reading and revise the draft, and giving reviews to two classmates' drafts

timer Asked: Oct 3rd, 2018
account_balance_wallet $20

Question description

The first thing is reading the essay "Showing and Telling" (in the file blow name Showing and Telling. pdf). After reading “Showing and Telling,” copy and paste a paragraph from your draft (will post it after bid) that you feel does too much telling and not enough showing. Then below the “telling” paragraph, revise and include more showing. Due at 10:59 PM EST 10/04/2018

Second is review two drafts from my group (will post them after bid). There is details about how to give reviews (in the file name Writing Workshops(1).pdf). due at 10:59 PM EST 10/05/2018

f "ogo Voics 4 Visj o-n; A 6uide+o Wci*i1g l'hifag Showing and Telling \{rherein we consider the clifference between narratins and analyzing, and how showing ancl L L telling become bonded like runners in a three_ legged race, either to help or ro hinder Nonliction needs both to show and to tell. Authorial dis_ are what distinguish a literary text Iiom raw drcrrments and data. The gathering and cuiling of sources is .ne task; it,s a service most readers have neither the time nor the patience to undertake. But an in_ fbrmed reporting of what those sources say and how they might be understood makes up the rest of an authorial economy. The deployment of voice andjudgment together constitutes much of the value-adcled in a text. The need to use both is clear. It's the doing of it that causes stumbres. This is where understanding when and. how to show or tell or both comes into play. The usual means is to stock the shelves with examples, which movqs the text fiom simple assertion to clocumented c.inri,ati,. and.iudement l i l jiil Lll demonstration. The particulars (those telling details again) rnake the prose vivid and the argument or story compelling. Many of'the passages chosen earlier to illustrate parallelism and transitioning use such rhetorical devices precisely for the purpose of bulking up the prose with muscular exam_ ples. Sloppy writine might leave rhose illustrations as annoy_ ing flab. Shorving ancl'l'trlline 205 Watch, for example, how Mark Fiege clest:t'ilrcs tltt'workings of an irrigated Idaho landscape as a "hvlrrirl lrtttrls< rtpt'," in which "clear distinctions befiveetr ltlt'ltttol,gt' ltrt
WRITING WORKSHOPS How Workshops Work All Peer Workshop drafts need to be uploaded to your Group File Exchange by 11:59 pm on Tuesdays of the second week of each unit. All Peer Workshop responses need to be completed and uploaded back to your Group File Exchange by 11:59 pm on Fridays of the second week of each unit. The Writing Workshop is an integral part of this course, providing every writer with the opportunity to read the work of your peers, the opportunity to provide feedback for others, and the opportunity to be a part of a writing community. Because of the importance of the work to be done during the workshop, this work will be worth 200 points or 20% of your overall grade. We have five peer workshops over the course of the semester. Each peer Workshop is worth a possible total of 40 points. This is a significant number of points and each workshop is worth almost a half grade; for example, a B- could become a C+ if you miss just one workshop. To see your scores for each unit, go to “Writing Workshop” in “Assignments” and your grade for the unit will be posted. This will be cumulative, and will not be complete till the end of the semester, so your score will reflect only a partial score until the end. If this seems like a lot of work, the fact is—it is. This is meant to be a significant part of this course. For this reason, the second week of each unit is devoted just to these workshops. Keep in mind that these points cannot be made up. And, unlike drafts of your writing assignments, there is no chance to revise or get a second chance. Please take these workshops seriously and be thorough and as helpful as possible. Submitting a COMPLETE draft for peer workshop is worth 10 points. Incomplete and/or late drafts will receive part or none of the ten points. Commenting on peer drafts is also worth up to 15 points per draft. You will provide feedback for 2 of your peers. I will read the feedback you have provided for your peers. Substantial and thorough helpful feedback will receive the full fifteen points. Points will be deducted if feedback is skimpy, minimal, or unhelpful. If a group member does not submit a draft on time, I may shift groups to ensure everyone gets feedback. Therefore, if you are in a group where your peers have not posted a draft by the deadline, then you may be moved to another group. Please pay close attention to this. How to do the Workshops (please note that there are several steps to this process) PART ONE – POSTING AND RETRIEVING DRAFTS 1. I will assign you to peer-review groups using Bb’s Group page feature. Each group will consist of three or four students. 2. Be absolutely certain your paper is saved with your Lastname Firstname Assignmentnumber (e.g. Wendt Mary A1). 3. From inside your group’s File Exchange, you will upload your draft. 4. Download the drafts of your group members; as you download their drafts, save them to your computer with your last name at the end (Example: My name is Mary Wendt. I download John Smith's paper, which is named "Smith John A3" and when I download it, I save it as "Smith John A3_Wendt"). PART TWO – RESPONDING IN THE MARGINS 5. Open your peer's paper in Microsoft Word, and at the top, click on the "Review" tab. There you will see an "Insert Comment" button. Read your peer's paper and use the "Insert comment" button to add comments in the margin. If you are using Word 2010 or higher, you will need to make sure you have the "All Markup" link clicked, which is also in the "Review" tab. 6. Comment on anything you feel needs work, but also give them positive feedback as well. If you need a guide for how much commenting to do, shoot for at least one comment per paragraph. The best comments are actually in the form of questions that occur to you as you read. For example, if you read a paragraph and really would like more detail, instead of commenting “Add more detail here,” a more helpful comment would be “Can you provide more details here? Where was he from? What does he look like?” etc. PART THREE – COMPLETING REVIEW QUESTIONS 7. When you have finished commenting in the margins, copy the Workshop Review Questions below and paste them at the very end of your peer’s paper. Then answer the questions thoroughly. Please think of the writer as your audience. That would mean speaking to them directly, using “you” (i.e. “you have wonderful metaphors here). PART FOUR – COMPLETING THE WORKSHOP 8. When you have finished commenting in the margins AND answering the review questions, resave the paper, and make sure the paper is saved with your last name at the end. 9. Return to Bb to the Group File Exchange. Upload their paper—with your name now at the end and your comments saved in the file—back to the Group File Exchange in Bb. Workshop Review Questions For each workshop session, please copy and paste all the below questions at the end of your peer’s paper. Then answer the questions. Be sensitive but honest. The point is to help the writer consider ways to improve the work. You may say something like “The dialogue in the opening scene is an effective idea–I feel like it captures interest right off the bat–but it starts to get confusing towards the end of the opening scene...I’m not making all the connections between the characters’ have those connections in your mind, but could you give more direction to us readers so that we can make those same connections?” And please write your answers to the AUTHOR, not to me. In other words, you second person (you) as in the example above. NOTE: WHEN YOU COPY AND PASTE THESE QUESTIONS, PLEASE BOLD THEM OR CHANGE COLOR—SOMETHING TO HELP DIFFERENTIATE THEM FROM YOUR ANSWERS, LIKE THIS: What aspects of the piece do you really like? This piece overall works really well when it…blah blah blah. ANY METHOD IS FINE, BUT IT SHOULD BE EASY TO SEE THE QUESTIONS AS SEPARATE AND DIFFERENT FROM THE ANSWERS. THIS IS SIGNIFICANTLY EASIER TO READ, BOTH FOR ME AND FOR YOUR PEERS. Purpose of the Writing What, in your opinion, was the purpose of this piece of writing? What idea, feeling, ideology, etc. was this writer hoping to convey? How successful do you believe the writer was at achieving this purpose and why? What aspects of the piece do you really like? How could the piece improve overall? What word would you use to describe how this piece affected you as a reader? Were you persuaded, affected, annoyed, angered, or nostalgic? Did you feel entertained? Engaged? Explain why you felt this way. All non-fiction writing should work toward making a social or cultural impact or provide some insight into being human. How well does this piece do at providing readers with something interesting, evocative, or insightful to think about? General Issues Title: How effective is the title? Genre: How well does this piece of writing fit the assignment as you understand it from the reading in Bloom? Tone: How well does the language fit the genre, content, and purpose of the piece? Initial stage: How well does the opening of the piece do to make you want to keep reading? Setting: How apparent is the setting? How well did they do at giving details about the time/ place/location? Senses: How well does the writing do in terms of captivating your senses? How well does the writing make you taste, feel, see, smell, and hear in your imagination? Language: How exciting is the writing itself, the word choices, sentence structure, and punctuation? Too strange? Too simple? Would you need a dictionary to understand what’s happening? Predictability: How predictable is the writing? Is it so unpredictable that it leaves too many loose ties at the end? Or is it so predictable that it doesn’t leave you wanting to read more? Distractions: Is there anything in the writing that takes away from its depth? Example: A particular word appears so often that it captures the reader’s attention rather than the story line; or the diction is so formal that you can’t get into the emotions of the characters. Story-Related Issues: Dialogue: How well does it blend well with the writing? Are the dialogue lines “normal” or too “forced”? Would you actually overhear people talking like that? Characters: (Keep in mind that “characters” are not limited to human beings but can also be animals or places). How well-developed are the characters? Can you imagine them being actual people? Scenes and Scene Transitions: How well do scenes transition? Can you tell when the scenes change? Can you keep track of the time//location throughout the story? Pace: What is the pace like in this piece? Are there parts of the story that are “too slow” and could perhaps be more exciting or cut? Is there too much action and not enough “thinking time” in the piece? Be sure to be specific and let the writer know exactly what parts you a referring to.

Tutor Answer

School: Rice University

hello pleas...

flag Report DMCA

Thanks, good work

Similar Questions
Hot Questions
Related Tags

Brown University

1271 Tutors

California Institute of Technology

2131 Tutors

Carnegie Mellon University

982 Tutors

Columbia University

1256 Tutors

Dartmouth University

2113 Tutors

Emory University

2279 Tutors

Harvard University

599 Tutors

Massachusetts Institute of Technology

2319 Tutors

New York University

1645 Tutors

Notre Dam University

1911 Tutors

Oklahoma University

2122 Tutors

Pennsylvania State University

932 Tutors

Princeton University

1211 Tutors

Stanford University

983 Tutors

University of California

1282 Tutors

Oxford University

123 Tutors

Yale University

2325 Tutors