AP Literature SummerReading Assignment 2015-2016 Waite/Moore

ThesummerassignmentsforAPLiteratureandComposition are listed below along with the due dates – pay attention!This summer you will complete thefirstdraftofyourcollegeessays, read a novel from the attached list, and write anessay. Tips for completing the assignments are included in this packet – take the time to review these tips! I encourage youto purchase your own copy of the novel so you can annotate in the book rather than on sticky notes.

PartI:CollegePrepDueFriday, June 26

•AssignmentA:Completerough draftofcollegeessay.

PartII:Choice novel Due Friday, June 26

•AssignmentA:Choose a novel from the attached list, and write a discussion post about it.

PartIII:Reading and writing about your novelDueFriday, August 14

•AssignmentA:Readyour novelandannotatethetext.

•AssignmentB:Afterreadingyour novel,useyourannotationstorespond to an essay prompt

PartI:CollegePrepDueFriday, June 26

AssignmentA:Completedraftofcollegeessay.

Beforeyoustart,hereare:

10TipsforWritingtheCollegeApplicationEssaybyJEREMYS.HYMAN,LYNNF.JACOBS

Nosubjectismorefraughtwithanxietyforthehighschoolseniorthantheessayonthecollegeapplication.WhetheritisasbizarreastheUniversityofChicago's"HowdoyoufeelaboutWednesday?";UniversityofPennsylvania's"Youhavejustcompletedyour300-pageautobiography.Pleasesubmitpage217.";orTuftsUniversity's"AreWeAlone?"—orwhetheritisamoremundanequestionaboutaformativeexperienceyou'vehadinyourlife,oraboutsomecontroversialsocialorpoliticalissue,studentstrembleattheverythoughtofwritingtheessayandbeingjudgedonit.

Wewonderedwhattipscouldbeofferedtoeasethepain.Foradvice,weturnedtovisitingbloggerJonathanReider,directorofcollegecounselingatSanFranciscoUniversityHighSchool,whobeforethatwastheseniorassociatedirectorofadmissions(andhumanitiesinstructor)atStanfordUniversity.Heshouldknow;he'sbeenonbothsidesofthehighschool/collegedoor.Herearehis10besttips:

1.Beconcise.EventhoughtheCommonApplicationmainessayhasonlyasuggestedminimumof250words,andno upperlimit,everyadmissionsofficerhasabigstacktoreadeveryday;heorsheexpectstospendonlyacoupleofminutesontheessay.Ifyougoover700words,youarestrainingtheirpatience,whichnooneshouldwanttodo.

2.Behonest.Don'tembellishyourachievements,titles,andoffices.It'sjustfinetobethecopyeditorofthenewspaperorthetreasureroftheGreenClub,insteadofthepresident.Noteveryonehastobethestarateverything.Youwillfeelbetterifyoudon'tstraintoinflateyourself.

  1. Beanindividual.Inwritingtheessay,askyourself,"HowcanIdistinguishmyselffromthosethousandsofothersapplyingtoCollegeXwhomIdon'tknow—andeventheonesIdoknow?"It'snotinyouractivitiesorinterests.Ifyou'regoingstraightfromhighschooltocollege,you'rejustateenager,doingteenagethings.Itisyourmindandhowitworksthataredistinctive.Howdoyouthink?Sure,that'shardtoexplain,butthat'sthekeytothewholeexercise.
  1. Becoherent.Obviously,youdon'twanttobabble,butImeanwriteaboutjustonesubjectatatime.Don'ttryto covereverythinginanessay.Doingsocanmakeyousoundbusy,butatthesametime,scatteredandsuperficial.Thewholeapplicationisaseriesofsnapshotsofwhatyoudo.Itisinevitablyincomplete.Thecollegesexpectthis.Goalongwiththem.
  1. Beaccurate.Idon'tmeanjustusespellcheck(thatgoeswithoutsaying).Attendtotheothermechanicsofgoodwriting,includingconventionalpunctuationintheuseofcommas,semi-colons,etc.IfyouarewritingaboutDickens,don'tsayhewroteWutheringHeights.IfyouwriteaboutNietzsche,spellhisnameright.
  1. Bevivid.Agoodessayisoftencomparedtoastory:Inmanycasesit'sananecdoteofanimportantmoment.Providesomedetailstohelpthereaderseethesetting.Usethenames(orinventthem)fortheotherpeopleinthestory,includingyourbrother,teacher,orcoach.Thismakesitallmorehumanandhumane.Italsoshowsthereaderthatyouarethinkingabouthisorherappreciationofyourwriting,whichissomethingyou'llsurelywanttodo.
  1. Belikable.Collegesseethemselvesascommunities,wherepeoplehavetogetalongwithothers,indorms,classes,etc.Areyousomeonetheywouldliketohavedinnerwith,hangoutwith,haveinadiscussionsection?Think,"HowcanIcommunicatethiswithoutjuststandingupandsayingit,whichiscorny."Subtletyisgood.
  1. Becautiousinyouruseofhumor.Youneverknowhowsomeoneyoudon'tknowisgoingtorespondtoyou,especiallyifyouoffersomethinghumorous.Humorisalwaysintheeyeofthebeholder.Befunnyonlyifyouthinkyouhaveto.Thenthinkagain.
  1. Becontroversial(ifyoucan).Somanykidswriteblandessaysthatdon'ttakeastandonanything.Itisfinetowriteaboutpolitics,religion,somethingserious,aslongasyouarebalancedandthoughtful.Don'tpretendyouhavethefinaltruth.Anddon'tjustgetuponyoursoapboxandspoutoffonasensitivesubject;instead,givereasonsandargumentsforyourviewandconsiderotherperspectives(ifappropriate).Collegesareplacesforthediscussionofideas,andadmissionsofficerslookfordiversityofmind.
  1. Besmart.Collegesareintellectualplaces,afacttheyalmostalwayskeepasecretwhentheytalkabouttheirdorms,climbingwalls,andhowmanysportsyoucanplay.Itishelpfultoshowyourintellectualvitality.Whatturnsyourmindon?Thisisnotthesamethingasdeclaringanintendedmajor;whatmattersiswhythatsubjectinterestsyou.

©Copyright2010Professors'GuideLLC.Allrightsreserved.

Step#1:SelecttheTopic

Selectatopicfromthelistbeloworyoumayuseatopicfromaspecificcollegeapplication.

PersonalEssay:Pleasewriteanessay(500-750words)onatopicofyourchoiceorononeoftheoptionslistedbelow,andattachittoyourapplicationbeforesubmission.Pleaseindicateyourtopicbycheckingtheappropriatebox.Thispersonalessayhelpsusbecomeacquaintedwithyouasapersonandstudent,apartfromcourses,grades,testscores,andotherobjectivedata.Itwillalsodemonstrateyourabilityto organizeyourthoughtsandexpressyourself.

(1)Evaluateasignificantexperience,achievement,riskyouhavetaken,orethicaldilemmayouhavefacedanditsimpactonyou.

(2)Discusssomeissueofpersonal,local,national,orinternationalconcernanditsimportanceto you.

(3)Indicateapersonwhohashadasignificantinfluenceonyou,anddescribethatinfluence.

(4)Describeacharacterinfiction,ahistoricalfigure,oracreativework(asinart,music,science,etc.)thathashadaninfluenceonyou,andexplainthatinfluence.

(5)Arangeofacademicinterests,personalperspectives,andlifeexperiencesaddsmuchtotheeducationalmix.Givenyourpersonalbackground,describeanexperiencethatillustrateswhatyouwouldbringtothediversityinacollegecommunityoranencounterthatdemonstratedtheimportanceofdiversitytoyou.

or

Statethepromptforacollegeor university you are actually considering.

Step#2:DecideonFocus

1)Whatisthecentralideaoreventorideayouwilluseatthecoreofyouressay?

2)Whatwillbethefocusfor:

a)Introduction

b)Body

c)Conclusion

Step#3:CompletetheDraft

CompleteadraftofyourcollegeessayinMLAformat.

YourNameTeacherNameAPLiterature#

#MonthYear

Typetheprompthere.

MetaphorTitle

Xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx.

WordCount:###

Yourcollegeessayisdue via D2L

on Friday, June 26.

Asampleessay

Theyare…

They are calloused;they aresore.Theyarebruised;theyarebloody.Theyarecracked; theyare broken.They areheavy;theyareweeping.Myfeetareugly.However,intheirugliness,myfeethavefoundbeauty.

Therewasatimewhenmyfeetweresoftandpink.Thatwasbackbeforetheitch.ItallbeganthedaythatIfirstmetcolorguard.Itwasalittlevideoclipontheinternet.Yet,thosefortysecondswouldchangetherestofmyhighschoolcareer.Iwatchedinamazementattheperfectionoftheperformers.Theflagswerespinningintime,making thirtypeoplejumpoutlikeonegiantpersononthefloor.Theweaponswerealltossedatthesameheight,andeverymuscleoneveryperformershowedthattheyhadworkedforagestomakeitthatway.Thefeetallmovedinunisonsuchthatamillionpitter-patterswerecombinedtosoundlikeonegiantboom.Ihadfoundit,thesportofperfection.This wascolorguard.Andsotheitchbegan.

Theitchinmyfeetsoongavewaytoastink.Iwasbad.Iwasreallybad.Iwaslearningchoreographyforthefirsttime.Myhandscouldnotjuggleasixfootpole.Icouldnotmovewiththesamegraceastheperformersinthevideo.Myhandshurt,mylegswerebruised,andIalreadyhadabloodynose,allwithinthefirstdayofcolorguardcamp.Ithoughtbacktothatfortysecondclip.Iwantedtobeperfecttoo.Nobloodynosewouldstandinmyway,notonthefirstday.Iwipedthebloodfrommyupperlipandpushedmyfeettokeepmoving.Afterall,theyweretoblameforallthis.

Soon,myfeetlostthestinkofthatfirstday.Theyhadmanagedtogainsomefinesseafterallthebloodandbruises.Yetmyfeetstillreeked,justofsweat.IwaspracticingforthewinterseasonwhenIfirstsmeltit.Apungentodorthatresembledonions,alittlesweet,butitmadeyoureyesswellwithtears.Ihadpushedmyfeettotheirlimitsfortwo seasonsnow,andIwascontinuingtopushthem.Thesmellwastheirpleaforabreak.Still,Ididnotcare.Ihadbecomecompletelyimmersedincolorguard,tothepointwhereIcouldsleeptothecountsofmywork.“Shush,”Itoldthem.“Ihaveworktoperfect.”SoIcontinuedtotenduandplieacrossthefloorasthesweatcontinuedtorolldownmybodyandintomysocks.MyfeetcouldsmellforallIcared.Afterall,theyhaditchedfirst.

Eventually,myfeetbegantoburn.Theyhadgrownfromsoftlittlekittenpawstocallousedhorsehooves.Itdidnotmatterthough.Iwaspastthewhimsofmyfeet.Colorguardhadinfectedmelikeadisease.Ilivedforevery performance,andeveryweekwasmeasuredbytheproximityofthenextcompetition.Finally,theculminationofallmy hardworkwastocome:championships.Inagymnasiumpackedfullofpeople,myfeetburningasIcrossedthefloor,I gingerlysetdownmyequipment.Lickingmylips,Icouldtastetheexpectationintheroom.Takingmyspot,Iheardthecallforourready.Thenthemusicstarted,andthenmyfeetstoppedburning.Infact,mywholebodywentnumbasI performedlikeIneverhad.Justasintheforty-secondclipIhadseenyearsbefore,Iwasgracefulliketheperformers.My handswerenolongersloppy;theyknewexactlyhowtohandlethepoletogettherighttossoutwiththerestofmy guard.Wewerespinningasoneunit.Welookedlikeonegiantflag.Itfeltlikewewereonemassivepersonspinning.Wewereperfect,andIwasfinallyapartoftheperfection.Ourmusiccut,andthecrowdcheered.AsIgrabbedmy equipmenttoleavethefloor,Ifeltafunnyfeelingfrommyfeet.Ithoughttheyweregoingtocomplainagain.ButthenI realizedthattheywerecheeringtoo.

Myfeet maybecallousedandsore.Theymaybebruisedandbloody.Theymayevenbecrackedandbroken.My feetareindeedugly;however,Icanmakebeautywiththem.

PartII:Choice Novel DueFriday, June 26

AssignmentA:Choose a novel from the following list. Create a discussion post via D2L that explains your rationale for choosing the novel you chose. What are your predictions and expectations? Your discussion post should be approximately 150 words.

Selection List

This list consists of titles that frequently have been referenced on the AP Literature and Composition exam. These titles also share a common theme: trapped by circumstance. We will explore this theme further when school begins. Select one book that you have not read previously. Keep in mind that these are works written for adult readers, so some of them may contain disturbing content for younger readers. Ask if you have any questions. Do your research before you choose!

*Song of Solomon by Toni Morrison

*Catch-22 by Joseph Heller

*The Grapes of Wrath by John Steinbeck

*The Handmaid’s Tale by Margaret Atwood

One Flew Over the Cuckoo’s Nest by Ken Kesey

Never Let Me Go by Kazuo Ishiguro

The Road by Cormac McCarthy

*Mr. Waite and Mrs. Moore have a few copies of these titles if you do not have access to them yourself.

PartIII:Reading and writing about your novel DueFriday, August 14

AssignmentA:Read your novelandannotatethetext.ThenovelwiththeannotationswillbedueatthebeginningofclassonFriday,August 14.Youmayeitherwriteinthenovel if you own it,orusepostitnotes if it is borrowed.

Beforeyoustart,hereisanintroductionin

Howtomarkabook

“Wepressedathoughtintothewayside,plantedanimpressionalongtheverge.”

-from“Marginalia”by

BillyCollins

FromthelooksofalotofhomelibrariesI’vebeenin,itwouldbepresumptuousofmetostartrightinwith“howto markabook.”Imightaswellstartinwith“howtodestroyyourgarden.”Mostpeoplewouldnevermarkabook.Mostpeopleteachtheirchildrennottocolorinbooks.(Ithinkthatcoloringbooksaremeanttoweanusofthishabit.They’reakindofnicotinepatchforpreschoolers.)Schoolchildrenmustlugaroundbooksalldayandreadthem,buttheymustnevermarkinthem.Attheendoftheschoolyear,studentsarefinedifthebookshavemarks.Sowehaveanationthatequatesmarkinginbookswithsinandshame.

Tomostadults,Ithink,booksarerarefiedorholy,perhapstooholytointeractwith.Bookscrouchonshelveslikehouseholdgods,keepingignoranceatbay.Asmalllibraryonahome’smainfloormayamounttoafalsefront,apropto giveneighborsacertainimpressionoftheirhost’sintellectuallife.Neighborsmaygettheideathatheholdsareservoiroflearningthatcouldpouroutofhismouthatanytwistoftheconversation.

Butthepresenceofabookmayhavenothingtodowithitsimpactonitsowner.Alotofpeopleneverreallygetmadatabook.Fewpeopleeverthrowabook,kissabook,cryoverabook,orrereadapageinabookmorethanonceortwice,ifthat.Somepeopleneveruseadictionarytofindoutwhatabigwordinabookmeans.Asaspecies,peopledon’tinteractwith booksmuch.

I’mnotsuggestingthatyoumarkeverybookyouown,anymorethanIwouldsuggestthatmydogmarkeverytreehesniffs.Butyoushouldbefreetomarkupmostbooksinthemostworthwhilecoreofyourcollection.Mydoghashisfavorites,andsoshouldyou.

Whymarkinabook?Imayretort,Whyblazeatrailthroughaforest?Ilikehikinginforests,butI’matenderfoot,andifI’mgoingtoblazeatrail,Iwanttodoitonlyonceperforest.Markinginabookisagreatideaifyouhaveadreamingideaofpickingthebookupagainsomeday.

It’sfunnyhowpeopleandbookstoressellusedbooksonsiteslikeAlibris.comandAmazon.com.Thefewerthemarks,thegreatertheprice!Thisisbackwardsthinking,sotakeadvantageofthebargains.Peoplelovetheideaofapristineforest,butwouldn’tyoucompromisesomeofthatpristine-nessforawell-markedtrailifyouwishedtohikeinthat forest?

Whyannotateabook?Iannotateabookforfourreasons.First,IannotateabooktocreatetrailsasifIwerethefirstpersontohikethroughaparticularforest.Imaywanttoreadthetext,orpartofatext,morethanonce.(WhyelsewouldIkeepthebookafterI’vereadit?)Duringmysecondreading,myfirstreading’smarginalcommentsandsummariesquicklygivemethegistofmyfirstreadingsoIcantakeadvantageofmysecond,whichhasitsowncharms.It’slikeI’veblazedatrailformyfutureself.

Second,Iannotateabooktointeractwiththeauthor–toholdupmyendoftheconversation.Withoutannotating,booksarelikelectures.Imakereadingaconversationinsteadbyjottingdownmyreactionsaswellasnewthinkingapassageleadsmeto.

Third,Iannotateabooktolearnwhatthebookteaches.(Toreturntomydogandthetrees,youmightsayIannotatetoestablishterritory.)BythetimeIbreakincertainbooks,I’vegonebeyondjustthebook’sfactsand opinions.I’velearnedmoreaboutsubjectsthatinterestme,andmaybeI’velearnedmoreaboutmyself.Byannotating,thebookbecomesmyterritory.Infact,thebooksometimesbecomespartofmeinsomeway.

Finally,Iannotatemybooks tolearntowrite,oratleasttolearnhowabookwaswritten.MyimprovementinwritingandinliteraryanalysisinvolvesclosereadingsofwritersIadmire.Therearepatternsintheuseofnouns,pronouns,verbsandotherpartsofspeech;therearepatternsinsyntaxandinsentencevariation;andtherearepatternsinsounddevices,suchasalliterationandassonance.Imarkthesewithdifferentsymbolsorcolors,andIconnectthesedots.Patternsemerge,andstyleemergesfrompatterns.Toreadlikeawriter,Ihavetoannotatelikeone,too.

Howto annotatea book

Speakingofstyle,you’lldevelopyourownannotationstyleveryquickly.Butlikeawritingstyle,yourannotatingstylecanalwaysbeimprovedevenifyourstyleworksforyou.Soherearesomeideasforannotating.

Firstoff,let’sbeclear:wheredoesoneannotate?Inthebook’stextandinitsmargins.Interlineationsarenotesyouinsertbetweenthetext’slines(difficulttodoinmostbooks).Marginaliaarenotesyouwriteinthetext’smargins.

Usemarks. Usequestionmarkstoshowwhatisunclearorconfusing.Useexclamationmarksorsmileyfacestoshowyouragreementordelight.Employothermarks,andinventstillotherswiththeirownsignificance!

Marginalcommentsservemanypurposes. Summarizingapassage’sinformationinthemarginscanhelpyoufindinformationquicklyandcanhelpyougobeyondafirst-draftreadingquicklythenexttimeyoureadapassage. (Summarizinginthemarginsmeansyou’llneveraccidentallyseparateyoursummariesfromthebooksummarized,asyoumightifyouwroteyoursummariesinanotebookorsomewhereelse.) Statingyouragreementsanddisagreementswiththetexthelpskeepyourreadingmoreconversationalandmaygiveyoumaterialforuseinlaterassignments–essaysanddiscussions,forinstance– ifyou’re readingforaclass orbookgroup. Reflectingonassociationsyou’remakingwiththetext–associationssuchasotherbooksandmovies,personalmemories,andcurrenteventsthetextremindsyouof–makesthereadingmorepersonalandmorevaluabletoyouinthelongrun. Yourbook’smarginsmay begintoresembleashorthandjournalordiary! Associations,suchasasong,adream,orastraymemory,mayseemrandom,buttheymaycarrymorepsychicweightthanyoumayrealizeatfirst. Whenyouconnectthedotsduringasubsequentreading,thoseconnectionscanbepowerful! (Ilovetowriteabouthowmyexperiencesinreadingasingletextdifferovertime.)

Highlight,bracket,orunderlinetextyouthinkwillbethemostsignificanttoyouwhenyoureadthosepagesagainlater.Considerlabelingthetextthatyouhighlighted,bracketed,orunderlined:you’dbeleavingabettertrailforyourselfforsubsequentreadings.

Circlewordsyou’renotfamiliarwith,lookthemup,andwritetheirdefinitionsinthemarginsbesidethem. Considercreatingonablankpageinthebook’sfrontorbackmatterarunningglossarycompletewiththepagenumberswherethenewwordscanbefoundincontext.

Markandlabelawork’sliteraryandrhetoricaldevices.Thiswillassistyouinanyassignmentinvolvingliteraryanalysisbyhelpingyoutodiscoverhowtheauthorgetsacrosshismaterial.Itmayalsoleadtoanappreciationofthewriter’scraftthatcouldimproveyourownwritingstyle!Youmaywishtousedifferentshapes(triangles,rectangles,ovals)orcolorstomarkdifferentliterarydevices.Drawaquicklegendtolaterremindyourselfofwhateachshapeorcolorstandsfor.

Makeimpromptugraphicorganizers–tables,diagrams,andthelike–inthemarginstosummarizeyourunderstandingofcomplicatedpassages.Thatway,youwon’thavetolearnthematerialalloveragaininsubsequentreadings.

Cross-referencetopicsandideasthatrecurinthetext. Ifyou’reinterestedinreferencestotragedyinabookaboutthehistoryoftheater,forinstance,writethepagenumberofthemostimportanttextontragedyinthemarginsbesidethebook’sotherreferencestotragedy. Thatmostimportantreferencetotragedywouldalsobeaplacetojotdownthepagenumberswherealloftheotherreferencestotragedyyou’vediscoveredcanbefound. (YoumightevenputletterssuchasT,M,orBafterthosepagenumberstoindicatethattheinformationisatthetop,middleorbottomofthepageinquestion.) You’llbeabletoquicklyfindrelatedmaterialthenexttimeyouusethebook!

Thenextlogicalstepwhenyoubegintocross-referenceistostartanindexinthebackortosupplementthebook’sexistingindex. Ican’ttellyouthenumberoftimesI’vereferredbacktomyownindextofindthingsinabook. TheindexsometimesalsodevelopsintoashorthandlistofthingsthatIfoundhelpfulorinspiringinabook,somyindexeshavesometimesservedmeasalphabetizedlistsofwritingprompts.

Reprinted from:

PartIII:Reading and writing about your novelDueFriday, August 14

AssignmentB:Afterreadingyour novel,useyourannotationstorespond to the following prompt:

“And, after all, our surroundings influence our lives and characters as much as fate, destiny or any supernatural agency.” Pauline Hopkins,Contending Forces

Choose a novel or play (your summer reading choice)in which cultural, physical, or geographical surroundings shape psychological or moral traits in a character. Then write a well-organized essay in which you analyze how surroundings affect this character and illuminate the meaning of the work as a whole.

You may bring a typed hard copy of your essay to class, or you may submit it to the dropbox via D2L.

***Please do not ask how long your essay should be. Think about it like a woman’s skirt: long enough to cover what needs to be covered, but short enough to keep the reader’s interest.***

ResponseEssay Guidelines

CoreWritingSkills:

•Makinganargumentativeclaim

•Supportingyourpositionwithtextualevidence

•Integratingandcitingevidence

•Takingarisk inyouranalysis

Assessment:

•Your essayresponse willbeworth50points,andwillbeassessedusingthe4 point rubric found at the end of the directions.

FormattingRequirements:

•Your essayresponse should betypedand double-spaced

•StandardMLAheading

•Titleyourpaper“[Title of Novel]EssayResponse”

•Youressay responseshould not be too long,somake sureyouranalysis isconciseandfocused

ContentRequirements:

•Claim:Theclaimisastatementofargumentthatyouwillprovewithevidenceandanalysis.Yourclaimshouldbeargumentative,focused,andspecific.Yourclaimineachresponsepapermustaddresstheassignedelementofliteraryanalysis.

•Analysis:Supportyourclaimwithdetailedanalysis.Primarily,you’llusetextualevidenceassupport,andyoumustprovidecommentaryonhowtheevidenceprovesyourclaim.

•Themostimportantcontentrequirementforyour responseessay:TAKEARISK.Pushyourselftoarguesomethingnewandexpandyouranalysisskills.

Sample:

JoeSmith

Waite/Moore

APLiterature

#Month2015

Wuthering HeightsEssay Response

DetailedAnalysis:[you must incorporate aminimumoftwoquotes,integratedandcitedproperly]

Beforeyoustart,hereisareviewin

CoreWritingSkills

Making anargumentativeclaim

•Imaginehavingaheateddebatewithaclassmateaboutatext.Yourclaimshouldbeargumentative,focused,andspecific.Youcanmakeaclaimaboutacharacter,asymbol,amotif,anemergingtheme,anelementoftheplotthatthatyou’dliketoexploremorein-depth…somethingthatbothersyou,frustratesyou,angers you,etc. asyou’rereading.

•Inordertostrengthenyourclaim,imaginesomeonechallengingyouandasking,“SOWHAT?”Thiswillhelpyounarrowandfocusyourargument.

•Sampleprogressionofanargumentfromweaktostrongbyansweringthe“sowhat?”question:

“Abigailpressuresthegirlsintogoingalongwithherstorybythreateningthem.”

WEAK“Sowhat?”

“So,Millerseemstobearguingsomethingaboutthepowerofpeerpressure.”“Sowhat?”

“Well,itseemssignificantthatalltheaccusersareyounggirls.MaybeMillerisreallymakingasocial

argumentaboutthemanipulativepowersofgroupsofwomen.”“Sowhat?”

“So,The Crucibleisreallyacritiqueoffemalegenderidentity.” STRONG

Supportingyourpositionwithtextualevidence

•ForyourWuthering Heightsresponses,you’rerequiredtohaveatleasttwodirectquotesfromthetext.

Alwayschooseyourevidencecarefully.

•Integratingandcitingevidence

•NOFLOATINGQUOTATIONS.Quotesare“floating”ifthewriterhasjustthrownthemintothepaperwithoutintegratingthemintohisorherownanalysis.

•Usetheformulabelowwhenintegratingquotations:

Introduce,“Quote”(cite).Analyze*NotecapitalizationANDpunctuation

Takeariskinyouranalysis

Don’tplayitsafeandarguesomethingsimplisticandobviousinthetext.Pushyourselftoarguesomethingnewandexpandyouranalysisskills. Becreativeandthinkoutsidethebox.

Beforeyoustart,

Review:TheFiveEssentialElementsofFictionAnalysis

One:Acharacterisapersonpresentedinafictionalwork,onefittingatypeandfulfillingafunction.

•Typesofcharacters: Astaticcharacterdoesnotchangethroughoutthework,andthereader’sknowledgeofthatcharacterdoesnotgrow,whereasadynamiccharacterundergoessomekindofchangebecauseoftheactionintheplot.Aflatcharacterembodiesoneortwoqualities,ideas,ortraitsthatcanbereadilydescribedinabriefsummary.Thesearenotpsychologicallycomplexcharactersandthereforearereadilyaccessibletoreaders.Someflatcharactersarerecognizedasstockcharacters;theyembodystereotypessuchasthe"dumbblonde"orthe"meanstepfather."Theybecometypesratherthanindividuals.Roundcharactersaremorecomplexthanflatorstockcharacters,andoftendisplaytheinconsistenciesandinternalconflictsfoundinmostrealpeople.Theyaremorefullydeveloped,andthereforearehardertosummarize.

•Functionsofcharacters:Aheroorheroine,oftencalledtheprotagonist,isthecentralcharacterwhoengagesthereader’sinterestandempathy.Theantagonististhecharacter,force,orcollectionofforcesthatstandsdirectlyopposedtotheprotagonistandgivesrisetotheconflictofthestory.Afoilisacharacterwhothroughcontrastunderscoresthedistinctivecharacteristicsofanother.Usuallyaminorcharacterservesasafoilforamajorcharacter.Aconfidant/confidanteisacharacterwhoisnotintegraltotheactionbutwhoreceivestheintimatethoughtsoftheprotagonistwithouttheuseofanomniscientnarrator.Amentorisacharacterwho servesasaguidefortheprotagonist.

Two:Thepointofviewistheperspectivefromwhichtheactionofanovelispresented,whethertheactionispresentedbyonecharacterorfromdifferentvantagepointsoverthecourseofthenovel.

Thesearecommonnarrativepositions:

•Theomniscientnarratorisathird-personnarratorwhosees,likeGod,intoeachcharacter’smindandunderstandsalltheactiongoingon.

•Thelimitedomniscientnarratorisathird-personnarratorwhogenerallyreportsonlywhatonecharacter(oftentheprotagonist)seesandwhoonlyreportsthethoughtsofthatoneprivilegedcharacter.

•Theobjective,orcamera-eye,narratorisathird-personnarratorwhoonlyreportswhatwouldbevisibletoacamera.Theobjectivenarratordoesnotknowwhatthecharacteristhinkingunlessthecharacterspeaksofit.

•Thefirst-personnarrator,whoisamajororminorcharacterinthestory,tellsthetalefromhisorherpointofview.Whenthefirstpersonnarratorisinsane,aliar,veryyoung,orforsomereasonnotentirelycredible,thenarratorisunreliable.Somefirst-personnarrativesincludemultiplenarrators.

•Thestreamofconsciousnesstechniqueislikefirst-personnarration,butinsteadofthecharactertellingthestory,theauthorplacesthereaderinsidethemaincharacter’sheadandmakesthereaderprivytoallofthecharacter’sthoughtsastheyscrollthroughhisorherconsciousness.

Characterization,aneffectofpointofviewandnarrativeperspective,istheprocessbywhichawriterrevealsthepersonalityofacharacter,makingthatcharacterseemrealtothereader.Authorshavetwomajormethodsofpresentingcharacters:telling(directcharacterization)andshowing(indirectcharacterization).

•Indirectcharacterization,theauthorintervenestodescribeandsometimesevaluatethecharacterforthereader.Forexample,thenarratormaytellthereaderdirectlywhatthecharacter’spersonalityislike:humble,ambitious,vain,gullible,etc.

•Indirectcharacterizationallowstheauthortopresentacharactertalkingandactingandletsthereaderinferwhatkindofpersonthecharacteris.Therearefivedifferentwaysthatawritermayprovideindirectcharacterization:

  • bydescribinghowthecharacterlooksanddresses,
  • byallowingthereadertohearthecharacterspeak,
  • byrevealingthecharacter’sprivatethoughtsandfeelings,
  • byportrayingthecharacter’seffectonotherindividuals—showinghowothercharactersfeelorbehave towardthecharacter,andbypresentingthecharacter’sactions.

Characterscanbeconvincingwhethertheyarepresentedbyshowingorbytelling,aslongastheiractionsaremotivated.Motivatedactionbythecharactersoccurswhenthereaderoraudienceisofferedreasonsforhowthecharactersbehave,whattheysay,andthedecisionstheymake.Plausibleactionisactionbyacharacterinastory thatseemsreasonable,giventhemotivationspresented.

Three:Thesettingisthephysicalandsocialcontextinwhichtheactionofastoryoccurs.Themajorelementsofsettingarethetime,theplace,andthesocialenvironmentthatframesthecharacters.Settingcanbeusedtoevokeamoodoratmospherethatwillpreparethereaderforwhatistocome.Specificelementsofthesettinginclude:

•thegeographicallocation(itstopography,scenery,andphysicalarrangements),

•theoccupationsanddailymanneroflivingofthecharacters,

•thetimeperiodinwhichtheactiontakesplace(epochinhistoryorseasonoftheyear),and

•thegeneralenvironmentofthecharacters(social,religious,cultural,moral,andemotionalconditionsandattitudes).

Four:Theconflictinaworkoffictionisthestrugglewithintheplotbetweenopposingforces—theissuetoberesolvedinthestory.Theprotagonistengagesintheconflictwiththeantagonist,whichmaytaketheformofacharacter,society,nature,oranaspectoftheprotagonist’spersonality.Thus,conflictmaybeexternal,astruggleagainstsomeoutsideforce,anothercharacter,societyasawhole,orsomenaturalforce;orinternal,aconflictbetweenforcesoremotionswithinonecharacter.

Five:Themeisthecentralmeaningordominantideainaliterarywork.Athemeprovidesaunifyingpointaroundwhichtheplot,characters,setting,pointofview,symbols,andotherelementsofaworkareorganized.Itisimportantnottomistakethethemeforthetopicofthework;thethemeexpressesanopinionaboutanabstractconcept(i.e.freedom,jealousy,guilt,unrequitedlove,self-pity).

Themeshouldbewritteninacomplexstatement:

The[genre][title]by[author]isabout[topic/abstractconcept]andrevealsthat[opinion].

AP English: Literature and Composition Rubric

9–8 These essays offer a well-focused and persuasive analysis of the topic. Using apt and specific textual support, these essays fully explore the topic and demonstrate what it contributes to the meaning of the work as a whole. Although not without flaws, these essays make a strong case for their interpretation and discuss the literary work with significant insight and understanding. Generally, essays scored a 9 reveal more sophisticated analysis and more effective control of language than do those scored an 8.

7–6 These essays offer a reasonable analysis of the topic. They explore the topic and demonstrate what it contributes to the meaning of the work as a whole. These essays show insight and understanding, but the analysis is less thorough, less perceptive, and/or less specific in supporting detail than that of those in the 9–8 range. Generally, essays scored a 7 present better-developed analysis and more consistent command of the elements of effective composition than do those scored a 6.

5 These essays respond to the assigned task with a plausible reading, but they tend to be superficial or underdeveloped in analysis. They often rely on plot summary that contains some analysis, implicit or explicit. Although the essays attempt to discuss the topic and how it contributes to the work as a whole, they may demonstrate a rather simplistic understanding of the work. Typically, these responses reveal unsophisticated thinking and/or immature writing. They demonstrate adequate control of language, but they may lack effective organization and may be marred by surface errors.

4–3 These lower-half essays offer a less than thorough understanding of the task or a less than adequate treatment of it. They reflect an incomplete or oversimplified understanding of the work. They may not address or develop a response to how that relationship contributes to the work as a whole, or they may rely on plot summary alone. Their assertions may be unsupported or even irrelevant. Often wordy, elliptical, or repetitious, these essays may lack control over the elements of college-level composition. Essays scored a 3 may contain significant misreading and demonstrate inept writing.

2–1 Although these essays make some attempt to respond to the prompt, they compound the weaknesses of those in the 4–3 range. Often, they are unacceptably brief or are incoherent in presenting their ideas. They may be poorly written on several counts and contain distracting errors in grammar and mechanics. The ideas are presented with little clarity, organization, or supporting evidence. Particularly inept, vacuous, and/or incoherent essays must be scored a 1.

0 These essays do no more than make a reference to the task.

— These essays either are left blank or are completely off topic.

Grade Equivalents:

AP Score / Average
1 / 60%
2 / 65%
3 / 70%
4 / 75%
5 / 80%
6 / 85%
7 / 90%
8 / 95%
9 / 100%