtensesmaybechangedor
nounschangedfromsingulartopluralorviceversa.Whenallarefinishedgoaroundtheroomandaskeachstudenttosharehisor
hersentence.
Discusseachsentenceintermsoflanguageplayandgrammar.Youmightemphasizegrammarandfocusonsubjectverb
agreement,subjectactionobject,ortheeffectofpunctuation.Or,youmightfocusonthepowerofwordplay,active,illustrative
verbs,oddpairings,connotations,metaphor,etc.Helpstudentsapplywhattheyvelearnedtotheirowndrafts.
Iftimeallows,studentscouldbeaskedtowriteaparagraphorapoemaroundtheirsentencetoshareanddiscusswiththerestof
theclass,orasajournal.
Back to Top
Grammar Remediation
PurposeofExercise:Teachinggrammarrulestoyourstudentscanbepainstakinglyboringnotonlyforthem,butforyou.
Coveringthismaterial,however,servesavaluablefunctioninthewritingclassroom.Thisexerciseisdesignedtogiveyour
studentsthechancetoengagewithgrammarrulesinamultimodalenvironmentasopposedtorotememorization.
Description:Studentswilluseeithercomputersoravisualmediumofyourchoice(perhapspanelsforacomic)toillustratea
grammarrule.Bringingineithersuggestedtopics(basedonissuesyoureseeinginyourstudentswriting)orallowingstudentsto
choosetheirowncanworkforthisexercise.Learninggrammarrulesisentirelydifferentthanlearningtousethem,andthis
exerciseputsyourstudentsinapositionwheretheymustinvestigateagrammarrule,considerhowtorepresentit,andevaluate
visualandwrittencomponentstocreateacohesivewholewhichillustrateshowagrammarruleworks.
SuggestedTime:Classperiod
Procedure:Itsbesttobeginwithexamplesofmultimodalillustrationsofgrammarrules.ThematerialfromTheOatmealshows
howgrammarrulesdontneedtobedryandboring,andencourageaplayful,thoughtfulapproachtotheexercise.Fromhere,tell
themtoselectgrammarrules,orprovidethemwithalistofpotentialones,andhavethembegininvestigatingtheserulesvia
eithertheMcGrawHillHandbookorPurdueOwl.Ifyouareinacomputerclassroom,thereareseveralresourcesatyourdisposal.
Usingmediumsstudentsarefamiliarwithandwilllikelyenjoyworkingwith(suchasGrammarMemesbyusingMeme
GeneratororGrammarDemotivationalPostersbyusingwebsitegeneratorsaswell)willhelpkeepthemengagedandusually
yieldsgreatresults.Youcanalsoencouragethemtocombinetheirmaterialsinotherways,likeorganizingGrammarMemesinto
aPrezi,orPowerpoint.Ifyouarenotinacomputerclassroom,youcaneitherbringincomictemplatesandencouragethemto
designcomicpanels,orhavethemcombineimagesandwordsinanotherfashion.
AdditionalInformation:Thisactivitycanbedonewithstudentssubmittingresultsindividually,oringroupswhichthenpresent
theirfinishedworkattheendofclasstotheirpeers,dependingontimeandresourcesatyourdisposal.
Back to Top
Home
College Composition
The Teachers' Guide
The Inkwell
Plagiarism Exercises
Sample Syllabi
First-Year Composition Committee
Our Own Words / The James M. McCrimmon Award
Return to College Composition

FSU Department of English
RevisingDrafts
02/13/201112:17pm
Exercises:
DevelopingSourceDialogueRevisingResearchedWriting
MakeitInteresting/MakemeWanttoReadit:CatchyOpenings
OutfromUndertheRug:RadicalRevision
PlayItAgain,Sam:Analysisvs.Summary
ProofreadingPitfallsHandoutforSelfEditing
RaisingtheStakes:AddingTensionandIntensitytoaStory
StylisticRevision:MaximizingClarityandDirectness
TheWetBeagle:ShowMe,Don'tTellMeWorkshop
Titles(SaySoMuch)
WhatIsIt?EnrichingDescriptiveWriting
DevelopingSourceDialogueRevisingResearchedWriting
Purpose:Thisexercisefocusesonresearcharticlerevision.
Description:Thisrevisionexercisehelpsstudentsidentifysourceheavywritingandworktowardsviewingsourcematerialasa
"person"withwhomtheycarryonaconversation.You'llwanttohaveanexcerpt,shortessay,orfilmclipreadyforPart2.
Chooseonewithanovertlyopinionatedbent/biasthatissuretoelicitaresponse.Foravideoclip,somethinglikeMichael
Moore'sinterviewwithMarilynMansonwouldwork.
SuggestedTime:35minutestofullclassperiod
Procedure:
Part1:
1.
Askstudentstobringtwodifferentcoloredhighlighterstoclasswiththeirdrafts.Theylllikelybeinthelaterstagesof
draftingtheresearcharticle,usingalotofsourcematerial.
2.
Talkabouttoneandnarrativevoice(probablyatopicyoudealtwithatthebeginningofdrafting).Cantheyeasily
identifydifferent"voices"inwriting?Moreimportantly,cantheyidentifythevoiceofasourceovertheirown?
3.
Now,havethemtakeoutthefirsthighlightercolorandfindallthesentencesonatleastthefirsttwoorthreepagesthat
containsourcematerialandhighlightthefromsourceportions.Eveniftheyhaveparaphrasedthesource,highlightit.
Theyllprobablystarttonoticetheirpagesturningpink,orange,yellow,orgreendependingonthecolorofthe
highlighter!Thisisanindicationthattherestoomuchsourceandnotenoughauthorsourcedialogue.Explainthatthere
shouldbenomorethan20percentstrictsourcematerialinanyarticletheauthorsvoiceandfocusshouldalways
predominate.
4.
Now,takeouthighlightercolortwo.Askthemtogothroughandmarkthosepassagescontainingstrictlyauthoropinion,
viewpoint,uniqueideas,orthoughts.Moststudentswillfindthiscolorabitunderused,butotherswillnoticetoomuch
highlighterhereiftheirsourcematerialwasseriouslylacking.
5.
Takeamomenttodiagnosethedifferentproblemsthesepapersmaybesufferingfrom.Toomuchcoloronemeans
sourceoverload.Toomuchcolortwomeansemptyopinionandguesswork.Acomfortablebalancemeanstheyre
probablydoingwellbuttheycanstillbenefitfromdevelopingsmoothnarratorsourcedialogue.
Part2:
1.
Tellstudentsthatyouregoingtoplaythepartofatalkingsourcebyreadingyourchosenexcerptallowed(orplaying
yourvideoclip).Readorplaythesample,statementbystatement,pausingateachpointtoallowstudentstowritetheir
honest,opinionated,conversationalresponsetowhatthe"source"hasjustsaid.Theyshouldpretendthattheyretalking
facetofacewiththeauthororspeakerreplyingnaturallyandintelligently.
2.
Onceyoufeelyouvegotsufficientconversation/dialoguegeneratedonpaper,askafewstudentstoreadtheirrepliesas
yourereadthe"source"(likeascript),creatinganactualconversation.Discusshandlingsourcesasifindialoguewith
them.Havestudentstrythiswithhighlightedsourcesectionsoftheirdrafts.
BacktoTop
MakeitInteresting/MakemeWanttoReadit:CatchyOpenings
Purpose:Thisexerciseworkstodevelopstrongfirstsentencesanduniquevoicesinstudentwriting.
Description:Thisisavoiceactivitydemonstratingthefactthatmanystudentpiecescouldusemorepersonalityandthatmany
ofthemsoundexactlyalike.Thisexerciseisanattempttohelpstudentsenlivenwriting.Thiswouldworkwellwithanearlydraft
ofapersonalnarrativeorshortstory,butcouldbeeasilyadoptedforaresearchassignment.
Procedure:
1.Pullfirstsentencesfromsomeofyourstudentspapersandfirstsentencesfrompublishedsourcesandmixthemup.Noneof
themareidentified.
2.Putthemontheoverheadandthestudentsrankthesentencesfrommostinterestingtoleastinteresting.Usually,theirsentences
areatthebottomofthelist,andoften,manyofthewritersdonotrecognizetheirownsentences.
3.Afterpointingoutwhichsentencesoriginatedwhere,wethendiscusswhytheyrankedthehighsentencesashighastheydid.
Wediscussvoiceandhowthewritersseemtogetrightintowhattheyarewritingabout.
4.Thenchallengestudentstorewriteopeningsentences3or4differentways.Aftertheyfeelliketheyhavesuccessfullydone
this,theysharetheirsentencesanddiscusswhichworkbetterorworseandwhy,thantheoriginalsentence.
5.Asthefinalstepoftheexercise,havestudentsrewriteintroductoryparagraphstomaintainthemoreinterestingvoice
throughout.Asarequirementforthenextdraft,theymustsustainthatinterestingvoicethroughouttheentirepaper,demonstrating
audienceawareness.
Samplefirstsentences:
ThefellasandIwerehangingoutonourcorneroneafternoonwhenthestrangestthinghappened.Awhiteboy,whoappearedto
beabouteighteenornineteenyearsold,camepedalingabicyclecasuallythroughtheneighborhood(3).
NathanMcCall,MakesMeWannaHoller
Hecametokillthepreacher.Sohearrivedearly,extraearly,awholetwohoursbeforetheeveningservicewouldbegin(193).
EdwidgeDanticat,TheDewBreakers
ByourseconddayatCampCrescendo,thegirlsinmyBrownietroophaddecidedtokicktheassesofeachandeverygirlin
BrownieTroop909(1).
Z.Z.Packer,Brownies
Iwasfourteenthatsummer.AugustbroughtheatIhadneverknown,andduringthedreamlikedroughtofthosedaysIsawmy
fatherforthefirsttimeinmylife(1).
WilliamHenryLewis,Shades
Mydesertisland,alltime,topfivemostmemorablesplitups,inchronologicalorder:
1.AlisonAshworth.2.PennyHardwick.3.JackieAllen.4.CharlieNicholson.5.SarahKendrew.(3).
NickHornsby,HighFidelity
Iwasborntwice:first,asababygirl,onaremarkablysmoglessDetroitdayinJanuaryof1960;andthenagain,asateenageboy,
inanemergencyroomnearPetosky,Michigan,inAugustof1974(3).
JeffreyEugenides,Middlesex
Ilostanarmonmylasttriphome.Myleftarm(9).
OctaviaButler,Kindred
BacktoTop
OutfromUndertheRug:RadicalRevision
Purpose:Aradicalrevisionexercisethatallowsstudentstoexperimentwithrevisionandrewritetheiressaysfromdifferent
perspectives,endings,structures,etc.
Description:Studentsoftendislikerevising,particularlyatthebeginningofENC1101.Theyfeelthatwhatevertheyvewrittenis
setinstoneandcannotbechanged.Theseexercises,whichfocusonrewritingastory,showstudentsthatrevisingispossibleand
canevenimproveapaper.Thisexerciseallowsstudentstobeginwithrevisingoneessayasaclasssotheycangetanobjective
feelforradicalrevision,andthentherevisionstrategiescanbeextendedtothestudentsowndraftsotheycangetsomething
tangibletoconsiderusingforthemselves.Thisexerciseworkswellwithanearlydraftoftheshortstoryassignment.
Suggestedtime:Afullclassperiod,continueaspossiblehomeworkassignment.
Procedure:
1.HavestudentsreadOutfromUndertheRug(20067OOW)beforeclass.
2.Askstudentstorewriteaspecificscenefromtheperspectiveofanothercharacter.
3.Rewritethestorywithadifferentending.Sincethisstoryisverydramatic,anythingcouldhappen.Havestudentsrewritethe
endingofthestoryusingsomeofthesesuggestions:
RoryendsupwithLandon
RorybreaksupwithAidan
Rorydecidestobesingle
LandonandAidanfightoverRory
MadisonconfessesherloveforAidan,LandonorRory
4.Discusshowtheirrevisionshavechangedthestory.Isitbetter?Worse?Howdoesthereaderrelatetothecharactersandthe
narrativeactionwiththenewlyrevisedscenes?Doesthestorystillmakesense?
5.Askstudentstoreviseascenefromtheirownpapersfromeitheradifferentperspective,ortocompletelychangetheendingof
theirstory.
BacktoTop
PlayItAgain,Sam:Analysisvs.Summary
Purpose:Tohelpstudentsdifferentiatebetweenanalysisandsummaryandthenapplythatknowledgetotheirowndrafts.This
worksinconjunctionwithanynumberofpapersinthe1101and1102strands,particularlywellifthestudentsaredoinganalysis
ofvisualtextsintheirpapers,thoughitcanbeadaptedforwrittentextsaswell.
Description:Throughvisuals,thisactivityasksstudentstodifferentiatebetweensummary(thisiswhathappens)andanalysis
(thisiswhyithappens)bywatchingamoviecliptwiceandwritingtwodifferenttextsinresponse.Asuccessfulclipissuggested
here,butyouwillneedaccesstowhateveryoushow(viaDVD,uTube,etc).Theactivityisalsoadaptabletoaworkshopformat,
requiringstudentstobringtheirdraftstoclass.
SuggestedTime:Aboutanhour
Procedure:Showanactionpacked,short(5min.)scenefromafilm,suchastheclipfromPulpFictioninwhichVincentand
JulesgototheapartmentoftheboyswhohavestolenMarcellusWallacesbriefcase(Playitfromwhentheywalkintothe
apartmentuntiltheyshootthem).Thissceneworkswellbecausethereareanumberofunansweredquestionsinit.
Askstudentstowriteaoneparagraphsummaryofwhattheyveseen,givingthem+/10minutes.Discusswhattheycameup
withintheirsummaries,havingthemreadtheiractualtextsaloud.Besuretonoteifsomethingtheysayisanalysis.Trytokeep
themfocusedonplotsothattheyunderstandthegenreconventionsofsummary.Makenoteofwhatdelineatesagoodsummary
ontheboard(featuresliketoneorobjectivity,selectivityorinclusivity,etc).
Showtheclipagain.Encouragingthemtowatchcloselytoseeifwemissedanything.Whenitsfinished,askthemtoturntheir
papersoverandwriteaoneparagraphanalysis.Makesuretogivethematleast10minutesthistime.Discusstheirresponses
again,notingifsomethingissummary.Iwritetheanalyticalpointsontheboard.Thismighttakealittleprodding,butoncethey
getthehangofit,youshouldhavenoshortageofresponses.
Thiscanalsohelpwiththeconceptsofclaimsandevidencebewaryofstudentsjumpingtoconclusionsandaskthemfor
evidencefromthetext(film)tosupporttheirclaims.Takeoneoftheresponsesandstartadeeper,discussionbasedanalysis.
Whatconclusionscanwedrawabout,say,thebriefcaseinthePulpFictionscene?Howdoweknowthis?
Toadaptthisexercisetoaworkshop:
Askthestudentstobreakintopairsandreadeachothersdraftsinsearchofsummary,circlingtheportionstheyfind.Afterwards,
havethestudentsdiscusshowthesummaryportionsmightbecomeanalysis.Somegroupsmayneedalittleguidance,otherswill
getitrightaway.
BacktoTop
ProofreadingPitfallsHandoutforSelfEditing
Purpose:Thisshortparagraphmakesagoodhandout,ordiscussionstartedontheoverheadsometimebeforethefinaldraftsofa
paperaredue.
Description:Thisisnotsomuchanexerciseasitisademonstrationforgoodproofreadingskills.Isometimescutupand
distributethisparagraphtotheclass,oryoucouldjustprojectitifyouhaveatechroom.
Procedure:Show/distributethefollowingfordiscussion:
AccordingtorscheearchatanElingshuinervtisy,itdeosntmyyaerinwahtoredrtheltteersinawrodare,theolnyiprmoetnt
tihngistahtthefristandlsatltteerisattherghitpclae.Thersetcanbeatoatlmsesandyoucansitllraeditwouthitaporbelm.this
isbcuseaewedonotraederveylteter.
BacktoTop
RaisingtheStakes:AddingTensionandIntensitytoaStory
Purpose:Thisexercisehelpsstudentslearntobecomemoreeffectivewritersoffiction.Itcouldbequiteusefulinanycoursein
whichacompositionassignmentfocusesonwritingfiction.
Description:Takingintoconsiderationnotedauthor(andretiredFSUfacultymember)JanetBurrowaysadvicethatonly
troubleisinterestingandstudyingherexampleofturningadullsituationintoaninterestingone,studentspracticeturninga
seriesofdullsituationsintointerestingones.
SuggestedTime:Thiscouldeasilytakeanentireclassperiod.
Procedure:Presentthefollowinginformationtoyourstudents.Inherbook,WritingFiction,JanetBurrowayexplainsavery
importantaspectoffictionwriting:
Onlytroubleisinteresting.Thisisnotsoinlife.Lifeoffersperiodsofcomfortablecommunication,peacefulpleasure,and
productivework,allofwhichareextremelyinterestingtothoseinvolved.Butsuchpassagesaboutsuchtimesbythemselvesmake
fordullreading;theycanbeusedaslullsinanotherwisetensesituation,asaresolution,evenasahintthatsomethingawfulis
abouttohappen.Theycannotbeusedasawholeplot.(29)
Usingthisquoteasaguidingprinciple,takethefollowingsituationsandrewritethem.Turnadullsituationintosomethingworth
reading.First,here'sanexamplefromBurroway'sbook:
Exampleofadullsituation:Joegoesonapicnic.Hefindsabeautifuldesertedmeadowwithalakenearby.Theweatheris
splendidandsoisthecompany.Thefood'sdelicious,thewater'sfine,andtheinsectshavetakenthedayoff.Afterwardsomeone
asksJoehowhispicnicwas."Terrific,"hereplies,"reallyperfect."
Exampleofasituationworthreadingabout:Atthepicnic,Joesetshispicnicbasketonananthill.Joeandhisfriendsraceforthe
laketogetcoldwateronthebites,andoneofJoe'sfriendsgoestoofarontheplasticraft,whichdeflates.Hecan'tswim,andJoe
hastosavehim.Onthewayinhegasheshisfootonabrokenbottle.WhenJoegetsbacktothepicnic,theantshavetakenover
thecake,andapossumhasdemolishedthechicken.Justthentheskyopensup.WhenJoegathershisthingstoraceforthecar,he
noticesanirritatedbullhasbrokenthroughthefence.Theothersrunforit,butbecauseofhisbleedingheelthebesthecandois
hobble.Joehastwochoices:trytooutrunhimorstandperfectlystillandhopehe'sinterestedonlyinamovingtarget.
Now,rewritethefollowingsituationstomakethemmoreinteresting:
DullSituation#1:Joe,hisroommate,andhisgirlfriendtakeatriptothebowlingally.Theybowlthreegamestogether,andeach
personwinsonegame.There'sagroupofthreehighschoolboysinthelanenexttothemwhocourteouslychallengethemtoa
teamgame.Thegameendsinatie,andeveryoneshakeshandsafterwards.Joeevenpromisestohelptutoroneoftheminmath,
andhisgirlfriendbuyseveryonesodas.Theyallhaveagreattime.
DullSituation#2:Joeandhisparentstakeatriptothemovies.Theyrarelytakethesetripstogether,butJoeisconfidenttheywill
enjoywhateverfilmhechoosesforthemtosee.HedecidesonaromanticdramastarringRobertRedfordandMichellePfieffer,
andtheyallenjoyit.Afterwardhisparentstakehimoutforcoffeeandpastry.Hismothercommentsonthefineacting,andhis
father,inararedisplayofemotion,crieswhenaskedhowhefeelsabouttheplot.Joepatshisfatherontheback,andthenleaves
themwithafeelingofcontentment.
DullSituation#3:Joetravelsacrossthecountrytovisitanexgirlfriend.Theymeetatarestauranttotalkaboutoldtimes.Bothof
themarenowmarried,andtheyeachdiscusshowhappytheyareintheirrespectiverelationships.Hisexgirlfriend'shusband
arrivesattherestaurantandbuysthethreeofthemaroundofdrinks.HeandJoehaveagreattimetalkingaboutfootball.They
evenfindwaystogiveJoe'sexgirlfriendahardtimeaboutthedaysofheryouth.Joefeelsnoregretabouttheencounterand
arrivesatthehotelthinkingofhiswife.Onceheentershishotelroom,hecallsherlongdistancetotellhereverything."Imiss
you,"hesaysassoonasshepicksupthephone.
BacktoTop
StylisticRevision:MaximizingClarityandDirectness
Purpose:ThegoalofStylisticRevisionistoconcentrateonsentenceconstructioninlaterrevisions,focusingonconcisionand
detail.Itisdesignedtoengagestudentswiththeiressaysonasentencetosentencelevelthatwillenablethemtowriteinaclear,
concise,immediatestyle.
Description:Thisexerciseshouldbehelpfulinthelaterdraftingstages.Studentswillberequiredtopaycloseattentionto
languageandtotheirclosings.Bythispoint,thestudentsshouldhavethebulkoftheiressayswrittenandarethereforefocusedon
revisingandpolishingtheiressays.Thedesignofthisexerciseistoassistwithsentencebysentencerevision,therebymaximizing
clarityanddirectness.
Procedure:
Thisexercisehastwoparts:
PartI:AvoidingPassiveVoice[Createpassivevoicehandoutwithexamplesifyoufeelitisnecessary.]
1.
PassoutindividualcopiesofAnotherFishStorytostudentsatthebeginningofclass.Askthemtotake10minutesto
readoverit,underlininginstancesofpassivevoiceandalsoanystrikingsimilesormetaphors.
2.
Haveabriefdiscussionaboutwhattheyunderlined,includingabriefdiscussionofpassivevoice,usingexamplesfrom
theessay.
3.
Studentsshouldpickaparagraphoftheirchoiceandrewritewiththeknowledgetakenfromdiscussion(andtheirown)
usingactive,immediatelanguage.
4.
Sharewithclass!
PartII:EndingtheEssay
1.
Nowdiscusstheclosingparagraphsoftheessay,describingwhatsworking,whattheynotice,whatstrikesthem,what
doesnt,etc.Discusswaystotightenthelanguage,avoidingclichsandgeneralities.Alsodiscusshowtoclosetheessay
withoutbeingconclusive,avoidingthetraditionalmodesofrestatingwhatsalreadybeensaid,etc.
2.
Afterdiscussionhavestudentsrewritethelastparagraphavoidingclichs,etc.
implementingalsowhatwasdiscussedinPartI.
3.
Share!
Havestudentsimplementthisexerciseintheirownworkforthenextrevision.
AdditionalInformation:Thisexerciseisalessoninlanguage,notingrammar.
BacktoTop
TheWetBeagle:ShowMe,Don'tTellMeWorkshop
Purpose:Topreparestudentsforworkshoppingandthewritingoftheirfirstpaper.Aneasyexercisefordemonstrating
descriptivewritinganddescriptiveresponding.
SuggestedTime:Anentireclasssession
Description:Thisisawayofshowingyourstudentswhichsubjectsandwhatlanguageareworthwhileforthepaperassignment
theyaredrafting,andalsowhatyouexpectfromworkshopsessions.You'llwritea3pagedraft(nottoolongtogooverinaclass
period)ofthepaperyourstudentsarewritingtogooverwiththeclassinordertomodelbothworkshoppingandwhatispossible
fortheassignment(typicallythefirstassignment).ThiscanbeagoodexercisetodoaftertheclasshasreadRickStraub's
"Responding,ReallyResponding,toStudentWriting".
Procedure:Writea3pagedraftonthesametopicsyourstudentsarewriting.ExperiencedTAsmaywanttousepaststudent
papersofInOurOwnWordsbutIadvocatewritingoneyourself.Ifyouwritethepaperthenyoucanmakesureithasallthe
positiveandnegativequalitiesthatyoudesire.Dontbeconcernedaboutthetimeinvolved,itisnotextensiveIwritemineinless
thanhalfanhourjustdontproofreadit(remember,youwanttheretobestupidmistakesandsloppy,undescriptivewriting).You
canalsousethesamepaperoverandoveragaininlatersemesters.Becreative,youaskthatofyourstudents.Ifthisisapersonal
paperassignment,andyoudontwanttoshareanymomentswithyourstudents,makeoneup,ordonttellthemthatyouwroteit.
Overallitisa"show,donttell"exercise.RatherthantellmystudentswhattodoIshowtheminmyownpaper.Thisisan
excellentwaytoshowthemwhattypesofsubjectmatterandlanguageyouthinkareworthwhile.Iwantmystudentstofeelas
thoughtheycanandshouldwriteanythingtheywantsoItrytochoosepersonal(oftenembarrassingbutserious)topics.Ialso
showthemusesoflanguage,suchaswaystousecursewordseffectivelyinanessay.Ifindnexttonothingoffensiveandusethis
asawayofshowingthat.
However,thisexercisecanbetailormadetoshowwhateveryoudontwant(repetitive,redundant,toolong,tooboring,spelling
mistakes,grammarerrors).However,atthecoreusesomedecentwritingandsomegoodtechniques.TheessayIuse(forthefirst
assignment)usesaflashbackand"showdonttell"techniquestotrytotellthestoryofanentirenightinactualtimeofafew
minutes(bothflashbacksandshowingarenewtoandriskyforstudents).Itriedtomakeanopenerthatwouldsuckinthereader
andmakethemwanttoreadmore(anotherthingIemphasizeinmyclasses).Ialsotrytogetthemtouseinterestingoratleast
uncommontitles(thusthenameoftheexercise)thataddtothepaper.Italsoworkswelltomakeafirstandseconddraftofyour
paperandshowstudentshowtoworkshopandtheprocessofdraftingatthesametime.Leavetheseconddraftopenfor
improvements.
TheWorkshop:
Projecttheexamplepaperontheoverheadscreenandworkshopitasaclass,goingparagraphbyparagraph.Youmaywishto
printthedraftoutandusethelightboard,asactuallywritingonthedraftishelpfulformodelinggoodfeedback.Anotheroptionis
tostandatthecomputerstationanddemonstratetheCOMMENTSfunctioninWordasyouprojectthedocument.Choosethe
optionthatbestreplicatestheeventualworkshopsituationyourstudentswillsoonbein.
Asyouworkshop,praisecommentsthatareusefulanddontletstudentsgiveresponseslike"Ilikethat"or"Idontlikethatit
sucks."MakethemtellyouWHYandELABORATEonwhytheydontlikesomething.Inessence,showthemwhatyouwant
fromthemasworkshopresponders.MyclassesalwaysfoundthingsthatIhadmissedinmyownwriting,andmoreoftenthannot,
foundeverythingthatIwashopingtheywouldfind.ItisusuallyoneofthebestthingsIdoallsemesterlong.
Iusuallyclosebyaskingthemhowtheywouldrespondtothisasafirstdraft.Iaskifithaspotential,shouldbescrapped,etc.
ThenItellthemhowIwouldrespondthistendstogivethemasideaofwhattoexpect.
BacktoTop
Titles(SaySoMuch)
Purpose:Thepurposeofthisexerciseistohelpstudentsrecognizetheimportanceoftitles,showingstudentsthatthereneedsto
beabalanceofcreativityandinformation.
Description:Thisisaclassdiscussionactivitythatbeginswithanalyzingthetitleofan18thcenturychapbook,andthenasks
students,asaclassoringroups,toexaminebooktitles.Finally,studentsexchangetheirownessayswithtitlesinordertocritique
theeffectivenessofeachtitle.
SuggestedTime:40min
Procedure:Startbyreadingaloud,orwritingontheboard(ifyouhaveaninteractiveclassroomthereareevenbetterways)the
followingtitle.Imakeapointofnotcompletingitinwritingbutreadingthelastofitinstead.
"Averysurprisingnarrativeofayoungwoman,discoveredinarockycave,afterhavingbeentakenbythesavageIndiansofthe
wildernessintheyear1777,andseeingnohumanbeingforthespaceofnineyears.Inaletterfromagentlemantoafriend."
[AchapbookfromAmerica,between17881851.ChapbooksweretheReadersDigestoftheperiod;cheaplyprintedandpedaled
bytravelingbooksellers.]
Possiblescriptwhenreadingthetitle:Inthisstory,AmostbeautifulyoungLadysittingnearthemouthofacave[oh,Ibet,
after9yearsshemustabeensomethinelse]isdiscoveredbytwotravelersinthewilderness.Afterrecoveringfromafaintupon
seeingthem,Heavens!WhereamI?sheexclaims,andproceedstotellthemthatsheandherloverhadbeenattackedbyIndians,
whomurderedherloverandcapturedher.Shechewedthrewherbonds[thissoundfishytoanyoneelse?],andinordertoescape:
Ididnotlongdeliberatebuttookupthehatchethehadbroughtand,summoningresolutionI,withthreeblows[shetooknoteto
countthem,apparently],effectuallyputanendtohisexistence[axeswilldothat].Shemanagedalsotolopoffhishead,quarter
thecorpse,anddragithalfamiletosomefoliageshefiguredcouldusethefertilizer,andhidit.ShedbeengrowingIndiancorn
eversince.Ofcourse,oncereturnedhomebyherrescuers,sheisreunitedwithherfather,whossohappytoseeheragainhedies
andleavesherahandsomefortune.(FromPopularCultureinAmericanHistory,JimCullened.)
Askquestionslike,Boy,wonderwhathappensinthatstory!?Doyouwanttoreadit?Whatswrongwithit?Howdoesitlose
yourattention?Iexplainthatprintculturehaschangedinthesedecades,thatbooksthencouldntaffordadvertisingorenticing
coverstoinspirereadership,andthatnoprintcouldbesparedforabackcoverdescription.So,thetitlebecamethedescription.
Peoplealsohadmuchlongerattentionspansandfewercompetingstimuli!
Thisleadsintothepresentday,andhowthisstorycouldbeadaptedorwhatstories/moviestheyknowofthatseemtohave
borrowedthistheme.Howcanwemakeitbetter?Whatwouldyoutitlethestory?
Afterweveexhaustedthisdiscussion,Imoveontotitlesofthepresent,andhow/whytheywork.Ontheboard,writethe
followingtitleanddiscussit:
IT
Howdoesthistitlework?
DoesITmakeyoucurious?Why?
Whatthingsdoweassociatewiththetermit(Itsgonnagetyou!Itsoutthere!)
Howdoesthesizeofthebookmakeyouironicallyinterestedintermsofthetitle?(bookhuge,titlesmall=somethings
goingonwithit!)
Then,eitherasaclassingroupsaskthemtoexaminewhatthetitlesmakethemthinkandwhattheyimaginethecoverofthe
bookswouldlooklike.
LordoftheFlies
Oxymoroncreatesinterest
Whatdoweassociateflieswith?(deadthings,feces,etc)Howdoesthismakethewordlordmoreintriguing?
KickAss
CarlHiaasenscollectededitorialsfromtheMiamiHerald
Howdoesitgrabattention?Why?
Dualfunction,itsalsoastatementofCarlspersonalphilosophyofmetropolitanjournalism.Turnoverrocks.Digout
thedirt.Kickass.
SomethingWickedThisWayComes
Speaksforitself:whatscoming?
Turnofphraseisoutoftheordinary,andisbothpleasinganddissonanttotheear.
AlltheKingsMen
Nurseryrhymeplaysonourcommonknowledgeandwerecalltherestofthetale,makesuscuriousabouthowthisone
willturnout
Beginsinmidphrase,requiringustofillitin,leavingushanging
WheretheRedFerngrows
Where?Curiositysraisedbyimplication.Whocaresaboutferns?Therehastobesomethingelsegoingonthere,we
think.
Thecolorredpaintssinisterpicturesinthemind.
G.I.Jane
WerecallthecommonphraseG.I.Joeandareinterestedbytheswitch.
Weknowenoughaboutthisstorybyinferencetomaintainsomeinterest.
"LetsGetWorldSerious"
TitleofaSportsIllustratedarticle,byRickRiley.
Howdoestheswitchofthewordseriestothenearserioushaveaneffect?
Howdoesittargetitsappropriateaudiencesportsfans?
Icompletethediscussionbyextendingtheinvitation:Canyouguysthinkofanygoodones,andwhyaretheygood?
Then,askstudentstoexchangetheiressaysandessaystitleswitheachotherandcritiquethetitlesbasedonhowinterestingthey
areandhowwellitrelatestotheessaystopic.
BacktoTop
WhatIsIt?EnrichingDescriptiveWriting
Purpose:Thisexercisestimulatesstudentstoenrichtheirdescriptivewritingbyusingaplainobjectandwritingaboutitinan
extravagantwayusinglotsofdetail,metaphor,andimagery.Itmakesstudentsdevelopandpossiblyappreciateacreative
approachtothewritingmethod.
Description:Studentswilltakeanormalobjectandwriteacreativedescriptionandnarrativeabouttheobjectoftheirchoice.By
followingasetofquestionsprovidedbytheinstructor,studentswillwriteaprosestyleresponsenotjustalistorcatalog.
Procedure:Studentsshouldpickanobjectthattheyhaveeasyandtangibleaccessapen,teddybear,awashcloth,IDcard,
whatevertheydesire.Theyshouldthenwriteacreativeresponseusingthefollowingquestionsorasimilarformat:
1.
Youlookaroundtheroomandseeyourobject.Howwellcanyouseeit?Whereisthelightcomingfrom?
2.
Youwalkovertoyourobject.Howmanystepsdidittake?
3.
Yourobjectislyingnexttoseveralotherthings.Oneofthesethingsremindsyouofsomethingorsomeoneelse.What
doesitremindyouof?
4.
Pickuptheobject.Howheavyisit?Canyoutossitintheair?
5.
Puttheobjectclosetoyoureyes,soclosethatitbecomesblurry.Whatdoyousee?(tinybumps?littlelines?)
6.
Putyourobjectagainstyourear.Doesitmakeasound?Whatdoesthatsound(orlackofsound)remindyouof?
7.
Putyourobjectunderyournose.Whatdoesitsmelllike?Whatdoesthescentremindyouof?
8.
Whileyouhavetheobjectthisclosetoyourface,youmightaswelltasteit.Goahead,stickoutyourtongue.Whatisthat
taste?Whatdoesitremindyouof?
9.
Youaregettingtiredofthisexercise.Getridofyourobject.Disposeofitsomehow.Howdidyougetridofitandhow
doyoufeelnowthatitisgone?
Inorderforstudentstosuccessfullycompletetheexercise,eachquestionmustbeansweredinsentenceform.Encouragestudents
tobecreativeinthedescriptionoftheobjectanditspurpose

Revising Drafts

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Revising Drafts

Uploaded by

Copyright:

Available Formats

Analysis

Critical Reading & Thinking Exercise with Beyond Words

Exploring Culture: The Influence of Ads

Exploring the Interplay of Text and Visuals

Lunch: Thinking about Generalizing and Stereotyping

My Ten Commandments: Examining Social Construction

Play It Again, Sam: Summary vs Analysis

Title: Visualizing an EssayAnalyzing a Text

Repainting the Starry Night: Visual/Textual Analysis

Critical Reading & Thinking Exercise with Beyond Words

1. Find some opinion-oriented piece of writing/visual material of substantial length

Exploring Culture: The Influence of Ads

Exploring the Interplay of Text and Visuals

How can picture or text placement/layout convey a different

How can font style/size/color choice convey different

Lunch: Thinking about Generalizing and Stereotyping

My Ten Commandments: Examining Social Construction

Play It Again, Sam: Summary vs Analysis

Title: Visualizing an EssayAnalyzing a Text

Repainting the Starry Night: Visual/Textual Analysis

Abstract Shapes: The Importance of Visual Description

Audience and Voice Exercise

Brain Teaser: Voice Without Word Choice

Changing VoicesThe Helpful and Unhelpful Voices in Our Heads

Comparing Tone and Style

Abstract Shapes: The Importance of Visual Description

Audience and Voice Exercise

Brain Teaser: Voice Without Word Choice

Changing VoicesThe Helpful and Unhelpful Voices in Our Heads

Comparing Tone and Style

What is the tone in the first piece?

How is it different in the second piece?

Why is this important/why does this matter?

How does it affect the audience?

What will work for your writing?

Details and Descriptions

Abstract Shapes: The Importance of Visual Description

Brain Teaser: Voice Without Word Choice

Character Development: Making Those Characters A Little More ThreeDimensional

Exploding a Moment: Developing Details

Food and Family: Description

Fortune Cookies: Focusing a Description

Fun with DeathAdding Depth and Creativity to Your Writing

Good Humor: Using Humor Effectively

Learning to LieThe Importance of Including Details

Silent Film ExerciseCreating Original Dialogue and Writing Descriptively

Snap Shots: Details & Point of View

Symbols of Memory: Using Detail to Establish Meaning

The Exquisite Corpse: Fun With Syntax

Unpacking the Object: Descriptive Details

What Is It? Enriching Descriptive Writing

Abstract Shapes: The Importance of Visual Description

Brain Teaser: Voice Without Word Choice

Character Development: Making Those Characters A Little More Three-Dimensional

Exploding a Moment: Developing Details

Food and Family: Description

What about this essay is particularly powerful?

Do any images (sensory details) pop out at you?

What is effective about the organization/focus?

What, if anything, doesn't work for you?

How does food function as an organizing factor in this essay?

How does the author transition from food to family?

Is the transition effective?