Writing – Page 16 – Jane Lucas

ENG 1103: Reflecting on Your Literacy Narrative

Posted on September 11, 2024 by janemlucas

Today in class you will compose a short reflective essay that documents the processes of planning, drafting, and revising your literacy narrative. Questions to consider include the ones below. You don’t need to address all of the questions; focus on the ones whose answers reveal the most about your work.

Include in your reflection a minimum of one relevant quotation from the textbook, Writing Analytically. Introduce your quotation with a signal phrase and follow it with a parenthetical citation.

Examples:

The authors of Writing Analytically observe that “[o]ne goal of a writer’s notebook is to teach yourself through repeated practice that you are capable of finding things to write about” (Rosenwasser and Stephen 157).

In Writing Analytically, Rosenwasser and Stephen note, “to a significant extent, writing of all kinds tells a story—the story of how we have come to understand something” (162).

In the first example above, the authors’ last names appear in the parenthetical citation because they are not named in the signal phrase. In the second example, only the page number appears in the parenthetical citation because the authors are named in the signal phrase.

Sample Work Cited Entries:

Rosenwasser, David and Jill Stephen. “On Keeping a Writer’s Notebook.” Writing Analytically, 9th edition. Wadsworth/Cengage, 2024. pp. 157-58.

Rosenwasser, David and Jill Stephen. “Writing from Life: The Personal Essay.” Writing Analytically, 9th edition. Wadsworth/Cengage, 2024. pp. 161-68.

What aspect of the writing seemed the most challenging? Determining the focus of your narrative? Developing the story? Crafting the conclusion? Why did that aspect of the writing seem the most challenging?
Did you change the subject of your narrative? If so, what was the original subject? What did you change it to? Why?
Did you change the organization of the narrative? For example: Did you initially present the story chronologically, then begin in the present and move to flashback?
Did any of the sample essays we examined (“Me Talk Pretty One Day,” “The Day Language Came into My Life,” “A Bridge to Words”) prove helpful to you as a model? If so, how? (Offer one or more concrete details to support your claim.)
What do you consider the strongest element of your literacy narrative?
At what point in the process did you decide on a title? Did you change the title during the writing process? If so, what was the original title?
What photograph did you include in your blog that documents part of your writing process away from the screen? Why did you choose that particular image?
What relevant website did you link to your blog post. Why is that particular site relevant to your narrative?
In addition to metacognition, did any of the other habits of mind of successful college students play a significant role in your writing process? If so, which one? The other seven are curiosity, openness, engagement, creativity, persistence, responsibility, and flexibility.

Next Up

Wordplay Day! To prepare for class, revisit the Dictionary and World Builder pages on the Scrabble website, and review the blog posts devoted to Scrabble tips.

English 1103, Teaching, Writing

ENG 1103: Our Visit with Roy Peter Clark

Posted on September 10, 2024September 11, 2024 by janemlucas

J.J. Pollender (left) asks a question of Roy Peter Clark (on screen).

Yesterday morning, you and your classmates in sections 19 and 20 hosted virtual visits with award-winning author and teacher Roy Peter Clark.

Clark, whose books include the popular Writing Tools, is a senior scholar at the Poynter Institute and is often referred to as America’s Writing Coach.

Among the topics Clark discussed were the importance of thinking of yourselves as writers, developing your writing with concrete details, and placing the most vital words at the beginning and the end of sentences.

Six students, three in each section, asked questions of Clark:

Section 19

Bailey Dawkins
Lexi Painter
J.J. Pollender

Section 20

Chase Eller
Stella Galindo Haas
Lydia Henderson

Roy Peter Clark (on screen) fields a question from Stella Galindo Haas (left).

The students questions included (1) When did you know that you wanted to be a writer? (2) How do you incorporate humor into writing? (3) How do you address writer’s block? and (4) Which of your own books on writing is your favorite?

Clark noted that at a very young age he was fascinated by words and loved reading and writing. Of incorporating humor into writing, he said that if the writer himself isn’t funny on the page, he should try citing the words of someone who is. To address writer’s block, he recommended setting low standards. Writers have difficulty beginning drafts because they want them to be better than first drafts can be. In response to the favorite-book question, Clark said Writing Tools, adding that he did not choose that as his favorite among his books, his readers did; it’s his most popular and best-selling book.

To demonstrate the effectiveness of beginning and ending sentences with the most vital words, Clark offered an example from Shakespeare’s MacBeth. After the suicide of MacBeth’s wife, Seyton, an attendant to MacBeth, tells his master, “The queen, my lord, is dead” (2.2.19). Clark said that Shakespeare might have instead written, “The queen is dead, my lord.” But ending with “dead” rather than “lord” makes for a more powereful line; what’s vital to the sentence is the announcement of the death, not that Seyton is announcing it to his master, MacBeth

The Zoom meetings came about after Clark conducted an online search of his name that yielded one of my blog posts devoted to one of his essays. After Clark reviewed my blog last May he emailed me. Clark wrote, “I have concluded that you are a remarkable teacher of writing. Your students are lucky to have you. I enjoy making the occasional cameo appearance via Zoom in classes where my work has been under discussion. If I can ever be of help, just holler.”

Work Cited

Shakespeare, William. Folger Shakespeare Library: The Tragedy of MacBeth. Edited by Barbara A. Mowat and Paul Werstine, Simon and Schuster, 2013.

Thanks, to Bailey Dawkins, Lexi Painter, J.J. Pollender, Chase Eller, Stella Galindo, Haas, and Lydia Henderson for asking questions–and thanks to Madison Kline and Chase for photographing Roy Peter Clark’s virtual visit.

Next Up

At the beginning of class on Wednesday, you will submit your worksheet for the third lesson in the Check , Please! course. After that, you will compose a reflective essay on your literacy narrative.

Your reflective essay assignment requires you to include a minimum of one relevant quotation from our textbook, Writing Analytically. To prepare for that portion of the assignment, read the sections titled “Keeping a Writer’s Notebook” (157-58) and “Writing from the Life: The Personal Essay” (161-68). Make note in your journal of any phrases or sentences that speak to your experience of planning, drafting, and/or revising your literacy narrative. Remember to bring your textbook to class.

English 1103, Teaching, Writing

ENG 1103: Introducing Roy Peter Clark

Posted on September 7, 2024 by janemlucas

At the beginning of Monday’s class, we will meet virtually with Roy Peter Clark, award-winning author and teacher of journalism at the Poynter Institute in St. Petersburg, Florida. To prepare for Clark’s visit, read and annotate his article “The Power of the Pun, from Shakespeare to Walter Cronkite to Roy Peter Clark,” and compose a brief summary of the article in your journal.

As you read “The Power of the Pun,” consider these questions:

In the section of the article “A Career Launched by Word Play,” where does Clark shift from summary to scene?
In the next section, what example of layered language does he offer?
What observations about writing or strategies that he mentions might prove useful to you as you continue to revise your literacy narrative?

Extra-Credit Opportunity

Completing the following extra-credit assignment will earn you five bonus points for your third Check, Please! worksheet:

Directions

On a three-by-five note card, write your first and last name, course and section number, and Monday’s date. If you do not have three-by-five note cards, ask for one at the circulation desk at the library.
Below that information, write a question that you might ask Roy Peter Clark during his virtual visit. The question may be about your own writing, his writing or his career as a writer, or his work as a teacher of writing.
Be prepared to stand at the instructor’s station and ask Mr. Clark your question. He may have time to field only one or two questions, but you should be prepared to volunteer.
Submit your notecard at the end of the class period.

Next Up

On Monday, after our virtual visit with Roy Peter Clark, we will examine the sample literacy narrative “A Bridge to Words.” You do not need to print the file posted on Blackboard. You will receive a paper copy in class.

English 1103, Teaching, Writing

ENG 1103: Revising Your Literacy Narrative

Posted on September 4, 2024 by janemlucas

This morning, after I collect your Check, Please! worksheets for lesson two, I will return your drafts, and you will have the remainder of the class period to begin revising your literacy narratives on your laptops. You will have an additional week to continue your revision work before you submit the assignment to Blackboard and publish it as a WordPress blog entry. The due date is next Wednesday, September 11 (before class). The hard deadline is Friday, September 13 (before class). Directions for submitting your literacy narrative are included on your assignment sheet and on the Blackboard submission site. I will also guide you through the submission process step by step in today’s 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 https://highpoint.mywconline.com, email the Writing Center’s director, Professor Justin Cook, at jcook3@highpoint.edu, or scan the QR code below. To earn bonus points for your literacy narrative, consult with a Writing Center tutor no later than Thursday, September 12.

Next Up

Wordplay Day! To prepare for class, revisit the Dictionary and World Builder pages on the Scrabble website and review the blog posts devoted to Scrabble.

English 1103, Reading, Teaching, Writing

ENG 1103: A Second Look at Sedaris, a First Glimpse of Heller, and . . .

Posted on September 2, 2024September 2, 2024 by janemlucas

Author David Sedaris in New York on August 3, 2018 / Robert Deutsch USA Today, https://www.usatoday.com/story/life/books/2018/08/03/david-sedaris-hates-word-awesome-but-loves-sequined-culottes-calypso-bookmark/900667002/

Today, along with returning to our study of Sedaris’s “Me Talk Pretty One Day,” we will examine “The Day Language Came into My Life,” the first pages of Chapter Four of Helen Keller’s autobiography, The Story of My Life.

One of the aspects of Sedaris’s essay that you examined last Wednesday was his movement from summary to scene. The first of those occurs with these words of his teacher’s: “If you have not meimslsxp or lpgpdmurct by this time, then you should not be in this room” (167).

You also identified Sedaris’s hyperbole “front teeth the size of tombstones” (168), and his use of metaphors and similes, including these:

“not unlike Pa Kettle trapped backstage at a fashion show” (167).
“everybody into the language pool, sink or swim” (167).
“like a translation of one of those Playmate of the Month data sheets” (168).

Helen Keller, https://www.biography.com/activists/helen-keller

Together, Sedaris’s essay and Keller’s chapter excerpt 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 through the sign language of her teacher, Annie Sullivan, learning that certain finger positions mean “water” for those who cannot hear it, and for others, like her, who can neither see nor hear it.

Works Cited

Keller, Helen. “The Day that Language Came into My Life.” The Story of My Life. https://digital.library.upenn.edu/women/keller/life/life.html.

Sedaris, David. “Me Talk Pretty One Day.” Me Talk Pretty One Day. Little Brown, 2000. pp. 166-73.

. . . Sample Student Essays

Today in class we will examine two literacy narratives written in a previous semester. After you read and annotate the essays, you and two or three of your classmates will collaboratively compose a short assessment of each narrative.

In each assessement, consider whether the essay focuses on one of the following options for topics:

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) especially difficult or challenging
a memento that represents an important moment in your development as a reader or writer

Also determine whether each essay fulfills the requirements listed below.

a well-told story
vivid detail
some indication of the narrative’s significance
a minimum of 600 words

After you have composed your assessment, you will review the grade criteria listed below, and assign a letter grade to each narrative.

An A literacy narrative complies with all of the 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 of the assignment guidelines but may convey the significance of the story in a superficial way, may have issues with organization, or may be flawed by surface errors.
A C literacy narrative complies with most but not all of the assignment guidelines and may also be flawed by issues of organization and/or surface errors.
A D literacy narrative complies with only a few of the assignment guidelines and may also be flawed by issues of organization and/or surface errors.
An F literacy narrative fails to comply with most or all of the assignment guidelines and may also be flawed by substantial issues of organization and/or surface errors.

Next Up

On Wednesday you will continue work on your own literacy narratives. At the beginning of class, after I collect your second Check, Please! worksheets, I will return your rough drafts with my notes, and you will have the remainder of the class period to revise on your laptops. You will have an additional week to continue revising before posting your literacy narrative to Blackboard and to your WordPress blog. The due date is Wednesday, September 11 (before class); the hard deadline is Friday, September 13 (before class).

English 1103, Reading, Teaching, Writing

ENG 1103: Beginning Your Literacy Narrative

Posted on August 28, 2024 by janemlucas

Today in class, you will begin planning and drafting your first essay assignment, a literacy narrative, which is an account of a learning experience involving reading, writing, or learning to speak a language.

Begin by asking yourself some of these questions: How have you come to think about yourself as a reader or writer? What were some of your most formative experiences as a reader or writer? What are some of the do’s and don’ts you have learned about writing? How has what you have learned about reading or writing enhanced your confidence and skill in that role? You don’t need to respond to all of those questions. Try picking one or two as a starting point, then begin bringing one of those experiences to life.

Your aim is to recreate your experience on the page and then to 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) especially difficult or challenging
a memento that represents an important moment in your development as a reader or writer
learning to speak a second langauage

Detailed instructions are included in the assignment handout that you will receive in class today. An additional copy of the handout is posted on Blackboard in the essay assignments folder.

Next Up

Wordplay Day! To prepare for class, review the Dictionary and World Builder pages on the Scrabble website. Also review tomorrow’s Scrabble post.

English 1103, Teaching, Writing

ENG 1103: David Sedaris’s “Me Talk Pretty One Day”

Posted on August 26, 2024 by janemlucas

This morning in class, after we review some of your collaborative writing from last Wednesday, we will examine David Sedari s‘s essay “Me Talk Pretty One Day,” and you and three of your classmates will collaborate on an exercise that asks you to examine–and subsequently address in writing–these elements of his literacy narrative:

scene and summary–you will examine how and where Sedaris shifts from one to the other
hyperbole
metaphors and similes

Each of these elements can play an important role in a narrative, none more so than scene, which is vital to a story’s life. Without it, a narrative falls flat. With summary, a writer compresses time to offer an overview of events. Through scene, a writer lets time unfold in front of the readers’ eyes, which is what readers prefer. They are drawn into a narrative when they can see for themselves what is happening.

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 into your own essay some of the same elements that David Sedaris includes in his.

Reading, Writing

Reconstructing Jim: Percival Everett’s James

Posted on July 4, 2024 by janemlucas

When readers of Percival Everett’s James first encounter the title character’s daughter, James is teaching her and the other six children in his cabin how to speak the crude dialect that whites expect to hear from the mouths of slaves. Is Lizzie reading her father’s lips? That’s a question some readers may ask, remembering how in Adventures of Huckleberry Finn, Jim tells Huck that his daughter lost her hearing to scarlet fever.

Maybe Lizzie—called Lizbeth in Mark Twain’s novel—recovered her hearing. Otherwise, what accounts for the discrepancy? Whatever the answer may be, the variances in James’ and Huck’s stories don’t end there. In Huckleberry Finn, Jim is bitten on the leg by a rattlesnake; in James, he is bitten on the hand. In Huckleberry Finn, Huck keeps two men from discovering Jim by telling the men that the hidden man with whom he is travelling is his father, who has smallpox. Perhaps to assuage their guilt for abandoning a boy whose father lies ill with a contagious disease, the two men each give Huck twenty dollars, half of which he gives to Jim. In James, it’s Huck’s uncle whom he says has smallpox, and one of the men gives Huck ten dollars.

Those inconsistencies are secondary to the grave dangers faced by the runaway slave, but they demonstrate the primary role of point of view in fiction and prompt readers to meditate on the nature of narrative itself. Though published eighty-five years before William H. Gass coined the term metafiction, Huckleberry Finn (1885)—like Don Quixote, Part II (1615) and Tristram Shandy (1759)—departs from novelistic convention, identifying its central figure as a character in a book. In conventional fiction, characters don’t know they are characters, but in Huckleberry Finn, Huck identifies himself as a character in the first sentence and credits Twain in the second:

“You don’t know about me, without you have read a book by the name of ‘The Adventures of Tom Sawyer,’ but that ain’t no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly” (32).

In contrast, Everett’s Jim doesn’t refer to his character-turned-writer status initially. Instead, one-third of the way into the novel, readers learn that the words Jim has penned—or, more accurately, penciled—are the words they are reading. In Chapter 15, Jim recounts how reading—which he taught himself to do by studying the books in Judge Thatcher’s library—leaves him dissatisfied; the words that he needs to see on the page are the ones he will put there himself:

I read and I read, but I found what I needed was to write. I needed that pencil. I could not keep track of my thoughts. I could not follow my own reasoning after a while. This was perhaps because I couldn’t stop reading long enough to make space in my head. I was like a man who had not eaten for a season and then gorged himself until sick. And my books, once read, were not what I wanted, not what I needed. The so-called self-related story of Venture Smith became infuriating the more I examined the work, wondering how a five-year-old could have remembered so much detail that made such neat sense. I had already come to understand the tidiness of lies, the lesson learned from the stories told by white people seeking to justify my circumstance. (89-90)

Jim receives the pencil he needs from a slave called Young George, who is brutally whipped for stealing the pencil from his master. When Young George hands Jim the pencil, he says to him, “Tell your story” (91).

But with pencil finally in hand, Jim still lacks paper. How he acquires the pages he needs requires some backstory:

After the King and the Duke discover that the blacksmith-slave, Easter, has unlocked the shackle on Jim’s leg, the Duke whips Easter, rendering him unable to work. When Wiley, Easter’s owner, sees that the Duke has damaged his property, he confiscates Jim from the King and the Duke and forces him to forge the horseshoes that Easter is too weak to make. As the wounded Easter guides Jim through the process of pumping the bellows, he tells Jim that there’s been a lynching up the river: A slave was hanged for stealing a pencil.

While Jim is still forging his first horseshoe, his new owner, Wiley, returns and asks him to sing while he works. Jim’s singing is overheard by the members of a travelling minstrel show, the Virginia Minstrels, whose owner, Daniel Decatur Emmett, buys Jim to serve as the group’s replacement tenor. Fearing that an audience member will realize that he is a runaway slave rather than a white man in blackface, Jim sneaks away from the minstrel show, taking Emmett’s leather journal with him.

Jim’s reason for stealing the journal is practical: he needs paper. But taking Emmett’s pages into his own hands is also a vital act of revision. What was once a collection of compositions born of blackface minstrelsy will become an account of escaping the slave-holding South, a region whose moral failing was enabled and perpetuated in part by the grotesquerie of the blackface tradition. Notably, the epigraph for James consists of lyrics penned by Daniel Decatur Emmett, who is not merely a character in the novel but the real-life leader of the first blackface minstrel troupe and the composer of “Dixie.” By composing his story on the pages that follow the lyrics of “Old Zip Coon,” Everett’s Jim is both literally and figuratively rewriting the book.

In the journal, Jim writes of himself as “a man who will not let his story be self-related, but self-written” (93). That distinction may account for the recollections of his that differ from Huck’s; Jim’s primary interest isn’t writing his own story but reclaiming the story of thousands of other fugitive slaves. And perhaps he restored Lizzie’s hearing so she could hear that story, one that he could finally tell in his own words.

Works Cited

Everett, Percival. James. Doubleday, 2024.

Twain, Mark. Adventures of Huckleberry Finn: A Case Study in Critical Controversy. 2^nd ed. ,edited by Gerald Graff and James Phelan, Bedford/St. Martin’s, 2004.

Reading, Writing

The Poetry of “There is Always Light” and the Prose of “What Came to Me”

Posted on May 22, 2024 by janemlucas

When an author follows a collection of personal essays, or columns, with one of autobiographical poetry, or vice versa, she leads readers of both volumes to consider how she depicts some of the same people and themes in a different genre. Such was the case with Arlene Neal’s book of poems There is Always Light (2023), the follow-up to her first book, What Came to Me (2020), a collection of her weekly columns from The News-Topic.

The poem “God help me not to hate” echoes the column “New Shoes and Self Esteem,” in which a thoughtless classmate observes that the writer’s loafers are “not Bass Weejuns” (48). The girl who speaks those words could easily be one of the girls who “wear / pink pearl nail polish and wear / pleated skirts and new shoes” (lines 4-6). But those girls in the Sunday school class are not the antagonists of the poem; rather, it’s the Sunday school teacher, herself, who treats the speaker of the poem as an object of scorn. The speaker—what we call the narrator of a poem—does not actually speak. She refrains from answering the teacher’s questions, sitting, in her words, “on both hands / so she [the teacher] won’t see my black nails / and fingers stained yellow / from working in tobacco” (lines 7-10).

That girl who hides her tobacco-stained fingers is the girl on the bus in “New Shoes . . . ,” but the silent speaker of the poem is not the adult retrospective narrator of the column. At the end of the poem, she still sits in Sunday school, while the girl who was humiliated on the bus has grown up “to understand the value of [her] personhood” (48). Yet even though the speaker in the poem lacks the adult perspective of the writer of “New Shoes . . . ,” she gains insight—not from the lesson that the teacher attempts to impart but from her own epiphany: her recognition of the teacher’s hypocrisy.

Just as “God teach me not to hate” recollects “New Shoes and Self Esteem,” “A Baseball Poem,” “End of the Season,” and “World Series 1966” all recall the column “The Longest Game and Life Lessons.” The baseball-playing father and daughter of the column figure in all three poems, but it isn’t the bat and ball of “The Longest Game,” the first half of the column’s title, but instead the “Life Lessons” of the latter half of the title that resonate in the trilogy. At the end of the third poem, the speaker notes, “I really / cannot remember what the movie / was about, or who won that game” (38-40). She doesn’t remember because the events unfolding on the TV screen that her father watches intermittently and the action on the drive-in movie screen that her date aggressively prevents her from watching are not what she has carried with her from that night—and subsequently brought to the poem.

In a sense, the destination of none of the three baseball poems is the ballpark: the first leads us to post-traumatic stress disorder; the second, to the twilight of childhood; the third, to unwanted sexual advances. As the writer notes in “A Baseball Poem,” “To write baseball poems / is really the yearning to see” (lines 1-2). The products of Arlene Neal’s “yearning to see” shine through the lines of her poems and the sentences of her columns. This reader hopes—as do others, I’m sure—that more volumes of her poetry and columns will follow.

Works Cited

Neal, Arlene. There is Always Light. Redhawk Publications, 2023.

—. What Came to Me. Third Lung Press, 2020.

English 1103, Teaching, Writing

ENG 1103: Composing Your Final Reflection

Posted on April 17, 2024April 17, 2024 by janemlucas

This morning in class you will plan and draft a short final reflective essay that documents your work in the second half of the semester, focusing on what you consider your most significant work and the feature or features of the course that have benefited your development as a writer and a student. Features to consider include the following:

Studying one of the texts we have examined in the second half of the semester, including “The Case for Writing Longhand,” The Competition, “Scrabble is a Lousy Game,” “Skim Reading is the New Normal,” or the sample final essay and annotated bibliography (“Scrabble as a Game Changer in the College Classroom”)
Writing for an online audience beyond the classroom/creating and maintaining a WordPress blog
Collaborating with your classmates on in-class writing assignments
Playing Scrabble/Collaborating with your teammates on Wordplay Day
Writing longhand
Limiting screen time
Planning, drafting, and revising your final essay and annotated bibliography. Since you recently composed a reflection on this assignment, it should not be the main focus of your final reflection.
Keeping a journal
Delivering your group presentation on one of the lessons in the Check, Please! course

Focus on two, three, or four features of the course (but no more than four).

Include in your reflective essay the following elements:

A title that offers a window into your reflection
An opening paragraph that introduces your focus and presents your thesis
Body paragraphs that offer concrete details from your work to support your thesis.
A relevant quotation from Writing Analytically or a relevant quotation from one of the texts that we have studied in class. Introduce your quotation with a signal phrase and follow it with a parenthetical citation.
A conclusion that revisits the thesis without restating it verbatim
An MLA-style works cited entry for your source

Sample Works Cited Entries

Bahr, Sarah. “The Case for Writing Longhand.” New York Times, Jan 21, 2022. ProQuest, https://libproxy.highpoint.edu/login?url=https://www.proquest.com/newspapers/case-writing-longhand/docview/2621453011/se-2. 

Kay, Jonathan. “Scrabble is a Lousy Game.” The Wall Street Journal, 4 Oct. 2018. ProQuest, https://libproxy.highpoint.edu/login?url=https://www.proquest.com /newspapers/scrabble-is-lousy-game-why-would-anyone-play/docview/2116081665/se-2?accountid=11411.

Lucas, Jane. “Scrabble as a Game Changer in the College Classroom.” Jane Lucas, 9 Apr. 2024, https://janelucas.com/2024/04/09/eng-1103-model-final-essay-and-annotated-bibliography-scrabble/.

Rosenwasser, David and Jill Stephen. “Arriving at an Interpretive Conclusion: Making Choices.” Writing Analytically, 9th edition. Wadsworth/Cengage, 2024. pp.111-12.

—. “Integrating Quotations into Your Paper.” Writing Analytically, 9th edition. Wadsworth/Cengage, 2024. pp. 343-46.

—. “The Idea of the Paragraph.” Writing Analytically, 9th edition. Wadsworth/Cengage, 2024. pp. 307-313.

—. “Two Methods for Conversing with Sources.” Writing Analytically, 9th edition. Wadsworth/Cengage, 2024. p. 325.

—. “Ways to use a Source as a Point of Departure.” Writing Analytically, 9th edition. Wadsworth/Cengage, 2024. p. 326.

Wolf, Maryanne. “Skim Reading is the New Normal. The Effect on Society is Profound.” The Guardian, 25 Aug. 2018, https://www.theguardian.com/commentisfree/2018/aug/25/skim-reading-new-normal-maryanne-wolf.

Next Up

Wordplay Day! To prepare for class, revisit the Dictionary and World Builder pages on the Scrabble website, and review the posts on my blog devoted to Scrabble tips.