welcome to english 391: advanced composition b… · welcome to english 391: advanced composition...

Welcome to

English 391: Advanced Composition

Real World Asks Big Questions of Rising Graduates

Instructor: Catherine Bayly, Lecturer in UMD Professional & Academic Writing Programs

Office Hours: Tawes 2109; Monday 9-10am, 2-3:00pm; (Virtual) Wednesday 9-10am; Friday 2-2:30pm

(Note: Please make appointments for office hours, as I am frequently running student meetings in my

office or elsewhere.)

Best Contact: [email protected]

(Note: I use a Canvas course site to post the syllabus, announcements, assignments, etc. Please set your

notifications to “immediately” and be sure to provide the email address you use most frequently.)

Meetings: As you know from Testudo, our class will meet Monday and Friday in person. The readings

and due dates are on the syllabus. On the days in between, you will have a series of assignments,

discussion board, workshops, etc. that will be all be completed virtually. Each will be worth points toward

the class—most will have four potential scores to indicate exemplary work, satisfactory work,

unsatisfactory work, and failure to submit the assignment.

The readings for virtual days are on the syllabus, and the actual work for those days (aside from

assignment due dates) will be open and available to you from Tuesday at noon until Wednesday at 11:59

pm. You’ll need to budget your time as works for you within that window.

Required Text

Writing Arguments—Ninth Ed.

Recommended texts

A good print dictionary, thesaurus, and style manual (American Heritage or Oxford , Pocket Style Guide,

DK Handbook, Little Seagull, etc.)

Web Resources

https://www.elms.umd.edu

www.engl-pw.umd.edu (the Professional Writing Program’s homepage)

www.lib.umd.edu (the University’s library homepage)

owl.english.purdue.edu/owl (the Online Writing Lab at Purdue University)

Some Great Big Questions:

What does Higher Ed have against motherhood?

mailto:[email protected]

https://www.elms.umd.edu/

http://www.engl-pw.umd.edu/

http://www.lib.umd.edu/

What is the big deal with adjunct labor in Higher Ed?

Why are STEM fields still so often a “Man’s World”?

What is causing the current upswing in police brutality and what can students do about it?

Why are college campuses becoming “militarized,” and what are the outcomes?

Why do American students feel disconnected from politics?

What is the best way to adapt technology to the classroom?

Do campus diversity initiatives work as intended?

Are mental health facilities on campus adequate?

What is the relationship between Higher Ed and nutrition?

How well is Higher Ed preparing students for the professional world outside?

Course Objectives

In this Advanced Composition course, you will practice the writing/composition skills most often

employed in life beyond academia. Our focus will be on adapting previously learned writing and

rhetorical skills for “real world” audiences. Specifically, employers consistently say that strong writing

skills are of paramount importance when they evaluate potential candidates. It is no wonder, for you will

need to produce professional quality documents which reflect on you and your employer. As such, I will

expect all of your communication with me to reflect professional formats and conventions, including

email.

Our classroom will be a professional environment, so we will often conduct our course in a seminar style,

and sit in the round whenever possible—I hope our meetings will be rich in discussion and practical in

focus. While I’ve taught composition for years and have much to give you in experience and praxis, I

will also expect quite a bit from you. I will trust your intellect and do the work of helping you shape

written discourse on the subjects from which you’ve chosen to fashion your life. And, in our classroom

and through the trajectory of linked research assignments, I hope you will bring your expert field

knowledge to bear on weighty issues in your chosen discipline.

You will have your choice of topic for class research, and we will spend our first weeks establishing

interests. I will expect you to take risks and ask (and answer!) challenging questions about the world

around you. I will suggest that you choose something with gravitas: a problem you see on campus (i.e.

gender politics on campus), in your community (i.e. a public safety issue that needs addressing), or in

your chosen field (i.e. reduced funding for humanities). While these topics may include big, abstract, or

theoretical underpinnings, they should also address practical, administrative, logistical concerns wherever

possible. So, while they may be aligned with work done in your other classes, they will also provide real

world, localized solutions. Be prepared to focus on these topics in depth and for extended periods of time.

These topics should be meet three criteria at once: 1) genuine interest and imagination, 2) relation to your

planned profession, 3) feasibility of potential solutions.

Additionally, I’ve shaped this course around evolving genres and mediums. Slam poetry is writing.

Think pieces are writing. Public Service Announcements are writing. Web pages are writing.

Commercials are writing. Our assignments will not simply be “papers,” because real world writing is not

comprised of a string of papers. But argument remains at the core of the pieces we’ll write. We will

conducts many forms of research, pitch our ideas to the group, write a literature review, create a website,

write an Op-Ed, create a visual argument (either video or print), write job/graduate school application

materials, and complete a final proposal to send to a real world audience.

Expect to attend class every day, to write and rewrite your papers, and to read and comment on the

writing of your classmates. Goal-wise, you can expect to:

Analyze a variety of professional rhetorical situations and produce appropriate texts, adapting the

text to the knowledge base of the audience

Produce persuasive texts that reflect the degree of available evidence and take into account counter

arguments

Understand and practice the skills needed to produce competent, professional writing including

planning, drafting, revising and editing

Identify and implement appropriate research methods for each writing task

Practice the ethical use of sources and the conventions of citation appropriate in your field

Improve competence in Standard Written English (including grammar, sentence and paragraph

structure, coherence and document design) and use this knowledge to revise texts

Essential Course Rules

Rule#1: REDUCE DISTRACTIONS

No cell phones visible in the classroom: As a woman of the 21st century, I understand quite well the

siren song of a vibrating iPhone. However, in a professional environment, we must resist the temptation

to use indiscriminately. Texting in class is distinctly unprofessional.

Food, etc.: I do understand that our classes all fall around lunch time. So, please eat if you must, but

keep your chomping to a minimum, and no three-pointers to the trash can. Those would be distinctly

unprofessional.

Rule #2: PROOFREAD. By implementing practices of printing your work, reading aloud, and

finding a draft reviewer, you will save yourself time and find places to improve your writing. If you

simply read from the computer screen, your eyes auto-correct and you tend to miss many places

where you could revise and correct.

1. Every graded assignment must be proofread aloud.

2. Each assignment requires an editing/proofreading draft on which this proofreading exercise was

performed. Specifically, you must print a hard copy of your paper, read it aloud (or listen to a

friend do so).

3. Complete an in-class draft workshop.

4. Note any errors: typos, inconsistencies, mistakes in grammar, punctuation, mechanics, etc. Include

this copy in your final assignment packet and hand in.

5. After doing so, return to your word processor for a final edit.

6. Finally, print a clean copy.

RULE #3: NO LATE PAPERS

In this course (and in life), missing deadlines is frowned upon. Any work turned in late will lose a full

letter grade per class meeting. (For example, a paper due Monday that is turned in Wednesday will

receive a maximum score of 90%.) This seems very fair. However, I also understand we are all adults in

this room and that circumstances arise in which work must be delayed. So I am more than willing to offer

extensions to those who ask with good reason and at least 24 hours in advance. Extensions should only

be requested when absolutely necessary.

RULE #4: ATTEND

Although we won’t have exams in this class, all course materials and assignments will be addressed in

class meeting. Therefore, attendance is mandatory. I expect that students will arrive on time, ready to

engage in discussion and take notes during lecture. That said, I know a busy life can mean logistical

issues occasionally arise. Therefore, five unexcused absences from course meetings will be allowed. (And

I will take attendance daily.) At the sixth absence, your course grade will be reduced by a single letter.

(For example, if you have an 87% for the course, but have been absent six times, your final grade will be

a 77%.) I do hope this won’t happen.

Similarly, I’ve found that late arrivals truly disrupt the class environment. The late person may miss

materials the class has already addressed. So this puts the late arriver at a disadvantage, but the class a

whole pays in time wasted. Therefore, every three late arrivals (beyond minute one) count as an absence.

I extend some generosity to you, just as I hope you will extend generosity to me. If for some reason I will

miss class, I will communicate as soon as possible and add materials to ELMS/Canvas to add to your

learning. And, if you will miss class, I assume you will make arrangements and get missed materials

from a classmate. You may want to swiftly find a person you can count on in an emergency absence.

RULE #5: WORKSHOPS MATTER

In this course, each major assignment includes its own draft workshop day. The kind of revision we do

on workshop days will highlight (and recall) the major goals of each assignment. So, the revisions won’t

just be proofreading—they will include what are called global, or substantive, revisions. We will review

papers holistically and discuss their merits as well as places for major improvement.

In my years of teaching composition, I’ve found draft workshopping to be essential to successful writing.

Therefore, these workshops are required. At each workshop, I will require full, paper drafts (unless

otherwise stated) of the assignment in question. I repeat, full, paper drafts. If you fail to attend a

workshop, you will lose a full percentage point for the semester as well as 5% on the assignment. If you

attend without a full draft, or with an electronic version, you will still lose 5% on the assignment, but you

may still gain points for the workshop. So, even if your draft isn’t up to snuff, please attend workshop.

RULE #6: PARTICIPATE

This semester, you will receive a grade for participation. This grade will reflect your presence in class,

your involvement in class discussion, the level of thoroughness and thoughtfulness in your answers, and

the degree of respect and maturity you show in communicating with others. Students who are present and

on time, involved in discussion, thoughtful and thorough in their answers, and respectful and mature in

their interactions will receive high grades in class participation. Students who are frequently absent or

late, text or talk during class, do not participate in discussions, are not prepared to answer questions,

and/or do not comport themselves respectfully and maturely will receive low marks for participation.

I find participation is hard to quantify, as students feel varying levels of comfort talking aloud. Therefore,

I will assess participation on several unannounced days throughout the semester. Some will be class

discussion, some will be responses to texts, and some will be small group work. If you are anxious about

speaking aloud (as I was as a student), please speak to me about this. And perhaps we can find ways to

encourage you sharing your thoughts.

Also, as part of your participation, I’ll be assessing all virtual days. Students can earn up to 10 percentage

points for exemplary participation on these days.

Assignments and Grade Breakdown

Conjectural Assignment—Digital Storyboard, plus Script and Six Annotations, 10%

Causal Assignment—Digital Forum and Six Annotations, 15%

Evaluative Assignment—Editorial (& Visual Component), 15%

Cover Letter/Personal Statement and Resume, 10%

Proposal Assignment—Final Paper, 20%

Draft Workshops & Editorial Conferences, 5%

Virtual Meetings & Participation, 10%

Five Course memos, 10%

Self-reflective writing, 5%

The Professional Writing Program requires each student to compose approximately 25 pages of original

writing (6,250 words); the assignments for this course are in compliance with this page requirement.

Collaboration: In this class, you will often collaborate with others. In fact, your first and last projects

will be completed together. While you’ll diverge on the three central projects, I will expect you to

function as collegial sounding boards and editorial/research partners.

Portfolios

After I hand back your formal writing assignments with my comments and your grade, it is your

responsibility to keep these papers, along with my written comment sheets, in a safe place in case you

wish to discuss the paper with me. Additionally, please keep all final drafts of papers in an electronic

portfolio (folder) because you may be required to turn these papers into me with the final draft of your

fourth paper. You may also need to turn in the paper copies of the rubrics for each paper. This portfolio

helps me to see your progress over the course of the semester as I determine your final course grade.

Grading

Your grade for this course will be based on five formal writing assignments, less formal writing

assignments assigned for homework or in class, including a paper proposal, participation in class, and

participation in draft workshops, which will coincide with the five formal assignments.

Each of these grades will be accompanied by feedback, both in the margins of your work and via a rubric

built around assignment objectives. Please save all these documents (as well as workshop comments with

class feedback) to inform your future work.

Because this course is designed to help you write for the professional world, I have provided both an

academic and a “business-friendly” definition of letter grades. Written assignments and performances will

be evaluated and grades assigned using the following scheme:

ACADEMIC DEFINITION OF GRADES/BUSINESS-FRIENDLY DEFINITION OF GRADES

A=Work shows superior/excellent mastery of the subject and outstanding scholarship.

A= Work is ready to be published both internally and externally. Needs only a few very minor edits (a

word deleted or a comma inserted, etc.) A supervisor would be excited by this piece, thrilled even, and

accept it eagerly. Related to this, the piece fully accommodates the specific audience, and there are no

questions concerning readership. The research is thorough and of high quality; quotes are integrated

smoothly; attention to detail is evident.

B=Work shows above average, better than most, good mastery of the subject and good scholarship.

B=Work is high quality, and a supervisor would ask you to revise it again and resubmit it. Supervisor

feels strongly or hopes that one more edit might put the piece into his “yes” pile. An editor probably

would be able to publish the piece and would gladly work with you again.

C=Work is average, not bad, but not quite there yet

C=Work needs several edits. Supervisor feels this piece would work only after several edits. Usually

editing is needed in several areas – for example, punctuation, audience accommodation, inadequate

research, poor citation, and content issues. Supervisor would not accept the piece for distribution in its

current incarnation and may suggest you take a course to brush up on your skills.

D=Work shows borderline understanding and marginal performance.

D=Work has a major flaw, or several major flaws. For example, the audience is all wrong for this

particular piece, the research is skimpy, and there are numerous wording and grammar errors.

Supervisor would not accept this as a finished product and may put you on notice and demand you take

an English refresher course.

F=Work shows a failure to demonstrate understanding of the subject and unsatisfactory performance.

F=Supervisor would not accept this and would not work with you again.

Minus (e.g. A-) Plus (e.g. A+)

A 90 to 93.9 94 to 96.9 97 and above

B 80 to 83.9 84 to 86.9 87 to 89.9

C 70 to 73.9 74 to 76.9 77 to 79.9

D 60 to 63.9 64 to 66.9 67 to 69.9

Important Miscellany

Honor Pledge

You will be asked to write and sign the Honor Pledge, a statement of integrity, on each formal paper you

turn in for this class. For Professional Writing, the Honor Pledge is as follows:

I pledge on my honor that I have not given or received any unauthorized assistance on this assignment.

Paper Submission Requirements

You will notice that the assignment schedule includes two dates for the major written assignments. These

dates reflect draft and final versions. Both drafts and final papers will need to be in hard copy. Consult

assignment sheets for all specifications.

Disability Services

Your success in the class is important to me. If there are circumstances that may affect your performance

in this class, please let me know as soon as possible so that we can work together to develop strategies for

adapting assignments to meet both your needs and the requirements of the course.

In order to receive official university accommodations, you will need to register and request

accommodations through the Office of Disability Support Services. DSS provides services for students

with physical and emotional disabilities and is located in 0106 Shoemaker on the University of Maryland

campus. Information about Learning Assistance Service and/or Disability Support Service can be

found www.counseling.umd.edu/LAS or www.counseling.umd.edu/DSS. You can also reach DSS by

phone at 301-314-7682.

Final Note

If you have any questions about this course, its policies or procedures, the writing assignments, etc., do

not hesitate to come and speak with me. I look forward to our work together this semester.

Schedule of Readings and Assignments

Please consult the syllabus frequently, because it includes important deadlines, general daily plans,

readings, critical thinking questions, and links to wonderful resources. I trust you will come to class

daily, face-to-face or virtually, familiar with the materials below.

D Date General plan Readings for this Date Assignments/Preparations

1 1/25 Get to know each other and the

goals of the course.

Please buy Writing Arguments, Ninth

Ed.

http://www.counseling.umd.edu/LAS

http://www.counseling.umd.edu/DSS

tel:301-314-7682

Course objectives and linked

assignments

2 1/27 What is professional writing:

Discuss the differing goals of

professional and academic

writing.

Examine the syllabus

http://grammar.about.com/

od/advicefromthepros/a/ma

ughamwrite.htm

http://www.psychologytoda

y.com/blog/fixing-

psychology/201409/why-

academic-writing-sucks

Please buy Writing Arguments, Ninth

Ed.

WEEK 1 MODULES:

(Note: Weekly modules open up at noon

on Tuesday and close at 11:59pm on

Wednesday)

1) DISCUSSION BOARD #1:

Academic & Professional Writing Consider your

experiences with both academic

and professional writing. How

are the goals different? And in

what ways are they the same?

2) SYLLABUS GOOGLE DOC: Read the Syllabus for the

course. I will have it up on a

Google Document. Please post

any relevant questions directly

to the Google Document

3 1/29 Discuss the rhetorical triangle

as a way of thinking about

audience- and purpose-directed

writing

WA Chapter 3 – The Core

of An Argument

https://www.youtube.com/

watch?v=Ju3XzGjs4-U

http://sservi.nasa.gov/articl

es/the-most-astounding-

fact-neil-degrasse-tyson/

Please watch the videos in the readings

column and be prepared to discuss their

contents and then the ways the speakers

appeal to purpose and audience.

4 2/1 Discuss Ethos, Pathos, Logos,

and Kairos in professional

writing

WA Chapter 6 – Moving

Your Audience: Ethos,

Pathos, and Kairos

http://writingcommons.org/

open-text/information-

literacy/rhetorical-

analysis/rhetorical-appeals


watch?v=QD2WTK94c1U


watch?v=9eYH0AFx6yI

See the links in the readings column and

be ready to discuss the rhetorical appeals

evident in each text

7 2/3

Discuss texts WA Chapter 11 –

Definition and

Watch the texts in the center column and

be prepared to discuss whether questions

http://grammar.about.com/od/advicefromthepros/a/maughamwrite.htm



http://www.psychologytoday.com/blog/fixing-psychology/201409/why-academic-writing-sucks




https://www.youtube.com/watch?v=Ju3XzGjs4-U

https://www.youtube.com/watch?v=Ju3XzGjs4-U

http://sservi.nasa.gov/articles/the-most-astounding-fact-neil-degrasse-tyson/



http://writingcommons.org/open-text/information-literacy/rhetorical-analysis/rhetorical-appeals




https://www.youtube.com/watch?v=QD2WTK94c1U

https://www.youtube.com/watch?v=QD2WTK94c1U

https://www.youtube.com/watch?v=9eYH0AFx6yI

https://www.youtube.com/watch?v=9eYH0AFx6yI

Topic discussion

Asking and designing our big

questions - What questions will

we need to ask to corroborate

our conjectures? Where will

we ask them? When? Of

whom?

Resemblance Arguments


watch?v=P2Jr9P01ESs


watch?v=FS6LNpeJPbw


watch?v=ksdM1E91uSo


watch?v=lBPGPVSHqQ8

of today’s feminism are, in fact, rooted

in the first stasis: fact and definition.

After reading Chapter 11, think about the

types of questions you’ll need to ask to

confirm that your hypothesized problem

is, in fact, a widespread issue.

Be prepared to discuss our topics and

justify our ideas on their existence.

WEEK 2 MODULES:



Wednesday)

DISCUSSION BOARD #2

5 2/5 Introduce Conjectural

Assignment: Digital

Storyboard (plus script and

annotated bibliography)–

discuss differing audiences and

how you’ll attend to each

CONJECTURAL ASSIGNMENT—

DIGITAL STORYBOARD:

ASSIGNMENT SHEET REVIEW

6 2/8 Conjectural Assignment Q&A

Introduce the role of memos in

our class.

Memo Writing—Introduce

Memo #1

Stasis Theory – Power Point

https://owl.english.purdue.

edu/owl/resource/590/1/

WA Chapter 10 – An

Introduction to the Types

of Claims

8 2/10 Spend this day “in the field”

conducting interviews and

getting firsthand accounts of

your “problem.”

WA Chapter 2 – Argument

as Inquiry : Reading &

Exploring (only pages 23-

36)


watch?v=yMwJYf7mdb0

WEEK 3 MODULES:



Wednesday)

DISCUSSION BOARD #3

For this day, you’ll need one article,

popular or scholarly, that supports the

existence of your issue.

This project requires finding a faculty

member within your chosen discipline.

This person can be a valuable resource,

explaining the major issue or issues that

exist in your field today. He or she may

also point you in the direction of

scholarship about the issue you choose.

Think of this person like a Sherpa.

https://www.youtube.com/watch?v=P2Jr9P01ESs

https://www.youtube.com/watch?v=P2Jr9P01ESs

https://www.youtube.com/watch?v=FS6LNpeJPbw

https://www.youtube.com/watch?v=FS6LNpeJPbw

https://www.youtube.com/watch?v=ksdM1E91uSo

https://www.youtube.com/watch?v=ksdM1E91uSo

https://owl.english.purdue.edu/owl/resource/590/1/

https://owl.english.purdue.edu/owl/resource/590/1/

Create questions to ask “in the field.” If

you’re working in groups, decide how

you’ll divide up the labor of getting your

answers.

You’ll also need to find time to visit the

library or spend time on Researchport

getting articles that corroborate your

issue.

9 2/12 Thesis Workshop

& discussion of best writing

practices: What you’re finding,

and how to establish your

argument

Writing Annotations

N/A

Come in with a thesis statement which

argues that your issue exists and

deserves further study. This should

synthesize the findings from the many

sources you’ve marshaled into action!

Please bring two sources to class.

Memo #1 Conjectural Digital

Storyboard Plans Due on Canvas

10 2/15 Annotation Writing

Continued…

Discuss grading plan for

Digital Storyboard

Presentations

https://hbr.org/2003/09/ho

w-to-pitch-a-brilliant-idea

Bring laptops to class to work on writing

your annotations. Have one drafted for

today.

Please bring two more sources to class.

11 2/17 Speaking Your Findings:

Resources for Digital

Storyboards and examples of

smart rhetorical storytelling—

what constitutes a persuasive

description of a problem?

How do we use narrative in

description?

Schedule storyboard

presentations.

http://www.ted.com/talks/c

himamanda_adichie_the_d

anger_of_a_single_story?la

nguage =en

WA Chapter 16 –

Incorporating Sources into

Your Own Argument

(pages 370-377 only)

WEEK 4 MODULES:



Wednesday)

DISCUSSION BOARD #4: Digital

Storyboard Presentations and Design

Choose a TED Talk (in addition to the

one to the left) and be prepared to

discuss (in both) the role narrative plays?

What else helps the speaker prove the

exigence of the problem? How does the

speaker use evidence? Definition?

COLLABORATION: Schedule

Workshop of Digital Storyboards

12 2/19 Digital Storyboard

Presentations

Be working on annotations at home and

prepare to engage with students on their

presentations, asking key questions to

help them deepen their analyses.


Presentations



presentations


Presentations



presentations

WEEK 5 MODULES:



Wednesday)

DISCUSSION BOARD #5:

Storyboard Workshop

GROUP COLLABORATION:

ANNOTATION WORKSHOP

15 2/26 Introduce the Causal Analysis

Digital Forum, and Weebly

platform.

Assignment Sheet and Sample Review

16 2/29 Study New York Times, Room

for Debate.

Analyze the audience and

genre.

Introduce Memo #2. Schedule

Conferences

WA Chapter 12 – Causal

Arguments

Final Paper Copy of Digital

Storyboard (Plus Script and

Annotations) due to CB via Canvas

Reflective Writing Assignment #1 Due

on Canvas by 11:59 PM

17 3/2 Designing a good website! WEEK 6 MODULES:



Wednesday)

DISCUSSION BOARD #6a: Weebly

Scavenger Hunt Start a weebly account and begin to

explore your new abilities!

DISCUSSION BOARD #6b: The Best

of Sites and The Worst of Sites (Analyze the style, voice and layout in

one website you love and read often.

Also, search for any websites on the

topic you’ve chosen. Be prepared to

discuss the styles of writing you see.

You may be asked to man the computer

and AV system to discuss and present on

your site.)

Establish Digital Forum. No content is

necessary, but you’ll need the skeleton

(pages, etc) of your Weebly site to be in

place.

18 3/4 Causal Analysis – Digital

Forum Q & A

Style Mini-lesson in Web

Writing – Writing your about

page

Bring your laptops, so we can work on

transforming the information from your

first project into an About page for your

website. You’ll also want to include your

Digital Storyboard, so make sure it’s

published to youtube and ready to

upload!

19 3/7 In Class Conferences and

Drafting Work – Be prepared

to discuss how the project is

going, what’s been done

elsewhere about your issue,

etc. Do some real reading on

your issue in advance!

Visit the library/databases for sources on

your topic.

Memo #2 to CB on Causal Analysis

20 3/9 Preliminary Draft Workshop -

Causal Analysis Digital Forum

Two entries should be drafted in your

Causal Analysis Digital Forum.

WEEK 7 MODULES:



Wednesday)

DISCUSSION BOARD #7: Digital

Forum Draft Workshop

21 3/11 In Class Conferences and

Drafting Work – Be prepared

to discuss how the project is

going, what’s been done

elsewhere about your issue,

etc. Continue “real” reading

on your issue.

ALL drafted entries in your Digital

Forum.

22 3/14 SPRING BREAK READ THE PAPER – OP ED

SECTIONS

23 3/16

SPRING BREAK Causal Analysis Digital Forums Due –

Because CB will already have the links,

simply stop the editing process by class

time on this day. Keep in mind,

reflective writing is also due by

midnight.

Reflective Writing Assignment #2 Due

on Canvas by 11:59 PM

24 3/18 SPRING BREAK READ THE PAPER – OP ED

SECTIONS

25 3/21

Intro Op Ed

Practice with Rhetorical

Appeals –rhetorical analysis

and creating rhetorical texts.

Introduce Memo #3

http://www.huffingtonpost.

com/rev-emily-c-

heath/redskins-and-

respect-a-

li_b_4178743.html

READ THE PAPER – OP ED

SECTIONS

26 3/23 Discuss principles of rhetorical

reading and writing.

Framing Rhetorical Writing –

using rhetoric to evaluate and

encourage action

What makes an Op-Ed:

List time.

WA Chapter 8 – Analyzing

Arguments Rhetorically

http://www.diamondbacko

nline.com/opinion/fight-

the-mental-health-

stigma/article_e482ce98-

024e-11e4-893f-

0017a43b2370.html

Read the paper as often as possible! Op-

eds and editorial cartoons. If you don’t

get a paper at home, you may look at one

online. I’ll provide some examples via

Canvas.

WEEK 8 MODULES:



Wednesday)

DISCUSSION BOARD #8: Op Ed

Examples

27 3/25 Rhetorical Analysis – In Class

Writing Workshop

WA Chapter 13 Evaluation

and Ethical Arguments

Opening sentence and framework for

Op-Ed piece due in class

28 3/28 Rhetorical Analysis –

Analyzing texts and

responding to objections

--What’s our responsibility to

ethically treat

counterarguments in editorial

pieces? What are some ways

we can do this?

WA Chapter 7 – Responding to Objections and Alternate

Views

Memo #3 Due to CB on Canvas

29 3/30 Analyzing and Creating a

Visual Argument:

In-Class Design/Analysis

Session

Why does visual argument

matter?

WA Chapter 9 – Analyzing

Visual Arguments



Wednesday)

DISCUSSION BOARD #9: Principles

of Visual Design

30 4/1 Assignment Q &A

Visual Critique and Draft Day

Work on creating/sourcing your visual

text for analysis

Bring in what you’ve got so far. You’ll

need to have a drafted idea. Unlike the

final, this can be sketched simply in

pencil and labeled, rather than inked in.

It can be on any paper of your choice, or

on your laptop.

31 4/4 Draft Workshop Day:

Evaluative

Assignment/Editorial

Bring a hard (printed) copy of your

drafted Evaluative

Assignment/Editorial as well as the

visual text you’ve created and your

laptop.

32 4/6

Introduce “Get a Job” Week”

Evaluative Assignment/Editorial is

due via Canvas

Reflective Writing – Due by 11:59pm

DISCUSSION BOARD #10: The Job

You Want

COLLABORATION: Reviewing the

“Get a Job” assignment sheet

33 4/8 Job Letters & Personal

Statements TBA Bring in the job listing for the current

vacancy you’d like to fill, or the

application to the school of your choice.

34 4/11 Resumes http://randsinrepose.com/a

rchives/a-glimpse-and-a-

hook/

Bring in resume notes or a drafted

resume.

35 4/13 Job Letters – back to these with

your resumes in mind.

We’ll spend some time drafting

with our resumes, listings, job

search worksheets

DISCUSSION BOARD#11:

Mythology of Self (with Rationale)

36 4/15 Introduce Proposal Argument –

Parts and Arrangement of a

Proposal Powerpoint

Creating outlines

Proposal Day 1 – Finding your

best solution, aka your thesis

Writing Arguments – Chapter 14 (Focus on pgs

316 – 318 and pg 328)

Memo #4 Due on Canvas

37 4/18 Proposal Day 2 –

Conferences/Library

2109 Tawes

Bring in your letters, resumes, and

thesis statements, solution ideas,

outlines, and sourcework for the final

proposal. These will be longish

conferences, and I want you to be

prepared to flesh out any major

hindrances re the final proposal (as well

as to workshop your cover letter or

resume). You’ll need to block out 30

minutes for these conferences.

If you are not in conference on these

days, you will be expected to brainstorm

and research your work for the final

proposal.


Conferences/Library

2109 Tawes

(Offical Date TBA)



outlines, and sourcework for the final proposal. These will be longish










proposal.


Conferences/Library

2109 Tawes



outlines, and sourcework for the final

proposal. These will be longish










proposal.

40 4/25 Proposal Day 4 – Revising,

transforming, and condensing

your Digital Storyboard and

Forum into an introduction

Share what you’ll change from

your Storyboard or Forum

analysis.

Writing Lab: Writing the

problem

WA – pgs 330-338 Bring in all your prior work, with my

notes—ready to revise into a 1+/- page

“Problem” section.

41 4/27 Memo #5 sent out via Canvas TBA DISCUSSION BOARD #12: Drafting,

Drafting, Problem Solving

Job Packets & Reflective Writing #4

Due via Canvas


Troubleshooting & Justifying

your solution. What are the

potential pitfalls? What are the

hidden costs? What problems

will you need to anticipate in

the “The Justification.”

Share your “Proposed

Solution”

Writing Lab: Outlining the

Justification and Response to

Objection

WA – pgs 330-338 You should come in with a fully drafted

“Proposed Solution” section (1+/- page).

Memo #5 Due to CB


Writing the R2O

Arrangement

&

Known-New Contract in

writing analytical proposals

Writing Lab: Writing “The

R2O”

Plus Conclusion!

WA – pgs 330-338

Come in with an outline and half your

“Justification” and R2O drafted (3-5

pgs). Be prepared to present your work

to classmates.

45 5/4 Final Q & A Day & Virtual

Peer Workshop

NA DISCUSSION BOARD #13: Final

Q&A

46 5/6 Draft Workshop

Printed draft of the full paper, with 8

scholarly sources and 5 popular

sources. Drafts should be at least 8

pages long (not including works cited,

title pages, etc.), and in full paragraph

form.

47 5/9 Final in-class reflection and

Course Evaluations

Proposal Argument Due

Reflective Writing In Class or Due by

11:59

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