AP TERMINOLOGY
PAP/AP English Handbook
Grades 9-12
Broken Bow High School
PAP/AP English Program
2010-2011
Board of Education Approved 08/02/10
(This page is purposefully left blank.)
Signature Page
The purpose of this handbook is to outline the course descriptions of PAP/AP English courses at Broken Bow High School and to compile information used throughout the program so as to minimize the need for duplication. This handbook is also designed to enable the PAP/AP English teachers to vertically align the curriculum and effectively team.
I, _________________________________, PAP/AP English student at BBHS, acknowledge receipt of this handbook and have read and understand the course descriptions included herein. I understand that this handbook is intended for use only in the PAP/AP English program and will be used grades 9-12. In the event that this book is misplaced, damaged, or defaced, I understand that it will cost $5 to replace the book.
Student Signature _________________________________________
Date _______________
I, _________________________________, parent of PAP/AP English student at BBHS, acknowledge receipt of this handbook and have read and understand the course descriptions included herein. I understand that this handbook is intended for use only in the PAP/AP English program and will be used grades 9-12. In the event that this book is misplaced, damaged, or defaced, I understand that it will cost $5 to replace the book.
Parent Signature _________________________________________
Date _______________
(This page is purposefully left blank.)
Table of Contents
Benefits of the AP Program 2
Overview of BBHS PAP/AP English Program 3
How Does the PAP/AP English Class Differ from the Traditional Class? 7
Why Literature Matters 8
BBHS PAP/AP Literature Selections 9
PAP/AP Works for Outside Reading 10
Reading Card Assignment 17
AP Terminology 18
AP Essay Ingredients 33
Suggestions and Tips for AP Essay Questions and Timed Writings 34
R.E.A.F.I 35
Using Quotes in Essays 36
Modern Language Association (MLA) In-Text Citations 37
Integrating Quotations 38
Synonyms for Said 39
Transitions and Paragraph Hooks 40
Avoiding Common Writing Errors 41
Revision Involves Change 42
MLA Works Cited and Documentation Formats 43
Generic Scoring Guide for AP Essay Questions 45
Tone Vocabulary 46
DIDLS 48
TPCASTT 49
SOAPS 50
The Reading Log 51
Annotating Texts 53
Rules for Literary Analysis 55
Theme Statements 56
Point of View 57
The Various “-Isms” of Fiction 58
Teaching Archetypes 59
Guided Graded Discussion 63
Tips for Oral Presentations 64
Recommended Resources for PAP/AP English Students 65
Resources for this Handbook 66
Benefits of the Advanced Placement (AP) Program
For Colleges and Universities:
➢ It identifies and attracts highly motivated students who have succeeded in rigorous, college-level courses and demonstrated their ability through demanding national examinations.
➢ It provides admissions officers with an excellent predictor of student success in college.
➢ It enables students to diversify and deepen their college curriculum by placing them out of introductory level college courses to which they have demonstrated competence.
➢ It improves the articulation of college and high school curricula.
For High Schools:
➢ It enhances the quality of the curriculum.
➢ It encourages focused efforts in curriculum alignment.
➢ It challenges the academically capable students.
➢ It provides opportunities for the faculty to teach capable, motivated students in demanding courses.
➢ It affords rewarding in-service opportunities for motivated faculty members.
➢ It gives the college-preparatory program a reputation for high quality and standards.
For Students:
➢ It provides college credit for courses taken in high school.
➢ It develops the analytical and study skills required to succeed in college courses.
➢ It motivates students to undertake more challenging work in both high school and college.
➢ It provides direction in selecting college majors.
➢ It sets students on a more likely path to college graduation, double majors, and graduate school.
Overview of BBHS PAP/AP English
PAP/AP English Course Description:
At the high school level, Pre-Advanced Placement (PAP) and Advanced Placement (AP) classes serve two purposes: (1) to prepare high school students for college level work and (2) to allow students to receive college credit based upon successful performance on the College Board AP Exams following AP English III and AP English IV.
Pre-Advanced Placement (Pre-AP) classes give the students the opportunity to practice (at the appropriate level) skills that will enable them to be successful in the AP classes taken their 11th and 12th grade years. Pre-AP classes will expose students to the type of expectations and activities required by the AP program. Pre-AP classes lay the foundation for success not only in the upper level English classes, but also ultimately in college course work itself. Even though it is not required that a student be enrolled in PAP classes before their AP classes, it is highly recommended since the AP teachers have aligned the curriculum. Students enrolling in AP classes will be expected to perform the skills learned in the previous classes and no remediation or special allowances will be made for those who did not take the PAP classes. (Students who are willing to do voluntary assignments to "catch up" may talk to the appropriate instructor for advice on what they should study.)
Advanced Placement Language and Composition is typically taken the 11th grade year. There is an emphasis on expository, analytical, and argumentative writing. In May of each year, students may pay to take the AP Language and Composition Exam given by College Board. If students score high enough, they may earn college credit. The needed score and the amount of credit earned are determined by each university. It is recommended that students research the universities that they wish to attend to see what is required to receive credit. Since this class is preparing the student to possibly earn college credit, it is treated as a mini-college class on a high school campus. According to the information on the College Board website:
Upon completing the AP English Language and Composition course . . .
students should be able to:
• analyze and interpret samples of good writing, identifying and explaining
an author’s use of rhetorical strategies and techniques;
• apply effective strategies and techniques in their own writing;
• create and sustain arguments based on readings, research, and/or
personal experience;
• write for a variety of purposes;
• produce expository, analytical, and argumentative compositions that
introduce a complex central idea and develop it with appropriate
evidence drawn from primary and/or secondary sources, cogent
explanations, and clear transitions;
• demonstrate understanding and mastery of standard written English as
well as stylistic maturity in their own writings;
• demonstrate understanding of the conventions of citing primary and
secondary sources;
• move effectively through the stages of the writing process, with careful
attention to inquiry and research, drafting, revising, editing, and
review;
• write thoughtfully about their own process of composition;
• revise a work to make it suitable for a different audience;
• analyze image as text; and
• evaluate and incorporate reference documents into researched papers.
Advanced Placement Literature and Composition is typically taken the 12th grade year. There is an emphasis on expository, analytical, and argumentative writing. In May of each year, students may pay to take the AP Language and Composition Exam given by College Board. If students score high enough, they may earn college credit. The needed score and the amount of credit earned are determined by each university. It is recommended that students research the universities that they wish to attend to see what is required to receive credit. Since this class is preparing the student to possibly earn college credit, it is treated as a mini-college class on a high school campus. According to the information on the College Board website:
[S]tudents in an AP English Literature and Composition course read
actively. The works taught in the course require careful, deliberative
reading. And the approach to analyzing and interpreting the material
involves students in learning how to make careful observations of textual
detail, establish connections among their observations, and draw from
those connections a series of inferences leading to an interpretive
conclusion about a piece of writing’s meaning and value . . . . Writing is an
integral part of the AP English Literature and Composition course
and exam. Writing assignments focus on the critical analysis of literature
and include expository, analytical, and argumentative essays . . . . The
writing that students produce in the course reinforces their reading. Since
reading and writing stimulate and support one another, they are taught
together in order to underscore both their common and their distinctive
elements. [Two different types of questions are typically included on the
exam:] (1) an analysis of a passage or poem in which students are
required to discuss how particular literary elements or features contribute
to meaning; and (2) an “open’’ question in which students are asked to
select a literary work and discuss its relevant features in relation to the
question provided.
Successful PAP/AP students are typically task oriented, proficient readers who are able to set priorities with regard to time and responsibilities. Parent support of the program also plays a key role in the success of these students.
Research has proven that reading comprehension is the best indicator of future success in upper-level studies and college courses. The only way for that skill to develop is through consistent practice; therefore, PAP/AP English courses require students to read many works of literature each year.
|PAP/AP ENGLISH COURSE CRITERION |
| |
|Entrance Requirements: Students who intend to enroll in the Pre AP/AP English program must meet or exceed all of the following requirements: |
|Students must test at or exceed grade level requirements on the 8th grade CRT test upon entering high school (score of satisfactory or |
|advanced) AND |
|Students must demonstrate appropriate grade- level proficiency in reading, writing, and grammar AND |
|Students must have received an “A” in previous English course OR meet with a committee which may approve entry based on circumstances, test |
|scores, and ability. This committee will consist of English teachers, administrator, and a counselor. |
| |
|Summer Assignments: All students desiring to enter a PAP/AP English course must successfully complete the summer reading assignment. The |
|student must receive a passing score on both the written test given at the beginning of the school year and the summer project(s) as assigned |
|by the instructor for any material assigned as summer reading. (Students on probation may have additional requirements to stay in the |
|program. This could include exercises in grammar, writing, or literature based on the student’s need.) |
| |
|Grade Criteria: Students who intend to enroll in the PAP/AP English course should enroll with the desire to excel and be successful, and they|
|should be well-aware of the expectations that they must meet. To remain a part of the Advanced Placement Program, students must maintain at |
|least a C average for each nine weeks term. If a student receives a D for the nine weeks, they will be placed on probation for the following |
|nine weeks. If they do not bring the D up to a C, they will be dismissed from the program. If a student receives an F for the nine weeks, |
|they will be dismissed from the program and returned to a traditional English class. Failures based on absences are not exempt from this |
|policy. All decisions can be appealed to the AP committee consisting of the high school principal, the student's guidance counselor, the |
|current English teacher, and the English Department Chair. (If the current English teacher and the Chair is the same person, another teacher |
|from the AP English department may be asked to serve on the committee.) |
| |
| |
|The PAP/AP English Course Expectations are as follows: |
| |
|Late work: PAP/AP courses do not allow credit for late work. If students do not turn in assignments by the due date and time, they will |
|receive a zero for that assignment. |
| |
|Retesting: PAP/AP courses do not allow for retesting. Students must be prepared for every test. |
| |
|Reading: Students enrolled in PAP/AP courses must complete the summer reading assignments for that grade level. If a student fails to |
|successfully complete the assignments before the first day of class, they will automatically be enrolled in a traditional English class |
|instead of the PAP or AP class. In addition, students and parents should know that reading assignments for the school year are both strenuous|
|and strict. |
| |
|Academic Dishonesty: The following are types of academic dishonesty that will not be tolerated. Students are asked to submit their own |
|original work for every assignment. |
|A. Plagiarism: This occurs when an individual uses another person's ideas, |
|expressions, or writing as if they were his/her own. |
|I. Copying Verbatim: This is the most common form and happens when |
|an individual copies words, expressions, or ideas directly from |
|another source (ex. book, article, Internet, lab report, friend, etc.) |
|without giving proper credit to the author. |
|II. Paraphrasing: An individual borrows written ideas from a source and |
|rewrites them in his/her own words but does not give credit to the |
|original author. This can also be done by replacing just a few |
|words of the original source. |
|III. Use of an idea: An individual adapts an idea from another source |
|without giving proper credit. (ex. When a student is asked to write |
|an original piece such as a short story, they may borrow ideas |
|from a TV program, video, article, or classmate.) |
|B. Sharing Ideas During Test Situations: This can be sharing answers on a |
|take-home exam or a classroom test. It can also be asking/telling other |
|students what is on a test/quiz. |
|Cheating on Tests, Quizzes, and Homework: This can be bringing answers |
|into the test room, copying from another student, or using notes or |
|technology which includes, but is not limited to, Cliffs Notes (or any other |
|company's notes), Internet, etc. |
|D. Copying Homework: Getting help on homework often leads to some form |
|of academic dishonesty. If a student has a question about an assignment, |
|he or she is encouraged to consult with the teacher. |
| |
|Academic Dishonesty will result in the following: |
|First Offense: The student will receive a zero on the assignment with no |
|opportunity to make up the assignment. |
|Second Offense: The student will be removed from the Advanced |
|Placement Program and placed in traditional English classes. |
| |
|This policy encompasses all four years of high school; therefore, they offenses |
|will accrue. For example, if a student is caught in some form of academic |
|dishonesty in their freshman year, it is a first offense. If they are caught again in |
|their junior year, it is considered a second offense and they will be placed in a |
|traditional English class. |
How does the PAP/AP English Class Differ from the Traditional Class?
Class Content:
• Less or no use of the chronological and historical approach to English, World, and American Literature
• More use of thematic and skill approaches to literature study
• Longer, more challenging research projects, with emphasis on literary analysis
• Focus on skill areas which directly relate to the kind of thinking and writing demanded by the national AP exams, such as critical reading, timed writings, style analysis, and independent novel and drama study
• A summer reading requirement
To succeed, AP students must:
• Be able to read very well
• Be confident in class discussion and oral expression
• Be able to listen and participate in the thoughtful exchange of ideas
• Take responsibility for reading and writing assignments without relying on Cliff's Notes, Internet summaries, and other available resources
• Be able to accept and to offer constructive criticism
• Be able to accept and to offer questions for which there are no clear answers
• Possess writing abilities which demonstrate control of mechanics, grammar and usage, organization, diction, and syntax
• Seek out challenges and new concepts
• Possess a respect and regard for literature, composition, and learning in general
• Be willing to go beyond the minimum requirements of any assignment
Why Literature Matters
By Donald G. Smith, Apollo High School, Glendale, AZ
Taken from Excerpts from an article in English Journal, November 1999
Reading literature matters because it makes life livelier, deeper, and occasionally comprehensible…
1. The escape angle: …literature can remind us that ours is not the only awareness out there; our isolation is an illusion.
2. The empathy angle: …we often read to find out what happens to people whom we care…this act of caring exercises the soul and may immunize it against an increasingly uncaring world.
3. The mirror angle: …reading is a cooperative effort of creation between the writer and the reader…and what we create can open up heretofore hidden or forgotten recesses, moving us in new and powerful ways. It can reintroduce us to ourselves.
4. The time machine angle: …reading allows us to converse with the greatest minds in history…we can take part in the Great Conversation of humanity.
5. The cultural heritage angle: …we are our past and books are the lasting record of the past. They are a form of immortality wherein past consciousness is resurrected within our minds; we become the vehicles for its afterlife.
6. The language angle: …we think in words, and our understanding of images is accomplished through the tools of language. Reading helps us hone our own linguistic edge, improves the power of our thinking, and delights us with becoming better craftpersons of thought. Reading makes us potent thinkers.
7. The art angle: …great art endures because it is true and as such contains all the depth, details, texture, and wholeness that truth entails…Art connects humanity through archetypes that we all recognize on some level.
8. The lifesaver angle: … literature can warm, motivate, inspire, and instruct.
9. The reading of life angle: … reading teaches us to construct contexts, temporarily suspend understanding, make and check hypotheses, and closely read the details for significance.
10. The fear of change angle: …perhaps by consulting with our elders, heeding their advice, and following their examples we can reestablish some sense of well-being and equilibrium in something permanent. Our times are in need of their wisdom.
LITERATURE MATTERS BECAUSE IT IS WHO WE ARE. EVERY HUMAN DREAM, FEAR, HOPE, AND BELIEF IS THERE!
BBHS PAP/AP Literature Selections
The following is a list of literature by grade level at which it may be taught. It is possible that not all selections will be covered every year, but the teacher will use this list when designing the course syllabus and determining course content. In addition, the teacher may select other literature from AP College Board recommended reading lists and the literary canon. These are in addition to covering literature in the state-approved, district-adopted literature textbook.
|9th Grade |10th Grade |
|Animal Farm |To Kill a Mockingbird |
|Tuesdays with Morrie |Julius Caesar |
|A Wrinkle in Time |The House on Mango Street |
|Locked in Time |Legends of King Arthur |
|Great Expectations |Antigone |
|Mythology by Edith Hamilton |Rebecca |
|Anthem by Ayn Rynd |Lord of the Flies |
|11th Grade |12th Grade |
|The Great Gatsby |Hamlet |
|The Scarlet Letter |Heart of Darkness |
|The Crucible |The Canterbury Tales |
|Their Eyes Were Watching God |Beowulf |
|The Grapes of Wrath |A Doll’s House |
|Fast Food Nation |A Tale of Two Cities |
|Narrative of the Life of Frederick Douglass |The Poisonwood Bible |
|Oedipus Rex | |
PAP/AP Works for Outside Reading
AP English Literature and Composition
Works for Open-Ended Questions 1971-2006
The following list of books indicates the years that these titles have been suggested for the open-ended question on the AP English Literature and Composition Exam. PAP/AP English students should choose outside reading selections from this list (excluding any novels that are taught at their current or any other grade level as indicated on page 9 of the PAP/AP handbook). All reading selections for a grade must be approved by the current teacher.
|Author |Nationality |Title-Listed in Alphabetical Order |Exam Years |
|General list/No list | | |1972, 1973, 1974, 1975, 1983, 1984, 1993, |
| | | |1998 |
|Browning, Robert |BRITISH |“ My Last Dutchess” |1985 |
|Eliot, T.S. |BRITISH |“ The Lovesong of J. Alfred Prufrock” |1985, 1993 |
|Naipaul, V.S. |CARRIBEAN |A Bend in the River |2003B |
|Ibsen, Henrik |NORWEGIAN |A Doll’s House |1971, 1983, 1987, 1988, 1995, 2002B, 2005 |
|Hemingway, Ernest |AMERICAN |A Farewell to Arms |1991, 1999, 2004B |
|Mistry, Rohinton |CANADIAN |A Fine Balance |2003B |
|Gaines, Ernest K. |AMERICAN |A Gathering of Old Men |2000 |
|Lee, Chang-Rae |AMERICAN |A Gesture Life |2004, 2005 |
|Gaines, Ernest K. |AMERICAN |A Lesson Before Dying |1999 |
|McCullars, Carson |AMERICAN |A Member of the Wedding |1997 |
|Shakespeare, William |BRITISH |A Midsummer Night’s Dream |1991, 2006 |
|Forster, E.M. |BRITISH |A Passage to India |1971, 1977, 1988, 1991, 1992 |
|Hansberry, Lorraine |AMERICAN |A Raisin in the Sun |1987, 1990, 1991, 1992,1994, 1996, 2000 |
|Woolf, Virginia |BRITISH |A Room of One’s Own |1976 |
|Forster, E.M. |BRITISH |A Room With a View |2003B |
|Knowles, John |AMERICAN |A Separate Peace |1982 |
|Williams, Tennessee |AMERICAN |A Streetcar Named Desire |1991, 1992, 2001 |
|Smiley, Jane |AMERICAN |A Thousand Acres |2006 |
|Faulkner, William |AMERICAN |Absalom, Absalom |1976, 2000 |
|Eliot, George |BRITISH |Adam Bede |2006 |
|Pielmeier, John |AMERICAN |Agnes of God |2000 |
|Atwood, Margaret |CANADIAN |Alias Grace |2000, 2004 |
|Miller, Arthur |AMERICAN |All My Sons |1985, 1990 |
|Warren, Robert Penn |AMERICAN |All the King’s Men |2000, 2002, 2004, 2004B |
|McCarthy, Cormac |AMERICAN |All the Pretty Horses |1996, 2006, 2006B |
|Bulosan, Carlos |FILIPINO/ |America is in the Heart |1995 |
| |AMERICAN | | |
|Dreiser, Theodore |AMERICAN |An American Tragedy |1982, 1995, 2003 |
|Ibsen, Henrik |NORWEGIAN |An Enemy of the People |1976, 1980, 1987, 1999, 2001 |
|Tolstoy, Leo |RUSSIAN |Anna Karenina |1980, 1991, 1999, 2000, 2003, 2004B, 2006 |
|Baldwin, James |AMERICAN |Another Country |1995 |
|Shakespeare, William |BRITISH |Anthony and Cleopatra |1980, 1991, 1993 |
|Sophocles |GREEK |Antigone |1979, 1980, 1990, 1994, 1999, 2003, 2005B |
|Mailer, Norman |AMERICAN |Armies of the Night |1976 |
|Faulkner, William |AMERICAN |As I Lay Dying |1978, 1989, 1990, 1993, 1994, 2001, 2004B, |
| | | |2006, 2006B |
|Shakespeare, William |BRITISH |As You Like It |1992, 1993, 2005, 2006 |
|Morrison, Toni |AMERICAN |Beloved |1990, 1999, 2001, 2002B, 2003, 2005B |
|Melville, Herman |AMERICAN |Benito Cereno |1989 |
|Melville, Herman |AMERICAN |Billy Budd |1979, 1981, 1982, 1983, 1985, 1999, 2002, |
| | | |2004B, 2005 |
|Wright, Richard |AMERICAN |Black Boy |2006 |
|Dickens, Charles |BRITISH |Bleak House |1994, 2000, 2004B |
|Anaya, Rudolfo |AMERICAN |Bless me, Ulitima |1996, 1997, 2004B, 2005, 2006 |
|Ng, Fae M. |CHINESE/ AMERICAN |Bone |2003B |
|Huxley, Aldous |BRITISH |Brave New World |1989, 1993, 2005 |
|Greene, Graham |BRITISH |Brighton Rock |1979 |
|Shaw, George Bernard |BRITISH |Candida |1980, 1993 |
|Voltaire |FRENCH |Candide |1986, 1987, 1991, 1993, 1996, 2004, 2006B |
|Williams, Tennessee |AMERICAN |Cat on Hot Tin Roof |2000, 2002B |
|Atwood, Margaret |CANADIAN |Cat’s Eye |1994 |
|Heller, Joseph |AMERICAN |Catch – 22 |1982, 1985, 1987, 1989, 1994, 2001, 2003B, |
| | | |2004B, 2005 |
|Salinger, J.D. |AMERICAN |Catcher in the Rye |2001 |
|Silko, Leslie Marmon |AMERICAN |Ceremony |1994, 1996, 1997, 1999, 2001, 2003B, 2005B,|
| | | |2006 |
|Thoreau, Henry David |AMERICAN |Civil Disobedience |1976 |
|Frazier, Charles |AMERICAN |Cold Mountain |2006B |
|Ondaatje, Michael |CEYLON/ |Coming Through Slaughter |2001 |
| |CANADIAN | | |
|Dostoevsky, Fyodor |RUSSIAN |Crime and Punishment |1976, 1979, 1980, 1982, 1988, 1996, 1999, |
| | | |2000, 2001, 2002, 2002B, 2003, 2004, 2004B,|
| | | |2005B |
|Paton, Alan |SOUTH AFRICAN |Cry, the Beloved Country |1985, 1987, 1991, 1995, 1996 |
|James, Henry |AMERICAN |Daisy Miller |1997, 2003B |
|Friel, Brian |IRISH |Dancing at Lughnasa |2001 |
|Dickens, Charles |BRITISH |David Copperfield |1978, 1983, 1993, 2006 |
|Miller, Arthur |AMERICAN |Death of a Salesman |1986, 1988, 1994, 2002B, 2003, 2004, 2005 |
|O’Neill, Eugene |AMERICAN |Desire Under the Elms |1981 |
|Tyler, Anne |AMERICAN |Dinner at the Homesick Restaurant |1997 |
|Marlowe, Christopher |BRITISH |Doctor Faustus |1979, 1986, 1999, 2004 |
|Cervantes, Miguel de |SPANISH |Don Quixote |1992, 2001, 2004, 2006 |
|Garcia, Christina |CUBAN/ AMERICAN |Dreaming in Cuban |2003B |
|Jones, Leroy (aka. Baraka, Imamu |AMERICAN |Dutchman |2003B, 2006B |
|Amiri) | | | |
|Steinbeck, John |AMERICAN |East of Eden |2006 |
|Austen, Jane |BRITISH |Emma |1996 |
|Shaffer, Peter |BRITISH |Equus |1992, 1999, 2000, 2001 |
|Wharton, Edith |AMERICAN |Ethan Frome |1980, 1985, 2003, 2005, 2006 |
|Turgenev, Ivan |RUSSIAN |Fathers and Sons |1990 |
|Goethe, Johann Wolfgang von |GERMAN |Faust |2002, 2003 |
|Wilson, August |AMERICAN |Fences |2003, 2005B |
|Davies, Robertson |CANADIAN |Fifth Business |2000 |
|Hemingway, Ernest |AMERICAN |For Whom the Bell Tolls |2003, 2006 |
|Shelley, Mary |BRITISH |Frankenstein |1989, 2000, 2003, 2006 |
|Ibsen, Henrik |NORWEGIAN |Ghosts |2000, 2002B, 2004, 2004B |
|Baldwin, James |AMERICAN |Go Tell it on the Mountain |1988,1990, 2005 |
|O’Brien, Tim |AMERICAN |Going After Cacciato |2001, 2006B |
|Dickens, Charles |BRITISH |Great Expectations |1979, 1980, 1988, 1989, 1992, 1993, 1995, |
| | | |1996, 2000, 2001, 2002, 2002B, 2004, 2005B |
|Swift, Jonathan |BRITISH |Gulliver’s Travels |1987, 1989, 1993, 2000, 2004, 2006B |
|Shakespeare, William |BRITISH |Hamlet |1988, 1992, 1993, 1994, 1997, 1999, 2000 |
|Dickens, Charles |BRITISH |Hard Times |1987, 1990, 1993 |
|Conrad, Joseph |BRITISH |Heart of Darkness |1971, 1976, 1991, 1994, 1996, 1999, 2000, |
| | | |2001, 2002, 2002B, 2004, 2004B, 2006B |
|Ibsen, Henrik |NORWEGIAN |Hedda Gabler |1979, 1992, 2000, 2002, 2003, 2005B |
|Shakespeare, William |BRITISH |Henry IV |1980, 1990, 1993 |
|Shakespeare, William |BRITISH |Henry V |2002 |
|Momaday, N. Scott |AMERICAN |House Made of Dawn |2006 |
|Hawthorne, Nathaniel |AMERICAN |House of Seven Gables |1989 |
|Homer |GREEK |Iliad |1980 |
|Alvarez, Julia |AMERICAN |In the Time of Butterflies |2005B |
|Ellison, Ralph |AMERICAN |Invisible Man |1976, 1977, 1982, 1983, 1985, 1986, 1987, |
| | | |1988, 1989, 1991, 1994, 1995, 1996, 1997, |
| | | |2001, 2003B, 2004, 2005 |
|MacLeish, Archibald |AMERICAN |J.B. |1981, 1994 |
|Bronte, Charlotte |BRITISH |Jane Eyre |1978, 1979, 1980, 1988, 1991, 1994, 1995, |
| | | |1996, 1997, 1999, 2000, 2002B, 2005B |
|Mukerjee, Bharati |CANADIAN/ AMERICAN |Jasmine |1999 |
| |(orig. fr. India) | | |
|Wilson, August |AMERICAN |Joe’s Turner’s Come and Gone |2000, 2004 |
|Fielding, Henry |BRITISH |Joseph Andrews |1991,1993 |
|Hardy, Thomas |BRITISH |Jude the Obscure |1971, 1976, 1980, 1985, 1987, 1991, 1995, |
| | | |2004 |
|Shakespeare, William |BRITISH |Julius Caesar |1982, 1993, 1997, 2005B |
|Shakespeare, William |BRITISH |King Lear |1971, 1978, 1982, 1988, 1989, 1990, 1993, |
| | | |1996, 2001, 2003, 2004, 2004B, 2005, 2006 |
|Crevecoeur, J. Hector St. John |AMERICAN |Letters from an American Farmer |1976 |
|Faulkner, William |AMERICAN |Light in August |1971, 1979, 1981, 1982, 1983, 1985, 1993, |
| | | |1995, 1999, 2002B, 2003, 2006B |
|O’Neill, Eugene |AMERICAN |Long Day’s Journey into Night |1990, 2003 |
|Conrad, Joseph |BRITISH |Lord Jim |1977, 1978, 1982, 1986, 2000, 2003 |
|Golding, Willliam |BRITISH |Lord of The Flies |1985, 1992 |
|Erdich, Louise |NATIVE AMERICAN |Love Medicine |1995 |
|Aristophanes |GREEK |Lysistrata |1987, 1993 |
|Hwang, David Henry |AMERICAN |M. Butterfly |1995 |
|Shakespeare, William |BRITISH |Macbeth |1983, 1993, 1999, 2002B, 2003, 2005B |
|Flaubert, Gustave |FRENCH |Madame Bovary |1980, 1985, 2004B, 2005, 2006 |
|Lewis, Sinclair |AMERICAN |Main Street |1987 |
|Shaw, George Bernard |BRITISH |Major Barbara |1979, 1993, 1996, 2004 |
|Shaw, George Bernard |BRITISH |Man and Superman |1981, 1993 |
|Austen, Jane |BRITISH |Mansfield Park |1991, 2003B, 2006 |
|Fugard, Athol |SOUTH AFRICAN |Master Harold…and the Boys |2003B |
|Euripides |GREEK |Medea |1982, 1992, 1995, 2001, 2003 |
|Shakespeare, William |BRITISH |Merchant of Venice |1985, 1991, 1993, 1995, 2002, 2003B |
|Eliot, George |BRITISH |Middlemarch |1995, 2004, 2005 |
|Johnson, Charles |AMERICAN |Middle Passage |2006B |
|West, Nathaniel |AMERICAN |Miss Lonelyhearts |1989 |
|Melville, Herman |AMERICAN |Moby Dick |1976, 1977, 1978, 1979, 1980, 1989, 1994, |
| | | |1996, 2001, 2003, 2004, 2004B, 2005B, 2006B|
|Defoe, Daniel |BRITISH |Moll Flanders |1976, 1977, 1986, 1987, 1993, 1995 |
|Cao, Lan |AMERICAN |Monkey Bridge |2000, 2003B |
|Brecht, Berthold |GERMAN |Mother Courage and her Children |1985, 1987, 2006B |
|Woolf, Virginia |BRITISH |Mrs. Dalloway |1994, 2004B, 2005 |
|Shaw, George Bernard |BRITISH |Mrs. Warren’s Profession |1987, 1990, 1993, 1995, 2002 |
|Shakespeare, William |BRITISH |Much Ado About Nothing |1997 |
|Eliot, T.S. |BRITISH |Murder in the Cathedral |1976, 1980, 1985, 1995 |
|Cather, Willa |AMERICAN |My Antonia |1994, 2003B |
|Potok, Chaim |JEWISH AMERICAN |My Name is Asher Lev |2003B |
|Wright, Richard |AMERICAN |Native Son |1979, 1982, 1985, 1987, 1995, 2001, 2004B |
|Lee, Chang-Rae |AMERICAN |Native Speaker |1999, 2003B, 2005B |
|Orwell, George |BRITISH |Nineteen Eighty- Four |1987, 1994, 2005 |
|Sartre, Jean- Paul |FRENCH |No Exit |1986 |
|Wilde, Oscar |IRISH |No specific novel |1993 |
|Dostoevsky, Fyodor |RUSSIAN |Notes From the Underground |1989 |
|Kogowa, Joy |CANADIAN |Obasan |1994, 1995, 1997, 2004, 2005, 2006, 2006B |
|Homer |GREEK |Odyssey |1986 |
|Sophocles |GREEK |Oedipus Rex |1977, 1985, 1988, 2000, 2003, 2004 |
|Steinbeck, John |AMERICAN |Of Mice and Men |2001 |
|Solzhenitsyn, Alexander |RUSSIAN |One Day in the Life of Ivan Denisovich |2005 |
|Kesey, Ken |AMERICAN |One Flew over the Cuckoo’s Nest |2001 |
|Garcia – Marquez, Gabriel |COLUMBIAN |One Hundred Years of Solitude |1989, 2004B |
|Cather, Willa |AMERICAN |O, Pioneers! |2006 |
|Aeschylus |GREEK |Oresteia |1990 |
|Shakespeare, William |BRITISH |Othello |1979, 1985, 1988, 1992, 1993, 1995, 2002, |
| | | |2003B, 2004B |
|Dickens, Charles |BRITISH |Our Mutual Friend |1990, 1993 |
|Wilder, Thornton |AMERICAN |Our Town |1986, 1997 |
|Dinesen, Isak |DANISH |Out of Africa |2006 |
|Nabokov, Vladimir |RUSSIAN/ |Pale Fire |2001 |
| |AMERICAN | | |
|Richardson, Samuel |BRITISH |Pamela |1986 |
|Milton, John |BRITISH |Paradise Lost |1985, 1986 |
|Ibsen, Henrik |NORWEGIAN |Peer Gynt |2006B |
|Balzac, Honore de |FRENCH |Pere Goriot |2002 |
|Austen, Jane |BRITISH |Persuasion |1990, 1993, 2005 |
|Racine, Jean |FRENCH |Phèdre |1992, 2003 |
|Villarreal, Jose Antonio |CHICANO/ AMERICAN |Pocho |2002 |
|Joyce, James |IRISH |Portrait of the Artist as a Young Man |1976, 1977, 1980, 1981, 1986, 1988, 1996, |
| | | |1999, 2004, 2005, 2005B |
|Marshall, Paule |AMERICAN |Praisessong for the Widow |1996 |
|Austen, Jane |BRITISH |Pride and Prejudice |1983, 1988, 1992, 1993, 1997 |
|Shaw, George Bernard |BRITISH |Pygmalion |1992, 1993, 2003B, 2005B |
|Doctorow, E. L. |AMERICAN |Ragtime |2003 |
|Ishiguro, Kazuo |BRITISH |Remains of the Day |2000, 2003B |
|Shakespeare, William |BRITISH |Richard III |1979, 1993 |
|Shakespeare, William |BRITISH |Romeo and Juliet |1990, 1992, 1993, 1997, 2002B |
|Stoppard, Tom |BRITISH |Rosencrantz and Guilendstern Are Dead |1981, 1993, 1994, 2000, 2004, 2005, 2006B |
|Shaw, George Bernard |BRITISH |Saint Joan |1995 |
|Wideman, John Edgar |AMERICAN |Sent for You Yesterday |2003 |
|Eliot, George |BRITISH |Silas Marner |2002 |
|Dreiser, Theodore |AMERICAN |Sister Carrie |1987, 2002, 2004 |
|Vonnegut, Kurt |AMERICAN |Slaughterhouse Five |1991, 2004B |
|Guterson, David |AMERICAN |Snow Falling on Cedars |2000 |
|Morrison, Toni |AMERICAN |Song of Solomon |1981, 1988, 1995, 2000, 2002B, 2004B, |
| | | |2005B, 2006B |
|Lawrence, D.H. |BRITISH |Sons and Lovers |1977, 1990 |
|Morrison, Toni |AMERICAN |Sula |1992, 1997, 2002, 2004 |
|Atwood, Margaret |AMERICAN |Surfacing |2005 |
|Dickens, Charles |BRITISH |Tale of Two Cities |1982, 1991, 2004B |
|Moliere |FRENCH |Tartuffe |1987, 1993 |
|Hardy, Thomas |BRITISH |Tess of the D’ubervilles |1982,1991, 2003, 2006 |
|Twain, Mark |AMERICAN |The Adventures of Huckleberry Finn |1980, 1982, 1985, 1991, 1992, 1993, 1994, |
| | | |1995, 1996, 1999, 2005, 2005B, 2006, 2006B |
|Virgil |ROMAN |The Aeneid |2006B |
|Wharton, Edith |AMERICAN |The Age of Innocence |1997, 2003B, 2005 |
|James, Henry |AMERICAN |The American |2005 |
|Richler, Mordecai |CANDIAN |The Apprenticeship of Duddy Kravitz |1994 |
|Johnson, James Weldon |AMERICAN |The Autobiography of An Ex- Colored Man |2002, 2005 |
|Chopin, Kate |AMERICAN |The Awakening |1987, 1988, 1991, 1992, 1995, 1997, 1999, |
| | | |2002, 2004B |
|Faulkner, William |AMERICAN |The Bear |1994, 2006 |
|Pinter, Harold |BRITISH |The Birthday Party |1989, 1993, 1997 |
|Morrison, Toni |AMERICAN |The Bluest Eye |1995 |
|Tan, Amy |AMERICAN |The Bonesetter's Daughter |2006 |
|Dostoevsky, Fyodor |RUSSIAN |The Brothers Karamazov |1990 |
|Chaucer, Geoffrey |BRITISH |The Canterbury Tales |1993, 2006B |
|Pinter, Harold |BRITISH |The Caretaker |1985, 1993 |
|Updike, John |AMERICAN |The Centaur |1981 |
|Chekov, Anton |RUSSIAN |The Cherry Orchard |1971, 1977, 2006 |
|Walker, Alice |AMERICAN |The Color Purple |1991, 1992, 1994, 1996, 1997, 2005 |
|Churchill, Winston |BRITISH |The Crisis |1976 |
|Miller, Arthur |AMERICAN |The Crucible |1971, 1983, 1987, 2004B, 2005 |
|Tostoy, Leo |RUSSIAN |The Death of Ivan Ilyich |1986 |
|Florentine, Dante |ITALIAN |The Divine Comedy |2006B |
|Laurence, Margaret |CANADIAN |The Diviners |1995 |
|Arnow, Harriet |AMERICAN |The Dollmaker |1991 |
|Aeschylus |GREEK |The Eumenides |1996 |
|Camus, Albert |FRENCH |The Fall |1981 |
|Strindber, August |SWEDISH |The Father |2001 |
|Hamilton, Alexander (with James |AMERICAN |The Federalist |1976 |
|Madison and John Jay) | | | |
|Williams, Tennessee |AMERICAN |The Glass Menagerie |1971, 1990, 1994, 1997, 1999, 2002 |
|Ford, Ford Madox |BRITISH |The Good Solider |2000 |
|Steinbeck, John |AMERICAN |The Grapes of Wrath |1981, 1985, 1987, 1995, 2003B, 2006 |
|Fitzgerald, F. Scott |AMERICAN |The Great Gatsby |1982, 1983, 1988, 1991, 1992, 2002B, 2004, |
| | | |2004B, 2005B |
|O’Neill, Eugene |AMERICAN |The Hairy Ape |1989 |
|Atwood, Margaret |CANADIAN |The Handmaiden’s Tale |1992, 1993, 2003B |
|Greene, Graham |BRITISH |The Heart of the Matter |1971 |
|Pinter, Harold |BRITISH |The Homecoming |1978, 1990, 1993 |
|Momaday, F. Scott |AMERICAN |The House Made of Dawn |1995 |
|Wharton, Edith |AMERICAN |The House of Mirth |2004B |
|Wilde, Oscar |IRISH |The Importance of Being Earnest |2002B, 2006B |
|Tan, Amy |AMERICAN |The Joy Luck Club |1997, 2003B |
|Sinclair, Upton |AMERICAN |The Jungle |1987 |
|Hellman, Lillian |AMERICAN |The Little Foxes |1985 |
|Waugh, Evelyn |BRITISH |The Loved One |1989, 1993 |
|Hardy, Thomas |BRITISH |The Mayor of Casterbridge |1994, 1999, 2000, 2002, 2002B |
|Kafka, Franz |GERMAN |The Metamorphosis |1978, 1989, 1993 |
|Eliot, George |BRITISH |The Mill on the Floss |1990, 1992, 2004B |
|Moliere |FRENCH |The Misanthrope |1992 |
|Okada, John |JAPANESE/ AMERICAN |The No- No Boy |1995 |
|Homer |GREEK |The Odyssey |2006B |
|Welty, Eudora |AMERICAN |The Optimist’s Daughter |1994 |
|Wilson, August |AMERICAN |The Piano Lesson |1986, 1999, 2002B |
|Wilde, Oscar |IRISH |The Picture of Dorian Gray |2002 |
|Camus, Albert |FRENCH |The Plague |2002 |
|Synge, John Millington |IRISH |The Playboy of the Western World |2002B |
|James, Henry |AMERICAN |The Portrait of a Lady |1988, 1992, 1993, 1996, 2003B, 2005 |
|Greene, Graham |BRITISH |The Power and the Glory |1995 |
|Spark, Muriel |BRITISH |The Prime of Miss Jean Brodie |1990 |
|Pope, Alexander |BRITISH |The Rape of the Lock |1981, 1993 |
|Hawthorne, Nathaniel |AMERICAN |The Scarlet Letter |1971, 1977, 1978, 1983, 1988, 1991, 1999, |
| | | |2002, 2002B, 2004, 2004B, 2005, 2005B, 2006|
|Proulx, Annie |AMERICAN |The Shipping News |1997 |
|Faulkner, William |AMERICAN |The Sound and the Fury |1986, 1993, 1997, 2001, 2004 |
|Laurence, Margaret |CANADIAN |The Stone Angel |1996, 2004B |
|Camus, Albert |FRENCH |The Stranger |1979, 1982, 1986, 2004B |
|Hemingway, Ernest |AMERICAN |The Sun Also Rises |1985, 1991, 1995, 2004, 2005 |
|Shakespeare, William |BRITISH |The Tempest |1971, 1978, 1996, 2003B, 2005B |
|O’Brien, Tim |AMERICAN |The Things They Carried |2004 |
|Kafka, Franz |GERMAN |The Trial |1988, 1993, 2000 |
|James, Henry |AMERICAN |The Turn of the Screw |1992, 1993, 1994, 2000, 2002, 2004 |
|Goldsmith, Oliver |IRISH |The Vicar of Wakefield |2006 |
|Trollope, Anthony |BRITISH |The Warden |1996 |
|Eliot, T.S. |BRITISH |The Wasteland |1981, 1993 |
|MacLennan, Hugh |CANADIAN |The Watch That Ends the Night |1992 |
|Congreve, William |BRITISH |The Way of the World |1971 |
|Ibsen, Henrik |NORWEGIAN |The Wild Duck |1978 |
|Shakespeare, William |BRITISH |The Winter’s Tale |1986, 1989, 1993, 2006 |
|Albee, Edward |AMERICAN |The Zoo Story |1982, 2001 |
|Hurston, Zora Neale |AMERICAN |Their Eyes Were Watching God |1988, 1990, 1991, 1993, 1996, 2004, 2004B, |
| | | |2005, 2005B, 2006 |
|Achebe, Chinua |NIGERIAN |Things Fall Apart |1991, 1997, 2003, 2003B |
|Woolf, Virginia |BRITISH |To the Lighthouse |1977, 1986, 1988 |
|Fielding, Henry |BRITISH |Tom Jones |1990, 1993, 2000, 2006 |
|Edrich, Louise |AMERICAN |Tracks |2005B |
|Glaspell, Susan |AMERICAN |Trifles |2000 |
|Sterne, Laurence |BRITISH |Tristam Shandy |1986 |
|Shakespeare, William |BRITISH |Twelfth Night |1985, 1993, 1994, 1996 |
|Gish, Jen |CHINESE/ AMERICAN |Typical American |2002, 2003B, 2005, 2005B |
|Stowe, Harriet Beecher |AMERICAN |Uncle Tom’s Cabin |1987 |
|Conrad, Joseph |BRITISH |Victory |1983 |
|Jonson, Ben |BRITISH |Volpone |1983, 1993 |
|Beckett, Samuel |BRITISH |Waiting for Godot |1985, 1986, 1989, 1994, 2001 |
|James, Henry |AMERICAN |Washington Square |1990, 1993 |
|Hellman, Lillian |AMERICAN |Watch on the Rhine |1987 |
|Albee, Edward |AMERICAN |Who’s Afraid of Virginia Woolf? |1988,1996, 2000, 2004 |
|Rhys, Jean |BRITISH |Wide Sargasso Sea |1989, 1992, 2005B |
|Welch, James |AMERICAN |Winter in Our Blood |1995 |
|O’Connor, Flannery |AMERICAN |Wise Blood |1982, 1989, 1995 |
|Kingston, Maxine Hong |AMERICAN |Woman Warrior |1991 |
|Bronte, Emily |BRITISH |Wuthering Heights |1971, 1977, 1978, 1979, 1982, 1983, 1986, |
| | | |1989, 1990, 1991, 1996, 1997, 1999, 2001, |
| | | |2006 |
|Valdez, Luis |CHICANO/ AMERICAN |Zoot Suit |1995 |
Reading Card Assignment
Students will maintain a reading card for all of the major works that they read while in PAP/AP English grades 9-12. Students should be thorough and include as much information as possible, but should also be original—each student’s card should be different. You will keep this card collection to review the works of literature that you have read prior to taking the AP exams during the junior and senior year.
Front of Card:
Back of Card:
AP TERMINOLOGY
Students will be expected to learn the following terminology. These lists are not indicating that these are the only terms one needs to master the PAP/AP class, but they are some of the most common terms. Some terms are taught at certain levels, while some are taught/reviewed at all levels. The number after the word indicates the grade level where the term is generally first introduced. After that year, the student is expected to know these terms. The study of terminology is a three-step process: 1) Learn the definition; 2) Identify the device when it appears in literature, and 3) Be able to discuss the effect or purpose of the device.
Students may use the box on the left to write the definition. They may use the box on the right to write examples.
Literary Terms
|Allegory (9) | |
|Allusion (9) | |
|Anachronism (10) | |
|Ambiguity (11) | |
|Analogy (9) | |
|Anaphora (11) | |
|Anastrophe (11) | |
|Anecdote (10) | |
|Aphorism (11) | |
|Apostrophe (11) | |
|Archetype (9) | |
|Asyndeton (11) | |
|Autobiography (9) | |
|Characterization (9) | |
|(Direct v. Indirect) | |
| | |
|Chiasmus (11) | |
|Colloquialism (10) | |
|Connotation (10) | |
|Cynicism (12) | |
|Deductive Reasoning (11) | |
|Denotation (10) | |
|Detail (9) | |
|Diction (9) | |
|Dynamic character (9) | |
|Ethos (11) | |
|Euphemism (11) | |
|Explication (12) | |
|Fiction/Non-fiction (9) | |
|Fallacy (multiple types) (11) | |
|Figurative language (9) | |
|Flashback (10) | |
|Flat character (10) | |
|Foil (9) | |
|Foreshadowing (9) | |
|Frame story (12) | |
|Genre (9) | |
|Hyperbole (9) | |
|Imagery (9) | |
|Inductive Reasoning (11) | |
| | |
| | |
|Inference (9) | |
| | |
| | |
|Irony (dramatic, situational, and verbal) | |
|(9) | |
| | |
|Jargon (10) | |
|Litotes (12) | |
|Logos (11) | |
|Lyric (9) | |
|Metaphor (9) | |
|Metonymy (11) | |
|Mood (10) | |
|Narrator (9) | |
|Oxymoron (9) | |
|Parable (9) | |
|Paradox (9) | |
|Parallelism (9) | |
|Parody (12) | |
|Pathos (11) | |
|Personification (9) | |
|Point of view (1st person, 3rd person, | |
|omniscient, objective) (9) | |
|Polysyndeton (11) | |
|Prose (9) | |
|Refutation (11) | |
|Repetition (9) | |
|Rhetoric (11) | |
|Rhetorical Devices (11) | |
|Rhetorical question (9) | |
|Round character (9) | |
|Sarcasm (9) | |
|Satire (9) | |
|Setting (9) | |
|Simile (9) | |
|Soliloquy (9) | |
|Static character (9) | |
|Stereotype (12) | |
|Stream of consciousness (12) | |
| | |
| | |
|Style (10) | |
|Syllogism (11) | |
|Symbolism (9) | |
|Synecdoche (11) | |
|Theme (9) | |
|Thesis (9) | |
|Tone (9) | |
|Understatement | |
|(12) | |
| | |
| | |
|Unity (11) | |
|Wit (12) | |
Metrical Terms
|Alliteration (9) | |
|Anapest (12) | |
|Assonance (9) | |
|Ballad (10) | |
|Blank verse (9) | |
|Ceasura (12) | |
|Cinquain (12) | |
|Consonance (10) | |
|Couplet (9) | |
|Dactyl (12) | |
|Elegy (12) | |
|End-stopped (9) | |
|Enjambment (12) | |
|Epic (9) | |
|Free verse (9) | |
|Heptastich (12) | |
|Heroic couplet (12) | |
|Hexameter (12) | |
|Iamb (9) | |
|Internal rhyme (12) | |
|Meter (9) | |
|Octave (12) | |
|Ode (12) | |
|Onomatopoeia (9) | |
|Pentameter (9) | |
|Quatrain (10) | |
|Rhyme scheme (9) | |
|Sestet (12) | |
|Sonnet (9) | |
|Spondee (12) | |
|Stanza (9) | |
|Tercet (12) | |
|Terza rima (12) | |
|Tetrameter (12) | |
|Trochee (12) | |
Grammatical Terms
|Antecedent (9) | |
|Clause (9) | |
|Ellipsis (11) | |
|Modifier (9) | |
|Phrase (9) | |
|Subject complement (9) | |
|Subordinate clause (10) | |
|Syntax (10) | |
Terms for Essay Section
|Attitude (9) | |
|Commentary (10) | |
|Concrete detail (9) | |
|Devices (9) | |
|Excerpt (9) | |
|Literary Elements (9) | |
|Persuasive essay (9) | |
|Support/Qualify/Refute (9) | |
Types of Writing: Many of these can take the form of a short story, novel, or essay. You may use the left box to write a definition and the right box to list examples.
|Comedy (12) | |
| | |
|Descriptive Essay (10) | |
| | |
|Drama (9) | |
| | |
|Exposition (10) | |
| | |
|Fantasy (10) | |
| | |
|Farce (12) | |
| | |
|Fiction (9) | |
| | |
|Framework Story (12) | |
| | |
|Genre (9) | |
| | |
|Narration (9) | |
| | |
|Nonfiction (9) | |
| | |
|Novel (9) | |
| | |
|Parody (12) | |
| | |
|Persuasion (10) | |
| | |
|Prose (9) | |
| | |
|Satire (9) | |
| | |
|Science Fiction (12) | |
| | |
|Short Story (9) | |
| | |
|Tragedy (10) | |
| | |
[pic]
Suggestions for Development of AP Essay
← Address the prompt thoroughly
← Give a brief introduction with thesis idea
← Demonstrate knowledge of the text
← Show mature expression with vocabulary and structure with college level skill and clarity
← Stay on-topic throughout
← Demonstrate a sense of movement toward a conclusion (transitions)
← Provide a clincher
← Use creative thinking
Tips for Timed Writing
1. Read the prompt carefully.
← Identify the abstract concept that is the focus of the prompt.
← Identify any concrete device(s) the prompt specifies or suggests you use.
2. Read the passage for understanding.
← Ask yourself who, what, when, where, why questions if necessary.
← Keep the prompt in mind when you read.
3. Reread and mark the passage.
← Focus on concrete devices that create the abstract.
← Jot notes in the margins as you read. These notes may be all of the prewriting you have time to do.
4. Your thesis should directly reflect the prompt.
← Do not be afraid to state the obvious.
← Be clear as to the approach that you are taking and the concepts that you intend to prove.
5. Focus on your commentary.
← Your insight and understanding of the literature, as well as how you make the connections called for in the prompt are what the grader will look for.
← Be sure to organize your ideas logically.
6. Your conclusion must be worth reading.
← Do not just repeat with your have already said.
← Your conclusion should reflect an understanding of the passage and the question.
← Use a thematic statement but avoid moralizing and absolute words.
Note: When responding to an open-ended prompt, be sure to choose a novel that is of literary merit and that you thoroughly understand. Be sure to address all parts of the prompt and to plan out your response before beginning to write. Remember that the works offered as suggestions are surely good choices for your response. Also, remember that you should not merely retell the story but rather explain the relevance to the open-ended prompt.
R.E.A.F.I.
This process is done in the following order.
As you complete each step, write the corresponding letter at the top of your composition.
|I |Imagery: |
| |When writing, try to use imagery (language that appeals to the 5 senses) to help the reader get a getter idea of what you|
| |are talking about and/or your feelings about your topic. Circle the words that appeal to the senses. If there are no |
| |circles, add some imagery to your writing. Caution: Do not go overboard to the extent that it changes your voice. |
|F |Figurative Language and Figures of Speech: |
| |Look for places that you can use figurative language such as: simile, metaphor, onomatopoeia, alliteration, and |
| |personification. |
| |Also, look for places to add relevant and genuine quotes or proverbs as support of your idea(s). Consider ideas from your|
| |list of familiar phrases. |
| |Put a box around any figurative language you have used or quotes/phrases you used that do not come directly from the |
| |literature. If you have no boxes, consider adding at least one form of figurative language. |
|A |ADJECTIVES and ADVERBS: |
| |Adjectives provide vivid description of the nouns (people, places or things) that you use in your paper. |
| |Using your red pen, underline nouns that you can describe. Then, with your red pen insert adjectives for those nouns. |
| |Adverbs provide description of verbs. |
| |Still using your red pen, double underline verbs that you can better describe. Then, with your red pen, insert adverbs |
| |for those verbs. |
|E |ELABORATION: |
| |Elaboration is a technique that mature writers use to add length and depth. |
| |Choose something from your composition that you feel you can add more details about. |
| |Place a box to the left of that place and in that box write a couple more sentences to elaborate on that idea. |
|R |RATIOCINATION: |
| |Ratiocination is a process of self-editing and improving your composition. Do this with the intent to improve what you |
| |have already written! |
| |Using a pencil, circle the first word of every sentence. |
| |Be sure the 1st word of every sentence is capitalized! |
| |Look for repeating words (They, There, I) that need to be changed. |
| |Using your transitions hot sheet, add transition words or phrases in places that have abrupt shifts. |
| |Be sure that introductory phrases and transition words have commas and are used correctly. |
| |Alternate between your orange and yellow highlighter to underline each sentence of your composition. (Don’t forget to |
| |include the sentences on your Post-it note.) |
| |Analyze your sentence lengths for variation. (Shorten or lengthen some sentences as necessary.) |
| |Look for proper punctuation between clauses and at the end of sentences. |
| |Use a pink highlighter to highlight words that need to be checked for spelling with the dictionary. Check spelling for |
| |them and correct those words that are misspelled. |
| |Use your blue pen to circle “be” verbs (am, is, are, was, were, be, being, been). |
| |Count the number of “be” verbs that you find. Try to get rid of at least half of them by changing them to active verbs. |
| |If they are in a quote, then leave them. |
| |In some instances you may also want to add additional adverbs for description. |
The post-it note under R#2 is the one the student uses to write sentences for elaboration. These will be inserted in the paper.
Using Quotes in Essays
When used properly, quotations strengthen the concrete detail of your essay. The following guidelines can help you set up your quotations within your own commentary.
TRANSITION, LEAD-IN, QUOTE (TLQ)
TRANSITION
Always begin your concrete detail sentences with transitions
For example
In addition,
Furthermore,
LEAD-IN
These orient your reader and help your sentence to flow smoothly. After the transition, mention the speaker and situation.
□ For example, after Scout pummels Walter Cunningham in the schoolyard, she says, “…
□ In addition, while spending Christmas at Finch Landing, Francis tells Scout “…
□ Furthermore, when Scout and Jem are walking home from the pageant, “…
QUOTES
May be direct dialogue, indirect dialogue, or narration (author’s description)
□ For example, after Scout pummels Walter Cunningham in the schoolyard, she says, “He made me start off on the wrong foot” (27).
□ In addition, while spending Christmas at Finch Landing, Francis tells Scout that Atticus is “ruinin’the family” (87).
□ Furthermore, when Scout and Jem are walking home from the pageant, they hear a man, “running toward [them] with no child’s steps” (264).
MODERN LANGUAGE ASSOCIATION (MLA) IN-TEXT CITATIONS
Standard format: double quotation mark/quoted material/double quotation mark/left parenthesis/page number/right parenthesis/period
For example, when Jem and Scout are building their snowman, they “[cannot] wait for Atticus to come home for dinner” (71).
If the quote ends with a question mark or an exclamation point, put it inside the last quotation mark and put a period after the page citation.
For example, while discussing the group of men who want to hang Tom Robinson before the trial begins, Atticus says, “Every mob in every little Southern town is always made up of people you know—doesn’t say much for them, does it?” (160).
Use brackets when you alter words from the original quotation.
Actual text: Atticus “went to the court reporter and said something, nodded to Mr. Gilmer, and then went to Tom Robinson and whispered something to him” (214).
Your quote: For example, before leaving the courtroom Atticus “[goes] to the court reporter and [says] something, [nods] to Mr. Gilmer, and then [goes] to Tom Robinson and [whispers] something to him” (214).
Reminders:
1. Never put periods or commas immediately before the closing quotation mark.
2. Never write pg./p./pp., etc. inside the parentheses. The only thing that can appear inside the parentheses are Arabic numbers.
3. Never put only the first quotation mark at the end of a line or the last quotation mark at the beginning of a line by itself.
4. Use a variety of transition words and sentence structures.
Integrating Quotations
In your reading response essays, it is best to integrate quoted material smoothly into your sentence structure.
Incorrect: In “The Chrysanthemums,” we are presented with a character who is stifled by her environment. “On every side it sat like a lid on the mountains and made of the great valley a closed pot” (489). In such claustrophobic surroundings it is not surprising that Elisa has few creative and emotional outlets. “Her face was eager and mature and handsome, even her work with the scissors was over-eager, overpowerful” (489).
Correct: In “The Chrysanthemums,” we are presented with a character who is stifled by her “closed-off” environment. Even the sky above “sat like a lid on the mountains and made of the great valley a close pot” (489). In such claustrophobic surroundings it is not surprising that Elisa has few creative and emotional outlets. Her only source of fulfillment and passion is her ability to “stick anything in the ground and make it grow” (490).
Other Quoting Tips:
← If you leave out words or phrases in the middle of a quote, use an ellipses mark. Use brackets to insert changes in a quote that will make it fit your sentence structure smoothly. Example: Elisa becomes more interested when the peddler tells her of a “lady down the road [who] has got…nearly every kind of flower but no chrysanthemums” (492).
← If your quote is longer than three lines, block indent it (10 spaces from left margin, no quotation marks). Long quotes should be used sparingly, especially in short papers. They are most often introduced with a complete sentence followed by a colon.
← After quoting (especially long quotes), comment on the quote by connecting it to your ideas. A good trick is to pick up some of the language from the quote in the sentence that follows it.
← It is generally not a good idea to put quotes in the first sentence of a body paragraph (where the topic sentence should be). Quotes should be used as supporting evidence and thus should be placed towards the middle of the paragraph.
Sample Sentences Using Assertions, Data Sentences, and Quotations:
← Gatsby is not to be regarded as a personal failure. “Gatsby turned out all right at the end,” according to Nick (176).
← For Nick, who remarks Gatsby “turned out all right,” the hero deserves respect but perhaps does not inspire great admiration (176).
← “I know you blame me,” Mrs. Compson tells Jason (47). Is she expressing her own sense of guilt?
← Vivian hates the knights for scorning her, and she dreams of achieving glory by destroying Merlin’s: “I have made his glory mine” (390).
← Cassio represents not only a political but also a personal threat to Iago: “He hath a daily beauty in his life/That makes me ugly…” (5, 1, 19-20).
← Satan’s motion is many things’ he “rides” through the air, “rattles”, and later explodes, “wanders and hovers” like a fire (63, 65, 293).
SYNONYMS FOR SAID
The following is a list of words to be used instead of always relying on said. However, they cannot all be used in every instance. You need to know the meaning of the word to know the context in which it can be used.
|acknowledged |claimed |gasped |orated |replied |
|added |coaxed |giggled |ordered |reprimanded |
|admitted |conceded |granted |outlined |requested |
|addressed |confessed |greeted |owned |responded |
|admonished |contradicted |grinned |panted |resumed |
|advised |corrected |groaned |petitioned |retorted |
|advocated |counseled |grumbled |pleaded |revealed |
|affirmed |countered |haggled |pointed out |roared |
|agreed |cried |hesitated |pontificated |ruled |
|alleged |croaked |hinted |praised |sassed |
|announced |crowed |imparted |prayed |scoffed |
|answered |dared |implied |preached |scolded |
|argued |decided |imposed |presented |scowled |
|articulated |declaimed |indicated |proclaimed |shouted |
|asked |declared |inferred |proffered |sighed |
|assented |decreed |informed |projected |simpered |
|asserted |delivered |inquired |pronounced |smiled |
|assured |demanded |insinuated |proposed |smirked |
|attested |denied |insisted |protested |snapped |
|atoned |denounced |interjected |proved |sneered |
|averted |described |interrogated |queried |snickered |
|avowed |dictated |jeered |questioned |speculated |
|babbled |directed |jested |quibbled |sputtered |
|bantered |disclosed |lamented |quipped |squelched |
|bawled |disrupted |laughed |quizzed |stammered |
|begged |divulged |lectured |quoted |stated |
|bemoaned |drawled |lied |ranted |stipulated |
|berated |droned |maintained |reasoned |stormed |
|bet |elaborated |mentioned |rebuked |stuttered |
|blurted |ended |mimicked |rebutted |suggested |
|boasted |entreated |moaned |recited |supposed |
|bragged |enumerated |mocked |recounted |swore |
|broached |enunciated |mumbled |refuted |talked |
|bugged |equivocated |murmured |regretted |taunted |
|cajoled |espoused |muttered |reiterated |tempted |
|called |estimated |nagged |rejoiced |theorized |
|carped |exclaimed |named |rejoined |vocalized |
|cautioned |exhorted |narrated |related |volunteered |
|challenged |explained |needled |remarked |wailed |
|chatted |expostulated |noted |reminded |wept |
|cheered |faltered |objected |renounced |whispered |
|chuckled |fretted |observed |repeated |wondered |
|cited |fumed |offered |reported |yelled |
Transitions and Paragraph Hooks
Transitions and paragraph hooks are connections between writing units that signal relationships between ideas and convey the unity of the entire piece.
TRANSITIONS
Addition signals: one, first of all, second, the third reason, also, next, another, and, in addition, moreover, furthermore, finally, last of all, again, additionally, besides, likewise, as well, along with
Time signals: first, then, next, after, as, before, while, meanwhile, soon, now, during, finally, until, today, tomorrow, next week, yesterday, afterward, immediately, as soon as, when
Space signals: next to, across, on the opposite side, to the left, to the right, above, below, nearby, against, along, around, beneath, between, in back of, in front of, near, off, onto, on top of, outside, over, throughout, under
Change of direction signals: but, however, yet, in contrast, although, otherwise, still, on the contrary, on the other hand, even though
Illustration signals: for example, for instance, specifically, as an illustration, once, such as, in other words, that is, put in another way
Conclusion signals: therefore, consequently, thus, then, as a result, in summary, to conclude, last of all, finally, all in all
Emphasis signals: again, to repeat, for this reason, truly, in fact
PARAGRAPH HOOKS/CONNECTIONS
Repeated words: repeating key words can help tie a paragraph or longer writing together
Pronouns: using pronouns to take the place of words or ideas can help you avoid needless repetition
Synonyms: using synonyms for some words can increase variety and interest and help the reader move from one step in the thought of the paper to another
NOTE: Transitions, when used sparingly and accurately, add to the overall polished effect of your writing. However, the overuse or incorrect use of transitions can create an artificial or “’canned” effect and can also create confusion in your readers. Be familiar with the expressions, but in addition, become more aware of the ways in which published writers employ transition to accomplish their ends.
AVOIDING COMMON WRITING ERRORS
1. Write in active, not passive, voice (e.g., The information confused the student instead of The student was confused by the information).
2. Punctuate compound sentences correctly to avoid comma splices and run-ons.
3. Avoid contractions. Then you will never confuse the contraction it’s (meaning it is or it has) with the possessive pronoun its (e.g., The dog wagged its tail).
4. Avoid announcing your intentions (This report will examine; In this paper I will argue).
5. Develop your paragraphs. One or two sentences cannot form a developed paragraph.
6. Vary your sentence pattern by combining sentences to create a balance of complex, simple, and compound patterns.
7. Avoid opening your paper with a “dictionary definition” and ending your paragraphs with a “concluding” sentence.
8. Avoid the excessive use of the expletives there is; there are; there would have been.
9. Avoid redundant rhetoric (separate out; focus in on; exact same).
10. Eliminate empty phrases: in today’s society (in today’s anything); hopefully; in my opinion; due to the fact
11. Replace the words he/she or him/her with a plural subject if appropriate: Students realize they must develop solid study habits replaces A student realizes he/she must develop solid study habits.
12. Avoid the use of this, that, which, and similar pronouns to cover more than one specific antecedent (the noun or pronoun that the pronoun refers to).
13. Avoid faulty predication or faulty pronoun reference: This is when; The reason is because; In the book it says…
14. Avoid shifting voice: The speech students learned that you had to prepare carefully to hold an audience’s attention.
15. Distinguish subjective from objective forms of pronoun case; he/him; she/her; they/them; we/us; etc.
16. Refer to a usage glossary to avoid using who’s for whose; affect for effect; loose for lose; to for too; presently for currently; etc.
17. Place quotation marks outside commas and periods; generally place them inside semicolons.
18. Adhere to the “10 percent rule” when writing introductions and conclusions. That is, your introduction as well as your conclusion should each measure around 10 percent of the length of the entire paper.
19. Underline or italicize only that portion of a title you borrow from another author.
20. Avoid the use of the verb feel when you think or believe (e.g., The character feels like he needs to get revenge. The character believes that is acceptable usage. )
21. Refer to an author’s full name only when is it initially used; thereafter, use last name only and with few exceptions, never with a title such as Dr. or Ms. (Doctor Johnson replaces Samuel Johnson, a notable exception.)
22. Indent four lines or more of quoted material without the use of quotation marks because indention in itself is the “signpost” to your reader that you have borrowed the information. Use a single quotation mark, however, to indicate a speaker within the indented citation.
23. Introduce long quotations with a colon and always offer some analysis or commentary (not summary) before or after the introduction of a quotation.
24. Underline or italicize those works that are long enough to be published separately. They include television sitcoms, movies, epic poems, and music albums.
25. Space ellipses correctly, space/period/space/period/space/period ( . . . )
26. Use brackets to reflect a change in capitalization if different from the text you are quoting: John Kennedy’s philosophy was to ‘[a]sk what you can do for your country.’
27. Stay in literary or historical present tense when “in the text”: As Shakespeare characterizes him, Hamlet is (not was) a tragic figure.
28. Spell out all numbers ten and below. Always spell any number if it is the first word of the sentence.
29. Distinguish the narrator’s or speaker’s voice from the author’s when you analyze literary works (for poetry, the speaker’s voice replaces the narrator’s).
30. Avoid using a quotation as a thesis statement or topic sentence.
31. Avoid using an ellipsis to indicate an omission from the beginning of a quotation.
32. Reserve the term quote as a verb, the term quotation as a noun (She wants to quote one portion of the quotation).
Revision Involves Changes
Adding
• completely new thoughts
• the other side of an issue
• explanation of thoughts and ideas
• examples, illustrations
• a specific audience
• a clarifying metaphor or analogy
• specific details
• vivid, fresh adjectives and adverbs
Deleting
• irrelevant passages, no matter how fond you are of them
• broad descriptions and vague generalizations which prevent in-depth discussion of a sharply focused topic
• weak beginnings
• pointless details
• lifeless, taking-up-space words and phrases
Substituting
• one purpose for another (e.g. a primarily informative piece changes to a primarily entertaining one)
• one tone for another
• one point of view for another
• one form of discourse for another (e.g., expressive prose changes to poetry)
• words with greater precision
• strong verbs, colorful expressions
Rearranging
• major points in least-to-most-significant order
• a striking sentence or idea to be used in the introduction or conclusion
• paragraphs into a chronological sequence
• items in a series
MLA Works Cited and Documentation Formats
ALL ENTRIES ON THE WORKS CITED PAGE SHOULD BE ALPHABETIZED BY THE FIRST LETTER OF THE AUTHOR'S LAST NAME OR THE TITLE IF THE PUBLICATION DOES NOT HAVE AN AUTHOR.)
[Book]
Ruiz, Ramon Eduardo. Triumphs and Tragedies: A History of the Mexican People. New York: Norton, 1992.
[Book-Two or three authors]
Gilbert, Sandra M., and Susan Gubar. Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale UP, 1979.
[Book-Editor]
Nabokov, Peter, ed. Native American Testimony: A Chronicle of Indian-White Relations from Prophecy to the Present. New York: Viking-Penguin, 1991.
[Book-Editors]
Pryor, Karen, and Kenneth S. Norris, eds. Dolphin Societies: Discoveries and Puzzles. Berkley: U of California P, 1991.
[Encyclopedia]
“Mandarin.” The Encyclopedia Americana. 1993 ed.
[Periodicals – Non-Scholarly – Printed every week to two weeks]
Carahan, Frances. “What a World!” Early American Life. April 1992: 2-4.
Smith, Shelley. “Baseball’s Forgotten Pioneers.” Sports Illustrated. 30 Mar. 1992: 72.
[Periodicals –Scholarly – Generally printed once a month or maybe even 4 times a year]
Use the volume number after the name of the publication. If only an issue number is
given, use the issue number in place of the volume number. Do not use both issue and
volume number.
Trumpener, Katie, “Memories Carved in Granite: Great War Memorials and Everyday Life.” PMLA 115 (2000): 1096-103.
[Work in an Anthology]
Hansberry, Lorraine. “A Raisin in the Sun.” Black Theater: A Twentieth-Century Collection of the Work of Its Best Playwrights. Ed. Lindsay Patterson. New York: Dodd, 1971. 221-276.
“Of Mice and Men.” Literature and Its Times. Vol 3. Eds. Joyce Moss and George Wilson. Detroit: Gale, 1997. 269-276.
[Internet Resource]
Doe, John. “Food in Medieval Times.” Yahoo, 15 Nov. 1999. .
[Gale Group Online]
Spilka, Mark. “Of George and Lennie and Curley’s Wife: Sweet Violence in Steinbeck’s Eden.” In Modern Fiction Studies, Vol. 20, No. 2. Summer 1974, 169-179. Exploring Novels. Gale Research, 1998. Reproduced in Student Resource Center. Farmington Hills: Gale Group, Dec. 2000.
[Film]
The Grapes of Wrath. Dir. John Ford. Perf. John Carradine, Jane Darwell, and Henry Fonda. Writer. Nunnally Johnson. Twentieth-Century-Fox, 1940.
Use the following format(s) to document a quote or paraphrase from a source when writing your paper.
According to John Doe, the food of the Medieval period often included spices that were obtained through trade with Asia (2).
The food of the Medieval period “often included spices that were obtained through trade with Asia” (Doe 2).
Critic John Hubbard calls Tess “a woman of character (64).” Hubbard goes on to say that ….
Generic Scoring Guide for AP Essay Questions
|9-8 |Superior papers specific in their references, cogent in their definitions, and free of plot summary that is not relevant to the |
| |question. These essays need not be without flaws, but they demonstrate the writer's ability to discuss a prompt with insight and |
| |understanding and to control a wide range of the elements of effective composition. At all times, they stay focused on the |
| |question and the thesis. These papers reflect stylistic flair and in-depth and original concrete supporting details. |
|7-6 |These papers are less thorough, less perceptive or less specific than 9-8 papers. These essays are well-written but with less |
| |maturity and control than the top papers. They demonstrate the writer's ability to analyze a literary work, but they reveal a |
| |more limited understanding than do the papers in the 9-8 range. Generally, 6 essays present a less sophisticated analysis and |
| |less consistent command of the elements of effective writing than essays scored 7. |
|5 |Safe and "plastic," superficiality characterizes these essays. Discussion of meaning may be pedestrian, mechanical, or |
| |inadequately related to the chosen details. Typically, these essays reveal simplistic thinking and/or immature writing. They |
| |usually demonstrate inconsistent control over the elements of composition and are not as well conceived, organized, or developed |
| |as the upper-half papers. On the other hand, the writing is sufficient to convey the writer's ideas and stays focused on the |
| |prompt. |
|4-3 |Discussion is likely to be unpersuasive, perfunctory, underdeveloped or misguided. The meaning they deduce may be inaccurate or |
| |insubstantial and not clearly related to the question. Part of the question may be omitted altogether. The writing may convey |
| |the writer's ideas, but it reveals weak control over such elements as diction, organization, syntax, or grammar. Typically, these|
| |essays contain significant misinterpretations of the question of the work they discuss; they may also contain little, if any, |
| |supporting evidence, and practice paraphrase and plot summary at the expense of analysis. |
|2-1 |These essays compound the weaknesses of essays in the 4-3 range and are frequently unacceptably brief. They are poorly written on|
| |several counts, including many distracting errors in grammar and mechanics. Although the writer may have made some effort to |
| |answer the question, the views presented have little clarity or coherence. |
|0 |This score is reserved for essays that make no more than a reference to the task, those that are off-topic, and for a blank sheet.|
Tone Vocabulary
Like the tone of a speaker’s voice, the tone of a work of literature expresses the writer’s feelings. To determine the tone of a passage, ask yourself the following questions:
1. What is the subject of the passage? Who is its intended audience?
2. What are the most important words in the passage? What connotations do these words have?
3. What feelings are generated by the images of the passage?
4. Are there any hints that the speaker or narrator does not really mean everything he or she says? If any jokes are made, are they lighthearted or bitter?
5. If the narrator were speaking aloud, what would the tone of his or her voice be?
Positive Tone/Attitude Words
|Amiable |Consoling |Friendly |Playful |
|Amused |Content |Happy |Pleasant |
|Appreciative |Dreamy |Hopeful |Proud |
|Authoritative |Ecstatic |Impassioned |Relaxed |
|Benevolent |Elated |Jovial |Reverent |
|Brave |Elevated |Joyful |Romantic |
|Calm |Encouraging |Jubilant |Soothing |
|Cheerful |Energetic |Lighthearted |Surprised |
|Cheery |Enthusiastic |Loving |Sweet |
|Compassionate |Excited |Optimistic |Sympathetic |
|Complimentary |Exuberant |Passionate |Vibrant |
|Confident |Fanciful |Peaceful |Whimsical |
Negative Tone/Attitude Words
|Accusing |Choleric |Furious |Quarrelsome |
|Aggravated |Coarse |Harsh |Shameful |
|Agitated |Cold |Haughty |Smooth |
|Angry |Condemnatory |Hateful |Snooty |
|Apathetic |Condescending |Hurtful |Superficial |
|Arrogant |Contradictory |Indignant |Surly |
|Artificial |Critical |Inflammatory |Testy |
|Audacious |Desperate |Insulting |Threatening |
|Belligerent |Disappointed |Irritated |Tired |
|Bitter |Disgruntled |Manipulative |Uninterested |
|Boring |Disgusted |Obnoxious |Wrathful |
|Brash |Disinterested |Outraged | |
|Childish |Facetious |Passive | |
Humor-Irony-Sarcasm Tone/Attitude Words
|Amused |Droll |Mock-heroic |Satiric |
|Bantering |Facetious |Mocking |Scornful |
|Bitter |Flippant |Mock-serious |Sharp |
|Caustic |Giddy |Patronizing |Silly |
|Comical |Humorous |Pompous |Taunting |
|Condescending |Insolent |Quizzical |Teasing |
|Contemptuous |Ironic |Ridiculing |Whimsical |
|Critical |Irreverent |Sad |Wry |
|Cynical |Joking |Sarcastic | |
|Disdainful |Malicious |Sardonic | |
Sorrow-Fear-Worry Tone/Attitude Words
|Aggravated |Embarrassed |Mournful |Sad |
|Agitated |Fearful |Nervous |Serious |
|Anxious |Foreboding |Numb |Sober |
|Apologetic |Gloomy |Ominous |Solemn |
|Apprehensive |Grave |Paranoid |Somber |
|Concerned |Hollow |Pessimistic |Staid |
|Confused |Hopeless |Pitiful |Upset |
|Dejected |Horrific |Poignant | |
|Depressed |Melancholy |Regretful | |
|Despairing |Miserable |Remorseful | |
|Disturbed |Morose |Resigned | |
Neutral Tone/Attitude Words
|Admonitory |Dramatic |Intimate |Questioning |
|Allusive |Earnest |Judgmental |Reflective |
|Apathetic |Expectant |Learned |Reminiscent |
|Authoritative |Factual |Loud |Resigned |
|Baffled |Fervent |Lyrical |Restrained |
|Callous |Formal |Matter-of-fact |Seductive |
|Candid |Forthright |Meditative |Sentimental |
|Ceremonial |Frivolous |Nostalgic |Serious |
|Clinical |Haughty |Objective |Shocking |
|Consoling |Histrionic |Obsequious |Sincere |
|Contemplative |Humble |Patriotic |Unemotional |
|Conventional |Incredulous |Persuasive |Urgent |
|Detached |Informative |Pleading |Vexed |
|Didactic |Inquisitive |Pretentious |Wistful |
|Disbelieving |Instructive |Provocative |Zealous |
Language Words-Used to describe the force or quality of the entire piece
Like word choice, the language of a passage has control over tone. Consider language to be the entire body of words used in a text, not simply isolated bits of diction, imagery, or detail. For example, an invitation to a graduation might use formal language, whereas a biology text would use scientific and clinical language.
Different from tone, these words describe the force or quality of the diction, images, and details AS A WHOLE. These words qualify how the work is written.
|Artificial |Exact |Literal |Pretentious |
|Bombastic |Figurative |Moralistic |Provincial |
|Colloquial |Formal |Obscure |Scholarly |
|Concrete |Grotesque |Obtuse |Sensuous |
|Connotative |Homespun |Ordinary |Simple |
|Cultured |Idiomatic |Pedantic |Slang |
|Detached |Informal |Picturesque |Symbolic |
|Emotional |Insipid |Plain |Trite |
|Esoteric |Jargon |Poetic |Vulgar |
|Euphemistic |Learned |Precise | |
DIDLS: The key to unlocking tone in a piece of literature is through the following elements: diction, imagery, details, language, and syntax.
|D |(Diction) |Choose unusual and/or effective words from the passage. Evaluate the connotations of the |
| | |words and write synonyms for each. |
| | | |
| | |Then, decide what the word choice suggests about the character’s or narrator’s demeanor. |
|I |(Images) |Cite examples of imagery from the passage. Identify the sense appealed to and interpret |
| | |the meaning. |
| | | |
|D |(Details) |List facts or the sequence of events from the passage. Comment on why this order is used.|
| | |You can also comment on why certain details seem to be left out. |
| | | |
| | | |
|L |(Language) |Determine the type of language used (formal, informal, clinical, jargon, literal, vulgar, |
| | |artificial, sensuous, concrete, precise, pedantic, etc.). Cite examples. Then explain |
| | |what the author's purpose was in using this type of language. What was the effect? |
| | | |
|S |(Syntax) |How does sentence structure reveal the character’s attitude? |
| | | |
| | | |
| | | |
| | | |
Using TPCASTT for Analysis of Poetry
|T |Title |What do the words of the title suggest to you? What denotations are presented in the title? |
| | |What connotations or associations do the words posses? |
|P |Paraphrase |Translate the poem in your own words. What is the poem about? |
|C |Connotation |What meaning does the poem have beyond the literal meaning? Fill in the chart below. |
| | |Form |Diction |Imagery |
| | |Point of View |Details |Allusions |
| | |Symbolism |Figurative Language |Other Devices |
| | | | |(antithesis, apostrophe, sound |
| | | | |devices, irony, oxymoron, |
| | | | |paradox, pun, sarcasm, |
| | | | |understatement) |
|A |Attitude |What is the speaker’s attitude? How does the speaker feel about himself, about others, and about|
| | |the subject? What is the author’s attitude? How does the author feel about the speaker, about |
| | |other characters, about the subject, and the reader? |
|S |Shifts |Where do the shifts in tone, setting, voice, etc. occur? Look for time and place, keywords, |
| | |punctuation, stanza divisions, changes in length or rhyme, and sentence structure. What is the |
| | |purpose of each shift? How do they contribute to effect and meaning? |
|T |Title |Reanalyze the title on an interpretive level. What part does the title play in the overall |
| | |interpretation of the poem? |
|T |Theme |List the subjects and the abstract ideas in the poem. Then determine the overall theme. The |
| | |theme must be written in a complete sentence. |
SOAPS
A Method for Reading and Understanding Text
Rhetoric is the art of adapting the ideas, structure, and style of a piece of writing to the audience, occasion, and purpose for which the discourse is written. Since the writer uses this method in developing a piece of writing, the reader can, in turn, use it for analyzing the text. Reading for SOAPS facilitates the kind of critical thinking that leads to the writing of essays whose purpose is to argue or to evaluate.
|S |SUBJECT |This is the general topic, content, and ideas contained in the text. Be able to |
| | |state the subject in a short phrase. |
| | | |
| | | |
|O |OCCASION |This is the time and place of a piece; it is important to understand the context |
| | |that encouraged the writing to happen. |
| | | |
|A |AUDIENCE |This is the group of readers to whom the piece is directed. It may be one person, |
| | |a small group, or a large group; it may be a certain person or a certain people; an|
| | |understanding of the characteristics of the audience leads to a higher level of |
| | |understanding. |
|P |PURPOSE |This is the reason behind the text. Without a grasp of purpose, it is impossible |
| | |to examine the argument or logic of the piece. |
| | | |
|S |SPEAKER |This is the voice that tells the story; the author may be the speaker. In a |
| | |non-fiction article, if it is carefully planned and structured, it is within that |
| | |plan and structure that meaning is discovered. |
The Reading Log
(a.k.a. Reading Response Journal/Dialectical Journal/Double-Entry Journal)
A reading log is an effective way to keep a record of your reading responses-positive or negative, sure or unsure. It offers a change to respond personally, to ask questions, wonder, predict, or reflect on the characters, events, literary elements, or language of a text. Do not summarize! Instead, record your textual observations.
Instructions for keeping a reading log are as follows:
• Use notebook paper (one-side only) or you may type it
• Must have two columns (divide the page in 1/2)
• Title the column on the left “Quotations from the Text”
• Title the column on the right “Commentary/Responses to the Text”
Responses may start:
• “The imagery reveals…”
• “The setting gives the effect of…”
• “The author seems to feel…”
• “The tone of this part is…”
• “The character(s) feel(s)…”
• “This is ironic because…”
• “The detail seems effective/out of place/important because…”
• “An interesting word/phrase/sentence/thought is…”
• “This reminds me of…”
• “Something I notice/appreciate/don’t appreciate/wonder about is…”
• Or you may start with something else you feel is appropriate
• Generally each response should be 3-5 sentences and should include your analysis of the literary techniques present in the quotations, the author’s attitude, purpose or tone, and relation to personal experience.
• Show me that you have read the entire book by responding to the novel from the first to the last page. You must have a total of 20 entries (or at least one per chapter-which ever is more).
• Make sure that you note the page number for the quotes.
Your journal will be used to determine your comprehension of the text. Be sure that your responses are thorough and that you complete the journal for all chapters of the book.
Please remember that these logs are not meant to be personal diaries. They are meant to be read by others and should relate only to the assigned material. You will be sharing your journals in class, so keep this in mind as you write. When sharing, you will have the opportunity to confirm, clarify, and modify your responses through discussion. You will also find that your journals can be helpful in writing literary analysis of the text.
Bless Me, Ultima Reading Log
|Quotations from the Text |Commentary/Responses to the Text |
|“She took my hand and I felt the power of whirlwind sweep around |The imagery reveals Tony’s sense of the earth around him. As |
|me. Her eyes swept the surrounding hills and through them I saw |Ultima touches his hand, he is drawn into what seems to be a new |
|for the first time the wild beauty of our hills and the magic of |and wondrous universe. This powerful experience makes Tony think|
|the green river. My nostrils quivered as I felt the song of the |that Ultima knows his fate and that they will be close. It can |
|mockingbirds and the drone of the grasshoppers mingle with the |be inferred that their relationship will be a significant part of|
|pulse of the earth” (12). |the novel. |
|2. |2. |
To Kill a Mockingbird Reading Log
|Quotations from the Text |Commentary/Responses to the Text |
|1. “ ‘He might have hurt me a little,’ Atticus conceded, ‘but |1. The tone here is matter-of-fact. Atticus admits that Mr. |
|son, you’ll understand folks a little better when you’re older. A|Cunningham could have harmed him, but he explains that Mr. |
|mob’s always made up of people, no matter what. Mr. Cunningham |Cunningham’s actions were not entirely his own; he was influenced|
|was part of a mob last night, but he was still a man…So, it took |by the crowd as is common for many people. It takes Scout |
|an eight-year-old child to bring ‘em to their senses didn’t it?’”|recognizing him and talking to him to make Mr. Cunningham realize|
|(159-160). |that what he is doing is wrong. |
|2. |2. |
Remember, Reading Logs Should:
• Be thoughtful, insightful, and original
• Show understanding of the characters, setting, themes, and the WORK AS A WHOLE
• Be thorough and complete
o Each commentary entry must be 3-5 sentences and written in the present tense
o Quotations should feature proper punctuation and the page reference in parentheses as above
Annotating Texts
ANNOTATING simply means marking the page as you read with comments and/or notes.
The principle reason you should annotate your books is to aid in understanding. When important passages occur, mark them so that they can be easily located when it comes time to write an essay or respond to the book. Marking key ideas will enable you to discuss the reading with more support, evidence, and/or proof than if you rely on memory. Since books are considered school property, if you wish to annotate them, try using post-it notes. These can be written on with your important comments and removed when you turn the book in; however, these annotation skills are very important as you write AP essays. As you read passages, annotate as you go so you do not have to completely reread the text to find your examples.
ANNOTATING MAY INCLUDE:
o Highlighting key words, phrases, or sentences
o Writing questions or comments in the margins
o Bracketing important ideas or passages
o Connecting ideas with lines or arrows
o Highlighting passages that are important to understanding the work
o Circling or highlighting words that are unfamiliar
SPECIFIC ITEMS FOR ANNOTATION MIGHT INCLUDE:
o Character description
o Literary elements (symbolism, theme, foreshadowing, etc.)
o Figurative language (similes, metaphors, personification, etc.)
o Plot elements (setting, mood, conflict, etc.)
o Diction (effective or unusual word choice)
o Vocabulary words
HOW TO ANNOTATE A TEXT:
UNDERLINING-This stands out from the page and allows you to scan a page quickly for information. Be careful not to mark too much—if everything is marked, then nothing becomes important!
BRACKETS [ ]-If several lines seem important, place a bracket around the passage, then highlight or underline only key phrases within the bracketed area. This will draw attention to the passage without cluttering it with too many highlighted or underlined sentences.
ASTERISKS *-This indicates something unusual, special, or important. Multiple asterisks indicate a stronger degree of importance.
MARGINAL NOTES- Making notes in the margin allows you to: ask questions, label literary elements, summarize critical elements, explain ideas, make a comment, and/or identify characters.
PRACTICE:
The following passage is taken from Bless Me, Ultima by Rudolfo Anaya. Read the passage carefully making annotations as you read. Remember you may highlight/underline, use brackets and/or asterisks, and make notes in the margins.
“The lime-green of spring came one night and touched the river trees. Dark buds appeared on branches, and it seemed that the same sleeping sap that fed them began to churn through my brothers. I sensed their restlessness, and I began to understand why the blood of spring is called the bad blood. It was bad not because if brought growth, that was good, but because it raised from dark interiors the restless, wild urges that lay sleeping all winter. It revealed hidden desires to the light of the new warm sun.” (65)
RULES FOR LITERARY ANALYSIS
THE NEVER RULES
х Never use plot summary.
х Never use “no-no” words. (a lot, very, really, a bunch, abbreviations, etc.)
х Never address the author by first name, or as Mrs., Ms., Miss, or Mr.
х Never rate the author’s work or style (by saying “He does an excellent job of portraying the theme.” Or “The book is wonderful.”)
х Never explain the technique that you are writing about (like “Irony is expecting one thing to happen and the opposite occurring.”)
THE ALWAYS RULES
✓ Always have a strong thesis.
✓ Always put quotations around the title of a poem or short story.
✓ Always underline the title of a novel or book.
✓ Always refer to the author by his/her full name or last name only.
✓ Always use quotations as concrete details (CDs) whenever possible.
✓ Always avoid use of “be” verbs.
✓ Always make the conclusion worth reading by including new insightful analysis, connection to another similar work of literature, and an interesting, yet relevant, ending (a quote if possible).
Theme Statements
Complete the following sentence using the instructions below:
[Title] is a novel/short story/poem/essay about ____________________________________. It shows that ______________________________________________________________.
1. Place a single word or a short phrase (an abstract idea or concept) in the first blank. Then explain the truth about human condition as it relates to the work.
2. Your completion of the sentence should show insight into the issues in the novel. You should ask yourself: “What is the book really about?”
3. Do not complete the sentence with plot summary. Do not just tell what happens in the story.
Ex 1: Huck Finn is a book about the horrors of slavery and the denigration of human beings.
Ex 2: Huck Finn is a book about one person’s ethical stand against the immoral practices of society.
Ex 3: Huck Finn is a book about the hypocrisy of religion.
The length of the sentence is up to you, but it must be only one sentence. You may choose to write a lengthy statement or a short one, but insightfulness is key!
Abstract Ideas and Concepts to Consider:
|Alienation |Falsity/pretense |Music/dance |
|Ambition |Family/parenthood |Mysterious/stranger |
|Appearance v. reality |Free will/will power |Persistence/perseverance |
|Custom/tradition |Games/contests/sports |Patriotism |
|Betrayal |Greed |Poverty |
|Bureaucracy |Guilt |Prejudice |
|Chance/Fate/Luck |Heaven/paradise/utopia |Prophecy |
|Children |Home |Reason |
|Courage/cowardice |Initiation |Repentance |
|Cruelty/violence |Illusion |Resistance/rebellion |
|Defeat/failure |Innocence |Revenge/retribution |
|Despair/discontent/disillusionment |Instinct |Ritual/ceremony |
|Domination/suppression |Journey |Scapegoat/victim |
|Dreams/fantasies |Law/justice |Social status |
|Duty |Loneliness |Supernatural/time/eternity |
|Education/school |Loyalty |War |
|Escape |Materialism |Women/feminism |
|Exile |Memory | |
|Faith/loss of faith |Mobs | |
POINT OF VIEW
QUESTIONS TO CONSIDER
What is the dominant point of view from which the story is told? Does the point of view create irony? How?
If told in first-person, does the narrator seem reliable? Why or why not? If told in third person, is the narrator omniscient? If so, is the omniscience overall or limited to one character?
How does the point of view accomplish the author’s purpose? How does the point of view contribute to meaning? Is there anything unusual about this point of view?
Does the point of view shift at any point? What is the purpose of the shift?
How would the story change if told in a different point of view?
The Various “-Isms” of Fiction
In discussing literature, critics often use terms such as realistic, romantic, naturalistic, impressionistic, and expressionistic. The terms are so elastic that definitions are elusive. Each suggests a characteristic cluster of traits.
|Romanticism |Emphasizes emotion, imagination, and individualism |
| |Values the ideal and transcends the real |
| |Stresses subjectivity, love of nature, and the solitary life |
| |Idealizes spontaneity, freedom, and rural life |
| |Values awe, mystery, and sometime mysticism |
| |Associates human moods with moods of nature |
| |Displays fascination with the past |
| |Espouses individual freedom and human rights |
| |Often associated with youthful idealism and emotionalism |
| |At its worst becomes self-indulgent and sentimental |
| |(Nathanial Hawthorne, Edgar Allen Poe, and the American Transcendentalists) |
|Realism |Values the actual |
| |Opposes idealism |
| |Stresses the here and now striving for an accurate portrayal of life as it is |
| |Focuses on ordinary people in ordinary situations |
| |Explores characters’ problems and conflicts, often stressing ethical issues |
| |Also emphasizes the individual, but is pragmatic |
| |Implications shift with philosophical changes in what is considered “real” |
| |(Mark Twain and Henry James) |
|Naturalism |An outgrowth of realism |
| |Stresses biological and socioeconomic determinism |
| |Values underlying scientific principles |
| |Presents life as a brutal struggle to survive |
| |Somber and pessimistic |
| |Atmosphere is often sordid and violent |
| |Characters tend to be ordinary people motivated by animalistic drives, responding to internal and external forces |
| |they neither can control nor understand |
| |(Stephen Crane) |
|Impressionism |Derives from 19th century French impressionist painters who were especially interested in uses of light to suggest |
| |subjective impressions of reality |
| |Stresses the perceptual responses of the audience |
| |Focuses on the inner life and perceptions of a single character, usually in a single passing moment |
| |Highly selective details combine to suggest fleeting impressions |
| |(Virginia Woolf and some James Joyce works) |
|Expressionism |Term borrowed from art criticism |
| |Uses distortion and fantasy to eternalize emotions and moods, especially experiences of disorientation and imbalance |
| |Transcends life as it appears to be, using symbols and abstractions to present life as it feels |
| |De-emphasizes the individual |
| |Freely disregards formal rules to suit the author’s purpose |
| |Emphasizes the unreal, often nightmarish actions and atmosphere |
| |(Franz Kafka) |
Note: More often, critics describe a work as being more or less realistic or romantic.
Teaching Archetypes
CHARACTERS
|The Hero | |
|The Scapegoat | |
|The Devil Figure | |
|The Initiates | |
|The Mentors | |
|The Friendly Beast | |
|The Creature of | |
|Nightmare | |
|Loyal Retainers | |
|Star-Crossed Lovers | |
|Young Man from the | |
|Provinces | |
|Hunting Group of | |
|Companions | |
|The Outcast | |
|The Woman Figure |Earthmother: |
| |Temptress: |
| |Platonic Ideal: |
| |Unfaithful Wife: |
| |Damsel in Distress: |
SITUATIONS
|Creation | |
|Death and Rebirth | |
|The Quest | |
|The Task | |
|The Initiation | |
|The Journey | |
|The Fall | |
|Escape from Time | |
|Nature vs. The | |
|Mechanistic World | |
|Battle of Good and Evil | |
|The Unhealable Wound | |
|The Ritual | |
|The Magic Weapon | |
SYMBOLS AND ASSOCIATIONS
|Light-Darkness | |
|Water-Desert | |
|The Sea | |
|Rivers | |
|Heaven-Hell | |
|Sun | |
|Colors |Red |
| |Green |
| |Black |
| |White |
|Circle | |
|Wind and Breath | |
|Ship | |
|Garden | |
|Innate Wisdom v. | |
|Educated Stupidity | |
|Supernatural | |
|Intervention | |
|Fire vs. Ice | |
GUIDED GRADED DISCUSSION
STUDENT GUIDELINES:
• The purpose of the graded discussion is to promote the intelligent exchange of ideas and to develop the skills that make that exchange happen.
• The discussion is effective because it is based on common courtesy and thoughtful, mature interaction among peers.
• The discussion begins with the student facilitator offering his/her personal observation on the subject at hand. He/she might read a quote or refer to a page and its content.
• Another student then responds to the idea opened by the facilitator. There will be no hand-raising or verbal calling out for the ‘floor’.
• The next student simply responds, and this continues with other students responding in turn. No two people may speak at the same time. It is the job of the facilitator to remind discussion members of this as necessary.
• After three or four points have been made on one question, the facilitator should direct the discussion to another question, and he/she should encourage the flow of discussion and prevent back-and-forth exchanges between two students. The focus should be kept on the material under consideration. New ideas should be generated by a quote or a direct reference to the text.
• It is the student’s responsibility to join the discussion and to participate. However, if the discussion stops, the facilitator may call upon someone who has not yet spoken.
• Students should avoid belittling comments or argumentative remarks.
• Total points will be awarded based upon the quantity and quality of responses during the class period. Side conversations and inappropriate interruptions will result in a deduction of points.
TIPS FOR ORAL PRESENTATIONS
When you are invited to present material to a group, whether it be within the classroom setting, a work-related environment, or any situation in which you will be evaluated on your performance, here are a few commonsense tips:
1. Do not ever chew gum, candy, or anything else during a presentation.
2. Avoid jewelry or clothing which could distract your audience’s attention from your material and your delivery. A conservative appearance is best, unless the subject of the presentation itself calls for a special uniform or costume.
3. Never wear a cap or hat unless it is part of a costume needed for your presentation.
4. Keep your hands away from your face and hair. Hold your hands at your side, in a relaxed posture, or lightly place your hands at the edge of the podium.
5. Stand up straight. Do not lean against the podium or appear to be supporting your weight against it.
6. Maintain as much eye contact with your audience as possible, although it is all right to glance at notes frequently and as needed.
7. As you plan your presentation, keep the requirements and time limitations in mind. Practice several times and commit as much of your presentation to memory as possible.
As a member of the audience, keep in mind that your classmate or co-worker deserves your full attention. You would like to have everyone’s full attention and respect when it is your turn to present.
Giving full attention to a speaker includes:
← LOOKING AT HIM/HER AND MAINTAINING A COMFORTABLE LEVEL OF EYE CONTACT
← SITTING AS STILL AS POSSIBLE
← APPEARING TO LISTEN AND OFFERING SOME KIND OF NON-VERBAL ENCOURAGEMENT
Giving full attention to a speaker does not include:
х TURNING THE PAGES OF A MAGAZINE OR BOOK
х SHUFFLING THROUGH A STACK OF PAPERS OR A NOTEBOOK
х WHISPERING TO THE PERSON NEXT TO YOU
х DIGGING AROUND IN YOUR PURSE OR BOOKBAG
х SLEEPING OR GIVING THE IMPRESSION OF TOTAL BOREDOM
х GAZING OUT OF THE WINDOW OR ANYWHERE BESIDES AT THE SPEAKER
If you must leave the room during oral presentations, try to wait until one speaker has finished and leave before the next speaker begins. It is extremely distracting to a speaker to have a member of the audience stand and walk around in the room when he or she is trying to concentrate on the delivery of the material. Obviously, emergency situations do arise, so if you must leave, be as discreet and quiet as possible.
Recommended Resources for
PAP/AP English Students
These resources are listed using MLA documentation and are thus in alphabetical order by author and not organized by order of recommendation.
Casson, Allan. Advanced Placement: English Literature and Composition Preparation Guide. Cliffs: Lincoln, 1993.
Murphy, Barbara and Estelle Rankin. 5 Steps to a 5: AP English Language. McGraw-Hill: New York, 2002.
Murphy, Barbara and Estelle Rankin. 5 Steps to a 5: AP English Literature. McGraw-Hill: New York, 2002.
Swovelin, Barbara V. Advanced Placement: English Language and Composition Preparation Guide. Cliffs: Lincoln, 1993.
Students will also find it useful to obtain their own copy of each of the following:
❑ Major novels taught in class,
❑ A dictionary of allusions,
❑ A current MLA handbook, and
❑ A handbook of literary terms
Note: Many of these items can often be obtained from used bookstores!
Resources for this Handbook
This handbook was adapted and edited by the English Department at BBHS. It relies mainly on the handbook compiled by Mary Lynn Mosier from Van Vleck High School. Many thanks go to Ms. Mosier for her permission to adapt her school's handbook. The following resources were also used in the development of this handbook
Crest, Catherine Bartlett. Teacher’s Guide—AP English Literature and Composition. College Board, 1999.
McIntire, Debra. Introduction Materials: Summer Institute for Advanced Placement Literature and Composition. 2002.
Potts, Mary Jo. Teacher’s Guide—AP English Language and Composition. College Board, 1998.
Roe, Mary Lynn. PAP/AP English Handbook Van Vleck High School. 2004.
Schaffer, Jane. Teaching the Multiparagraph Essay. Jane Schaffer Publications, 1995.
Student Handbook: Advanced Placement English Program. Yukon High School, 2001.
The AP Vertical Teams Guide for English, 2nd ed. College Board, 2002.
-----------------------
Clifford Adelman, noted author and senior research analyst for the U.S. Department of Education, conducted a long-term study which tracked the educational experiences of a large national sample of high school students from 10th grade through college. The recently published findings are significant. Adelman found that students who took challenging courses while in high school had a much better chance of finding success in college, and particularly, a much higher chance of finishing a bachelor’s degree than their classmates who chose easier, less demanding classes. Transcript grades and entrance exam scores were much less significant indicators. In addition, the current trend among college admissions officers is to give much more weight and consideration to the courses which students have taken in high school than to admission test scores (ACT, SAT, etc.) and overall high school grades. In an age of concern over grade inflation and national discussion over the value of standardized tests, this fact remains clear. Students who have had the opportunity to take advanced courses while in high school are more likely to find success in the university classroom. It is a fact which students (and their parents) need to know as they plan their courses of study from 9th through 12th grade. The Advanced Placement curriculum with its standards of instruction based upon a national exam and extensive faculty in-service through workshops sponsored by the College Board can provide the best and most thorough curricula to reach this end.
For Department Use Only:
Date Log Turned In: _________ Log Rating: _____ Novel Test Date: ________ Score: ____
TAAS Scores Grade 8 or 10 Reading TLI: ____________ Writing Composition Score: ________
2001-2002 Teacher Sign-off: ______________________ 2001-2002 English Average: _______
Name, Class Period
Title: Author:
Protagonist:
Major Characters: (Names and a few words to identify them)
Point of View:
Setting(s):
Tone (3 words):
Irony: (2 examples with brief explanation)
Symbols: (2 major ones with brief explanation)
Thematic Statement (avoid moralizing)
Explanation of Title:
Memorable Quote: (related to a character or theme, MLA documentation)
Plot Summary: 175 words, record key elements (inciting incident, rising action, major conflict, climax, resolution/denouement)
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