Effective Writing Notes

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0 height="100%"><tr> <td valign="top" width=200 BGCOLOR="#FFFFFF" TEXT="#080000"> <bR> </td> <td valign="top" BGCOLOR="#FFFFFF" TEXT="#080000"> <div> <FONT SIZE="5" COLOR="#000000" FACE="Arial" ><B>Mr. Fleck's World of English</B></FONT>    |     <A HREF="index.htm" TARGET="_top" TITLE="Mr. Flecks World of English"><U>home</U></A></div> <div> <A HREF="id17.htm" TARGET="_top" TITLE="Meet Your Teacher"><U>Meet Your Teacher</U></A>   |   <A HREF="id18.htm" TARGET="_top" TITLE="Assignments"><U>Assignments</U></A>   |   <A HREF="id19.htm" TARGET="_top" TITLE="Related Links"><U>Related Links</U></A>   |   <A HREF="id20.htm" TARGET="_top" TITLE="Contact Me"><U>Contact Me</U></A>   |   <A HREF="id21.htm" TARGET="_top" TITLE="Myth Notes"><U>Myth Notes</U></A>   |   <A HREF="id22.htm" TARGET="_top" TITLE="Cinema Notes"><U>Cinema Notes</U></A>   |   <A HREF="id23.htm" TARGET="_top" TITLE="Cinema Review Sheets"><U>Cinema Review Sheets</U></A>   |   <A HREF="id24.htm" TARGET="_top" TITLE="Blank Review Sheet"><U>Blank Review Sheet</U></A>   |   <B>Effective Writing Notes</B>   |   <A HREF="id26.htm" TARGET="_top" TITLE="Comp I Notes"><U>Comp I Notes</U></A>   |   <A HREF="id27.htm" TARGET="_top" TITLE="Speech Notes"><U>Speech Notes</U></A>   |   <A HREF="id28.htm" TARGET="_top" TITLE="AP Notes"><U>AP Notes</U></A></div> <div> Effective Writing Notes</div> <div> <B><IMG SRC="05174730.jpg" border=0 width="116" height="115" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <B>Effective Writing Syllabus</B></div> <div> Mr. Fleck (fleckwil@libertyk12.org)</div> <bR> <div> This is a half-year English course for college and non-college bound seniors.  Students will write a number of pieces designed to prepare them for life beyond high school.  Pieces will include:</div> <bR> <div> --resumes, cover letters</div> <div> --business letters, friendly letters</div> <div> --job applications, college applications</div> <div> --credit requests</div> <div> --recommendation requests</div> <div> --opinion pieces</div> <div> --compare-contrast essays</div> <div> --letters of complaint, letters of commendation, letters of recommendation</div> <div> --persuasive essays, compositions</div> <div> --letters to government officials</div> <div> --expository essays</div> <div> --various creative pieces</div> <div> --a research paper</div> <bR> <div> Emphasis will be placed on effective communication and mechanics (including spelling, usage, paragraphing, etc.).</div> <div>   </div> <div> Grade: 12</div> <div> Length: 20 weeks</div> <div> Evaluation: written works, class participation</div> <div> Prerequisites: Successful completion of English 11</div> <div> Credit: 1/2</div> <bR> <div> Grading:  Pieces will be evaluated closely; some reading is required as well (materials</div> <div>                 Will be provided by the instructor).</div> <div>                 </div> <div>                 Class participation is factored in.</div> <bR> <div> <I>The instructor reserves the right to make changes as time and common sense dictate</I>.</div> <bR> <div> Stay in touch!  My website:  </div> <bR> <div> http://www.libertyk12.org/highschool/academics/eng/fleck/index.html</div> <bR> <div>                                                                       *   *   *</div> <bR> <div> Effective Writing Style Sheet</div> <bR> <div> For our purposes, please use the following standardized styles:</div> <bR> <div>  1. <U>Underline</U> book, movie, CD, and play (of more than three acts) titles.</div> <div>  2. Put "quotation marks" around short story, poem, song, and play (three acts or less) titles.</div> <div>  3. Write out all numbers zero through ten, then use numerals for numbers above ten (and use common sense for negative numbers).</div> <div>  4. Always write out the word "and."  Don't use "&" or "+", <I>etc.</I></div> <div>  5. Always capitalize the first letter of a sentence.</div> <div>  6. Always capitalize the first letter of first and last names.</div> <div>  7. Always indent to start a new paragraph.</div> <div>  8. Always punctuate the end of a sentence (?/!/.)</div> <div>  9. Change paragraphs when you change the subject.</div> <div> 10. "There" is always a place.</div> <div> "Their" always shows possession.</div> <div> "They're" is always a contraction for "they are."</div> <div> 11. "To" is an article indicating direction.</div> <div> "Too" means "also."</div> <div>               "Two" is the number 2.</div> <bR> <div>                                                                *   *   *</div> <bR> <div> Short Story (Assignment #1)</div> <bR> <div> Goal: To write an original short story</div> <bR> <div> <B>BASIC ELEMENTS OF STORY CONSTRUCTION</B></div> <bR> <div> The stuff that all stories need to be good.</div> <bR> <div> Setting - when and where a story happens</div> <div> Plot - what happens in a story</div> <div> Characters - people or people-like things in a story</div> <div> Conflict - problems in a story</div> <div> Climax - high point where the problems are solved</div> <div> Resolution - the end</div> <bR> <div> <B>CHARACTERS</B></div> <bR> <div> A great place to begin, because short stories are generally character-driven</div> <bR> <div> Types:</div> <bR> <div> Protagonist - main character</div> <div> Antagonist - enemy/villain</div> <div> Active - makes things happen</div> <div> Passive - reacts</div> <div> Dynamic - makes changes</div> <div> Static - stays the same</div> <bR> <div> <B>JUDGING CHARACTERS</B></div> <bR> <div> As in life, we make judgments about characters based upon:</div> <bR> <div> What They SAY</div> <div> --speech patterns, accents, diction</div> <div> --subject matter</div> <div> --attitude</div> <bR> <div> What They DO</div> <bR> <div> --activities</div> <div> --dress/grooming</div> <div> --job/responsibility</div> <div> --friends</div> <bR> <div> What Other Say ABOUT Them (least reliable)</div> <bR> <div> --"rep"</div> <bR> <div> These skills we have in life can aid us in…..</div> <bR> <div> <B>CREATING CHARACTERS</B></div> <bR> <div> While there is no right way or wrong way to do this, the following guidelines can be useful:</div> <bR> <div> Models - basing characters on something that exists all ready</div> <bR> <div> --real people</div> <div> --other fictional characters (TV, movies, books, <I>etc</I>., <I>e.g.,</I> Indiana Jones, a mish-mash</div> <div>     of James Bond, Ronald Reagan in <U>Hong Kong</U>, George Lucas's dog, <I>etc</I>.)</div> <div> --historical figures</div> <div> --qualities (<I>e.g.,</I> love, hate, etc.)</div> <div> --archetypes (cultural familiars, <I>e.g., </I>Robin Hood, Hercules)</div> <div> --personification (giving non-humans human characteristics, <I>e.g.,</I> every Disney film ever</div> <div>    made!)</div> <bR> <div> GETTING STARTED WITH CHARACTERS</div> <bR> <div> How Do They LOOK?</div> <div> --height, weight</div> <div> --eye, hair color</div> <div> --dress/grooming</div> <bR> <div> What's In Their LIFE?</div> <div> --job</div> <div> --family/kids</div> <div> --home</div> <div> --likes/dislikes</div> <bR> <div> Fill This In to Start:</div> <bR> <div> Name: _____________________________  Ht: _______  Wt:__________</div> <bR> <div> Eyes: __________ Hair: _______________ JOB: ____________________</div> <bR> <div> Spouse: ________________________ Kids: ________________________</div> <bR> <div> ____________________________________________________________</div> <bR> <div> Parents: _____________________________________________________</div> <bR> <div> Education: _____________________________________________________</div> <bR> <div> Other: _________________________________________________________</div> <bR> <div> _______________________________________________________________</div> <bR> <bR> <div> <B>CONLICT</B></div> <bR> <div> Consider your character in relation to the following:</div> <bR> <div> Internal Conflict (stuff inside that causes trouble)</div> <bR> <div> --psychological disorders</div> <div> --self-esteem issues</div> <div> --drug/alcohol abuse</div> <div> --chemical imbalances</div> <bR> <div> External Conflict (stuff outside of us that causes problems)</div> <bR> <div> --human vs. human (the antagonist stuff)</div> <div> --human vs. society</div> <div> --human vs. nature</div> <div> --human vs. technology</div> <bR> <div> Where we (and so, too, our characters) can find conflict:</div> <bR> <div> --geography (where we live)</div> <div> --economy</div> <div> --demography (who lives around us)</div> <div> --technology</div> <bR> <div> <B>STARTING THE STORY</B></div> <bR> <div> If you have no place else to start, take a hint from the movies, and grab your reader's attention RIGHT AWAY:</div> <bR> <div> --introduce the conflict almost instantly if possible</div> <div> --You might consider using a flashback.  For instance:</div> <bR> <div>           The first punch flattened John's nose, causing the blood to spurt on the floor.  </div> <div>     Before he could recover, the second caught his temple and almost blacked him out.</div> <div>     How did I get in THIS mess? John thought.</div> <div>            The day had started normally enough.  John had eaten eggs and toast for break-</div> <div>     fast, never guessing an hour later, he'd be getting pummeled.  The trip to school…."</div> <bR> <div> --write to the POINT; avoid the temptation to over-describe people and places</div> <div> --use dialogue, but keep it <I>moving</I>; avoid unnecessary speech</div> <bR> <div> BAD:</div> <div>      </div> <div>      Mary Ann picked up the phone.  It was Doris.</div> <div>      "Hi, Mary Ann."</div> <div>      "Hi, Doris.  I'm doing my math homework."</div> <div>      "I hate math."</div> <div>      "Me, too."</div> <div>       "Let's throw the teacher out of the window,"</div> <div>       "He's too fat."</div> <div>       "Yeah, I know.  His head would get stuck."</div> <div>       "I just don't get that class."</div> <div>       "Yeah.  Who needs it?"</div> <div>       "Not me."</div> <div>       "For sure."</div> <div>       "Oh, by the way, I'm pregnant."</div> <div>       "Oh, my God!  Does John know?"</div> <div>       "It isn't his."</div> <div>       "Oh my God!"</div> <bR> <div> BETTER:</div> <bR> <div>      Mary Ann picked up the phone.  It was Doris.  The two chatted about school a little, then Doris dropped the bomb:</div> <div>      "I'm pregnant."</div> <div>      "Oh, my God," Mary Ann said.  "Does John know?"</div> <div>      Doris paused.  "It isn't his."</div> <div>      "Oh my God…."</div> <bR> <div> <I>Use these guidelines as you need to, and please follow the directives of the style sheet in your story</I>.</div> <bR> <div>                                                                         *   *   *</div> <bR> <div> <B>NARRATIVE </B>(Assignment #2)</div> <bR> <div> From the root word "narrate," meaning to tell a story; a narrative in this sense is creatively telling the story of something that actually happened.</div> <bR> <div> <B>FINDING MATERIAL</B></div> <bR> <div> Your own life, or the life of someone you know, is always a goldmine for material for an assignment like this.  Think about things that may have happened:</div> <bR> <div> --at work</div> <div> --at school</div> <div> --while on vacation</div> <div> --while hanging out with friends</div> <div> --while alone in some spooky place</div> <div> --while stuck in traffic</div> <div> --while being forced to be around people you don't like</div> <div> --while….</div> <div>                      …Well, you get the idea.</div> <bR> <div> <B>SHAPE THE MATERIAL</B></div> <bR> <div> We've all told stories.  When we're talking with friends, we shape those stories naturally.  We concentrate on the dramatic, funny, or sad parts, and often eliminate the boring details (or, sometimes, the things that make us look bad).</div> <bR> <div> Think about how you might have told stories like:</div> <bR> <div> --an argument with a boss</div> <div> --a breakup with a significant other</div> <div> --a bad date</div> <div> --an incident that destroyed a friendship</div> <div> --an accident</div> <div> --a sports triumph/disappointment</div> <div> --an academic triumph/disappointment</div> <bR> <div> Shape your written narrative in the same way.  And, yeah, you can "improve" it (how am I going to know?).</div> <bR> <div> <B>CONSIDER YOUR AUDIENCE</B></div> <bR> <div> We all act differently in the face of different crowds.  The audience we have often shapes the way we communicate.  Think about how you'd tell the story to:</div> <bR> <div> --friends</div> <div> --parents</div> <div> --the police</div> <div> --an HBO audience</div> <bR> <div> For the purposes of this narrative, assume your audience is fairly sophisticated.</div> <bR> <div> REQUIREMENTS</div> <bR> <div> Narratives should:</div> <bR> <div> --be basically true in that they recount an actual event (personal knowledge can be a </div> <div>    plus, but is not necessarily necessary)</div> <div> --be written with the idea of entertaining the above-mentioned audience in mind</div> <div> --follow the guidelines on my style sheet</div> <bR> <div> SAMPLE NARRATIVE:</div> <bR> <div> <I>A Dish Best Served Canned</I> by Bill Fleck</div> <bR> <div>      “Mike, you should hear what that lady in there is saying about you!”</div> <div>      My son glanced at his friend Anthony through long strands of blond hair.</div> <div>      “What?”</div> <div>      “That lady behind the counter,” Anthony said.  “She's hassling you big-time.  <I>Doesn't that kid have anything better to do than come in here everyday and make fun of stuff?</I>  You know, like that.”</div> <div>      Mike nodded.  He'd make them pay….</div> <div>      </div> <div>      Mike and his friends went into to town everyday for lunch.  On the way back to school, they'd stop and buy candy bars at a small convenience mart.  The mart rented videos.  Bad ones.  Mike never misses an opportunity to make fun of bad videos.  The older lady on the stool didn't care, but the younger lady behind the counter had apparently taken offense.</div> <bR> <div>      The next day, Mike went to the mart and put a can of creamed corn on the counter.  A can of creamed corn, nothing more.</div> <div>       The young lady looked at it.</div> <div>      “This?” she asked.</div> <div>      Mike nodded.</div> <div>      “Anything else?”</div> <div>      “No.”</div> <div>      She sighed, and rang up the sale.</div> <div>      The next day, Mike put a bottle of Worcestershire sauce on the counter.</div> <div>      “This?” she asked.</div> <div>      Mike nodded.</div> <div>      She paused, then rang up the sale.</div> <div>      The next day, it was a plastic squeeze bottle of yellow mustard.</div> <div>      “All right,” she said, arms folded, “what's going on?”</div> <div>      Mike raised his eyebrows.</div> <div>      “You know what I'm talking about,” she said.</div> <div>      Mike shrugged his shoulders.</div> <div>      “C'mon, now, <I>really</I>,” she coaxed.  “What's with the food?”</div> <div>      “Well, what would <I>you</I> do with food?” came the reply.</div> <div>      Frustrated, she rang up the sale.</div> <bR> <div>      “I'm getting to her,” Mike said to Anthony.  “I want you in the store after I leave tomorrow.”</div> <div>      </div> <div>      The next day, she was looking down at the bottle of olive oil.  It was obviously killing her.</div> <div>      “What's this all about?” she demanded.</div> <div>      He shrugged.  “Let's just say I like olive oil.”</div> <div>      “You're not getting anywhere with <I>that</I>.  What's going on?”</div> <div>      “It's not important.”</div> <bR> <div>      Anthony had tears in his eyes from laughter.  “Boy, you're driving them <I>crazy!</I>”</div> <div>      “Yeah?”</div> <div>      “The old lady's saying <I>Why do you bother that kid everyday?</I> and the young one's going like <I>he comes in here everyday and buys something weird!!</I>”</div> <div>      “Cool.”</div> <bR> <bR> <div>      The next week: a can of tomato paste, a jar of relish, a three-pack of lemons, a box of Jello chocolate pudding, a brick of frozen peas.  The frustration builds.  Mike stores his treasures in his locker at school.  He offers his friends a snack.  He hears a series of no thank you's.  Teachers peer into his locker, think about asking what's going on, but walk off without saying anything.  This is Mike, after all.</div> <bR> <div>      I finally hear about this after two-and-a-half weeks.  His locker is getting full, his mother can never know (she'd send him to therapy), and he wants to store the food at my house.</div> <div>      “Why have you got all that food?”</div> <div>      He explains. The store, the video, everything.  I almost crash the car from laughter.  I have to pull over.</div> <div>      “That's wild, “ I choke out between spasms.  “I mean, when I was a kid, I'd've just given her the finger or something.”</div> <div>      “You always let `em off too easy,” he says.</div> <div>      “Yeah, true.  But why don't you just throw it away?”</div> <div>      “I need it.”</div> <div>      “What, you're hungry or something?”</div> <div>      “No,” he says.  “I'm saving the receipts.  One day, I'm gonna bring it all back.”</div> <bR> <div>                                                                           *   *   *</div> <bR> <div> <B>POINTS OF VIEW</B></div> <bR> <div> <I>The eyes and mind through which something is written</I>….</div> <bR> <div> 1st Person - the narrator is part of the story ("I")</div> <bR> <div> 2nd Person - the reader ("you") is directly address (<I>e.g</I>., Choose-Your-Own adventures)</div> <bR> <div> 3rd Person Limited - a narrator not in the story tells about someone else ("he," "she")</div> <bR> <div> 3rd Person Omniscient ("God's Eye") - a narrator not in the story tells about everyone </div> <bR> <div> <B>PROCESS WRITING</B></div> <bR> <div> <I>A three step process to better writing</I>…..</div> <bR> <div> Pre-Write - everything you do to prepare for writing (<I>e.g</I>., brainstorming, research, </div> <div>                    interviews, note-taking, outlining, <I>etc</I>.)</div> <bR> <div> Write - actually putting pen to paper (or fingers to keyboard) and creating a rough draft</div> <bR> <div> Revise - reshaping the rough, and paying attention to details (paragraphing, spelling,</div> <div>               punctuation, capitalization, <I>etc</I>.), preferably after a bit of 'wait' time</div> <bR> <div>                                                                    *   *   *</div> <bR> <div> <B>PERSUASIVE ESSAY </B>(Assignment #3)</div> <bR> <div> Ever had to convince somebody of something?  Then you've had to <U>persuade</U>.  This assignment is intended to build on your natural skill and help you to make good arguments in life--so that you can get your own way more often (Now, how cool is <U>that</U>?).</div> <bR> <div> <B>OPINIONS</B></div> <bR> <div> Everybody has 'em, and everybody has a right to 'em, but they're only valuable if you can persuade others that they're right (what good is an opinion if you're the only one--anywhere--who holds it?).  Supporting your opinions with facts makes for more convincing persuasion.</div> <bR> <div> <U>EXAMPLES</U></div> <bR> <div> BAD:</div> <bR> <div> "The Yankees are the best baseball team ever," Joe said.</div> <div> "How do you know?" asked Steve.</div> <div> "'Cause I like them," Joe said, "and you're a moron."</div> <bR> <div> BETTER:</div> <bR> <div> "The Yankees are the best baseball team ever," Joe said.</div> <div> "How do you know?" asked Steve.</div> <div> "Because they have 26 World Championships," Joe replied.  "That's almost three times as many as the St. Louis Cardinals, who are in second place with nine."</div> <div> "Yeah, but…."</div> <div> "Oh, no 'buts.'  The Yanks also have the most players in the Hall of Fame, more than any other team."</div> <div> "Uh….."</div> <bR> <div> <B>FACT-FINDING</B></div> <bR> <div> In order to persuade, you have to base your argument on reliable <U>sources</U>.  A source is where you get information.  With the 'net these days, sources (reliable and otherwise) are a click away.</div> <bR> <div> COMMONLY ACCEPTED SOURCES</div> <bR> <div> --statements by authority (sources involved in the issue you're arguing)</div> <div> --interviews</div> <div> --the body of accepted common knowledge (<I>e.g.,</I> the sky is blue)</div> <div> --statistics (try to make them meaningful)</div> <bR> <bR> <div> TROUBLED SOURCES</div> <bR> <div> --celebrities</div> <div> --those who are highly educated, but not in the field in which they're commenting</div> <div> --anecdotal evidence</div> <div> --persons or institutions with something to gain by their opinions</div> <bR> <div> <I>While these sources can be legitimate, they're often not treated as being as 'concrete' as the sources listed previously</I>.</div> <bR> <div> <B>REFUTING ARGUMENTS</B></div> <bR> <div> In many cases, you'll be more persuasive if you're very familiar with the 'other side' of your argument and take preemptive action by refuting (or disproving) it.  In so doing, you seem fair and well-rounded and open-minded, and it gives weight to your argument to see that you've considered the opposite (as opposed to stubbornly refusing to even look at other points of view).</div> <bR> <div> EXAMPLE:  "While it may be true that legalizing drugs might encourage those who never have to try them initially, the trade-off is that much of the gang warfare (and the innocent lives affected <I>by</I> that warfare) goes away, thus saving lives."</div> <bR> <div> To be fair, not every argument is 100% right or 100% wrong, and your refutation of an argument is often better when you make <U>concessions</U> (to <U>concede</U> a point is to admit that your opponent may be correct on one aspect in his/her argument).  But even after making a concession, you can still attack the weak points as you see them.</div> <bR> <div> <B>YOUR JOB</B></div> <bR> <div> Pick a controversial issue (your choice), and write a persuasive essay wherein you do the following:</div> <bR> <div> --state the issue</div> <div> --state your opinion about the issue</div> <div> --argue why you're right, using relevant support (this will likely require some research)</div> <div> --state the other side of the issue, concede points where necessary, but refute their </div> <div>    argument by attacking the weak points</div> <div> --summarize</div> <bR> <div> <B>POSSIBLE</B> (AND I DO MEAN <I>POSSIBLE</I>) <B>TOPICS</B></div> <bR> <div> --legalizing drugs                               --profiling</div> <div> --price controls on gasoline               --tax cuts</div> <div> --the war in Iraq                                 --gambling</div> <div> --Roe vs. Wade                                  --response (or lack thereof) to Katrina</div> <div> --intelligent design vs. evolution       --school issues (dress codes, backpacks, <I>etc</I>.)</div> <bR> <div>                                                              *   *   *</div> <bR> <div> Effective Writing                                                              Name ___________________</div> <div> Mr. Fleck</div> <div> Persuasive Essay Assignment Support:</div> <div> ABC New Special: <I>Are We Scaring Ourselves to Death?</I></div> <bR> <div> DIRECTIONS: Answer the questions on this sheet as the video runs (not all questions require complete sentences, and you can use another piece of paper if you need to).</div> <bR> <div> Questions:</div> <bR> <div> BEFORE THE VIDEO RUNS, AGREE OR DISAGREE and <U>BRIEFLY</U> STATE WHY:</div> <bR> <div> "There are more dangers out there threatening our lives today than ever before."</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> AS THE VIDEO RUNS:</div> <bR> <div> According to ABC, what are some of the things people are afraid of?</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> According to ABC, what are some reasons people are so afraid?</div> <bR> <div> ________________________________________________________________________</div> <bR> <div> ________________________________________________________________________</div> <bR> <div> According to ABC, why--perhaps--<U>shouldn't</U> people be so afraid?</div> <bR> <div> ________________________________________________________________________</div> <bR> <div> ________________________________________________________________________</div> <bR> <div> What experts are called on in the video?</div> <bR> <div> ________________________________________________________________________</div> <bR> <div> ________________________________________________________________________</div> <bR> <div> AFTER THE VIDEO:</div> <bR> <div> Did you find the ABC special convincing?  Why or why not?</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> Look over your answer to the first question (BEFORE THE VIDEO RUNS).  Has your opinion changed?  Explain.</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> Last One: Whether you agree or not, do you think Stossel made a good argument?  </div> <div>                  Explain.</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> ________________________________________________________________________</div> <bR> <bR> <div>                                                                       *   *   *</div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Assignment #4: Activities Resume/Application Letter</div> <bR> <div> DIRECTIONS: A two-part assignment where you'll produce an actual resume you can use, and where you'll write a letter of application, "selling" yourself to a prospective college or employer.</div> <bR> <div> <B>ACTIVITIES RESUME</B></div> <bR> <div> Guidance needs it, and it's a good skill to have anyway, so why not get a grade for it if you have to do it?  You see my point.</div> <bR> <div> "Uh," you say, "but I haven't done anything to put on it."</div> <bR> <div> Well, welcome to the world.  You're around 18, and school has taken up most of your life.  Okay.  So saying to a potential employer or college admission officer, "I really haven't done anything" is the way to impress them?  (If you think so, just lie down and die right now; you'll save the rest of us a few bucks).  Chances are, you've done more than you think you have.  <I>That's what this assignment is designed to show</I>.</div> <bR> <div> WHERE TO BEGIN</div> <bR> <div> Let's start simply: name and mailing address (can't get <I>that</I> wrong, right?), then how to contact you (phone number, e-mail if applicable):</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> Rufus T. Firefly</div> <div> 123 Skidoo Avenue</div> <div> Buttscratch, NY 12776</div> <div> (845) 362-4360</div> <div> <I>firefly123@yahoo.org</I></div> <bR> <div> NOW, THE FUN BEGINS</div> <bR> <div> Okay, I'm lying here.  It's not fun.  But selling yourself is a great skill to have.  So….</div> <bR> <div> What have you done?  THINK…."Do I….?"</div> <bR> <div> --play sports?  What?  Where?  How'd you do? (note even if you play only pick-up</div> <div>                          games)</div> <div> --play music?  What?  Where?  How'd you do? (note even if you sing only for fun)</div> <div> --work?  Where?  What did you do?  How'd it go?</div> <div> --participate in community activities?  Where?  What did you do?</div> <div> --participate in activities/clubs/charities (this can include religious stuff)</div> <div> --receive academic or other 'way to go' awards?</div> <bR> <div>      List all this stuff, and put the best face on it!  Hey, even getting shopping carts in the parking lot shows responsibility (so does babysitting, by the way, or cutting lawns).  The point is to make what you've done sound great--and to make it sound like you did great with it.</div> <bR> <div> FORMAT</div> <bR> <div> Any resume takes the format you want.  Word-processing programs usually have cookie-cutter formats, so feel free to use them.  Me?  I say 'top down' your resume--by that I mean start with the strongest area and work your way down.  Lots of job experience?  Start there.  Not much in the way of work, but lots of sports?  Start there.  Low grades, no job, but lots of community service/activities?  Start there.  You get the idea…..(and look at the sample for ideas).</div> <bR> <div> APPLICATION LETTER</div> <bR> <div> The secret's out….the reason Effective Writing is back is because seniors a few years ago wrote <I>horrible</I> college application essays, and it freaked out the powers that be.  If a college or an employer requests a letter, whatever it is you write <I>represents you</I>.  If it looks illiterate, they'll think <U>you're</U> illiterate.  If it's sloppy, or disorganized (or both), they'll think you're that way (and who can blame them?  Most of 'em wouldn't know you if they fell over you).  If, on the other hand, you write an interesting, neat, perfectly beautiful letter--one that emphasizes your best qualities--well, points to you, right?</div> <bR> <div> In other words, two students with an 83 average are applying for a spot in a college.  One's letter is so-so--sloppy, misspelled words, disorganized.  The other's is great--neat, organized, paragraphed and punctuated.</div> <bR> <div> Who gets in?</div> <bR> <div> See?</div> <bR> <div> Check out the sample…..</div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Sample Activity Resume (written from the prospective of my senior year in high school)</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> William J. Fleck</div> <div> 12 Park Street</div> <div> Ellenville, NY 12458</div> <div> (914) 647-6299</div> <div> <I>fleckwil@libertyk12.org</I></div> <bR> <div> <U>Employment Record</U></div> <bR> <div> <B>Dates Employed                Employer                      Position Held           Type of Work</B></div> <bR> <div> 1979 - Present                 JCD Pharmacy               Stock Boy/Cashier     Customer Service</div> <bR> <div> 1976 - 1979         Independent Lawn Services             Maintenance     General Yard Work</div> <bR> <div> 1976                          Independent Cleaner                     Cleaner          Cleaned Old Houses</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <U>Trombone</U></div> <bR> <div> 4th - 6th grade - Elementary Band</div> <div> 5th - 10th grade - Jazz Ensemble II; All-County Band (9th, 10th grade)</div> <div> 9th - 12th grade - 1st trombone, High School Band; All-County Band (9th, 10th, 11th,</div> <div>                              12th)</div> <div> 11th - 12th grade - Jazz Ensemble; performed at NAJE festival in St. Louis, MI; All-</div> <div>                                State Jazz Ensemble (alternate); featured soloist on "Jelly Roll,"</div> <div>                                "Woodchopper's Ball," and "Also Spake Zarathustra"</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <U>Sports</U></div> <bR> <div> 9th grade - back up catcher/outfielder, JV baseball team</div> <div> 12th grade - runner (cross-country), track team</div> <div> 8th - 9th grade - catcher, Ellenville Little League</div> <div> 10th grade - outfielder/catcher, Resnick's Cambridge Warehouse, Babe Ruth League</div> <div> 10th grade - assistant coach, Ellenville Little League (minor leagues)</div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <U>School - Related Extracurricular Activities</U></div> <bR> <div> 11th - 12th grade - Photography Club</div> <div> 11th grade - photographer for Jazz Ensemble Benefit Concert program</div> <div> 11th grade, 12th grade - Yearbook Art Editor</div> <bR> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <U>Academic Honors and Awards</U></div> <bR> <div> 12th grade - inducted into the National Honor Society</div> <div> Honor Roll - 7th grade (3x), 8th (3x), 9th (3x), 10th (4x), 11th grade (3x)</div> <div> High Honor Roll - 12th grade (3x so far)</div> <div> 11th grade - selected to serve as school representative in PEN writing contest</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <U>Non-School Related Extracurricular Activities</U></div> <bR> <div> 5th - 10th grade - altar server, St. Mary's & St. Andrew's Catholic Church, Ellenville NY</div> <div> 6th grade -Present - Independent Filmmaker, Empire Pictures (5 completed films so far;</div> <div>                                 currently shooting the original drama <I>The Successor</I>)</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <U>References</U></div> <bR> <div> Mr. Michael DelGaizo, social studies teacher, Ellenville High School, Ellenville NY</div> <div> Mrs. Roberta Kelty, English teacher, Ellenville High School</div> <div> Mr. Bruce Belanger, music teacher, Ellenville High School</div> <div> Mr. Peter Stellato, music teacher, Ellenville High School</div> <div> Mr. Robert Kleinman, Pharmacist/Owner, JCD Pharmacy, Ellenville, NY</div> <div> Father Joseph Hamilton, St. Mary's & St. Andrew's Church, Ellenville</div> <bR> <div>                                                                            *   *   *</div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Assignment #5: Business Letter of Complaint</div> <bR> <div> <B>COMPLAINTS</B></div> <bR> <div> Let's face it: people love to complain.  If we weren't complaining, we probably wouldn't be having half the conversations in life we have now.  Gas prices, taxes, rules, laws, friends, enemies, loved ones, not-so-loved ones; you name it.  We've complained.  I'm reminded of the famous Mark Twain quote (at least I <I>think</I> it's a famous Mark Twain quote--everybody <I>says</I> it's him): "Everyone complains about the weather, but no one does a damn thing about it."</div> <bR> <div> <B>WHAT TO DO ABOUT IT</B></div> <bR> <div> Okay, let's be honest: most complaints are just so much hot air.  In fact, breaking wind is often more productive than moaning about things over which we have no control.</div> <bR> <div> <I>However</I>, there are, of course, times when we have legitimate gripes, and something should be done to fix 'em.  This is where this assignment comes in.  It's an exercise in trying to get things you don't like fixed.  Doing so can make your life easier.  I'd say that makes knowing how to do this pretty valuable.</div> <bR> <div> <B>"PUT IT IN WRITING"</B></div> <bR> <div> The world runs on the printed word.  The fact that you probably have more than one e-mail account should prove this.  Also, the printed word is perceived as having value (whether it really does or not is a story for another day).  A verbal complaint is like bad breath--awful while in your face, but forgotten once it goes away.  A written complaint requires action.</div> <bR> <div> How many times have you heard the phrase, "Put it in writing."  Often, your gripe is not taken seriously unless you write it down and send it to someone who can fix it (this excludes, of course, standing in line at Wal-Mart to bring back an unwanted or damaged item).  Then, too, you have to send it to the RIGHT person (a complaint about cafeteria food is wasted if you only tell your math teacher).  Knowing to whom to complain--and how--can save you time, energy, and frustration.</div> <bR> <div> <B>THE FORMAT</B></div> <bR> <div> Like most things, complaint letters have a format.  It's a free country and you can write 'em anyway you choose, but a letter in standard format is more likely to work because people have seen them before.  The standard format for a business letter follows.</div> <bR> <div> <B>THE SQUEAKY WHEEL</B></div> <bR> <div> Like it or not, those who are persistent (<I>i.e.,</I> annoying) often get what they want SIMPLY TO MAKE THEM GO AWAY.  A Life Skill, no doubt.  To get what you want, you have to decide--win or lose--that giving up is not an option.</div> <bR> <bR> <bR> <bR> <bR> <div> <B>STANDARD BUSINESS LETTER OF COMPLAINT FORMAT</B></div> <bR> <div> Here's the recommended way to get what you want:</div> <bR> <div>                                                                                                       Your Name</div> <div>                                                                                                       Your Street Address</div> <div>                                                                                                       City, State, Zip Code</div> <div>                                                                                                       Month, Day, Year</div> <div> <I>Skip Three Lines</I></div> <bR> <bR> <div> Name of Person/Organization</div> <div> Street Address</div> <div> City, State, Zip Code</div> <bR> <div> <I>Skip Three Lines</I></div> <bR> <div> Greeting: (<I>I recommend getting a name</I>)</div> <bR> <div> State who you are and why you're writing.  Briefly recap the situation that led to your complaint.  Provide names, places, dates, and times.</div> <bR> <div> State why the situation is unacceptable.  Appeal to the reason/sympathies of those to whom you are writing.  Be firm, but fair (avoid heaping on abuse).</div> <bR> <div> State what action you want taken.  Provide a reasonable deadline.  Provide a clue as to what will happen if your demands aren't met, but avoid threats.</div> <bR> <div> State that you are looking forward to a positive resolution to you complaint, and thank the persons to whom you are writing for their time and trouble.</div> <bR> <div> Sign off,</div> <bR> <div> <I>Skip Three Lines</I> to leave room for <FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B>Your Signature</B></I></FONT></div> <bR> <div> Type or print out your name</div> <bR> <div> Cc: if necessary</div> <bR> <bR> <div> <I><B>Your Job</B></I><I>:</I> Pick an issue regarding the school, and write a Business Letter of Complaint to the person/persons who can fix it.</div> <bR> <div>                                                                              *   *   *</div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Assignment #6: Drama</div> <bR> <div> <B>THE DRAMA AND YOU</B></div> <bR> <div> It's no secret we all love to be entertained.  These days, we watch movies and TV shows to quench our thirst for entertaining drama (people years ago went to plays).  The most successful dramas tend to be about people and things we can relate to--with lots of action and over-the-top emotionalism thrown in.  Billions of dollars are spent and made in the entertainment industry as a result.</div> <bR> <div> And yet, I'll bet there were times when you came out of a film saying, "That was awful."  Sometimes, it's the acting that's off.  At other times, maybe the special effects were mediocre.  Most often, it's the story that's lacking (kindly review the basic elements of story construction).  When you kick around ideas with your friends, sometimes you discover that--with just a little more thought--a bad drama could've been a good one.</div> <bR> <div> This assignment hones that skill.</div> <bR> <div> <B>YOUR JOB</B></div> <bR> <div> I'm going to ask you to write a drama in the proper format (don't worry--I'll show you).  In many ways, you'll be utilizing the same skills you used in writing your short story (Assignment #1).  There are, of course, a few differences in dramatic writing--chiefly in that you'll be using a lot more dialogue and a lot less in the way of exposition (description).  What follows is a step-by-step guide to help.</div> <bR> <div> <B>STEP ONE: DECIDING THE DRAMA TYPE</B></div> <bR> <div> You can fulfill this assignment in one of three ways:</div> <bR> <div> <I>--stage play</I>: a drama written to be performed live on stage</div> <div> <I>--screenplay</I>: a drama written to be shot as a movie</div> <div> <I>--teleplay</I>: a drama written to be shown on TV (sitcom, HBO series, Network, etc.)</div> <bR> <div> You should also give consideration to the effect you want your drama to have on an audience (<I>i.e.,</I> what <I>genre</I> will you be working in?).</div> <bR> <div> --action/adventure</div> <div> --comedy</div> <div> --tragedy</div> <div> --horror</div> <div> --mystery</div> <div> --romance/daytime drama</div> <div> --children's</div> <div> --historical</div> <bR> <div> <B>STEP TWO: THE DRAMATIC SITUATION</B></div> <bR> <div> The word "drama" had a popular revival as a slang term there for a while.  When someone would say, "Man, you shoulda seen the drama at Drey's crib this weekend," they usually didn't mean that a play was going on; rather, they meant that some conflict lead to some sort of confrontation.  "Drama" in that sense, then, meant something that got your attention and automatically hooked your interest.</div> <bR> <div> The same should apply to a drama you create.  Your dramatic writing should contain a conflict that people would be interested in seeing--something that would hook their interest.  A good way to start a written drama is to think about the things in life that make you think, "Whoa--I have to <I>see</I> this!"  Suggestions:</div> <bR> <div> --a guy finds out that he's being 'played' by his girlfriend</div> <div> --a wrongly imprisoned man escapes and confronts the corrupt cop who jailed him</div> <div> --a kid discovers a formula to make him invisible</div> <div> --a class plots to kill their Social Studies teacher</div> <div> --a former gang member tries to stay clean</div> <bR> <div> Once you've got the "hook," you can begin to fill in the picture.</div> <bR> <div> <I>Note: Jot down your dramatic situation here.</I> __________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> _______________________________________________________________________</div> <bR> <div> <B>CREATING CHARACTERS</B></div> <bR> <div> Just as in the short story assignment, there is no right way or wrong way to do this.  But the following guidelines can be useful:</div> <bR> <div> Models - basing characters on something that exists all ready</div> <bR> <div> --real people</div> <div> --other fictional characters (TV, movies, books, <I>etc</I>., <I>e.g.,</I> Indiana Jones, a mish-mash</div> <div>     of James Bond, Ronald Reagan in <U>Hong Kong</U>, George Lucas's dog, <I>etc</I>.)</div> <div> --historical figures</div> <div> --qualities (<I>e.g.,</I> love, hate, etc.)</div> <div> --archetypes (cultural familiars, <I>e.g., </I>Robin Hood, Hercules)</div> <div> --personification (giving non-humans human characteristics, <I>e.g.,</I> every Disney film ever</div> <div>    made!)</div> <bR> <div> GETTING STARTED WITH CHARACTERS</div> <bR> <div> How Do They LOOK?</div> <div> --height, weight</div> <div> --eye, hair color</div> <div> --dress/grooming</div> <bR> <div> What's In Their LIFE?</div> <div> --job</div> <div> --family/kids</div> <div> --home</div> <div> --likes/dislikes</div> <bR> <div> Fill This In to Start:</div> <bR> <div> Name: _____________________________  Ht: _______  Wt:__________</div> <bR> <div> Eyes: __________ Hair: _______________ JOB: ____________________</div> <bR> <div> Spouse: ________________________ Kids: ________________________</div> <bR> <div> ____________________________________________________________</div> <bR> <div> Parents: _____________________________________________________</div> <bR> <div> Education: _____________________________________________________</div> <bR> <div> Other: _________________________________________________________</div> <bR> <div> _______________________________________________________________</div> <bR> <bR> <div> <B>STARTING THE DRAMA</B></div> <bR> <div> Take a hint from the movies, and grab your reader's attention RIGHT AWAY:</div> <bR> <div> --introduce the conflict almost instantly if possible</div> <div> --remember, drama means action--hook your viewer and explain later (<I>e.g., </I>the opening of <U>Halloween</U>)</div> <bR> <div> <B>THE FORMAT</B></div> <bR> <div> Dramas are written in a specific way to communicate with those who will perform them (directors, actors, set designers, etc.).  The format for your drama follows.</div> <bR> <bR> <bR> <bR> <div> TITLE PAGE</div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> "Title of Your Drama"</div> <div> by</div> <div> Your Name</div> <bR> <bR> <div> List of Characters: Protagonist</div> <div>                                Supporting Character</div> <div>                                Supporting Character</div> <div>                                …and so on</div> <bR> <bR> <bR> <div> Setting for Your Drama: City, State, Country, etc.</div> <div>                                         Settings (<I>e.g.,</I> wilderness, L.A., Smallville USA)</div> <div>                                         Time/Time Period (when your drama occurs; <I>e.g.,</I> 1984, present</div> <div>                                                                        day, the future)</div> <bR> <bR> <div> ALL OTHER PAGES</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>ACT I</B></div> <bR> <div> <I>Begin with a description of where the drama opens, stating exactly what the audience is supposed to see.  As the characters arrive, briefly introduce and describe them.  As an example: After the titles, we FADE IN.  We see the outside of an older, two-story house.  It is dark, and a Jack O'Lantern glows on the front porch.  It looks as if we are seeing all the action that follows through the camera's eye.  A girl of about 17, JUDITH MEYERS, and her BOYFRIEND, a boy of about the same age, can be seen through the window of the house.  The BOYFRIEND plays around with a Halloween mask.</I></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>BOYFRIEND</B></div> <bR> <div> Are we alone?</div> <bR> <div> <B>JUDITH</B></div> <bR> <div> Michael's around someplace.</div> <bR> <div> <I>Through the window, we see Judith and the boyfriend kissing on the couch.</I></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>BOYFRIEND</B></div> <bR> <div> Let's go upstairs.</div> <bR> <div> <B>JUDITH</B></div> <bR> <div> Okay.</div> <bR> <div> <I>We see them go.  The camera backs away from the window and looks up at the second floor bedroom.  The light goes out.  We see the side of the house and the back door as the camera creeps around and goes in the house through the kitchen.  We see a hand reach into a drawer and pull out a large knife.  We then creep through the dining room into the living room.  The BOYFRIEND is now coming down the stairs, tucking in his shirt.</I></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>BOYFRIEND</B></div> <bR> <div> It's late.  I gotta go.</div> <bR> <div> <B>JUDITH'S VOICE</B></div> <bR> <div> Will you call me tomorrow?</div> <bR> <div> <B>BOYFRIEND</B></div> <div> Yeah, sure.</div> <bR> <div> <I>We see him leave through the front door.  The camera creeps up the steps, and we hear the clock toll 10.  We see a hand reach out to pick up the BOYFRIEND'S mask.  The rest of the action we see through the eye-cutouts of this mask.  The camera creeps to JUDITH'S room.  We see that the sheets on her bed are a mess.  We then see JUDITH brushing her hair at a table.  She turns to the camera, annoyed.</I></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>JUDITH</B></div> <bR> <div> Michael!!</div> <bR> <div> <I>We see the knife slash her several times.  She falls to the floor, dead.  We see the camera run out of the room and down the stairs.  It runs through the front door, where we see a car pull up, and MR. and MRS. MEYERS get out.  They approach the camera.</I></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>MR. MEYERS</B></div> <div> (<I>to the camera</I>)</div> <bR> <div> Michael?</div> <bR> <div> <I>We see him pull the eye-cutouts off the camera.  We CUT for the first time.  We see MICHAEL MEYERS, a 6-year old boy dressed in a clown suit, holding a knife.  His costume is covered in blood.  He stares strangely at the camera as we pull back to see his PARENTS staring at him.  The scene FADES.</I></div> <bR> <div> --From <U>Halloween</U> by John Carpenter and Debra Hill</div> <bR> <div>                                                                     *   *   *</div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Assignment #7: Biography</div> <bR> <div> <B>IN LIFE</B></div> <bR> <div>      Let's face it: people are fascinated by other people.  And when we add the idea of being "famous" to the equation, well…..</div> <bR> <div>      The biography is big--from the authorized tome to the unauthorized scandal-sheet, from printing press to paparazzi.  Fan magazines, TV shows like <I>Entertainment Tonight</I>, programs like <I>VH1 Behind the Music</I>, and a very healthy book industry show us that biographies are still a hook.  If you've ever had a hero, and ever tried to find out about them--their lives, loves, hopes, dreams--you understand the fascination.</div> <bR> <div>      This assignment exploits that fascination.</div> <bR> <div> <B>YOUR JOB</B></div> <bR> <div>      I'm going to ask you to write a short biography about someone you find interesting.  The person can be famous (probably a fairly easy job) or not (harder) as you see fit.  As such, your choices are very wide.  I'd suggest, though, that you find subjects that haven't been done to death (<I>e.g., </I>Babe Ruth, George Washington, Malcolm X, Jesus, <I>etc</I>.), since short bios on such figures now are unlikely to add anything new).  Suggestions:</div> <bR> <div> --current pop stars (or pop stars past)</div> <div> --actors/actresses</div> <div> --great guitarists/singers</div> <div> --sports figures</div> <div> --military figures</div> <div> --politicians</div> <div> --influential cultural/political figures</div> <div> --fascinating members of your family/social circle</div> <bR> <div>      Once you've selected, now the fun begins.</div> <bR> <div> <B>RESOURCES</B></div> <bR> <div>      Famous people are probably the easiest because a wealth of information already exists, and can be accessed through the internet (avoid plagiarism, though, at all costs).  As an example, most bands have websites, and actors and actresses can be looked up pretty quickly on www.imdb.com.  For the purposes of this assignment, I'll require that you use two or more sources and that you cite them (tell me what they are and how to get to them).</div> <div>      Not-so-famous people will require more direct sources, like an interview.  While this may be extra work, it can also be really good in that you're providing something that no one else has provided before.  Breaking new ground can make for interesting reading.</div> <bR> <bR> <bR> <div> <B>SHAPING THE BIO</B></div> <bR> <div>      As with all effective writing, the style (how you write) is important.  An encyclopedia-like listing of facts and dates is informative but boring.  Biographies come to life when the writer (you) shapes them to be interesting.  Suggestions:</div> <bR> <div> --include personal quotes from the subject</div> <div> --try to find information about the subject relating to them as people (marriages, divorces,</div> <div>    addictions, kids, etc.)</div> <div> --include relevant opinions about their life/work</div> <div> --try to find--and evaluate--negative things about the subject to provide balance (or</div> <div>    positive things if the subject is overwhelmingly negative)</div> <bR> <div>      As with all things, try to write in a direct, interesting way.</div> <bR> <div> <B>SAMPLE BIOGRAPHY</B></div> <bR> <div>      As a brass player, I've always had an interest in those who get paid heaps of cash to play.  As a fan of rock music, I've noticed very few brass players who get paid heaps of cash.  One exception is James "Jimmy" Pankow, trombonist for the group Chicago, who's been paid to play for 30-plus years.  Pankow's a perfect figure for this type of assignment, since he's relatively famous and no official biography has been written about him.  As a fan of his work, I put together the following short bio (which appears, slightly edited, on imdb.com).</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>James Pankow</B></div> <div> (Trombone Player for the Classic Jazz-rock Group Chicago)</div> <div> by Bill Fleck</div> <div> (<I>for publication on www.imdb.com</I>)</div> <bR> <div>      The influential trombonist and composer for the jazz-rock group Chicago, James C. Pankow was born in St. Louis, Missouri, on August 20, 1947. He ended up playing trombone by accident (the other, "cooler" instruments had been distributed). Following the move to the city of Chicago, Pankow fell in love with the horn, even playing it during three years with braces.</div> <div>      One of nine siblings, Pankow's musical interests were encouraged at Notre Dame High School by Father George Wiskirchen. After graduating, Pankow won a full scholarship to Quincy College, but later enrolled at DePaul, where he was recruited into The Big Thing (later Chicago) by woodwind player Walt Parazaider.</div> <div>      Once in the band, Pankow's talents shined. A creative player with a sharp sound and a great range, Pankow was the best of Chicago's horn players and possibly the best trombonist since Bill Watrous (though some feel Dave Bargeron of <I>Blood Sweat & Tears</I> played rings around Jimmy). The early Chicago records feature Pankow soloing on the small-bore King 2B, and many of his phrases and patterns are incredible (particularly on "Hanky Panky," "You Are On My Mind," "Mother," "A Hit By Varese," and "The Approaching Storm"). In the late 70s, Pankow often played a sterling silver 2B.  As Chicago drifted into power ballads in the 80s, Pankow switched to a signature model silver Getzen (now a collector's item), and has more recently been playing a Yamaha.  His recent playing on "Inching Towards?" from the Howland/Imboden Project shows he has lost nothing off his chops.</div> <div>      As great a trombonist as he is, Pankow's major contribution to Chicago may be as a writer. His brass arrangements are legendary, and his compositions include the huge hits "Make Me Smile," "Just You 'n Me," "Searching So Long," "Old Days," "Alive Again," "Bad Advice," and "Show Me A Sign."  He also has written terrific non-hits such as "Skin Tight," "Movin' In," and "Follow Me."</div> <div>      Personally, Pankow seems to be one of the most available of the group. In interviews, he is hilarious, profane, and insightful by turns, and always seems to be in a good mood. He's described himself as "a crusty old fart from another generation."  He has an interest in the martial arts.  Brown-eyed, brown-haired, mustachioed (and often bearded) early on, he's gone white, clean-shaven, and close-cropped in recent years, though he often dyes his hair back to brown.  He's also physically fit and can be described as short but muscular. His antics on stage are as legendary as his brass arrangements (he often dresses to display his biceps), and he's one of the few in Chicago who has a stage presence equal to the members of <I>Earth Wind & Fire</I> on this current concert tour.  In the 90s, rumors surfaced that Pankow was interested in an acting career, and every so often, there are whispers of a Pankow-penned book on Chicago.</div> <div>      Sources reveal Pankow has been married twice. The first, to Karen (for whom he wrote "Just You 'n Me") lasted 20 years, and broke up about 1993 (a Pankow tune called "Here With Me" on the infamous <I>Stone Of Sisyphus</I> project acts as a bookend). He has recently remarried, and become a father again - a prospect he obviously relishes. He has a son Jonathan (recently a percussionist at Berklee College) and a daughter Sarah.  His brother John is an actor.</div> <div>      Almost 60 and still going strong, Pankow seems to love playing even to this day, and is sorely missed by fans on the rare occasions he can't make a concert.  As of this writing, Chicago has just finished recording an album of original tunes, tentatively titled "Chicago XXX," and slated for release in the spring of 2006.</div> <bR> <div> <I>Sources</I></div> <bR> <div> <I>--People Magazine</I>, Sept. 1978</div> <div> --VH1 Behind the Music: Chicago (2001)</div> <div> --<I>The Trombone Journal</I> (www.trombone.org, May 2002)</div> <div> --Joseph, Ben: <I>Feeling Stronger Every Day</I></div> <div> --Chicago's Official website (www.chicagotheband.com)</div> <div> --Kruger, Debra: various internet interviews</div> <div>    (www.debbiekruger.com/writer/freelance/chicago_transcript.html)</div> <bR> <div>                                                                            *   *   *</div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Assignment #8: Creative Collaboration</div> <bR> <div> <B>THE SKILL</B></div> <bR> <div>      In many real-world situations, a writer is forced to work on somebody else's idea.  Sometimes, a writer is called on to finish something started by somebody else; at other times, a complete re-write is needed.</div> <div>      At times, producers assign writers completely ridiculous jobs (such as when Curt Siodmak was asked to combine the Frankenstein story with the story of the Wolf Man, which resulted in <I>Frankenstein Meets the Wolf Man</I>).  As in many avenues in life, being adaptable helps.</div> <div>      In Hollywood, writers who specialize in this kind of thing are called <I>script doctors</I>.  On bigger newspapers and magazines, they have a bureau called <I>the rewrite desk</I>.  Most anything published is run through an <I>editor</I> first.</div> <bR> <div> <B>A BACK STORY</B></div> <bR> <div>      Irwin Shaw, a successful American novelist, got his start writing a series of well-received short-stories.  He was asked how he'd managed to come up with so many great plots.  Shaw said it was simple:</div> <div>      "I'd read half a story by an author I liked," he explained.  "Then, I'd make up my own ending, and change the beginning."</div> <div>       Siodmak had a successful screen career for more than 40 years--not easy in fickle Hollywood.  He explained his success:</div> <div>      "Story.  That's what got me the jobs.  I could concoct a story out of the clear blue sky.  Most writers are dialogue writers, and they produce very worthy dialogue, but most of them cannot make up a story.  I could."</div> <div>      Hollywood writer Ben Hecht made a career out of fixing other people's bad scripts, very often without getting any credit himself.  Didn't that bother him?</div> <div>      "Not as long as the check clears," he said.</div> <bR> <div> <B>YOUR JOB</B></div> <bR> <div>      For this assignment, I'm going to ask you to pretend that <I>you're a script doctor</I>.</div> <div>      Here's the situation: a producer has contacted you.  He has major problems with a film that's only half done.  He needs you to see the half they've shot, then write a <I>scenario</I> that completes the film (remember, a scenario is not a script; it's a plot summary that will be used to develop a script).  You'll have to be faithful to the characters and the other elements you see in the first part of the film, and bring those elements to an entertaining conclusion so this guy can sell his movie.</div> <bR> <div> <B>HOW WE'LL HANDLE IT</B></div> <bR> <div>      I'll show you the beginnings of three films, and I'll supply you with information for each.  <I>You'll choose one of the films</I> and complete a scenario as outlined above (nice of me, right?  You have a little bit of a choice here).  You'll then turn the scenario in by the due date.</div> <bR> <bR> <bR> <div> <B>SAMPLE SCENARIO</B></div> <bR> <div>      After the Titles:</div> <bR> <div>      We start in a graveyard at night.  Two graverobbers, FREDDY JOLLY and another MAN are sneaking into it.  It's very windy, and we see that the moon is full.  The men stop in front of a mausoleum.  In the lantern light, they read a name engraved in the stone above the door: TALBOT.  They break through the door.</div> <div>      We are now inside the mausoleum.  It's dark, and the men look at each grave inside with their lanterns.  We see the names: JOHN TALBOT, ELAINE TALBOT, ARTHUR TALBOT.  The long tomb on the floor reads: LAWRENCE STEWART TALBOT, WHO DIED AT THE YOUTHFUL AGE OF 31.  R.I.P.  The graverobbers pause here, and FREDDY says that this is the grave they're looking for.  The other MAN is nervous, but FREDDY tells him to keep quiet.  They open the tomb, and see the body covered in wolfsbane.  The MAN is nervous as FREDDY recites the old poem: "Even a man who is pure in heart and says his prayers by night may become a wolf when the wolsbane blooms, and the moon is full and bright."</div> <div>      We see the full moon.  In the light, we see the body of LARRY TALBOT.  The MAN says he looks like he's asleep.  The graverobbers begin to rob the body, when we see LARRY'S hand begin to move.  He grabs FREDDY, who screams.  The MAN drops his lantern in shock as FREDDY struggles with the revived LARRY, who is turning into THE WOLF MAN.  We see the MAN run through the graveyard as FREDDY screams for help.  FADE OUT.</div> <div>      FADE IN:  A CONSTABLE patrols the night street.  We see that something has attracted his attention.  He moves over, and we see LARRY lying on the street.  The CONSTABLE, thinking LARRY is drunk, tries to get him to move on.  Then he checks LARRY with his flashlight, and sees a large wound on LARRY'S forehead.  He blows his whistle as the scene DISSOLVES TO…..</div> <bR> <div>                                                                      *   *   *</div> <bR> <div> <B>2ND QUARTER</B></div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Assignment #9: Psychic Phenomena Report</div> <bR> <div> <B>PSYCHIC FRIENDS</B></div> <bR> <div> The term <I>psychic</I> comes from the Greek <I>psyche</I>, meaning "spirit" or "soul."  Later meanings incorporate the idea of the mind and what makes us tick.  Today, <I>psychic </I>covers a myriad of supernatural phenomena:</div> <bR> <div> --telepathy (mind reading)</div> <div> --extrasensory perception (ESP; "feeling events that occur away from you)</div> <div> --psychic mediums or "channeling" (communication with the dead; often, the medium</div> <div>    is "possessed" by the spirit)</div> <div> --magical/divine healing (miracles)</div> <div> --levitation</div> <div> --fortune telling/prophecy (telling the future)</div> <div> --remote viewing</div> <bR> <div> <B>PSYCHIC HOTLINES</B></div> <bR> <div> There are many methods by which those who claim to have psychic powers attempt to contact the supernatural.  These include:</div> <bR> <div> --palm reading (exploits natural desire to find meaning in patterns)</div> <div> --séances</div> <div> --astrology (the idea that the stars hold they key to our fate)</div> <div> --tarot card/playing card readings</div> <div> --Ouija Boards</div> <div> --I Ching (yarrow sticks)</div> <div> --"hot" readings</div> <div> --"cold" readings</div> <bR> <div> <B>THE ART OF PSYCHIC COLD READS</B></div> <bR> <div> Barring the use of actual psychic power, the goal of a cold read is to convince the subject that you're psychic.  Secondarily, you attempt to draw information out of them by "fishing."  "Cold Read" means you have no prior information on the subject ("Hot Read" means you <U>have</U> prior info, and the subject doesn't know it).  A talented cold reader will make statements and/or ask questions that might be true of everybody.  For example:</div> <bR> <div> "You're a very private person, aren't you?"</div> <div> "Everybody thinks they know you, but they really don't."</div> <div> "I'm picking up the letter 'M' very strongly; who do you know whose name has</div> <div>  an 'M' in it?"</div> <div> "I feel like there's a part of you that wishes you had a second chance at a very important</div> <div>  relationship.  Why do I feel that?"</div> <bR> <bR> <div> <B>WHEN ONE SIZE MIGHT FIT ALL</B></div> <bR> <div> Cold readers often employ "try-on" phrases to see if they fit your situation.  If the question "hits," great; if not, they can try something else.</div> <bR> <div> <I>Try-On Phrases</I> (to get the subject working with you):</div> <bR> <div> "Why do I fell that you have something you've never said to your Mom?" (or, "I get the</div> <div>   feeling that you have something to say to your Mom that is hard to say.")</div> <div> "Possibly….[<I>fill in the blank with a generality</I>]…"</div> <div> "It might mean…."</div> <div> "Why would he/she show me…..?"</div> <bR> <div> <I>Reinforcers</I> (to be used after the subject provides info):</div> <bR> <div> "Yes, I got that very strongly."</div> <div> "I was just going to mention that!</div> <bR> <div> Combinations of these phrases and a little observation (coupled with a healthy dose of controlled blarney) can get you a long way.</div> <bR> <div> <B>READINGS SERVED HOT</B></div> <bR> <div> Hot reads can be truly evil, because a so-called psychic often employs underhanded means to get information about you.  Facts gleaned from the internet, caller ID, credit card slips, "interviews," etc., can then be slipped into the reading to amaze you.</div> <bR> <div> <B>YOUR JOB</B></div> <bR> <div> We're going to be looking at various aspects of psychic phenomena over the next few days.  When we're done, you'll have a choice of two possible assignments:</div> <bR> <div> <I>Assignment 1</I>: Research report.  Write about an aspect of psychic phenomena, giving a description, a brief history, how it's used today, and your opinion about it.</div> <bR> <div> <I>Assignment 2</I>: Learn how to perform some aspect of psychic phenomena, then actually try it out on several subjects.  Write me a report describing what you learned, how, and how it worked.  Include comments from your subjects.</div> <bR> <div> <I>I predict many of you will have fun with this assignment.</I></div> <bR> <div> <I>                                                                *   *   *</I></div> <bR> <div> Effective Writing - Mr. Fleck</div> <div> Ultimate Assignment/Final Exam Project: Writing a Research Paper</div> <div> (By Sarah Hamid for <I>The On-Line Writing Lab</I>; edited for this class by Bill Fleck)</div> <bR> <div> <B>YOUR TASK</B>: An 8-10 page research paper (typed, double-spaced, 12-pica, 1" margins), plus a title and works cited page (minimum three sources required) on any topic appropriate for school.  Will count as three grades in the second quarter <U>and</U> as your final exam (due the week before final exams).</div> <bR> <div> <I>An introduction to the research paper</I></div> <bR> <div>      Ah, yes…the time has finally come for you to write your first real research essay (or "research paper," as it's more commonly called).</div> <div>      You no doubt find yourself confronted with confusion, resentment, panic, and a whole lot of  "I don't wanna DO THIS!" feelings.</div> <div>      Well, congratulations, and welcome to the human race. </div> <div>      Maybe you have a creative writing background from other high school classes where you were accustomed to writing "personal essays" (the only research involved being a mental rifling through your own brain).  Or maybe, you vaguely remember writing the 2-page persuasive essay earlier this semester, when you were asked to provide something called "sources."</div> <div>      You all have the Regents under your belt, where you were asked to use material from someplace else in four--count 'em, four--essays of specific form and content.</div> <div>      Bad news, folks: none of these were research papers. </div> <div>      True research papers are more than a loose collection of anecdotal memories or a patchwork of data pulled from Regents-supplied material.  But a research paper can be incredibly exciting and rewarding to write because it finally allows you to really get into a subject you care about with both hands (how often are you allowed to do that in school?).</div> <div>      The research you use will be academic texts you incorporate into your paper from sources who also care deeply about your topic.   This detailed guide will help to take you through the entire process. </div> <bR> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/what.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U><I>What is a research paper?</I></U></A></div> <div>  </div> <div>      Research papers come in all shapes, sizes, forms, and disciplines.  Once you know what you're writing, it's time to do what so few first-time writers do: give thought to <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/audience.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U><I>whom you're writing for</I></U></A>.  This is an important part of research papers in particular because of the natural broadening of the audience that occurs from the consultation of "others" in the field: your outside sources. </div> <div>      Even when you're clear on the purpose and audience of your paper, one of the most intimidating, nerve-wracking, and dangerous aspects of research paper writing is plagiarism, especially when you're not experienced with the process of using outside sources. But knowledge is power. It can't hurt you if you <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/plag.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>know what plagiarism is and how to avoid it</U></A>.</div> <bR> <div> <I>Plagiarism</I></div> <bR> <div>      Plagiarism is the unauthorized use of someone else's thoughts or wording either by incorrect documentation, failing to cite your sources altogether, or simply by relying 'way too heavily on external resources.  Plagiarizing does not give due credit to the people who really came up with the language and/or idea, and it also fails to inform the reader that the information originated from an outside source.  Plagiarizing undermines your academic integrity. It betrays your own responsibilities as a student writer, your audience, and the very research community you were entering by deciding to write a research paper in the first place (and, for the realists in class, it can get you thrown out of college--because it's intellectual theft, colleges consider plagiarism to be an academic crime with punishment anywhere from an F on that particular paper to dismissal from the course to expulsion from the college or university). </div> <div>      Whether intentional or accidental, the result is that some or all of another writer's ideas become falsely represented as your own. It's like lip-synching to someone else's voice and accepting the applause and rewards yourself (did you hear that, samplers?). </div> <div>      <FONT SIZE="2" COLOR="#000000" FACE="Arial" >Oh, and by the way, plagiarism also includes informal published material such as the re-use of the same paper for more than one course or "buying" a paper from another student.  Bottom line?  If it feels like cheating or an easy way-out, it probably is.</FONT></div> <div>      Avoid plagiarism by following and understanding <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/paragrf.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>standard documentation formats</U></A>, learning how to <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/notes.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>note-take</U></A> effectively, and properly <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/paragrf.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>incorporating sources</U></A> (direct quotations or paraphrases) within your own insights so that it is clear which sources were consulted to support your own discussion.  Your research paper won't be some cheap throw-together of unoriginal thoughts, but a credible, cohesive piece of writing because of your intellectual honesty.</div> <bR> <div> <B>Topics</B></div> <bR> <div>      Before you even consider the "topics" issue, take some time now to find out how to save yourself headaches and agony by thoroughly <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/assig.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>understanding the assignment</U></A>. </div> <div> Now that you have some guidelines on what you'll be doing, you need something to do it on: a topic.  </div> <div>      You're lucky in that I'm letting you select a topic on your own (be prepared to have professors in your future do that for you).  You should look for something you'd be motivated to do. </div> <div>     In this case, it may even feel like you're forced to go on your own with very little direction.  Research paper assignments are often given with a word or page count and a deadline, with the only real direction about "subject matter" being that the paper has to look at a topic in-depth fashion (which is exactly what I'm asking from you).<FONT SIZE="2" COLOR="#000000" FACE="Verdana" >  </FONT>You'll still have to go through the <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/invent.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>idea-generation stage</U></A> even if you're given a sheet of topics or possible theses.  Locating something that might pique your interest off such a sheet is pretty self-explanatory: follow your instincts. However, for the other, more-vaguely-expressed extreme in assignments (like this one), <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/pick.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>how are you supposed to come up with a topic of and on your own</U></A> to generate ideas about?</div> <bR> <bR> <div> <I>Choosing A Topic</I></div> <bR> <div>      Now that you feel your mental fuel tank is empty, it's time to fill it up.   Don't be immediately scared of a topic or "topics" in general.  Too often, students are exasperated from the beginning because they don't feel they have any authority or knowledge about any subject area. That's not a great attitude to start with.  Have faith in your own smarts (or, at least, in your ability to B.S.).  You'll start the research in the next step; nobody's expecting you to be an expert or get your paper published in a journal, so just start jotting down ideas about things related to your topic. You may even want to keep a journal to keep everything in one place. Brainstorming now is a good way to begin.</div> <div> <FONT SIZE="2" COLOR="#000000" FACE="Verdana" >     </FONT>While brainstorming, be sure to put down basically <B>anything</B> that comes to mind when you look at the topic.  The important thing here is not to edit your meanderings; this is not the step for second-guessing what you've written.  Connotations, associations, related concepts, connections--that's what you're looking for to get a topic.  To accomplish this, try some specific <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/invent.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>invention techniques</U></A>. </div> <div>      The real key to successful papers that you can actually enjoy writing (gasp!) is <B>motivation</B>, which is why your topic choice is so important.  During your idea-generation activities, once you have started seeing great things jumping out at you, finish your "session" and then make a list of why a potential topic is important.  To do this: </div> <bR> <div> <B>First, think of yourself</B>: Is this something you believe in? that sounds fun? that you sincerely want to learn more about? that intrigues you? Even when you're given a set topic in advance, you can always frame it to suit your needs and style--so get something out of it.  The possibilities are endless. So go ahead and be selfish. Your paper will be the better for it. </div> <bR> <div> <B>Then, think of the </B><A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/audience.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U><I><B><U>audience</U></B></I></U></A><B>: </B>Will other people familiar with this subject care to read what you're writing?  Do you have something to say, or are you babbling and wasting space?  Use common sense and intuition here.  It might be loads of fun to talk about the evolution of the toilet paper roll, but if you suspect your readers will find themselves going, <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/cares.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>"Yeah, so what?"</U></A>, you'll be in trouble and your grade will reflect it. </div> <bR> <div> <I><B>Thesis or Question</B></I><I>: A plan of attack for the keystone of your paper</I></div> <bR> <div>      We know the buildup to the actual research step is getting to be really intense, but you need to learn to pick and refine <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/topic.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>a topic</U></A> before figuring out the focal point of your paper (your thesis statement or research question).  You just can't afford to waste time wandering aimlessly around the library (or on the Internet), or even worse, in your paper. You need to know what your ultimate purpose is and what you need to do to get there. </div> <div>      During our explanation of the <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/types.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>two main types of research essays</U></A> you're most likely to encounter in an assignment (analytical or argumentative), we briefly mentioned what is the keystone of each paper without which the paper would literally fall apart.  For the argumentative paper, the keystone is the <B>thesis statement</B>; for the analytical paper, it is the unresolved topic or what is called the <B>research question</B>.  When you do come up with a good one on your own, make sure it passes <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/cares.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>the "So What?" test</U></A>, or you cannot pass Go and collect your 200 research dollars. </div> <div>      Don't worry though; remember that at this point in the process, your thesis or question will be tentative.  It may change after you do research or as you write and that's perfectly okay.  But even if it turns out to be a popular view or question, your purpose should come from your mind first, not library books.  This is one of the main reasons we're having you think about the point of your paper now before you read what the experts in your field have to say.</div> <bR> <div> <B>Research: </B>Hunting for resources and recording the information</div> <bR> <div>      With tentative <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/thesis.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>thesis statement or research question</U></A> in hand, you've got what will likely become the focal point of your paper.  You have a focus, a goal, a purpose--in essence, the bones of your essay.  But now you need flesh for those bones; that's where research comes in. </div> <div>      The research step you are about to embark on will be exhilarating because now you can finally gather some proof for your readers about that controversial thesis.  Or, you can finally explore the range of answers to your research question.  By immersing yourself in a pool of outside knowledge and integrating it with your own ideas, the research step is what distinguishes this <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/genre.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>genre</U></A> from other kinds of essays, namely the more personal or creative variety. </div> <div>      Before jumping into that pool, you may be asking, "Why not do an outline first?" Well,<B> </B>if you're doing an argumentative paper, chances are that you already have some mental notes about your topic's "sub-components" (the ones that might eventually break down into supporting paragraphs); it was probably those informal sub-points or reasons that helped you formulate your argument in the first place.  Research-question writers probably have only vague ideas of what they might possibly come across in the debates they're analyzing.  In either case though, we suggest putting together an outline after you do research.  You don't want to narrow yourself too much at this point.  A very clear thesis or question gives you enough direction to keep you on task, but still leaves you open to new angles on the subject. </div> <bR> <div>      To conduct research, follow the advice outlined in these <B>three important steps:</B> </div> <bR> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/resource.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>Understand the types of resources</U></A></div> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/critical.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>Critically read and evaluate those sources</U></A></div> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/notes.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>Note-take effectively</U></A></div> <bR> <div> <I>Understand the types of resources</I></div> <bR> <div>      We don't think it's a coincidence that the words "source" and "resource" look so much alike.  Your sources, or the materials which supply you information, are your resources. The first definition of resource in the Random House Webster's College Dictionary is "a source of supply, support, or aid."  Therefore, it's useful to enter the research process with the positive attitude that your sources are in your corner to help you flesh out your paper and open your eyes to a "collective wealth" of knowledge (the second definition of resource!), not just in there as paper requirements. </div> <div>      For argumentative papers, sources act as evidence to back up your thesis.  For analytical papers, sources act more as possible answers to your research question.  For the sake of simplicity, we will refer to this dual function of sources with one word: support. </div> <bR> <bR> <bR> <bR> <div> <I>What are the two main types? </I></div> <bR> <div>      There are two types of support: <B>primary </B>and<B> secondary</B>.  The names refer to the degree of "distance" to the topic. </div> <div>      A primary source is an original document or account that is not about another document or account but stands on its own.  For example, any novel, poem, play, diary, letter, or other creative work is a primary source.  The data from a research study also constitutes a primary source because it comes straight from the participants' replies.  Interviews, not of experts but of people actually experiencing something "on the scene," are also primary sources.  If you were doing a paper on the emotional effects of job loss, talking to someone who just lost their job would be about as close to your topic as you could get.  That's what we mean by distance. </div> <div>      Secondary sources are ones that interpret primary sources or are otherwise a step removed.  A journal article or book about a poem, novel, or play or a commentary about what an interview signifies is a secondary source.  Your paper will likewise become a secondary source. </div> <div>       <B>Note:</B> Not all assignments ask you to consult secondary sources.  For literary essays in particular, often all the examples or evidence you need will, and should, come straight from the text.  Make sure you <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/assig.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>understand the assignment</U></A> before you look for essays on Hamlet that you may not even need.</div> <bR> <div> <I>So how do you research primary sources?</I></div> <bR> <div> <B>Texts</B>: Once you have an argument in mind, reread them.  Highlight, underline, scribble in the margins, or use sticky notes to pick out what you need.  Attune yourself to the text with the different angle you've chosen to write about.  Remember, this time you won't be reading for comprehension (i.e., what is the plot of the story), but for specific examples that support your gut feeling about how or why something is going on in the story.  Be sure to note down glaring contradictory evidence, too.  You'll need to acknowledge that in your paper or else revise your thesis depending on how strong the counter-evidence turns out to be. </div> <bR> <div> <B>Interviews</B>: When you're not trying to sell someone something, people are very willing to talk and share.  Ask around and locate someone through your network of friends and family (maybe the your cousin's boss' sister just settled a court case on an issue you're exploring).  If that doesn't pan out, look in the phonebook or the Internet for professional associations where you can often get in touch with people in a particular field</div> <bR> <div> <I>And if I need secondary sources? </I></div> <bR> <div>      You can search the Web for government documents or your city hall for community records but in most cases your secondary-source research begins at the library.  <B>Start with a book search</B> if appropriate. Go to your campus library (public libraries cater more to popular interests than academic ones) and head for the online catalog like <A HREF="http://www.lib.purdue.edu/" TARGET="_top" TITLE="http://www.lib.purdue.edu/"><U>Purdue's THOR</U></A>.  There aren't many libraries left that only have a card catalog. </div> <div>      Follow the instructions on the screen (though in most cases, it's pretty self-explanatory).  There will probably be buttons for 'Title,' 'Author,' 'Subject,' and 'Keyword.'  For initial searching, you probably won't know the author or title of books; therefore, 'subject' will likely be your tool.  Type in keywords from your thesis or research question, usually in combination because one word at a time will not give you the specific information you're looking for.  If there are primary texts involved, type those into the 'Title' screen; often, academic libraries carry anthologies of criticism near the actual primary text. </div> <div>      If you find some possible books, write down the call number so that you can find the sources.  Once you're at the right shelf, locate the book while scanning the books near it. Often, there are some real gems in the vicinity.  Look at the Bibliography of the book for pointers to other texts and follow up on those leads as well as keeping the one you have with you for the time being.</div> <div>      <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/allout.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>But what if you find books in the catalog and they're all out?</U></A>   </div> <div>      Now if you don't find books, one of two things may be going on: you aren't conducting effective searches (in which case you might want to consult the Library of Congress Subject Heading Index for ways of better representing your words), or there may just be other sources more relevant to your subject.  For example, if your paper depends on incredibly up-to-date information, books might not be the way to go.  A combination of journals, the Web, and interviews might be a better route.</div> <div> <B>     Journal articles</B> can be as valuable as books for most disciplines.  Leafing through an academic journal, written by and for professionals in a given field, is like entering a conversation between experts.  Journals go into much greater depth and target a more specific, educated audience than do the popular magazines at your local convenience store.  However, both types of publications are called periodicals because they come out periodically, usually every month or season.  For the kind of paper you'll be writing, unless you're specifically analyzing the content of magazines as part of your topic, concentrate more on academic journals.</div> <div>      Most libraries have an 'Index' menu on their catalog screen.  Indices and other specialized periodical databases are categorized by subject.  One that you can find online, <A HREF="http://askeric.org/Eric/" TARGET="_top" TITLE="http://askeric.org/Eric/"><U>the ERIC database</U></A>, deals mainly with education and other social science issues.  Other journals cover business, psychology, literature, etc.  Depending on the country you live in and the library you go to, you will have different access to different databases and different instructions on how to best use them.  Follow the online instructions or consult your reference librarian for help if your searches lead nowhere. </div> <div>      If you do find a journal, record all the pertinent information and find a place usually called 'the stacks.'  Unless your find is the most current issue of the journal (which will probably be in a 'magazine' or periodical reading room), your source is probably bound with other issues from that year into a book format, tracked down on the shelf like any other book.  The only catch is you can't take journals out of the library.  But that's okay; that's where <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/notes.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>note-taking</U></A> will come in later.  It's cheaper and a better use of your time than waiting in line for the photocopiers! </div> <div>      If your library doesn't have a journal you need, talk to your reference librarian about an interlibrary loan.  Articles can usually be faxed in less than a week from other libraries. </div> <div> <B>     The Web</B> is another great tool, but use it carefully.  Anyone can post information on the Internet and anyone can change what is up there, bringing up questions of authority and validity.  The best kinds of information you'll find here are avenues for finding people to interview (newsgroups, mailing lists, professional association home pages), access to government documents, material from large organizations, and academic institutions, and articles on digital or web-based issues. </div> <div>      Besides primary texts, interviews, books, journals, and the Web, there are a myriad other sources you can use, but rather than overwhelm you with everything you can access at a library, we suggest you master these five first.  Then, if and when you want to start tackling microfilm, microfiche, specialized CD-ROMs, and census reports, talk to your reference librarian for guidance.</div> <bR> <div> <I>Critically read and evaluate the sources</I></div> <bR> <div>      Now that you have some materials in front of you, either at the library or at home, it's time to critically analyze them.  You need to know what is happening in the text before you take formal notes since part of analyzing means sifting the good resources from the bad.  And what's the point of taking notes on sources you won't be using? </div> <div>      You might recall that we introduced the idea of critical thinking and reading in our early discussion of the <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/types.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>two types of research papers</U></A>; well, here is one of the best places to practice the skill.  The gist of being critical is not "to criticize," but to question, to not take anything you read at face value.  Structure, purpose, audience, and author are four important dimensions of the text to pay close attention to: </div> <bR> <div> <I>Structure </I></div> <bR> <div>      If you're starting with a book, look at the table of contents.  See the shape of what's to come and identify places that your thesis or question might be most directly addressed. Notice the subsections. Is there anything very obviously missing? </div> <div>      Skim the Preface or Introduction to establish context for the discussion and determine the author's intent. The author's thesis statement just may pop up here; be on the lookout for it. Or, it may be implied; if so, why? </div> <div>      Glance at any appendices, diagrams, tables, or figures and see what kinds of things make it into the Endnotes section if there is one.  Look at the topics listed in the Index at the back.  Which of the entries has the most page numbers listed next to it?  This will give you an indication of the subjects that contribute to the real scope of the book. </div> <div>      For a journal article, read the "abstract" for a summary.  If it seems to address your question or thesis, then read the Background or Introduction section, which will normally have some kind of "literature review" or summary of what others have said.  This context is useful for seeing how and why the issue has evolved over time.  Conclusions or Discussions are a great place to turn to next before getting bogged down in minute detail. Did the author answer the research question or support the thesis?  If you can clearly see where the article was intending to go and where it ended up, then you can go back and read the body for details.  Starting with the intro and conclusion is a good strategy for analyzing essays as well, online or otherwise. </div> <bR> <div> <I>Purpose</I></div> <bR> <div>      Examine the title and first few paragraphs.  What is the author trying to do?  What is his or her bias?  Any assumptions to be challenged?  Look at the publisher or institutional/organizational affiliation of the author.  Does the person have a vested interest in swaying you one way or another?  A book on management style will be markedly different if it comes from some corporate management committee compared to union representatives.  It would even be different presented by a professor of economics rather than a professor specializing in human relations and organizational psychology.  Authors should be upfront about the angles they take in their discussions.  Is yours?</div> <bR> <div> <I>Audience </I></div> <bR> <div>      Who does the intended audience appear to be?  How narrow or broad is it?  To answer this, look at stylistic choices such as diction and tone.  For instance, are there a lot of technical words?  If so, look them up.  And finally, what stake does the target audience have in the issue?  In other words, why would the audience be reading the text?  Who would you be imagining yourself talking to in your paper?</div> <bR> <div> <I>Author</I></div> <bR> <div>      Who is the author?  Is it someone your teacher has mentioned or whom you've come across in your course readings?  Has the person been mentioned in other texts or bibliographies of other texts?  Presence in the scholarly community is one of the ways to establish authority.  Another is education and/or expertise.  Is the person a teacher or researcher from a reputable academic institution?  Does the person have considerable knowledge of what he or she is talking about?  Is the author respected and well-received? You wouldn't let just anyone off the street walk into your home, so make your sources establish rapport and trust with you before you just let them walk on into your research paper.</div> <bR> <div> <I>Evaluation Quiz </I></div> <bR> <div>      After reading and analyzing your works, you should answer yes to each of the following three questions: </div> <bR> <div> <B>Does the date of the source match the level of currency you need for your paper?</B>  A source from the late 1970s wouldn't be appropriate for an examination of current multi-media issues or the latest microsurgery techniques, but it would still be appropriate for a study of Homer.  Currency is more important in subject areas that are frequently researched (where theories are frequently rejected and updated); therefore, the physical and social sciences need more current sources than subjects like literature.</div> <bR> <div> <B>Is the author a credible source?</B>  In other words, has authority and expertise been established?  Are there ulterior motives influencing the text?</div> <bR> <div> <B>Is the source relevant to your thesis or question, i.e., useful? </B> If the source argues thoughtfully and logically, helps you look at something differently, and gives you possible answers for your question or evidence for your thesis, then it's a keeper!</div> <div>  </div> <div> <B>Web Evaluation: </B>As mentioned before, evaluating web information is a bit tougher because of the nature of the medium.  The biggest struggle you will probably have is answering question #2 above with cyber-resources.</div> <bR> <div> <B>Effective Note-taking</B></div> <bR> <div>      You already started the process of note-taking in the previous section, even before putting pen to paper.  How?  Well, to take notes, you need to know what to take notes on; by <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/critical.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>analyzing the text</U></A>, you've likely already located the sections or chapters most useful to you.</div> <bR> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/#LOOK" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>What should my notes look like?</U></A></div> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/#WRITEDOWN" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>What should I write down?</U></A></div> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/#PLAGIARISM" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>Specific tips to avoid plagiarism</U></A></div> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/#COMPREHEND" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>Specific tips to facilitate comprehension later on</U></A></div> <bR> <div> <I>What should my notes look like? </I></div> <bR> <div>      The point-form or sentences debate (on loose-leaf or on 3x5 index cards for easy shuffling) is simply a matter of preference.  Some students are comfortable with points; others prefer summarizing and paraphrasing right into rough sentences to make drafting easier.  Try both methods and see which one you prefer.  Some students also prefer good ol' fashioned loose-leaf for note-taking while others religiously use index cards with one point on each card.  Again, both techniques have their pros and cons so try them out and see which one is for you.  Above all, note-taking involves writing.  Highlighting can be an important first step, but used alone, it's simply too passive.</div> <bR> <div> <I>So what should I write down?</I></div> <bR> <div>      Anything and everything that will flesh out your thesis statement or research question! </div> <div> Be succinct in whatever you write, but don't rely too heavily on mental notes because you're afraid of writing too much down.  Even if it's just background data, boil it down to a short phrase on paper and save the taxing of your memory for exams, not research papers.  Remember, notes are a bit like drafts: you will not end up using everything you write down.  Luckily, the next step on <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/outline.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>outlines</U></A> will help you to sift the gold from the debris. </div> <div>      Remember that it's fine to copy down duplicating facts.  You may need them later on to defend your thesis.  For major issues, having more than one person who agrees with you strengthens your point.  Just make sure to record who said what each time. </div> <div>  It's also okay to copy down contradictory information.  Analytical papers often include opposing views and even for argumentative papers, acknowledging an opposing viewpoint that is easily disproved by its counterpoint is always a good rhetorical tool. </div> <div>      Whatever you take notes on, be sure to take them from more than one or two key sources.  Using a variety will lend weight to your argument, broaden your horizons on the topic when you need varying viewpoints anyway, and demonstrate to your professor the thoroughness of your research. </div> <div>      The final piece of data to record is a working bibliography of all the sources you consult.  Begin jotting one down as soon as you begin researching so that you won't forget when it comes time to draft the paper (a common error and stress-inducer). Therefore, before you even take notes, neatly record all the pertinent bibliographical information you'll need for any <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/paragrf.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>citation format</U></A> you decide to use (author, title, (editor, translator, and/or edition number if there is one), publisher, city of publication, year of publication, issue number, volume, and page numbers). </div> <div>      The call number of a book, the search terms you entered into any database, and any URLs (web site addresses) for online information come in handy for easy RE-access to a resource should something come in question later on.  In short, throw out nothing!  And date it all, too.  Again, it doesn't matter that you may not need all the info you write down.  But, boy, will it come in handy if your professor ends up telling you later that he wants a Works Consulted as well as a Works Cited list at the end of the paper.  With bibliography in hand, you can answer that challenge with a smile instead of a panic attack because you couldn't remember what you read.</div> <bR> <div> <I>Specific tips to avoid </I><A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/plag.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U><I>plagiarism</I></U></A><I> </I></div> <bR> <div>      Paraphrase most of the time.  That is, compress and write in your own words what you understand to be the basic meaning of a sentence or a block of text.  As a composition teacher once said, "always think of making notes instead of taking notes."  Highlighting key passages or photocopying key pages can be good first steps towards extracting important information, but before you start your draft, <B>translate</B> and <B>rewrite</B> your notable research findings now.  Don't count on doing it later when the temptation of keeping beautifully-crafted sentences in the body of your paper (without acknowledgment) is even greater.</div> <div>      Take care to distinguish between…</div> <bR> <div> <B>…background</B> or commonly known facts in the field that you can assume your audience already knows (e.g., "Radio has evolved into an incredibly portable and music-based medium"). Your own knowledge acquired from a course makes you a great source of such background data!</div> <bR> <div> <B>…other not-so-commonly-known facts</B> such as some unbelievable statistic you found that you'll have to cite at the point of discussion (e.g., "Research has shown that 95% of students listen to the radio while they study")</div> <bR> <div> <B>…opinions</B> which are usually the most contentious of all.  If Dr. Z "believes" something is the case, then record that he believes it.</div> <bR> <div>      Though you should limit this, if you absolutely must take a direct quotation, (1) change to a different colored pen, (2) put huge quotation marks around it, and (3) don't forget the page number and source.  Don't count on remembering later that it was copied down word for word; you might accidentally believe you paraphrased it in which case careless plagiarism will probably take place.</div> <bR> <div> <I>Specific tips to facilitate comprehension later on </I></div> <bR> <div> Be wary of special short-hand you or someone else has developed.  It can be a god-send as far as time-saving goes, but keep a legend of unusual abbreviations and symbols or else you might be confused come drafting time.</div> <div> Make sure you know where every note comes from.  A good way to keep track is to number each entry in your working bibliography and then label each page with notes from a source with its corresponding number.</div> <div> Put a page number next to all notes just in case you need to know where it came from to come back to the source or to use the note in your paper.</div> <div> If you don't understand what a particular resource is saying, don't use it or you'll risk misinterpreting the information and undermining your argument.  A good rule of thumb is that if a note doesn't make sense at the point of writing, it won't magically make sense later.</div> <bR> <div>      If you find ideas or reactions coming to you while you're researching, make sure you keep your thoughts and insights separate from your other notes.  Using different colored pens or physically shifting from "me" to "others" sheets is a great way to maintain the distinction.</div> <div>      Above all, keep everything as legible as possible; you'll thank yourself later. Neat notes especially count for bibliographic information and URLs (I recommend the American Psychiatric Association format--it's very easy).</div> <div>      Be wary of photocopying because as the Student Services department from Charles Sturt University so aptly puts it, "[photocopying] often delays the hard work of reading and thinking; unhappily, it sometimes substitutes for them."  How true.  But if it's just a case of you not liking the environment of a library for reading, then make limited photocopies and do your <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/critical.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>analyzing</U></A> and note-taking at home.  Remember, though, not to cut off page numbers and always write the bibliographic information on the backside of the page for easy reference later on.</div> <bR> <div> <B>Outline:</B> Adjusting the direction and mapping it out</div> <bR> <div>      This section on planning combines the "bones" of your <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/thesis.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>thesis or question</U></A> with the "flesh" from your <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/research.html" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>research</U></A> and insights to construct a unified essay body. </div> <div>      An outline is the organizational plan for your paper.  You know your starting point: your introduction and thesis/research question.  You know your destination: some sort of summative and thoughtful conclusion.  But how are you going to get from one to the other?  What's your vehicle?  See, an outline doesn't just help you articulate what you plan to say, but also how you're going to move from supporting paragraph to supporting paragraph, how you're going to get where you want to go.</div> <bR> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/#IMPORTANCE" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>The importance of outlines</U></A></div> <div> <A HREF="http://owl.english.purdue.edu/workshops/hypertext/ResearchW/#CONSTRUCT" TARGET="_top" TITLE="http://owl.english.purdue.edu/workshops/"><U>How to construct your own</U></A></div> <div> What should an outline look like?</div> <bR> <div> <I>The importance of outlines</I></div> <bR> <div>      If you can't articulate your paper even in point form, you won't be able t