MPS Pre-IB Learning Opportunities. Use these tips to help improve your writing.

Transcription

1 MPS Pre-IB Learning Opportunities Use these tips to help improve your writing.

2 Of Plymouth Plantation essay (9/11) Use MLA heading: Your name, my name, class, and date in the left corner. Genre: personal narrative Punctuate all titles (and ship names). Include the author s name in the introduction. After introducing the author, refer to him by his last name.

3 Of Plymouth Plantation essay (9/11; cont.) Unify paragraphs: Use your concluding line to tie your sub-assertion to the thesis statement. Quote and cite all quotations: If the word, phrase, or sentence would never normally occur to you, quote it and cite it. Anchor all quotations (except if they are used as a hook): Never let a quotation stand on its own.

4 Pilgrims and refugees paragraph (9/13) Avoid the use of ampersands (&) while writing for class. Plural possessive nouns Plural: The pilgrims came to America. Plural possessive: The pilgrims struggles were, in part, the result of bad weather.

5 In response to Narrative of the Captivity: Compose short response answers (1-3 complete sentences each). Support each response with an anchored, cited quotation. #1-4, 6 (46; 20 pts.) Read the instructions. Each response required a quotation. Each quotation needed to be anchored. Review how to anchor a quotation.

6 Anchoring When you anchor quotations, be sure that your anchor and the quote work together to create a complete sentence. When you quote, cite directly following the quote (even if it is in the middle of the sentence). Rowlandson mentions that she and her captors marched furiously (41) with the English Army in pursuit.

7 Citation punctuation Anchor, Quote (cite). Or: Anchor, Quote! (cite). Anchor, Quote? (cite).

8 Other ideas Punctuate titles. Punctuate sentences. Use MLA heading on assignments Ellipsis ( ) only use it if you omit part of a quotation It will never be placed at the beginning or ending of a quotation.

9 Lesson 1 vocab test (9/20) Develop your sentence structure to avoid run-on sentences. Example of a run-on sentence: Joe was gregarious, he loved parties. Why is this a run-on sentence? How you can fix it: Joe was gregarious; he loved parties. OR Joe was gregarious. He loved parties.

10 If I wrote meaning not clear in response to one of your sentences: Even though I can see what your intention might be in defining the word, there is too much ambiguity. If I can substitute the vocab word in your sentence with another, random word, then the meaning is not clear. Example of the meaning not being clear: My professor was dogmatic when I asked her about extra credit. You can substitute the following words, and the sentence still makes sense: excited, frustrated, noncommittal, etc.

11 The Crucible Act One assessment (10/18) Always punctuate the title of the work. Longer works are italicized (or underlined if handwritten) and shorter works are in quotation marks. When referring to the act of the play, use the format that the text uses. In this case, it is Act One. New idea: When discussing the events that occur within a work, always use present tense.

12 The Crucible Act One assessment (10/18; cont.) There vs. their vs. they re Affect vs. effect Use formal English while writing for any class. Avoid the use of idiomatic language (examples: to rat out; full of herself; gonna; messed with; off the hook)

13 The Crucible Act Two assessment (10/27) Unity of paragraphs: Be sure you write a distinct topic sentence. Your concluding line should draw the reader s attention back to that topic sentence. Old ideas for which I deducted points this time: Indent the first line of each paragraph. Affect vs. effect Follow the text s format: Act Two

14 The Crucible Act Two assessment (10/27) Why John Proctor is the protagonist: Protagonist character who initiates the action -is connected to the rising action, turning point, and climax -Proctor s internal conflict regarding whether to confess his relationship with Abigail to stop the witchcraft accusations is the driving force of the play.