Previous Scrabble blog posts featured playable two-letter words beginning with the letters a through e. Today’s entry lists playable two-letter words beginning with f, g, h, i, j, k, and l. Learning these two-letter words, as well as the other two-letter words in the alphabet, will enable you to see more options for play and may increase your score.
fa: a tone on the diatonic scale
fe: a Hebrew letter (also feh)
gi: a white garment worn in martial arts
go: a Japanese board game
ha: used to express surprise
he: a pronoun signifying a male
hi: an expression of greeting
hm: used to express consideration
ho: used to express surprise
id: the least censored part of the three-part psyche
if: a possibility
in: to harvest (a verb, takes -s, -ed, -ing)
is: the third-person singular present form of “to be”
it: a neuter pronoun
jo: a sweetheart
ka: the spiritual self in ancient Egyptian spirituality
ki: the vital life force in Chinese spirituality (also qi)
la: a tone of the diatonic scale
li: a Chinese unit of distance
lo: an expression of surprise
It’s all Greek to Me
Since this week finds us in the midst of sorority and fraternity rush, today’s post includes the Greek alphabet. The names of all twenty-four letters are playable words.
alpha
beta
gamma
delta
epsilon
zeta
eta
theta
iota
kappa
lambda
mu
nu
xi
omicron
pi
rho
sigma
tau
upsilon
phi
chi (also khi)
psi
omega
The idiom “it’s all Greek to me,” used to describe anything hard to understand, was popularized by Julius Caesar, in which the character Casca says he didn’t understand a word Cicero spoke (in Greek) at the festival (Shakespeare 1.2).
Thanks to Shakespeare, Greek, sometimes with a lowercase g, is playable in Scrabble as a common noun meaning anything unintelligible.
Next Up
On Monday, after your Scrabble debriefing, we will examine “A Bridge to Words,” which I will distribute today. Read and annotate your copy before Monday’s class. If you were absent today or misplace your copy, print one from Blackboard.
As you continue your revision, try experimenting with the order of your narrative. For details, see the notes on narrative order included below (and on your revision handout). Also consider how “Me Talk Pretty One Day” and “The Day Language Came into My Life” demonstrate two vastly different ways to present a literacy narrative. Together, David Sedaris’s essay and Helen Keller’s chapter show us that the stories we recount—for our purposes, ones of learning to read or write, or speak a second language—may be humorous or serious and may consist primarily of scene or may be composed of roughly equal parts scene and summary.
Temporal Distance and the Adult Retrospective Narrator
Sedaris’s and Keller’s stories show us two narrators whose temporal distance from their narratives differ significantly. In “Me Talk Pretty One Day,” Sedaris recounts struggling to learn French “[a]t the age of forty-one” (166). His essay, published in Esquire magazine when he was forty-three, chronicles an experience only two years in his past. In contrast, Keller writes of the life-altering experience of learning sign language “three months before I was seven years old” (par. 1), more than fifteen years before she published her autobiography, The Story of My Life (1903). The term for a narrator looking back at childhood, as Keller does, is adult retrospective narrator.
Chronological and Nonlinear Narratives
Consider experimenting with the order of your narrative. Many of your drafts were chronological—and ultimately you may decide that suits your story best—but try one of these nonlinear approaches.
Beginning your narrative in the present, then depicting the experience in one or more flashbacks
Starting in medias res (in the middle of things), then turning to exposition to explain how the story arrived at that point
Diction, Mechanics, Grammar, and Style
The August 19 blog entry includes a bullet-point list of notes on diction, mechanics, grammar, and style, a list also included on the handout you received when I returned your introductory reflective writing. If you have not reviewed that list, be sure to do so before you post your final revision to Blackboard and WordPress.
Next Up
Wordplay Day! To prepare for class, revisit the Merriam-Webster Scrabble Word Finder page, and review your journal notes on the game and the blog posts devoted to Scrabble.
Today’s class will be devoted primarily to revision work. After we examine the student literacy narrative “The Journey of the Greatest Story,” I will return the drafts of your literacy narratives, and you will have the remainder of the class period to begin revising on your laptops. You will have an additional week to continue revising before posting to Blackboard and WordPress. The due date for your literacy narrative is Wednesday, September 9, before class; the hard deadline is Friday, September 11, before class.
As you continue to revise your literacy narrative, consider visiting the Writing Center. If you do so, you will earn five bonus points for the assignment.
To schedule an appointment, visit the Writing Center’s sign-up page, email the Writing Center’s director, Professor Justin Cook, at jcook3@highpoint.edu, or scan the QR code above. To earn bonus points for your literacy narrative, consult with a Writing Center tutor no later than Thursday, September 10.
Next Monday, September 7, in the second half of class, I will guide you through the Blackboard and WordPress submission processes step by step.
Next Up
Wordplay Day! To prepare for class, revisit the Merriam-Webster Scrabble Word Finder page. Also, review the Scrabble notes in your journal and the blog posts devoted to Scrabble.
The paragraphs that follow include detailed but not comprehensive notes on the two sample essays that you read and evaluated yesterday. Look to these notes as a guide for editing your own literacy narrative.
“Creativity is Key”: Notes on Content
The essay is not a narrative. The writer mentions his experience writing a Southern gothic story, and he briefly recounts writing about his training for track and field and international football (soccer), but the writer offers very few details. Focusing on one of those experiences and recreating one or more moments from it would transform the essay into a narrative and develop it into one that meets the six hundred-word minimum requirement.
“Creativity is Key”: Notes on Form
Form is less important than content, but easily avoidable errors of form may prevent readers from appreciating the content of your narrative. Creating a compelling story is hard work; proofreading isn’t. If you don’t get the easy part right, readers may stop reading.
The writer changes the font of the body of the paper to Times New Roman but does not change the font of the running header, which should also be Times New Roman.
The writer incorrectly adds an extra space between the first-page course information (in the upper left) and between the title and the first line of the essay. MLA-style manuscripts are double-spaced. Note that later, the writer also incorrectly adds space between the paragraphs.
The title should be typed in twelve-point font, which is the font size that should be used throughout the document.
The title should not appear in boldface.
The title should be centered.
In MLA style, all major words in a title, including the final one, are capitalized (“key” should be “Key).
The second “sentence” of the second paragraph is a fragment because the meaning of “one being my senior year . . .” is dependent upon the clause that ends the previous sentence. See Writing Analytically, page 426-29.
The comma between “all” and “matter” is a comma splice. See Writing Analytically, 429.
“[R]eal life” should be hyphenated (as real-life) when it functions as a compound modifier. Ditto for “open minded” and “four to five.”
Errors of letter case–upper rather than lower, or vice versa–are mistakes of mechanics that are prevalent in the second paragraph. Track, Field, defensive back, and Athlete should all begin with a lowercase letter.
“[F]elt like” should be “felt as if.” In comparisons, use “like” before a noun and “as if” before a clause.
“I’m a writer that” should be “I’m a writer who.” The correct relative pronoun for a person is “who,” not “that.”
“The Journey of the Greatest Story”: Notes on Content
“The Journey of the Greatest Story” is a well-told narrative, but one with a glaring omission: Kate Chopin’s words. The writer claims that the last sentence of The Awakening affected her profoundly, but the absence of those words may lead readers to question the writer’s reliability. If Chopin’s words were so memorable, why aren’t they on the page? Near the end of the narrative, the writer states that she “can still recall key details from the story” (par. 4), but provides no examples. The only detail the writer mentions is Edna Pontelier’s suicide by drowning, which is a well-known fact about the novel.
The writer may have chosen to withhold Chopin’s last sentence from her introductory paragraph because she wanted to focus instead on what followed: the “loud slam of the book as he [the teacher] shut it” (par.1). Still, the writer could have included it later. For example, when she writes about the feelings the novel evokes, she might have included a sentence such as this:
I kept thinking about the last sentence: “There was a hum of bees, and the musky odor of pinks filled the air” (Chopin, ch. 39).
Quoting The Awakening doesn’t require having a copy of the novel at hand. The complete text is available on Project Gutenberg. The parenthetical citation in the example above follows the format for an unpaginated online book (author’s last name, chapter abbreviation, and chapter number). The MLA work cited entry for the book appears below. Note that in a manuscript, the entry would have a hanging indent, which means the first line would be flush left and any subsequent lines would be indented five spaces or one-half inch.
“The Journey of the Greatest Story”: Notes on Form
The Awakening (pars. 2, 4) should be italicized rather than underlined. In the process of composing her draft longhand, the writer learned that titles of book-length works are underlined in handwritten documents, and she mistakenly applied that rule to her typed revision.
The word as should not precede “the final sentence” (par. 1), because it is used improperly there. As offers comparison, shows reason, or introduces a clause. Here are two ways the writer could revise the sentence:
I still remember the moment the final sentence of the story slipped from my teacher’s mouth, and the loud slam of the book as he shut it.
I still remember the final sentence of the story slipping from my teacher’s mouth, and the loud slamming of the book as he shut it.
The second example above is more direct because the writer doesn’t tell the reader it’s a moment. Instead, she lets the moment happen. The strike-throughs indicate that “of the story” (par. 1) is an unnecessary phrase. The writer has already established that The Awakening is her subject. Also, if specifying the book is necessary at any point, it should be referred to as a novel, not a story.
The writer describes Edna Pontelier as “submerging as death grew upon her” (par. 2), but growing indicates a rise, while submersion indicates a lowering. Grew should be replaced with engulfed.
The writer incorrectly uses hyphens to set off the appositive “-the author-” (par. 2). Here are two ways the writer could correct the presentation of the appositive and edit the passage for brevity:
I yearned for more pages to materialize to clarify the ending, or to have a chat with Kate Chopin–the author–so she could relieve my frustration by explaining the conclusion. Instead, I just sat and pondered those aggravating feelings.
I yearned for more pages to materialize to clarify the ending, or to have a chat with Kate Chopin, the author, so she could relieve my frustration by explaining the conclusion. Instead, I just sat and pondered those aggravating feelings.
An appositive can be set off by em dashes or commas, but commas are preferable for short appostives, so the second correction above is recommended.
The line “having me read this class” (par. 3) is not what the writer intended. The words shoud be having me enroll in the course or having me read Chopin’s novel.
When the teacher responds to the student (par. 3), the writer should begin a new paragraph because the speaker changes.
And when the writer responds to her teacher, she should begin a new paragraph yet again because the speaker changes from the teacher to the writer-student, with her words, “Have a nice day” (par. 3).
Years are an exception to MLA’s numbers rule regarding words and figures. 2025 should be written as 2025, not “twenty-twenty-five” (par. 4).
Next Up
On Wednesday, after our follow-up discussion of “Creativity is Key” and “Journey of the Greatest Story,” I will return your literacy narrative drafts, and you will have the remainder of the class period to begin revising on your laptops. You will have an additional week to continue revising before posting to Blackboard and WordPress. The due date for your literacy narrative is Wednesday, September 9, before class; the hard deadline is Friday, September 11, before class.
This morning in class, after your Scrabble debriefing, we will examine “Creativity is Key,” which you read and annotated for today. In groups, you and two or three of your classmates will compose a brief written assessment of the essay and determine a letter grade for it, based on the assignment guidelines and grade criteria.
Once you have evaluated “Creativity is Key,” we will discuss it as a class. After that, I will distribute copies of a second student literacy narrative for you to read, assess, and grade.
For your reference, your group worksheet lists the literacy narrative’s guidelines and grade criteria, which also appear below.
Guidelines
The focus should be one of the following:
A memory of a reading or writing assignment that you recall vividly
Someone who helped you learn to read or write
A writing-related school event that you found humorous or embarrassing
A particular type of writing that you found (or still find) challenging
A memento that represents an important moment in your development as a reader or writer
Learning a second language
The narrative should be a well-told story that includes the following elements:
Vivid detail
Some indication of the narrative’s significance
A minimum of 600 words
A title that offers a window into your essay (It should not be titled “Literacy Narrative.”)
All three major writing assignments for English 1103, including the literacy narrative, must comply with MLA style guidelines.
Grade Criteria
An A literacy narrative complies with all assignment guidelines: It presents a well-told story, includes vivid details, and conveys the story’s significance in a way that demonstrates a depth of understanding. An A literacy narrative is also well-organized and relatively free of surface errors.
A B literacy narrative complies with all assignment guidelines but may convey the significance of the story superficially, may have organization issues, or may be flawed by surface errors.
A C literacy narrative complies with most but not all assignment guidelines and may be flawed by organization issues and/or surface errors.
A D literacy narrative complies with only a few of the assignment guidelines and may also be flawed by organization issues and/or surface errors.
An F literacy narrative fails to comply with most or all assignment guidelines and may also be flawed by substantial issues of organization and/or surface errors.
Scrabble Debriefing, continued
Today’s Scrabble debriefing will continue with a study of some of the plays in the games pictured below. Answers to the questions that I pose about those plays are included at the end of the post.
Acronyms: To Act or Not to Act?
If you have the letters to form an acronym, should you act on it? Each of the following two games includes an acronym. In the first game, the acronym appears once. In the second game, the same acronym was played twice, once using a blank tile. What is an acronym, and are the acronyms below playable in Scrabble?
When You Draw a Blank
In the game below, a team used a blank on a bonus square to score a two-letter double-word play with the letter a. Although that play is permissible, it isn’t advisable. Why should the team have chosen a different play? The game also includes four unplayable words. The fourth unplayable word was formed by pluralizing (adding s) to an unplayable word.
Assessing S
In the game that follows, a team played two s tiles to form the single word toss. The play is similar to the play of blank in the previous game because although the play is permissible, it isn’t advisable. Why should the team have chosen a different play?
The Long and Short of It
The word vigorous in the game below was formed by adding “o-u-s” to vigor, yet another play that is permissible but not advisable. Why should the team have chosen a different play? Consider that the words duo and tour had already been played–and what letter had not been played?
Three Letters, Three Words
In the game below, in one play, a team formed one of the two-letter b words featured in Friday’s post, along with two other words for a total of forty-eight points. What is the two-letter b word and what are the other two?
Up Next
Wednesday will be devoted to revision work. I will return your literacy narrative drafts, and you will then have the remainder of the class period to begin revising on your laptops. You will have an additional week to continue revising before posting to Blackboard and WordPress. The due date for your literacy narrative is Wednesday, September 9, before class; the hard deadline is Friday, September 11, before class.
Answers
Acronyms: To Act or Not to Act? An acronym is a series of letters in which each letter is the first letter in a word. For example, NASA is an acronym for National Aeronautics and Space Administration. Acronyms are not playable in Scrabble. MIA, which was played in the first game, is an acronym for missing in action. Note that the word bon–playable in French Scrabble but not in the North American game–was also played. IQ, which was played twice in the second game, once with a blank, is an acronym for intelligence quotient.
When You Draw a Blank: Though the blank tile followed by the a can form many permissible two-letter words, it earns the team only two points for the double-word play. In all likelihood, the team could have scored more points elsewhere by playing one or more lettered tiles. Keep in mind that a blank can be used as any letter, but it has no point value. Also note that four unplayable words were played in the same game: taft, ea, df, and tafts.
Assessing S: Playing toss for six points is permissible but not advisable because the team probably could have earned six or more points by playing other letters and saving the two s tiles for higher-scoring words. Also, the placement of toss offers the opposing team the opportunity to make a triple-word play on the bottom row.
The Long and Short of It: Playing vigorous was a risky move that only gained the team thirteen points. It was a risky play because two of the four u tiles had been used (to form tour and duo), and the q had not been played. Even if the team could not score as many as thirteen points elsewhere, a lower-scoring play would have been preferable to losing a u and an s for a gain of only thirteen.
Three Letters, Three Words: One team’s knowledge of the two-letter word bi in last Friday’s post enabled its players to form three words in a single play: fix, bi, and ox, which earned the team a double double-word score for fix and ox with the x on the double-word square. That double double-word score and the additional word bi earned the team forty-eight points for a turn in which they played only three letters. The unplayable word pedels–a misspelling of pedals, perhaps–was played later in the game.
The first Scrabble blog post of the semester featured playable two-letter words beginning with a. Learning those two-letter words, as well as the others that follow in the alphabet, will enable you to see more options for play and can increase the number of points you earn in a single turn.
Here’s a list of the playable words beginning with b, d, and e:
ba: the soul in ancient Egyptian spirituality
bi: a bisexual
bo: a pal
by: a side issue
de: of, from
do: to perform, also a tone on a scale
ed: education
ef: the letter f (also eff)
eh: used to express doubt
el: an elevated train
em: the letter m
en: the letter n
er: used to express hesitation
es: the letter s
et: a past tense of eat
ex: the letter x
When in Doubt . . .
Consult the guidelines (in the game box) if you are unsure whether an action is permissible in gameplay. An additional copy of the guidelines follows.
Scrabble Guidelines
Do not let your opponents know which letters are on your rack. Whenever possible, communicate with your teammate nonverbally by pointing to the letters and rearranging them on the rack. If you need to refer out loud to letters on your rack, refer to them as “this one, that one . . . .”
Do not say the definition of a word aloud. If you play a word and your opponents question its validity, do not provide the definition. Definitions can be provided only in the event of a challenge. See the note below regarding challenges. Also, note that you will have the opportunity on your own after class to look up the meanings of any unfamiliar words played by your opponents or recommended by your teammate and subsequently played by the two of you. You will also have the chance to look up definitions during your Monday debriefings.
If you think your opponents have played a word that isn’t permissible, such as a misspelled word or a proper noun, tell me that you have a challenge. I will consult the Official Scrabble Players Dictionary to determine whether the word in question is playable and will provide the definition. If the challenged word isn’t playable, the team that set it down loses a turn. Conversely, if the challenged word is playable, the team that called the challenge loses a turn.
If any group member’s smartphone or laptop is in evidence during the game, immediately tell that person to put it away. The presence of any player’s digital device is a foul—as is providing a definition or otherwise offering unauthorized assistance—and fouls come with penalties, five points each.
Repetition, Plurals, and Competitive Scrabble
Fatsis, Stefan. Word Freak. 2001. Penguin, 2002.
One question raised during last Friday’s Scrabble games was whether a team can play a word that has already been played, either by that team or the opponent. The answer is yes; you can play the same word multiple times in a single game. Scrabble has no rule prohibiting repetition.
Another question raised was whether you can play plurals. You can, but unless playing the letter s enables you to form multiple words in a single play and earn a substantially higher score, keeping the s tile on your rack (for a higher score in a later play) is a better option.
Are there Scrabble tournaments? That’s another question asked last Friday. Yes, hardcore players do compete in tournaments, and journalist Stefan Fatsis’ book Word Freak (pictured above) documents his immersion in the competitive Scrabble subculture.
Competitive Scrabble is also chronicled in the documentary film Word Wars (2004).
Next Up
On Monday, we will examine “Creativity is Key,” the sample student literacy narrative that I will distribute today. In class on Monday, I will distribute a second student literacy narrative, and in groups, you and your classmates will assess the two. If you were absent today or misplaced your copy of “Creativity is Key,” download a copy from Blackboard and print it.
Coming Soon
Next Wednesday will be devoted to revision work. I will return your literacy narrative drafts, and you will then have the remainder of the class period to begin revising on your laptops. You will have an additional week to continue revising before posting to Blackboard and WordPress. The due date for your literacy narrative is Wednesday, September 9, before class; the hard deadline is Friday, September 11, before class.
Yesterday, before you began drafting your literacy narrative, we examined a page (pictured above) from Harper Lee’s novel To Kill a Mockingbird. That page from the first chapter serves as a valuable model for three narrative elements: summary, scene, and dialogue–at least two of which will figure in your literacy narrative.
The first paragraph of the passage summarizes the characters’ circumstances, designating the “summertime boundaries” (12) within which the narrator, Jean Louise, “Scout,” Finch, and her older brother, Jem, may play outdoors. The short one-sentence paragraph that follows continues the summary, informing readers that the summer Scout has just summarized is the one in which Dill (Charles Baker Harris) first visits Maycomb, Alabama.
With the first words of the next paragraph, “[e]arly one morning,” Scout shifts from summary to scene (12). All of the remaining paragraphs except the final one continue the scene with dialogue. Scout returns to summary with the words “Dill was from Meridian” (12).
Note that Harper Lee begins a new paragraph whenever the speaker changes. Also note that every line of dialogue does not include a dialogue tag, such as “he said” or “she said.” If a passage of dialogue includes only two speakers, none of the paragraphs require dialogue tags after the speakers’ first lines because the start of a new paragraph signals to the reader that the other person is speaking. If a dialogue includes three or more speakers–such as Scout’s conversation with Jem and Dill–occasional tags are essential.
Lessons in Punctuation
The excerpt from To Kill a Mockingbird also demonstrates how to use a variety of punctuation marks, including em dashes, hyphens, and commas.
Harper Lee uses em dashes to set off “Miss Rachel’s rat terrier was expecting” (12) from the rest of the sentence because it is nonessential. It adds details, but the sentence can function without them. An em dash is used before and after phrases that are nonessential. Note that there is no space before or after the dash, which is made with two strikes of the hyphen key.
Jem asks if Dill is “four-and-a-half”? Hyphens appear between those words because multiple-word numbers, such as ages, are hyphenated. The numbers twenty-one through ninety-nine are hyphenated as well.
Near the end of the excerpt, “Mississippi” and “Miss Rachel” (12) are both set off by commas because those details are nonessential. Commas are used to set off single words and short phrases of nonessentials the way that em dashes are used to set off longer units of words.
Work Cited
Lee, Harper. To Kill a Mockingbird. Lippincott, 1960. p. 12.
Next Up
Wordplay Day! To prepare for class, revisit the Merriam-Webster Scrabble Word Finder page, and review your journal notes on the game and the blog posts devoted to Scrabble.
This morning at the beginning of class, we will examine the literacy narrative that you read for today, “The Day Language Came into My Life,” which is the fourth chapter of Helen Keller’s autobiography, The Story of My Life.
Together, Sedaris‘s essay and Keller’s chapter demonstrate two vastly different ways to present a literacy narrative. “Me Talk Pretty One Day” offers a quirky look at the challenges of learning French from a sarcastic, soul-crushing instructor. Keller’s story poignantly recounts learning to make meaning of the world through sign language.
After we discuss Keller’s chapter, you will begin planning and drafting your first essay assignment, a literacy narrative: an account of a learning experience involving reading, writing, or learning to speak a language.
Directions
Begin by asking yourself this question: What were some of my most formative experiences as a reader, a writer, or a language learner? Freewrite on those, then choose one to bring to life. Your aim is to recreate your experience on the page and reflect on its significance. Your focus may be any one of the following:
A memory of a reading or writing assignment that you recall vividly
Someone who helped you learn to read or write
A writing-related school event that you found humorous or embarrassing
A particular type of writing that you found (or still find) challenging
A memento that represents an important moment in your development as a reader or writer
Learning a second language
Your literacy narrative should be a well-told story that includes these elements:
Vivid detail
Some indication of the narrative’s significance
A minimum of 600 words
A title that offers a window into your essay (It should not be titled “Literacy Narrative.”)
Detailed instructions are included in the assignment handout that you will receive in class today. An additional copy is posted on Blackboard in the Major Paper Assignments folder.
Quiz Follow-Up
Rather than listing the answers to the questions on Monday’s quiz, I have followed each question below with a note regarding where to find the answer. By finding the answers yourself, you will learn more than you would from simply reading them in a list.
How is David Sedaris different from his classmates, or how does he perceive himself as different from them? See pages 166-67 of “Me Talk Pretty One Day.”
What style will you use for formatting files and documenting sources in papers for English 1103 and many other courses in the humanities (philosophy, classics, religious studies, art history, and foreign languages)? See the August 20 class notes.
What is one of the formatting requirements for the style you will use for your papers in English 1103? See theAugust 20 class notes.
Your quiz also included a bonus opportunity. Possible answers for that bonus are found in the class notes for August 20and21.
Next Up
Wordplay Day! To prepare for class, review Merriam-Webster’s Scrabble Word Finder page, your journal notes on the game, and the blog posts devoted to Scrabble.
Postscript: Dolly Parton (January 19, 1946-August 25, 2026)
It’s fitting that you began your literacy narratives on a day when we are remembering a woman who created one of the largest book-giving programs in the world. Although she is known primarily as a country music icon–and songwriter, actress, producer, and entrepreneur–she was also a philanthropist whose Imagination Library, founded in 1995, has given more than a million books to children in the United States, Canada, the United Kingdom, the Republic of Ireland, and Australia. Children enrolled in the program receive one book per month from birth to five years regardless of their family’s income. Rest in peace, Dolly. Your artistry and philanthropy have made the world a better place.
Yesterday in class, after your Scrabble debriefing, we examined David Sedaris‘s essay “Me Talk Pretty One Day,” and you and two or three of your classmates collaborated on an exercise that involved identifying an instance of tension in the essay. Locating such a moment in another writer’s work provides you with a model for creating tension in your own story, which is key to maintaining the reader’s interest and propelling the narrative forward.
As models for you, I included the examples below on your worksheet.
Examples
In “Me Talk Pretty One Day,” David Sedaris introduces tension when he writes, “the students exhibited an ease and confidence I found intimidating” (167).
In “Me Talk Pretty One Day,” the author introduces tension when he writes, “the students exhibited an ease and confidence I found intimidating” (Sedaris 167).
I included two examples because the correct format for the citation is determined by the content of the sentence, specifically, whether the author is named. The first example includes only the page number in parentheses because the author is named in the sentence. The second example includes the author’s name in parentheses because he is not named in the sentence. Including the author’s name in both places would be redundant.
Here are some of the instances of tension that you identified in “Me Talk Pretty One Day”:
Moments of Tension in “Me Talk Pretty One Day”
The French teacher asks the Yugoslavian student if she “love[d] your little war” (Sedaris 169).
Sedaris conveys the underlying pressure in the classroom when he recounts how “the optimist struggled to defend herself” (169).
The author renders tension when he writes, “‘I hate you,’ she said to me one afternoon. Her English was flawless . . . I couldn’t help but take it personally” (Sedaris 171).
Sedaris notes, “The teacher, through word and action, conveyed the message that if this was my idea of an identity, she wanted nothing to do with it” (171).
The writer recalls that “[His] fear and discomfort crept beyond the borders of the classroom” (Sedaris 171).
The narrator observes, “the teacher hadn’t meant to stab the girl, but neither did she spend much time apologizing” (Sedaris 172).
Talking Points
Your groups also identified a minimum of three talking points in Sedaris’s essay, parts of the narrative you had questions about, or any passages that you deemed particularly interesting or revealing. Section one did not have time for post-exercise discussion. In section eight, a student addressed Sedaris’s use of gibberish, or nonsense words, such as “meimslsxp” (167), as an effective way to convey Sedaris’s utter lack of understanding of his French teacher’s speech.
Nonsense Words and Italics
If you include nonsense words in your literacy narrative or any words in a language other than English, those words should be italicized because MLA style requires that words in languages other than English be italicized. See the examples in “Me Talk Pretty One Day,” beginning on page 167.
Figurative Language
One of the notable features of Sedaris’s writing is his use of figurative speech, including metaphor (direct comparison), simile (a comparison using like or as), and hyperbole (extreme exaggeration):
Metaphor: “everybody into the language pool, sink or swim” (Sedaris 167).
Simile: “like a translation of one of those Playmate of the Month data sheets” (Sedaris 168).
Hyperbole: “front teeth the size of tombstones” (Sedaris 168).
Work Cited
Sedaris, David. “Me Talk Pretty One Day.” Me Talk Pretty One Day. Little Brown, 2000. pp. 166-73.
“What’s in a Name” Follow-Up
Friday’s blog entry offered a bonus assignment credit to any student who posted a response identifying the classmates whose names are also common nouns, which makes them playable Scrabble words.
The playable names of your classmates appear below in bold, followed by the definitions in parentheses.
Section 1
Grace (ease and fluidity of movement) Duffy
Brenna Murphy (a potato)
Bridgett Murphy (a potato)
Hayden Porter (a person who carries baggage)
Will (used to express futurity) Roberts
Madi Stone (a piece of rock)
Section 8
Dev (deva, a Hindu god) Broomer
Parker (one who parks) Davenport (a small desk or large upholstered sofa)
Ariana Foy (a farewell feast or gift)
Devyn Jones (a craving)
Lance (a spear-like weapon) Morgan (a unit of distance between two genes)
Cole (a plant of the cabbage family) Wilhelmsen
Kudos to Avery Broadbent, Madison Haugk, Vivian Laliberte, Michael McNamara, Layla Rothberg,and Alexis Zavalashin for identifying your classmates’ playable names. For their efforts, they will receive bonus assignment credit in the short assignments and participation category.
I will offer additional bonus assignments, so be on the lookout for those. Reading all the notes that I post for you here, on my blog, will ensure that you don’t miss those opportunities.
Using AI Ethically for Your Literacy Narrative
Using generative AI to write your literacy narrative and presenting an AI agent’s words as your own violates High Point University’s Honor Code and is grounds for an F. However, there are ethical ways to use AI for your literacy narrative, such as for brainstorming topics.
As a model for your own possible brainstorming with AI, I prompted ChatGPT to ask me a series of questions to help me decide which one of two events I might be able to render more vividly in a literacy narrative: (1) “reading” the panels of the comic strip Henry (before I could read words) as a way of joining my family’s ritual of newspaper reading, and (2) memorizing my lines for a play in which my character, María, speaks solely in Spanish. The images below are screenshots of that conversation.
Review the screenshot above and note how many specifics I offer about the two topics I’m considering and how I ask the AI agent to ask me a series of questions. Developing your initial question and requesting multiple questions in response will lead to a more productive exchange of ideas.
Question six, pictured above, and my answer serve as a key turning point in the conversation. Earlier questions posed by the AI agent asked me for details about the two experiences. Here I turn from focusing on the setting of the first of the two (my family’s den) and the action (“reading” Henry) to the implications. What was the moment of recognition or revelation? What was the significance of the event? Those are questions you will answer–not necessarily explicitly but implicitly–in the conclusion of your narrative.
In response to my answer to question six, pictured above, the AI agent raises another important point: In addition to conveying the importance of the experience, I need to be able to enter the mind of that earlier self, that preschooler who could not read yet.
In response to my answer to question seven, pictured above, the AI agent clearly delineates the differences between the two experiences and notes that both “have a clear desire and obstacle.” When you are planning your literacy narrative, ask yourself, what did I want, and what might have prevented me from getting it? Desires and obstacles figure in all compelling stories.
Question eight, pictured above, asks me to make a “quick mental inventory” of the sensory details from each experience, another important step in the writing process. Those particulars will enable readers to enter into the memory with you, as if they are looking over your shoulder. You may not remember many sensory details now, but trust the process. The more you think about the experience and put your thoughts on paper, the more you will recall.
You are welcome to use ChatGPT, as I have here, or one of the other AI agents, such as Anthropic’s Claude, Microsoft 365’s Copilot, or Google’s Gemini, but remember that the words of your literacy narrative must be your own. If you think brainstorming with an AI agent will tempt you to seek an AI-generated literacy narrative, do not use AI. Instead, brainstorm with a classmate or a consultant at HPU’s Writing Center.
Congratulations to Bridgett Murphy and Sophia Stewart for winning copies of Me Talk Pretty One Day in yesterday’s drawing.
Next Up
In class tomorrow, you will begin drafting your literacy narrative, an account of a learning experience involving reading, writing, or learning to speak a language. As part of your prewriting process, revisit “Me Talk Pretty One Day” and consider how you might incorporate some of the elements David Sedaris includes. Repeat the process with Helen Keller’s “The Day Language Came into My Life” when you read and annotate it.
This morning in class, after your Scrabble debriefing, we will examine David Sedaris‘s essay “Me Talk Pretty One Day,” and you and two or three of your classmates will collaborate on an exercise that involves identifying an instance of tension in the essay. Locating such a moment in another writer’s work provides you with a model for creating tension in your own story, which is key to maintaining the reader’s interest and propelling the narrative forward.
Your group will also identify a minimum of three talking points in Sedaris’s essay. Those points may concern any parts of the narrative you have questions about or any passages that you deem particularly interesting or revealing. I will include those points in tomorrow’s class notes.
Sedaris rose to prominence in 1992 after National Public Radio broadcast his essay “Santaland Diaries,” which chronicles his stint as an elf at Macy’s flagship store in New York. That essay is included in his collection Holidays on Ice (1997). “Me Talk Pretty One Day” is the title essay in his 2000 collection, which you will have the opportunity to win in today’s class drawing.
Sedaris’s current reading tour includes a performance at Greensboro’s Tanger Center on October 28.
Scrabble Debriefings
Starting today, at the beginning of class on Mondays, I will return your Scrabble score sheets from Friday, and you and your group members will participate in a Scrabble debriefing in which you will (1) review and discuss your game, and (2) individually compose journal entries on the game. Questions to address include, but are not limited to, the ones on the handout that I will distribute this morning in class. Those questions for consideration are also listed below.
Did you learn any new words from your teammate or from your opponents? If so, what were they? If you did not look up their meanings after class and record them in your journal, look them up and record their meanings now.
What plays involved analyzing multiple options? Did your team opt not to make the highest-scoring play possible in order to either (1) block your opponent, or (2) keep letters that might enable you to score more points later?
Where did creative problem-solving figure in the game? If your team had a rack of all consonants or vowels–or mostly consonants or vowels–how were you able to advance the game by playing only one or two letters?
What was the largest number of words formed in a single play and what were they?
Scrabble, like writing, is a process of composing, only the board game involves composing smaller units, words rather than sentences and paragraphs. What parallels, if any, can you draw between your Scrabble play and your writing process?
You will have the opportunity to draw on the journal entries that you write during debriefings when you compose your midterm and final reflections for the course. If you choose Scrabble as the focus of your annotated bibliography and preface, you may incorporate portions of your Scrabble debriefings into that assignment as well.
Next Up
In class on Wednesday, you will begin drafting your first major writing assignment longhand. The assignment, a literacy narrative, is an account of a learning experience involving reading, writing, or learning to speak a language. As part of your prewriting process, look back at “Me Talk Pretty One Day” and consider how you might incorporate some of the same elements David Sedaris includes.
Jane Lucas 