Today marks the end of the first month of class, a point in the semester when you may look back and ask yourself whether the skills you have developed and the habits of mind you have practiced will benefit you in the real world. Yesterday’s reflective writing asked you to consider your literacy-narrative writing processes in particular; today’s blog post asks you to meditate on all aspects of English 1103.
Last week, High Point University’s president, Nido Qubein, emailed some members of the university community a link to an article that addresses employers’ dissatisfaction with Gen Z graduates. In his email, President Qubein quoted John Hardage, who emailed the article to Qubein. Hardage wrote:
“The Fortune article . . . prompted me to reflect on how grateful I am for the great work HPU does in shaping young people (my son included) to meet the challenges of a modern work environment. The value of learning life skills at HPU should not be underestimated.”
To earn bonus points for your next Check, Please! assignment, complete the exercise at the end of this blog post.
Work Cited
Qubein, Nido. Email: “Bosses are Firing Gen Z Grads Just Months after Hiring Them—Here’s What They Say Needs to Change.” 29 Jan. 2025.
Bonus Point Opportunity
Review the article and your journal entry, then compose a blog comment that addresses (1) one of the specific skills or habits that many Gen Z workers lack, and (2) one or more of the assignments you have completed or practices you have engaged in for English 1103 that has helped you develop that skill or habit.
Post your comment as a reply to this blog post by 9:00 a.m. on Monday, February 10.
To post your comment, click the title of the post, “ENG 1103: From the Classroom to the Office,” then scroll down to the bottom of the post. There you will see the image of an airmail envelope with a white rectangular box for your comment. Type your comment in the box and hit return. Voila! You have submitted your response. I will make the comments visible before class on Monday, February 10. Students who post comments by the deadline will earn five bonus points for their third Check, Please! worksheets.
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.
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.
Yesterday before you and your group members assessed the literacy narratives that you read for class, we examined a page (pictured above) from Harper Lee’s novel To Kill a Mockingbird. That page from Chapter One serves as a useful 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 sets the scene with summary, designating the “summertime boundaries” within which the narrator, Jean Louise, “Scout,” Finch, and her older brother, Jem, may play outdoors (12). 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.
In my notes above, I have been careful to distinguish between the author, Harper Lee, and the narrator, the fictional character Scout. When you write about an autobiographical work, such as a literacy narrative, you may use the terms writer and narrator interchangeably. When you write about a work of fiction, it’s important to separate the narrative voice from the author. Reserve the term author for published writers. When you write about a piece of student writing, refer to the student as a writer, not an author.
Sample Student Literacy Narratives
The paragraphs that follow include detailed but not comprehensive notes on the two sample narratives that you assessed in class yesterday. Look to these notes as a guide for editing your own literacy narrative.
“Creativity is Key”
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.
In MLA style, all major words in a title, including the final one, are capitalized (“key” should be “Key).
Form, which is the focus of the previous notes, is less important than content, but easily avoidable errors of form may prevent a reader 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 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, which are prevalent in the second paragraph “Track, “Field,” “Defensive,” “Back,” and “Athlete” should all began with a lower-case 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 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.
“Giving a Speech: Worst Nightmare to Best Feeling”
In the second line of the second paragraph, “Megan” is a parenthetical element that should be set off by commas. See Writing Analytically, 441.
The parenthetical element is the next line, “Mrs. Hron’s,” is correctly set off with commas, but the word that precedes “Mrs. Hron’s” should be possessive (“teacher’s,” not “teachers”).
Several other minor punctuation errors occur in the essay, but overall it’s a strong literacy narrative that’s notable for its vivid scenes and the writer’s self-deprecating humor.
Notes on Monday’s Quiz
Rather than posting the answers to the quiz, I am asking you to review the sample student literacy narratives, my annotations on your assignments, and the class notes for January 28 and February 3 and to find the answers on your own. Doing so will enable you to retain more of the course content from the past two weeks of class.
Keep in mind that one of the reasons we write is to remember. Taking notes on all of the blog entries that I publish and on all of your other reading assignments will both engage you in learning process and enable you to demonstrate your learning in the course.
Integrating Quotations
Writing your reflective essay on your literacy narrative tomorrow will include an exercise in integrating a quotation into your writing, a practice you will engage in more frequently as the semester progresses.
In your reflection, you are required include a minimum of one relevant quotation from the textbook, Writing Analytically, which you will introduce with a signal phrase and follow 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.
At the end of your essay, you will include a work cited entry for the section of the textbook that you quote.
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. 161-63.
Next Up
In class tomorrow, you will compose a short essay that reflects on the processes of planning, drafting and composing your literacy narrative. If you do not post your essay to Blackboard and WordPress before class (you have until Friday morning to do so), you should refer to your work as ongoing. Be sure to bring your copy of Writing Analytically to class.
The excerpt featured in the image above (on the far right) isn’t part of a literacy narrative; it’s a page from Harper Lee’s novel To Kill a Mockingbird. That page from Chapter One serves as a useful model for three narrative elements, at least two of which will figure in your literacy narrative. We will examine the page today in class, and I will address the page in more detail in Wednesday’s class.
After we examine the page from To Kill a Mockingbird, you and two or three of your classmates will collaboratively assess the two student literacy narratives that you read for today’s class.
First, you will discuss your annotations on “Creativity is Key,” and you will collaboratively compose a brief assessment, a minimum of one complete sentence. After that, you will use the grade criteria on your literacy narrative assignment sheet to assign a grade for the essay.
Next, you will complete the steps above with the second literacy narrative, “Giving a Speech: Worst Nightmare to Best Feeling.”
Next Up
In class on Wednesday, you will compose a short essay that reflects on the processes of planning, drafting and composing your literacy narrative. If you do not post your essay to Blackboard and WordPress before class (you have until Friday morning to do so), you should refer to your work as ongoing.
Remember that Wednesday is the first day that you are required to bring your copy of Writing Analytically to class. In the reflection that you write in class, you will quote one relevant line from the textbook. Reviewing tomorrow’s blog post, which will include notes on quoting Writing Analytically, will ensure that you are able to effectively integrate a quotation into your essay in the allottted time.
In the previous weeks, I published blog posts featuring the playable two-letter words that begin with a, b, d, e, f, g, h, i, j, k, and l. Today’s post features the playable two-letter words beginning with m, n, o, and p. 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 increase the number of points you earn in a single turn.
M, by the way, is the most versatile consonant. In the first position, m pairs with every vowel: ma, me, mi, mo, mu, and also my. In the second position, m pairs with every vowel except i: am, em, om, um.
ma: a mother
me: a singular objective pronoun
mi: a tone of the diatonic scale
mm: an expression of assent
mo: a moment
mu: a Greek letter
my: a first-person possessive adjective
na: no, not
ne: born with the name of (also nee)
no: a negative answer
nu: a Greek letter
od: a hypothetical force
oe: a whirlwind off the Faero Islands
of: originating from
oh: an exclamation of surprise
oi: an expression of dismay (also oy)
om: a sound used as a mantra
on: the batsman’s side in cricket
op: a style of abstract art dealing with optics
or: the heraldic color gold
os: a bone
ow: used to express pain
ox: a clumsy person
oy: an expression of dismay (also oi)
pa: a father
pe: a Hebrew letter
pi: a Greek letter
Next Up
Wordplay Day! To prepare for class, revisit the Dictionary and World Builder pages on the Scrabble website, and review this post.
Coming Soon
On Monday, you and two or three of your classmates will collaboratively assess the sample student literacy narratives that you read for class. Be sure to have your annotated copies with you, as well as your assignment sheet (attached to your draft) and be prepared to begin your assessment after your Scrabble debriefing.
Today’s blog post features my version of the second Check, Please! assignment, which you submitted at the beginning of class yesterday. In preparation for submitting your worksheet for lesson three, review this post as well as the assignment notes that I posted on January 23.
Check, Please! Lesson Two
In the second lesson of the Check, Please! Starter Course, Mike Caulfield, author of the course and a research scientist at the University of Washington’s Center for an Informed Public, focuses on investigating a source, the second step in the SIFT approach, which he introduces in lesson one.
One of the most useful practices presented in lesson two is Caulfield’s follow-up to the Wikipedia strategy, which he outlined in the previous lesson. After he reviews that strategy, Caulfield explains how to use the control-f keyboard shortcut (command-f on a Mac). Typing control-f (or command-f) will open a small textbox in the upper right of the screen. Typing a word you are searching for will highlight the first appearance of the word in the text. Hitting return will highlight each subsequent appearance of the word.
Lesson two introduces the word to fauxtire, a term for websites such as World News Daily Report, based in Tel Aviv, that present themselves as satirical but in fact serve primarily to perpetuate disinformation.
Perhaps the most memorable portion of lesson two was the side-by-side comparison of the websites for the American Academy of Pediatrics and the American College of Pediatricians. Though at first glance the two appear comparable, using the Wikipedia strategy reveals their profound differences. While AAP is the premiere authority on children’s health and well-being, ACP was founded to protest the adoption of children by single-sex couples and is widely viewed as a single-issue hate organization.
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.
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, February 5 (before class). The hard deadline is Friday, February 7 (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, February 6.
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.
Carl Thomas Anderson’s comic strip character Henry
Yesterday in class, we examined the model literacy narrative “A Bridge to Words,” and you and two of your classmates collaboratively composed a piece of writing that addressed these elements of the essay:
scene
figurative language
gaps in memory/what the narrator doesn’t know
the story’s significance–how the writer conveys it subtly
The paragraphs that follow address the elements listed above, as well an additional one to consider as you revise your literacy narrative.
With the words, “[f]inally, one Sunday,” I shift from summary to scene for the first time (par. 3). The previous paragraphs describe the reading ritual that occurred every Sunday.
Instances of figurative language in the narrative include “as if covered by a shroud” (par. 1), “like links in a chain” (par. 7), and an extended metaphor in the conclusion:
“Perhaps rereading Art Spiegelman’s graphic memoir Maus with my students has aroused the wordless Henry and the word-filled Golden Book of Fun and Nonsense from the corner of my brain where they’ve slumbered. The former wakes and stretches out in my mind as a bridge to the latter: a spot in the world of words I’ve inhabited ever since” (par. 8).
Hillaire Belloc’s “Rebecca,” illustrated by Alice and Martin Provensen
Twice in the essay, I use a strategy employed by Helen Keller in “The Day Language Came into My Life,” specificaly, I note what I cannot recollect. I first use that strategy when I write, “Whether it was one of my parents or my sister, I don’t know” (par. 3). I draw on it again when I write, “Why these particular early memories visit me now, I don’t know” (par. 8).
As I noted in class, there are a number of ways that I convey the significance of my experience without stating explicitly that the events were noteworthy. The vivid details of the narrative demonstrate their importance. Those details that are vivid in my mind are subsequently lifelike on the page because their significance permeates them. Both of your groups offered as examples details about my sister, Jo, reading to me from The Golden Book of Fun and Nonsense. One group noted “the word ‘abhors’ . . . which appealed to me” (par. 7). The other group mentioned my “uncontrollable giggles” (par. 7).
Appositives
An appositive is a group of words that renames or defines a noun or noun phrase. Using appostives not only helps you develop your writing but also enables readers to better relate to your writing through the specifics that the appostives offer. Examine each of the four passages below, and note how each appositive expands on the ideas presented in the noun, the noun phrase, or the noun clause that precedes it.
“My sister, who was three years older, had her very own news source, The Mini Page, a four-page miniature paper that arrived at our house as an insert in the Sunday edition (par. 2).
I remember only the gesture and the words: someone handing me the Sunday comics and saying, “You can read part of the funny page, too. You can read Henry” (par. 3).
“As the last word in the first line, ‘abhors’ serves as the lead-in to an enjambment: the continuation of a sentence or clause in a line break” (par. 7).
The former wakes and stretches out in my mind as a bridge to the latter: a spot in the world of words I’ve inhabited ever since” (par. 8).
As you revise, review these notes and incorporate some of these elements into your own literacy narrative.
At the beginning of class on Wednesday, you will submit your worksheet for the second lesson in the Check, Please! course. After that, I will return your literacy narrative drafts with my notes, and you will have the remainder of the class period to begin your revisions. You will have an additional week to continue to revise. The due date for posting your revison to Blackboard and to your WordPress blog is Wednesday, February 5 (before class); the hard deadline is Friday, February 7 (before class).
Hillaire Belloc’s “Rebecca,” illustrated by Alice and Martin Provensen
Today in class, we will examine the model literacy narrative “A Bridge to Words,” which you read for today, and you and two or three of your classmates will collaboratively compose a piece of writing that addresses these elements of the essay:
scene
figurative language
gaps in memory/what the narrator doesn’t know
the story’s significance–how the writer conveys it subtly
As you continue to revise, consider the role of those elements your own literacy narrative, and ask yourself what changes may enhance them.
A Bridge to Words
To a small child, the pages of a newspaper are enormous. Looking far back through the years, I see myself, not yet school age, trying to hold up those long, thin sheets of newsprint, only to find myself draped in them, as if covered by a shroud. But of course, back then, my inability to hold a newspaper properly was of little consequence. Even if I could have turned the pages as gracefully as my parents did, I couldn’t decipher the black marks on the page; thus, my family’s ritual reading of the newspaper separated them from me. As the youngest and the only one who couldn’t read, I was left alone on the perimeter to observe. My family’s world of written words was impenetrable; I could only look over their shoulders and try to imagine the places where all those black marks on the page had carried them—these people, my kin, who had clearly forgotten that I was in the room.
My sister, who was three years older, had her very own news source: The Mini Page, a four-page miniature paper that arrived at our house as an insert in the Sunday edition. While our parents sat in their easy chairs poring over the state and local news, my sister, Jo, perched at the drop-front desk and occupied herself with articles, puzzles, and connect-the-dots.
Finally, one Sunday, someone noticed me on the margin and led me into our family’s reading circle. Whether it was one of my parents or my sister, I don’t know. I remember only the gesture and the words: someone handing me the Sunday comics and saying, “You can read part of the funny pages, too. You can read Henry.”
I took the giant page and laid it flat in the middle of the oval, braided rug on the floor of the den. Once I situated the page, I lay on top of it with my eyes just inches above the panels of the comic strip. To my parents, my prone position was a source of amusement, but for me it was simply a practical solution. How else was someone so small supposed to manage such a large piece of paper?
As I lay on the floor and looked at the comic strip’s panels, I realized what the voice had meant. I could “read” Henry, the comic with the bald boy in a red shirt, because it consisted entirely of pictures. In between panels of Henry walking, there were panels of him standing still, scratching his hairless head. I didn’t find Henry funny at all. I wondered how that pale forerunner of Charlie Brown had earned a prime spot in the funnies. Still, I was glad he was there. He was the bridge that led me to the written word.
Reading the wordless comic strip Henry for the first time was the beginning of a years-long habit of stretching out on the floor with newspapers and large books—not thick ones but ones that were tall and wide, among them one of my childhood favorites: The Golden Book of Fun and Nonsense. My sister and I spent hours lying on our bedroom floor, the pink shag carpet tickling our legs as we delighted in the antics of Rebecca, the mischievous title character of one of the poems.
Carl Thomas Anderson’s comic strip character Henry
“Rebecca”—which my sister read to me before I could read it myself—introduced me to the word “abhors,” the very sound of which appealed to me. Sometimes before Jo had finished reading the opening lines, my uncontrollable giggles collided with her perfect mock-serious delivery. As the last word in the first line, “abhors” serves as a lead-in to an enjambment: the continuation of a sentence or clause in a line break. It would be years before I learned the term “enjambment,” but I was immediately swept away by its effect in the opening lines: “A trick that everyone abhors/ In Little Girls is Slamming Doors” (Belloc 61). The first line lured me into the second one, and so on and so on. I was drawn both to the individual word “abhors”—with its side-by-side “b” and “h,” rare in English—and the way the words joined, like links in a chain, to yank me giggling through Rebecca’s cautionary tale:
It happened that a marble bust Of Abraham was standing just Above the door this little lamb Had carefully prepared to slam, And down it came! It knocked her flat! It laid her out! She looked like that.
Her funeral sermon (which was long And followed by a sacred song) Mentioned her virtues, it is true, But dwelt upon her vices too, And showed the dreadful end of one Who goes and slams the door for fun. (61)
Why these particular early memories visit me now, I don’t know. Perhaps rereading Art Spiegelman’s graphic memoir Maus with my students has roused the wordless Henry and the word-filled Golden Book of Fun and Nonsense from the corner of my brain where they’ve slumbered. The former wakes and stretches out in my mind as a bridge to the latter: a spot in the world of words I’ve inhabited ever since.
At the beginning of class on Wednesday, you will submit your worksheet for the second lesson in the Check, Please! course. After that, I will return your literacy narrative drafts with my notes, and you will have the remainder of the class period to begin your revisions. You will have an additional week to continue to revise. The due date for posting your revison to Blackboard and to your WordPress blog is Wednesday, February 5 (before class); the hard deadline is Friday, February 7 (before class).
Previously, I published a blog post featuring playable two-letter words beginning with a, as well as a blog post featuring playable two-letter words beginning with b, d, and e. Today’ s blog post features 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 increase the number of points you earn in a single turn.
fa: a tone on the diatonic scale
fe: a Hebrew letter
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
Next Up
Wordplay Day! To prepare for class, revisit the Dictionary and World Builder pages on the Scrabble website. Also review the blog posts devoted to Scrabble, including this one.
Jane Lucas 