Carroll County
High School
Writing Plan
2009-2010
Carroll County High School English Student Expectations

Standardized Heading: Insert Header – Must Name, Date, and Class
Examples:
John Smith
October 12, 2009
John Smith
June 21, 2009
English 11th Grade
Biology 9th Grade

Standardized Formatting: LEAVE DEFAULT SETTINGS! Times New Roman
or Calibri, Size 12 font, Double Space, Margins 1.5”, Page Numbers (Using
Headers, under headers and footers)

Encourage the 5 Paragraph Essay format for all writing

Document All Work

Must turn in evidence of the writing process
Reading Counts Point Requirements
Freshmen – 40 Points (Regular); 50 Points (Honors)
Sophomores - 50 Points (Regular); 60 Points (Honors)
Juniors – 60 Points
Seniors – 60 Points
English Department Grade Breakdown
9th Grade English
Reading

Literary



Informational – biographical
research


Persuasive


Practical/Workplace


NOVELS –
Reg. To Kill a Mockingbird
Reg. Lord of the Flies
Hon. To Kill a Mockingbird (Summer)
Hon. Lord of the Flies
Hon. Odyssey
Shakespeare – Romeo and Juliet

Writing
Introduce Five Paragraph Essay –
Give basic set up of introduction,
supporting paragraphs, conclusion
Developing strong and complex
sentences: Sentence punctuation,
varied structure, subject and verb
agreement
Reflective Writing - Documentation
of weaknesses and strengths;
concluding strengths; end of the
year summary
Informational Biography Article –
needs a angle; Angle: particular
approach that tightens focus of the
paper (Be sure that it doesn’t cross
the report line from the beginning)
Introduce MLA documentation –
Require all writing to have
documented sources
Transactive/Analytical - Priority
Business Letter, Article, Speech BE
SURE TO PRACTICE ON DEMAND
FOR THESE FORMS
10th Grade English
Reading

Literary


Informational


Persuasive


Practical/Workplace


NOVELS –
Reg. Night
Reg. Of Mice and Men
Hon. Scarlet Letter (Summer)
Hon. Night
Hon. Of Mice and Men
Shakespeare – A Midsummer Night’s
Dream

Writing
Literary - Develop strong
paragraphs: Topic sentences,
supporting sentences, transitions
Documentation of starting
weaknesses and strengths;
concluding strengths and
weaknesses; end of the year
summary
MLA Documentation - Require all
writing to have documented sources
Reflective Writing - Documentation
of weaknesses and strengths;
concluding strengths; end of the
year summary THESE FORMS
Transactive/Analytical - Priority
Business Letter, Article, Speech BE
SURE TO PRACTICE ON DEMAND
FOR THESE FORMS
11th Grade English
Reading



NOVELS –
Reg. Great Gatsby
Reg. Catcher in the Rye
AP All Over but the Shoutin’
(Summer)
AP Silent Spring
AP What are People For

Writing
FINE TUNING - Five Paragraph
Essay Emphasis: Introduction,
Thesis, Supporting Paragraphs, Topic
Sentences, Conclusions, Restating
Documentation of starting
weaknesses and strengths;
concluding strengths and
weaknesses; end of the year
summary
Transactive/Analytical – Letter,
Article, Editorial and Letter to the
Editorial, Speech BE SURE TO
PRACTICE ON DEMAND FOR
THESE FORMS
12th Grade English
Reading


NOVELS –
Reg. Appalachian Writers Anthology
Reg. All Over but the Shoutin’
AP Community Read Public Library
(Summer)
AP Things Fall Apart
AP Heart of Darkness
AP Catcher
AP Short Stories and Poem (Perrins)
Shakespeare Hamlet

Writing
Documentation of starting
weaknesses and strengths;
concluding strengths and
weaknesses; end of the year
summary
Finalized Reflective Piece based on
the documentation from the previous
years
Reading Writing Final Product Requirements
Authentic Writing
On-Demand Forms
Grade
Reflective
Personal
Literary
Letter
9 LA
Introduction
Memoir
Poem
X
10 LA
Introduction
Narrative
Short
Story
X
11 LA
Introduction
Essay
12 LA
Completion
of 4 year
works
Fine
Tuning
Fine Tuning
Article
Editorial
Speech
X
X
X
X
X
X
X
X
X
X
X
Name: _________________________
Date: __________________________
Class and Grade: __________________
Reflective Growth Plan
At the beginning of the school year, fill in the three white boxes based on your thoughts and feelings
on writing and how literacy (reading) has affected your writing. At the conclusion of the school year,
fill in the shaded box which describes your growth. You will use this information at the beginning of
your senior year to write your final reflective portfolio piece.
My Writing Strengths are:
My Writing Weaknesses are:
What I would Like to Learn this year:
During the year, I have Grown through:
In a well written paragraph, summarize your writing growth during the past year:
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
CCHS English Department: Standardized Literary Terms
Devices of sound: The techniques of deploying the sound of words, especially in
poetry, such as rhyme, alliteration, assonance, consonance, and onomatopoeia
Style: The characteristic manner of expression of an author; includes diction,
syntax, figurative language, imagery, selection of detail, sound effects, and tone
Point of view: Any of several possible vantage points from which a story is told
Theme the main thought expressed by a work; meaning of the work as a whole
(could be more than one)
Allusion: A reference in a work of literature to something outside the work,
especially to a well-known historical or literary event, person, or work
Symbol: Something that is simultaneously itself and a sign of something else, ie the
American flag
Simile: A comparison; a figure of speech comparing two objects, usually using "like,"
"as," or "than"
Rhetorical techniques: The devices used in effective or persuasive language, such
as apostrophe, contrast, repetitions, paradox, understatement, sarcasm, satire, and
rhetorical question
Narrative techniques: The methods involved in telling a story; asks you to discuss
procedures used to tell story; (point of view, manipulation of time, dialogue, or
interior monologue)
Diction: Word choice; important to the meaning and the effect of a passage
Figurative language: Writing that uses figures of speech such as metaphor, simile,
and irony
Details: Smaller items or parts making up a larger picture or story; as when
describing a character or a scene
Structure: The arrangement of materials within a work; the logical division of a
work
Tone: The manner in which an author expresses his or her attitude; intonation of
the voice that expresses meaning -- This could move several times throughout the
passage from quiet to apprehensive, to confident to exuberant to terrified
Setting: The background, physical location, or time and place to a story
Imagery: The sensory details of work; visual, auditory, or tactile images evoked by
the words of a literary work or images evoked through figurative language
(metaphors, similes, diction)
Metaphor: A figurative use of language in which a comparison is expressed
without the use of a comparative term such as "like," "as," or "than"
Attitude: The speaker's, author's, or character's disposition toward or opinion of a
subject or writing
Irony: A figure of speech in which intent and actual meaning differ,
characteristically praise for blame or blame for praise; implies a discrepancy
between statement and meaning; verbal type is saying the opposite of what one
means
Syntax: The structure of a sentence; the arrangement of words in a sentence *
Could include discussion on length or brevity of sentences, kinds of sentences
(questions, exclamations, declarative sentences, rhetorical questions-or simple,
loose, complex, or compound
English Department Standardized Propaganda Techniques
and Errors of Faulty Logic
Propaganda Techniques
What are Propaganda Techniques? They are the methods and approaches used to spread
ideas that further a cause - a political, commercial, religious, or civil cause.
Why are they used? To manipulate the readers' or viewers' reason and emotions; to
persuade you to believe in something or someone, buy an item, or vote a certain way.
What are the most commonly used propaganda techniques? See which of the ten most
common types of propaganda techniques you already know.
Types:
Name calling: This techniques consists of attaching a negative label to a person or
a thing. People engage in this type of behavior when they are trying to avoid
supporting their own opinion with facts. Rather than explain what they believe in,
they prefer to try to tear their opponent down.
Glittering Generalities: This technique uses important-sounding "glad words" that
have little or no real meaning. These words are used in general statements that
cannot be proved or disproved. Words like "good," "honest," "fair," and "best" are
examples of "glad" words.
Transfer: In this technique, an attempt is made to transfer the prestige of a
positive symbol to a person or an idea. For example, using the American flag as a
backdrop for a political event makes the implication that the event is patriotic in
the best interest of the U.S.
False Analogy: In this technique, two things that may or may not really be similar
are portrayed as being similar. When examining the comparison, you must ask
yourself how similar the items are. In most false analogies, there is simply not
enough evidence available to support the comparison.
Testimonial: This technique is easy to understand. It is when "big name"
personalities are used to endorse a product. Whenever you see someone famous
endorsing a product, ask yourself how much that person knows about the product,
and what he or she stands to gain by promoting it.
Plain Folks: This technique uses a folksy approach to convince us to support
someone or something. These ads depict people with ordinary looks doing ordinary
activities.
Card Stacking: This term comes from stacking a deck of cards in your favor. Card
stacking is used to slant a message. Key words or unfavorable statistics may be
omitted in an ad or commercial, leading to a series of half-truths. Keep in mind that
an advertiser is under no obligation "to give the truth, the whole truth, and nothing
but the truth."
Bandwagon: The "bandwagon" approach encourages you to think that because
everyone else is doing something, you should do it too, or you'll be left out. The
technique embodies a "keeping up with the Joneses" philosophy.
Either/or fallacy: This technique is also called "black-and-white thinking" because
only two choices are given. You are either for something or against it; there is no
middle ground or shades of gray. It is used to polarize issues, and negates all
attempts to find a common ground.
Faulty Cause and Effect: This technique suggests that because B follows A, A
must cause B. Remember, just because two events or two sets of data are related
does not necessarily mean that one caused the other to happen. It is important to
evaluate data carefully before jumping to a wrong conclusion.
http://academic.cuesta.edu/acasupp/as/404.htm
CCHS English Department: Standardized Rhetorical Techniques
Rhetorical Techniques
Diction:
Perhaps the first rhetorical choice a writer makes—and all writers make this choice,
whether they realize it or not—is diction, or what words to use. Different words, even if
they ostensibly mean the same thing, have different connotations, as the poet W. H. Auden
well understood. And different audiences have different expectations about appropriate
diction. Academic writing requires a more formal diction than everyday talk or journalism,
and within academe writing in the natural sciences requires a more formal diction than
writing in the humanities. I'm no great fan of formality in writing, but on the other hand one
does need to know and respect the conventions of academe and other professional forums
for serious writing:
Parallelism
Parallelism is one of the most useful and flexible rhetorical techniques. It refers to any
structure which brings together parallel elements, be these nouns, adjectives, verbs,
adverbs, or larger structures. Done well, parallelism imparts grace and power to passage:
The prince's strength is also his weakness; his self-reliance is also isolation.
In Machiavelli's world, Sheldon Wolin observes, moral ends have been replaced
by ironies; answers have been replaced by questions.
The characters are all watching one another, forming theories about one
another, listening, contriving . . . .
One side sees Lincoln as a bold and shrewd leader, sincerely committed to
abolishing slavery; the other sees him as an opportunistic politician, concerned
only to defend the union in any way possible.
Problems with faulty parallelism are very common, because many people know what they
want to say, and don't scrutinize what they actually write.
Repetition
Repetition is one of the most useful tools available to writers. Repetition allows a writer or
speaker to hammer home an idea, image, or relationship, to force the reader or listener to
pay attention. Two classic examples of the incredible power of repetition are Mark Antony's
"They are all honorable men" speech in Shakespeare's Julius Caesar (3.2), and Martin
Luther King, Jr.'s "I have a dream" speech at the steps of the Lincoln Memorial in 1963.
But many writers, especially young writers, fear repetition, apparently believing that
repeating a word within a single sentence or short passage is bad style. H. W. Fowler, author
of the old but still recommended Fowler's Modern English Usage (1st ed., 1926), called this
tendency elegant variation, and observed, "There are few literary faults so widely
prevalent."
Using tenses consistently
Tense refers to the time (past, present, or future) in which actions occur. If you start a
passage in one tense, don't change the tense without reason:
ORIGINAL
Though Machiavelli has said that religion is
vital to politics, he dismisses Christianity as
harmful.
REVISION
Though Machiavelli says that religion is vital
to politics, he dismisses Christianity as
harmful.
The historical present
The Historical present: One convention in academic writing that often gives students
difficulty is what tense to use when discussing a text. One's first inclination is probably to
use the past tense when discussing a book written in the past. But that's not what is usually
done. Most textual analysis and commentary is written in the present tense, a convention
sometimes called the historical present:
ORIGINAL
REVISION
Machiavelli also said that Christianity made
people slothful.
Machiavelli also says that Christianity makes
people slothful.
Hamlet told Ophelia he never loved her.
Hamlet tells Ophelia he never loved her.
Alliteration
Alliteration: means beginning two or more stressed syllables with the same letter or sound:
Throughout the play we are made to witness the force of politics to shape and
shatter lives.
The rule of three
This is an old trick of the trade that doesn't get mentioned a lot nowadays (it's called
tricolon in classical rhetoric), but that crops up all the time in good writing. The idea is
simple: lists of all kinds (of things, qualities, actions, reasons, examples, etc.) tend to come
across most powerfully when they contain three items. Of course that doesn't mean you
should manipulate your material to make it fit. Sometimes you'll want to put two, four, or
more items in a list. But when you've got flexibility in what to say, keep the rule of three in
mind:
Coriolanus doesn't hide his contempt for the commoners, he doesn't flatter
them, he doesn't try to soften his image.
A generation ago most scholars believed that an overarching worldview—
conservative, deeply Christian and essentially medieval in its commitment to
order and hierarchy—shaped the concerns and defined the intellectual limits of
Shakespeare and other Elizabethan dramatists.
The third term is often slightly larger in its focus than the first two, enfolding them to
make a more general point.
Humor
Humor and other flourishes like slang should be used sparingly. Academic writing has room
for wry observation and ironic observations, but belly laughs
and outright jokes don't tend to go over very well. Something
that seemed hilarious when you were writing it will likely seem
foolish in the cold light of day.
First and second person
Are the first and second person (I, me, my; we, us, our; you, your) appropriate in academic
writing? As for the first person, yes, as long as it is used properly. It occurs in much writing
even in the hard sciences. Scientists frequently speak of "our research" and "our findings"
(though some teachers and editors agree with Mark Twain's disdain for the editorial "we").
As for the first person singular, one finds it even in the most serious scientific writing. E.
O. Wilson, a prominent Harvard biologist, notes his formal use of the first person, but also
the limits he observed: "very little emotion was expressed beyond the occasional 'I was
interested in the problem of . . .' or 'It turned out, to my surprise, that. . . .' " Thus both
sides of the debate over the propriety of the first person are in a sense right: it's okay to
use I even in the most formal settings, but not to venture into editorializing and emotion. In
less formal academic settings (including student writing, by and large) and in some fields like
literary studies, it's even acceptable to write with a certain amount of personal reaction and
feeling. The right amount of "me-ness" in one's writing will vary from field to field, journal
to journal, teacher to teacher: as you gain expertise in a particular field, you'll learn what
the rules are.
You is rather a different kettle of fish. It really doesn't belong in the most formal
academic writing. Directly addressing the reader changes the dynamic of the essay or
paper. In the hard sciences this would rarely be appropriate, though in the humanities one
finds the second person more often. I happen to use it a fair amount (in part because one of
my favorite old authors, Machiavelli, used it very cleverly), but others will see it differently.
Questions and exclamations
Direct questions work well in academic writing, but exclamations don't. See the discussion in
Punctuation for further thoughts.
Placing emphasis
If you want to summon up emphasis, a far better technique than exclamation marks is to
take advantage of the natural rhythm of English sentences. Here's an important rule good
writers know explicitly or implicitly: The end of a sentence packs the most wallop. The most
common sentence patter puts familiar information at the beginning of sentences, and new
information at the ends of sentences. Thus each sentence can be seen to be a kind of little
bridge to what has already been presented: the sentence starts out on familiar ground and
then takes a step forward. Good writing consists of linking these many little steps into a
sustained argumentative journey (of course with a few bold exceptions every so often).
C. Tim DeMarte 2005 Used with permission
Characteristics of Persuasive Writing
 Deals with a subject that generates different
opinions
 Assumes the reader to be antagonistic
 Provides background information so the reader and
writer have a point of agreement
 Anticipates reader reaction
 Disproves any opposing arguments
 Presents supporting details
 Include the topic sentence [thesis statement] at the
beginning or end depending on the feelings of the
audience
 Follows the writer’s organizational plan
 Builds on logic and reasoning
 Appeals to the emotional or psychological side of the
reader
 Provides a reasonable conclusion that should
persuade the reader
Characteristics of a Persuasive Letter
In a persuasive letter, the writer expresses an opinion
about a relevant issue. People write persuasive letters
to take an action. Persuasive letters are written daily
to a variety of audiences, including businesses,
governments officials, parents, and school personnel.
They call for actions that range from voting for or
against proposed legislation to replacing a defective
product with a new one. While similar to editorials and
letters to the editor, persuasive letters differ in that
they address a more specific audience than the general
readership of a publication.
Characteristics
A good persuasive letter should include most of the
following characteristics:
 Addresses the appropriate audience (reader), one
with the authority to take the action the writer
desires
 Engages the reader in the first paragraph
 Expresses
RUBRIC FOR A PERSUASIVE TRANSACTIVE PIECE
Characteristics of an A Paper


Focuses on a purpose

Engages the reader with an interesting beginning, one that gives some context or reason for the
information that follows
Targets and meets the needs of a specific readership (audience), one with the authority to take
the action the writer desires or one with an interest or involvement in the subject



Demonstrates clear knowledge of content studied and independent thinking



Uses organizational strategies appropriate to the authentic form selected

Uses a variety of sentences structures and language appropriate for the subject matter and the
targeted readership


Uses a variety of idea development strategies
Demonstrates a solid knowledge of strategies of persuasion (acknowledges and addresses the
reader’s anticipated point of view, expresses opinions clearly, helps the reader become personally
involved in the issue, presents arguments in support of his/her opinion in the order of their
importance from least to most important, etc.)
Moves the reader through the piece with logical, appropriate transition strategies
Provides a sense of closure at the end by leaving the reader with a vision of why the action
desired would be beneficial
Has no misspelled words
Has no sentence fragments or run-on sentences
Characteristics of a B Paper


Has a focused purpose

Engages the reader with an interesting beginning, one that gives some context or reason for the
information that follows









Targets a specific readership (audience), one with the authority to take the action the writer
desires or one with an interest or involvement in the subject
Demonstrates knowledge of content studied
Uses some idea development strategies
Demonstrates knowledge of strategies of persuasion (acknowledges and addresses the reader’s
anticipated point of view, expresses opinions clearly, helps the reader become personally involved
in the issue, presents arguments in support of his/her opinion in the order of their importance
from least to most important, etc.)
Uses organizational strategies appropriate to the authentic form selected
Moves the reader through the piece with some transition strategies
Provides a sense of closure at the end by leaving the reader with a vision of why the action desired
would be beneficial
Uses sentences structure and language appropriate for the subject matter and the targeted
readership
May have some misspelled words
May have some sentence fragments or run-on sentences
Characteristics of a C Paper


Has some evidence of a focused purpose

Shows some evidence of engaging a reader at the beginning, but may fail to give the reader a
context or reason for the information that follows
Shows some evidence of targeting a specific readership (audience) but may fail to meet the needs
of that audience or may have not chosen the most appropriate audience for the argument


Demonstrates some knowledge of content studied

Demonstrates knowledge of at least two strategies of persuasion (acknowledges and addresses
the reader’s anticipated point of view, expresses opinions clearly, helps the reader become
personally involved in the issue, presents arguments in support of his/her opinion in the order of
their importance from least to most important, etc.), though application of the strategies may be
somewhat awkward






Attempts to develop ideas but does so in a general, superficial way, leaving the reader with
unanswered questions
Uses some organizational strategies appropriate to the authentic form selected
May have lapses in transition
Shows some evidence of providing the reader with a sense of closure at the end but may do so in
an abrupt manner, leaving the reader with little to ponder
Uses simplistic sentence structure and language
May have some misspelled words
May have some sentence fragments or run-on sentences
Not Yet
A piece that fails to meet the characteristics of a C paper will be considered
unacceptable. A student will be given an opportunity to improve the piece with
assistance from the teacher or no credit will be given for the piece.
Characteristics of Process Analysis
 Demonstrates the writer’s familiarity with the
content or subject
 Follows a chronological order
 Provides step-by-step directions with explanation
 Includes illustrations, examples, and other specific
details when necessary
 Includes transitions to allow the reader to follow
the logical steps
 Uses terminology appropriate for the audience, and
providing an explanation of technical words when
necessary
Process Article
Best
Not Bad
Steps are clear and
completely explain how to
do a process; reader could
follow and do the process
easily.
Organization is logical,
easy to follow; paper
flows with or without
obvious transitions or
headings.
Explanations, diagrams,
details are included to
provide specific
instructions
Steps may be a bit
unfocused or unclear at
times, but overall, process
is clear.
Steps are hard to
understand or to follow
Paper lapses in
organization.
Reader and writer are lost
in the steps and
organization of the piece.
Some steps may not be so
well illustrated, explained,
or defined. Paper may
assume too much about
the background of the
reader.
Has either effective lead
or conclusion
Paper provides only
general or surface
information, without clear
explanation
Article may utilize
columns and headlines
Article looks like an essay
Structure, language, and
style are simplistic
instead of suitable
Structure, language, and
style are awkward or
incorrect.
Tone and voice are
effective but not
sustained
Tone and voice are
inappropriate or nonexistent
Effective lead and closing
which explain topic engage
and involve the reader
Article utilizes visuals,
format, font, headings,
and other structure
elements and text
features appropriate to
the form and the topic
Style and language
reflects senior-level
writing, yet is suitable for
the audience selected
Tone and voice of piece
are appropriate to the
purpose
Comments:
Grade:
Needs Work
Has neither effective lead
nor conclusion
Characteristics of a Feature Article
 Uses an introduction that captures the reader
 Provides reader with new information or a new
perspective on old information
 Achieves success by being researched and well
written
 Clarifies and interprets by giving depth and meaning
to some complicated issues or item
 Employs appropriate tone or voice for the subject
 Focuses on subjects of interest to a targeted
audience
Feature Article Rubric
Ace Reporter
Article has a focus, an
angle
The article looks like
and sounds like a real
article. Additional text
features add to the
writer’s purpose
Compelling lead engages
audience
Article has good,
accurate details,
examples, and facts
that fit the angle and
help develop the subheadings.
Writer uses distinctive
voice through leads,
details, and subheadings
Appropriate closing
effectively ends piece
and leaves the reader
with something to think
about
Writer indicates where
information was found.
Cub Reporter
Tape Recorder
Writer’s purpose or
focus may lapse in
places but the reader
can generally tell why
the writer is writing the
piece.
The article looks like a
real article but has few,
if any, text features.
Writer has no clear
purpose for writing the
piece, which sounds
more like a report.
Lead either doesn’t fit
the article or isn’t
interesting.
Article has few details
or details that get away
from the angle the
writer has chosen.
There is no lead.
Writer uses some voice,
either in the lead or in
the sub-headings.
Voice is inappropriate
for the audience or
doesn’t exist.
Closing doesn’t end the
piece or fit the writer’s
purpose.
Writer uses no closing
Writer indicates where
some of the information
was found.
Writer cites no sources,
though it is clear that
material has been taken
from another source.
The article looks like a
report.
Article has only broad
general ideas with
minimal details.
Characteristics of Editorial Writing
 Addresses a subject that is timely and relevant to
the intended audience
 Is concise and coherent (number of words may be
limited by the publication)
 Captures the reader’s attention immediately in the
opening
 Expresses the writer’s opinion clearly
 Includes specific details that support the opinion
and meet the needs of the audience
 Answers potential questions the audience might have
 Conveys a thorough knowledge of the subject and
correct information
 Follows an organizational plan that attracts the
audience attention
 Suggests a possible solution to the problem or issue
addressed
 Avoids phrases like I think, I believe, in my opinion,
it seems to me, or I for one
 Maintains a courteous and polite tone
Editorials
A good editorial is a short persuasive essay that usually
contains the writer’s opinion or reaction to a timely news
story or event and will:
1. Influence the readers to think or act the same
way the writer does; or
2. Inform the readers like a standard news story.
They tend to deal with complicated issues which
require careful explanation; or
3. Promote worthy activities. An example: the
formation of an athletic/academic team or a
club that might be promoted in an editorial; or
4. Praise/Commend worthy individuals or events.
An example: an individual who helped out at a
senior citizens center or walk-in center.
5. Focus on a subject that is or real interest to
the writer and his/her audience.
6. Provide clear, accurate details and examples
that enhance its purpose.
Transactive Writing Rubric
Ace Reporter
Cub Reporter
Tape Recorder
Writing is focused on a
clear purpose. Reader is
aware of what the writer
wants him/her to do,
understand, believe, etc.
Writer’s purpose or focus
may lapse in places but
the reader can generally
tell why the writer is
writing the piece.
Writer is aware of the
correct format for the
piece and uses it to
enhance purpose.
Features of the piece add
to the writer’s purpose
and message
Compelling lead engages
intended audience and
identifies point of piece.
Format of the piece is
appropriate for the
writer/s purpose
Writer has no clear
purpose for writing the
piece, which sounds more
like a report. Reader and
writer are unaware of why
the paper is written or to
whom.
Ineffective or
inappropriate format for
the purpose of the piece.
Lead either identifies
point without engagement
or engages reader but
points in the wrong
direction
Paper has good, accurate
Paper has unelaborated or
content. Details and facts unsupported claims or
are well supported and
points. The few details in
based on credible,
the paper may be
respected authority.
repetitious or not well
explained
Ideas are well developed
through specific
examples, anecdotes,
rhetorical devices, etc.
Writer uses distinctive
voice or tone appropriate
to the audience and form
Appropriate closing
effectively ends piece
Writer cites sources in an
appropriate manner,
suitable to the form
Ideas are present but not
elaborated
Writer uses appropriate
tone and/ or voice
Closing is ineffective to
the purpose of the piece
Sources are cited but
incorrectly
Non-existent or
ineffective lead.
Paper has only broad
general ideas. Research
base or level of
information is
inappropriate, incorrect,
unrelated to purpose, or
misleading
Details are non-existent,
incorrect, random, or
unrelated
Writer uses tone or voice
inappropriate to audience
and modality
Writer uses no closing
Writer cites no sources,
though it is clear that
material has been taken
from another source.
Characteristics of a Memoir
 Focuses and reflects on the impact of the
relationship between the writer and a particular
person, place, or thing
 Focuses on leaving the reader with one impression of
the subject
 Is limited to a particular phase, time period, place,
or recurring behavior pattern in order to fully
develop the focus
 Might recreate for the reader a memorable
incident(s) shared with the person, place, or animal,
and explain the significance
 Shares insights gained in recalling the significance
of the person, place, or thing
 Makes the person, place, animal, or object come alive
for the reader
Characteristics of a Personal Essay
 Has a clear focused purpose
 May contain a narrative, or storytelling part, that is
sequenced chronologically
 Includes details and/or persons in such a way as to
make their significance to the purpose clear
 Use descriptive writing to allow the reader to
connect with the writer’s personal experience and
reaction to it
 Uses effective connecting words and expressions
which lead the reader through the experience and
the thinking/conclusion reached by the writer
 Highlights the writer’s reflection on the focused
purpose as an essential part of the personal essay
Characteristics of a Personal Narrative
 Focuses on one event
 Has a clear purpose (the significance of the event is
clear to the reader)
 Has many relevant, sensory details (things for the
reader to see, hear, feel, smell taste)
 Includes the author’s feelings and thoughts
 Often includes dialogue
Personal Writing
Personal Expert
Focused on a single
important incident,
impression, or opinion
Shows insight and growth
of the writer through
thoughts and expressions
Reveals the writer’s
growth or discovery
because of the incident,
usually implied but clear.
Has subtle or logical
organization which is easy
to follow; may use flashbacks, flash forwards,
frozen moments in time,
or other organizational
features to enhance
purpose.
Uses carefully chosen
details to put the reader
in the scene or scenes;
shows emotions rather
than tells.
Uses a good variety of
sentences and techniques
to enhance effect of
paper
Uses good mechanics
throughout
Personal Wannabe
Personal Foul
Paper may lead to a single
incident or focus, but it
may not be initially
focused or the focus may
lapse
Shows beginning of insight
No clear foucs; may lapse
into autobiography or
many incidents without
purpose
States the writer’s
purpose for writing as an
add-on at the end or
beginning of the paper
Has predictable
organization, usually
chronological. May lapse
but will come back to
organization.
Tells without insight;
paper shows no writer
growth or self-reflection
Purpose for writing is
either not stated or
inappropriate. Reader is
unable to tell why the
story is being told or what
the memoir is focused on.
Paper is difficult to follow
because of organization
lapses or weaknesses
Good descriptions but not
so carefully chosen. May
contain snapshots which
still lack focus; may tell
and show
Uses dialogue and
narration
Lack of purposeful
description; uneven
development that tells
rather than shows.
May contain errors which
do not interfere with
communication
Grammatical errors are
disproportionate to length
of paper and interfere
with the writer’s
communication.
Limited, misused, or
inappropriate techniques
and simplistic style
Personal Writing - Hero Paper
HEROIC
ALMOST HEROIC
WIMPY
The paper has voice and
originality. The ideas
reflect the writer's ideas,
reveal the writer's values,
and show evidence of
thought.
The paper has some
evidence of voice. Ideas
may reflect some originality
but others reflect standard
clichés of heroes rather
than the writer's thoughts.
Paper lacks voice; rather it
presents stereotypical
qualities of a hero instead
of showing thought and
insight.
Throughout the paper, the
reader is clearly aware of
your purpose in defining a
hero and the writer is fully
aware of the reader's
needs.
Your purpose is less clear,
but the attempt is there.
The reader can tell that the
writer is trying to
communicate.
Paper lacks a clear focus
and/or purpose. Because
you're not taking your
audience into account, we
can't tell that you're
defining your hero at all.
The paper clearly reveals
three distinct
characteristics of a hero.
Three distinct
characteristics are in the
paper, but may be difficult
to find or to identify.
The paper contains two or
fewer distinct
characteristics.
The writer fully develops
ideas and/or examples which
define the characteristics
he identifies.
Some ideas may be partially
developed, but overall ideas
are not clearly so well
defined.
The writer may name his
characteristics, but they
are not defined by specifics
so the reader can
understand the writer's
qualities.
The paper's organization is
clear and easy to follow.
Lapses in organization may
get the reader temporarily
lost.
The paper is unorganized
and jumpy.
The writer uses a good
variety of sentence
structure appropriate to the
form.
The writer uses simplistic
language and sentence style.
The writer uses incorrect or
awkward sentences and
words.
Writer shows control of
mechanics and usage.
Grammar and usage errors
do not interfere with
communication.
Grammar and usage errors
are inappropriate to the
length and complexity of the
paper.
HERO PAPER DESCRIPTION
You may choose the form of this paper, but keep in mind that I will grade the final product on how clearly
you explained your personal definition of a hero. You must have the qualities of a hero clearly included
and exemplified in this paper, either stated and developed or implied and defined by actions of
characters. You needn't announce that your main character is brave; you may just show clearly by his
actions that he is.
You must have at least three qualities defined in the paper. For example, don't just announce in a
poem that your hero is sensitive; show how you can tell he/she is sensitive and what sensitive means to
you. This is how you will be graded.
Here are some suggestions you may like to try:
1.
Write an essay (intro, three paragraphs showing three qualities of a hero, developed by
specific details, three-point, extended example paragraphs, and a conclusion.
2.
Write a short story about a hero. This can be a creative story about medieval or
Anglo-Saxon times, like a knight fighting a dragon, or about modern times. Your short
story will be about a hero and a problem he or she must solve. Make sure your
definition of a hero and his qualities are clear as he/ she solves the dilemma. (2 Full
Pages Double Spaced)
3.
Compose a poem about a hero. This can be your personal definition, an analysis of a
special person who is your hero, or narrative poem about a hero. Poems must be
condensed, use imagery and poetic devices, and have rhythm. Rhyme only if it suits
your purposes.
4.
Write a portrait about your hero, with the hero as the audience. This is a good one
because this could work into a gift for your own personal hero. Salute, any way you
wish, someone who has been a hero to you in your life -- a family member, a minister or
counselor, a teacher, a coach, etc. You need to know this hero and to use him/her as
your audience. Make sure to include the qualities of a hero in your salute.
5.
A biographical narrative of a real, live hero. Tell of an incident in which someone you
know displayed the qualities you respect in a hero. This may also be a personal
narrative of a time when you felt like a hero yourself. Make sure that it is clear what
you mean by "hero."
6.
An explanation of why there are no heroes today. This could be an essay or perhaps
even a poem or letter.
7.
An essay or poem about a group of heroes in today's society--like policemen or
firefighters or soldiers. (Essay – 5 paragraphs)
8.
Or, make up your own form. Just remember to include your personal feelings about the
qualities you look for in your heroes, feelings that will be different from everyone
else's. Don't go with the obvious. Think carefully because you are revealing a great
deal about yourself when you reveal what a hero is to you.
Short Story
Nobel
Story has one clear plot
and is focused on
primarily one or two main
characters.
Story has a clearly
established theme; the
reader can understand
the “so what” of the tale.
Characters are well
defined and dynamic:
actions, dialogue,
descriptions “ring true.”
Story centers on one
focused conflict that
builds as the plot builds.
Dialogue, description,
narrative are all included,
advancing the plot and
heightening the audience’s
understanding of the
character and the
conflict.
Climax is clear and
resolves the conflict for
the reader.
Language, sentence
structure, mechanics add
to the plot and
characterization.
No-doubt
No-way
Story may have more than
one plot, but basically one
character is carrying the
action.
Story is a composite of
multiple plots and
characters; reader and
writer get lost in the
story.
Story has a weak theme
Story is purely plot
that could change as the
without any reason for us
plot progresses. Reader is to read on.
left with questions about
the “so what.”
Characters have some
Characters are flat,
definition, but need more
stereotypical, and
development to allow the
unchanging. We neither
reader to understand
understand nor care about
them and their motivation their motivation.
Story may have a conflict Conflict may seem
(or several conflicts) that inappropriate,
may seem accidental or
unbelievable, irrelevant,
irrelevant to the action of or unclear in relationship
the story
to the main character.
Some detail leads us
Story has little
through the story, but it
description, dialogue, etc,
lacks the elaboration that that would lead the
would put us there.
reader through the story.
Predictable,
underdeveloped climax
that leaves the reader
with questions.
Some errors and
simplistic sentences do
not interfere with
communication but also do
not advance the writer’s
purpose.
Little or no climactic
moment.
Errors are
disproportionate.
Fiction
Non
Publishable
Almost
Ready to
Go to Print
Best Seller
Pulitzer
Prize
Winner
Character
 Characters not
Main character(s)
are clearly -- Introduced
 Described
Characters are
revealed (rather
than merely
introduced
through
 Actions
 Dialogue
 Thoughts
Reactions of
others
Problem is –
 Well developed
through events
 Believable
Characterization
is so strong that
the reader comes
to know each main
character
intimately.
used
 Words make it
somewhat clear
about whom the
story is written

Problem
Piece does not
build to a problem
Problem is
somewhat clear
Resolution
Problem (if any) is
not solved
Resolution is
somewhat clear
Resolution is –
 Well developed
through events
 Believable
 Thoughtprovoking for
main character
Events
No events
Events
 Show, not tell
 Stay focused
Setting(s)
Setting(s) not
established
Lesson or Theme
No lesson to learn
Title
No title
Events are
focused on the
problem but tell
rather than show
Setting is vaguely
established with
words that build
some
understanding of
where and when
the story takes
place
Lesson for the
main character
and/or audience
to learn is unclear
Title is not
related to the
purpose
Setting is –
 Established
 Clearly
described
 Believable
Problem is –
 Well developed
through events
 Believable
 Complex
 Memorable
Resolution is –
 Well developed
through events
 Believable
 Thoughtprovoking for
main character
and audience
 Memorable
Events are
 Engaging
 Believable
 Memorable
Setting is so
detailed and so
woven into the
plot that the
reader steps into
the world of the
story
Theme is stated
Theme is subtle
and leave audience
thinking
Title is –
 Engaging
 Purposeful
Title is –
 Engaging
 Purposeful
 Memorable
Junior - ACT VOCABULARY
1.) aborigine-an original inhabitant.
2.) altercation-a noisy dispute.
3.) amalgam-a mixture of different elements.
4.) ambrosial-delicious; fragrant; divine.
5.) ambulatory-walking or moving, alterable.
6.) amphibious-able to function both on land and in water.
7.) androgynous-having both male and female characteristics; unisex.
8.) aperture-an opening. A hole.
9.) apex-highest point, summit.
10.) apparition-unusual or unexpected sight.
11.) appendage-something attached to a larger item.
12.) arcane-secret; mysterious.
13.) archetype-the original pattern or model.
14.) ballyhoo-a noisy attention-getting demonstration or talk.
15.) bedlam-uproar; confusion.
16.) bellicose-warlike; quarrelsome.
17.) billet-doux-a love letter.
18.) bizarre-out of the ordinary; eccentric; freakish.
19.) bombast-pretentious, inflated speech or writing.
20.) bona fide-made in good faith, genuine.
21.) boudoir-a woman’s dressing room, bedroom, or private sitting room.
22.) brouhaha-hubbub; uproar; furor.
23.) buffoon-a clown, comedian, or laughable person.
24.) buttress-to support or prop.
25.) cacophonous-harsh sounding or confused sounding.
26.) cadence-rhythm.
27.) cameo-a raised image or precious stone; a small role.
28.) carcinogen-a substance that causes cancer.
29.) carnivore-a flesh-eating animal.
30.) caucus-a closed meeting of members of a political party or faction.
31.) celestial-heavenly.
32.) circumvent-to avoid by going around; to encircle; to outwit.
33.) citadel-a fortress.
34.) cogitate-to ponder or think intently.
35.) comatose-unconscious; inactive.
36.) conflagration-a large, destructive fire.
37.) contretemps-an embarrassing incident.
38.) conveyance-a means of transporting; a vehicle.
39.) corona-a halo of light around the sun or moon.
40.) cryptic-secret; mysterious.
41.) cuisine-food; style of cooking.
42.) debonair-suave; charming; lighthearted.
43.) decanter-a vessel used to receive liquid poured from another.
44.) deciduous-shedding at a certain stage (as at the end of a growing period or
stage of development.
45.) demagogue-leader who promises things to people to gain power.
46.) dexterous-skillful with the hands; mentally adroit.
47.) disheveled-untidy.
48.) distaff-pertaining to females; a stick that holds wool or flax for spinning.
49.) doggerel-loose, irregular verse; inferior poetry.
50.) dormant-sleeping; inactive.
51.) dulcet-sweet; melodious; soothing.
52.) echelon-one in a series of levels of command.
53.) effervescent-bubbly; lively.
54.) egregious-flagrant; out of the country.
55.) emaciated-painfully thin; wasted.
56.) embellish-to make beautiful with ornamentation; to decorate.
57.) equestrian-relating to horseback riding.
58.) equilibrium-a state of balance.
59.) escalate-to enlarge; to increase.
60.) exodus-a mass departure.
61.) expletive-an exclamatory word or phrase, often obscene or profane.
62.) expunge-to strike out; to erase; to remove.
63.) fecund-fruitful; productive.
64.) festoon-a decorative chain or strip hung in a curve between two points.
65.) fiasco-a failure.
66.) flamboyant-ornate; showy.
67.) flotilla-a fleet of small ships.
68.) formidable-frightening; dreadful; awe-inspiring.
69.) gargoyle-a rain spout in the form of a grotesque human or animal figure.
70.) gauntlet-a thick, heavy groove; a glove from a suit of armor.
71.) germinate-to begin to grow; sprout.
72.) globule-a tiny drop; a small ball.
73.) googol-the figure 1 followed by 100 zeroes, equal to 10 to the 100th power.
74.) gossamer-something light, delicate, or tenuous.
75.) gregarious-living in groups; social.
76.) gyrate-to revolve around a point or axis.
77.) halcyon-calm or peaceful; happy.
78.) harbinger-forerunner, herald.
79.) hirsute-very hairy.
80.) holocaust-widespread destruction, especially by fire.
81.) impropriety-improper conduct; bad manners.
82.) incarcerate-to put in prison.
83.) inclement-stormy; harsh.
84.) indolent-lazy.
85.) intrepid-fearless; bold.
86.) irascible-easily angered; hot-tempered.
87.) irreparable-cannot be repaired.
88.) itinerary-the route of a journey.
89.) jettison-to discard; to cast off as an encumbrance.
90.) juxtapose-to place side by side.
91.) kowtow-to be overly polite and flattering; to fawn.
92.) labyrinthine-complicated; perplexing; mazelike.
93.) lambent-softly bright; flickering.
94.) languid-drooping; sluggish.
95.) libation-a beverage; archaic: the act of pouring out a liquid as a religious
offering.
96.) lineage-descent in a direct line from an ancestor.
97.) loquacious-given to excessive talking.
98.) ludicrous-laughable because of obvious absurdity.
99.) lugubrious-exaggeratedly or affectedly mournful.
100.) luminary-one who is notable in a particular field.
101.) maelstrom-a powerful whirlpool; turmoil.
102.) manacle-a handcuff; a restraint.
103.) masticate-to chew; to soften by crushing.
104.) mausoleum-a large, elaborate tomb.
105.) mellifluous-smoothly flowing; sweet.
106.) metamorphosis-a transformation; a marked alteration.
107.) monolith-a single large stone, often in the form of a column or monument.
108.) nadir-the lowest point.
109.) nocturnal-pertaining to the night; active at night.
110.) nodule-a small lump.
111.) obdurate-hard; unmoved by persuasion.
112.) obsequious-fawning; servile.
113.) opulent-demonstrating great wealth; extravagant.
114.) oscillate-to swing back and forth.
115.) ostracize-to exclude from a group; to banish.
116.) ovation-enthusiastic display of approval; applause.
117.) panorama-a wide, unbroken view.
118.) paraphernalia-personal belongings; equipment.
119.) pariah-an outcast.
120.) parochial-relating to a church parish; limited in scope.
121.) penurious-stingy; extremely poor.
122.) pilfer-to steal insignificant items.
123.) pinion-to restrain by binding the arms; to hold fast.
124.) pinnacle-the highest point; a spire.
125.) plummet-to fall or plunge straight downward.
126.) pogrom-an organized persecution or massacre.
127.) polyglot-using several languages.
128.) posh-elegant; fashionable.
129.) potable-fit to drink.
130.) precarious-dangerous; risky; dependent on chance.
131.) progeny-offspring; descendants.
132.) projectile-a missile; something thrown.
133.) promontory-a high point of land or rock projecting into water.
134.) prostrate-lying flat; stretched out with face on the ground.
135.) pugilist-fighter; boxer.
136.) pulchritude-physical beauty.
137.) queue-a waiting line, especially of persons or vehicles.
138.) ravenous-hungry; very eager.
139.) recalcitrant-stubbornly resistant to authority or restraint.
140.) remorse-regret for having done wrong.
141.) remuneration-payment; reward.
142.) rendezvous-an appointment; a meeting place.
143.) replicate-to duplicate; to repeat.
144.) reverberate-to echo; to resound.
145.) reverie-daydream; being lost in thought.
146.) roster-a list of names.
147.) ruminate-to ponder; to think over.
148.) salutary-promoting health; beneficial.
149.) sangfroid-poise and calmness, especially under strain.
150.) satiated-fully fed; fully satisfied.
151.) saturnine-gloomy; surly.
152.) scintillate-to sparkle; to flash.
153.) sediment-matter that settles to the bottom of a liquid.
154.) seraph-an angel.
155.) sibilant-producing a hissing sound.
156.) silhouette-a dark outline against a light background.
157.) sinewy-strong and firm; tough.
158.) somnambulist-sleepwalker.
159.) soporific-causing sleep.
160.) spectrum-a wide range or sequence.
161.) symposium-a meeting to discuss a particular topic.
162.) taciturn-disinclined to talk; silent.
163.) tantalize-to tease by keeping something out of reach.
164.) tendril-coiling part of a climbing plant which serves to attach it to a support.
165.) timorous-easily frightened; timid.
166.) titanic-huge; powerful.
167.) torturous-winding or twisting; devious.
168.) transpose-to reverse the order or place of.
169.) tributary-a stream or river flowing into a larger stream or river.
170.) truculent-savage; fierce.
171.) truncated-cut off; shortened.
172.) valor-courage; bravery.
173.) verve-energy, liveliness.
174.) vie-strive; compete; contend.
175.) vintage-classic; outstanding; old.
176.) virtuoso-person with unusual skill in any field, particularly in the arts.
177.) votary-a person devoted to something.
178.) wanderlust-strong impulse to travel.
179.) whet-to sharpen; to stimulate.
180.) xenophobia-fear or hatred of strangers or foreigners.
Sophomore Prefixes, Suffixes, Roots
GREEK DERIVATIVES
PHIL (PHILO): “loving,” “fond of”
PHILE at the end on the word means “one who loves or supports”
MIS: “hate” (the opposite of PHIL)
DYS: “bad,” “ill,” “difficult”
EU: “good,” “well,” “advantageous”
MACRO: “large,” “long”
MICRO: “small”
A (AN): “not,” “without”
MONO (MON): “one,” “single,” “alone”
POLY: “many”
LOGY: “”science, study,” “account of”
BIO: “life”
TOMY (TOM): “cutting,” “operation of incision”
POD: “foot”
HOMO: “one and the same,” “like”
HETERO: “different”
HYPER: “above,” “beyond the ordinary”
HYPO: “under,” “beneath,” “less than the ordinary”
ENDO: “within”
EXO: “out of,” “outside”
ARCHY: “rule”
GEO: “earth,” “ground”
PATH (PATHO, PATHY): 1. “feeling,” “suffering”; 2. “Disease”
MORPH: “form”
PERI: “around,” “about,” “near,” “enclosing”
LATIN DERIVATIVES – PREFIXES
1. a, ab: away, from
2. ad: to
3. ante: before
4. bi: two
5. circum: around
6. con (col, com, cor): together, with
7. contra: against
8. de: from, down
9. dis: apart, away
10. e, ex: out
11. extra: beyond
12. in (il, im, ir): not
13. in (il, im, ir): in, into, on
14. inter: between
15. intra: within
16. ob: against
17. per: through thoroughly
18. post: after
19. pre: before
20. preter: beyond
21. pro: forward
22. re: again, back
23. retro: backward
24. se: apart
25. semi: half
26. sub: under
27. super: above
28. trans: across, through
29. ultra: beyond, exceedingly
30. vice: in place of
LATIN ROOTS
1. RUPT: “break,” “burst”
2. CIDE: “killing,” “killer”
3. STRING (STRICT): “bind,” “draw tight”
4. VOR: “eat greedily”
5. VIV: “live,” “alive”
6. TORT (TORS): “twist”
7. VICT (VINC): “conquer,” “show conclusively”
8. FRACT (FRAG): “break”
9. OMNI: “all,” “every,” “everywhere”
10. FLECT (FLEX): “bend”
11. TEN (TIN, TENT): “hold,” “keep”
12. MON (MONIT): “warn”
13. MAND (MANDAT): “order,” “command,” “commit”
14. CRED (CREDIT): “believe”
15. FID: “faith,” “trust”
16. GRAT: “pleasant,” “thank,” “favor”
17. MOR (MORT): “death”
18. CORP: “body”
19. DUC (DUCT): “lead,” “conduct,” “draw”
20. SECUT (SEQU): “follow”
21. CUR (CURR< CURS): “run”
22. GRESS (GRAD): “step,” “walk,” “go”
23. PED: “foot”
24. TACT (TANG): “touch”
25. PREHEND (PREHENS): “seize,” “grasp”
26. JECT: “throw”
27. VERT: “turn”
28. MIS (MISS, MIT, MITT): send
29. LOCUT (LOQU): “speak,” “talk”
30. FER (FEROUS): “bearing,” “producing,” “yielding”
To: Ninth Grade Honors English Students
Date: May 28, 2009
Re: Summer Reading
We hope you are looking forward to your Honors English class that begins in the fall. One
purpose of this course is to increase the amount of personal reading that you do, and that
includes summer reading. Everyone is required to read To Kill a Mocking Bird as well as one
other book from the attached list, and complete the journal assignment (see attached
sheet) on both before school starts.
Only the required reading selection can be checked out from the CCHS library media
center. Beginning June 5, the books from the CCHS library can be checked out from and
returned to the Carroll County Public Library. Many of the books on the list are also
available at the public library, or you can purchase them at new and used bookstores or
online. A good site for used books is Abebooks.com.
Summary:



Read To Kill a Mocking Bird and complete journal assignment.
Choose one other book from the list and complete journal assignments for both books.
The assignments are due when students enter the classroom the first day of class in
the fall and will not be accepted late. Not turning in the reading assignment on time will
count as a zero for 35% of the first nine week’s grade which will result in no higher than
a 66% for that grading period.
Enjoy your reading!
Carroll County High School Booklist – Honors 9
Choose one of these books to read in addition to To Kill a Mockingbird, which the whole
class will read. You must keep journals on both books.
Fiction
47 – Walter Mosley
The Absolutely True Story of a Part-time Indian – Sherman Alexie
Airborn – Kenneth Oppel
American Gods – Neil Gaiman
The Astonishing Adventures of Fanboy and Gothgirl – Barry Lyga
Blood Red Horse – K. M. Grant
Book of a Thousand Days – Shannon Hale
Chandra’s Secrets – Allan Stratton
Cut – Patricia McCormick
Dark Angel – David Klass
Does My Head Look Big in This? – Randa Abdel-Fattah
A Dog’s Life – Ann M. Martin
Ellen Foster – Kaye Gibbons
Flush – Carl Hiaasen
Forged by Fire – Sharon Draper
Full Service – Will Weaver
A Great and Terrible Beauty – Libba Bray
The Humming of Numbers – Joni Sensel
I Am the Messenger – Markus Zusak
Ironside – Holy Black
Ithaka – Adele Geras
The Killer’s Tears – Anne-Laure Bondoux
The Kite Runner - Khale Hosseini
Last Shot: a Final Four Mystery – John Feinstein
Life as We Knew It – Susan Pheffer
Looking for Alaska: a Novel – John Green
My Sister’s Keeper: a Novel – Jodi Picoult
The Naming – Alison Croggon
Peace Like a River – Leif Enger
Runner – Carl Deuker
Sandpiper – Ellen Wittlinger
The Secret Story of Sonia Rodriquez – Alan Sitomer
Side Effects – Amy Koss
The Sledding Hill – Chris Crutcher
Tallulah Falls – Christine Fletcher
Tangerine – Edward Bloor
Thieves Like Us – Stephen Cole
The Traitor Game – B. R. Collins
Touching Snow – M. Sidney Felin
True Believer – Virginia Euwer Wolff
The Truth about Forever – Sarah Dessen
Under the Persimmon Tree – Suzanne Fisher Staples
When Zachary Beaver Came to Town – Kimberly Holt
Wrecked – E. R. Frank
Non-fiction and Biography
The Boy Who Cried Freebird – Mitch Myers
Candyfreak: A Journey through... – Steve Almond
The Circus at the Edge of the Earth - Charles Wilkins
Drive – Larry Bird
Driving Mr. Albert – Michael Paterniti
Escape! The Story of the Great Houdini – Sid Fleischman
Fall River Dreams: A Team’s Quest for Glory – Bill Reynolds
Friday Night Lights - H. G. Bissinger
Getting Away with Murder – Chris Crowe
I Never Had It Made – Jackie Robinson
Invisible Allies – Jeanette Farrell
Isaac’s Storm – Erik Larson
Kids on Strike – Susan Bartoletti
Let Me Play: The Story of Title IX – Karen Blumenthal
The Measure of a Man – Sidney Poitier
Never Cry Wolf - Farley Mowat
Pioneer Spirit - Eric C. Deters
The Radioactive Boy Scout – Ken Silverstein
Red Scarf Girl – Ji Li Jiang
Stiff – Mary Roach
To: Tenth Grade Honors English Students
Date: May 27, 2009
Re: Summer Reading
We hope you are looking forward to your Honors English class that begins in the fall. One
purpose of this course is to increase the amount of personal reading that you do, and that
includes summer reading. Everyone is required to read The Scarlet Letter, as well as one
other book from the attached list, and complete the journal assignment (on back) on both
before school starts.
Only the required reading selection can be checked out from the CCHS library media
center. Beginning June 4, the books from the CCHS library can be checked out from and
returned to the Carroll County Public Library. Many of the books on the list are also
available at the public library, or you can purchase them at new and used bookstores or
online. A good site for used books is Abebooks.com.
Summary:



Read The Scarlet Letter and complete journal assignment.
Choose one other book from the list and complete journal assignment.
The assignments are due at the beginning of the first day of class in the fall. This
reading assignment will count as 35% of the first nine week’s grade, and failure to
complete the assignments on time will jeopardize your grade for that grading period.
Enjoy your reading!
Carroll County High School Booklist – Honors 10
Choose one of these books to read in addition to The Scarlet Letter, which the whole class
will read. You must keep journals on both books.
Fiction
An Abundance of Katherines – John Green
The Amazing Adventures of Kavalier & Clay - Michael Chabon
Angel Isle – Peter Dickinson
Ask Me No Questions – Marina Budhos
The Bean Trees - Barbara Kingsolver
Black Duck – Janet Lisle
Blood Red Horse – K. M. Grant
The Book Thief – Markus Zusak
Catherine Called Birdy - Karen Cushman
Chanda’s Wars – Allan Stratton
City of the Beasts – Isabel Allende
Copper Sun – Sharon Draper
A Crack in the Line –Michael Lawrence
A Curse as Dark Gold – Elizabeth Bunce
Dreamland – Sarah Dessen
Epic – Conor Kostick
Fahrenheit 451 - Ray Bradbury
Feed - M. T. Anderson
Freaks – Annette Klause
Girl with a Pearl Earring – Tracy Chevalier
Hiroshima Dreams - Kelly Easton
The House of the Scorpion - Nancy Farmer
The Hunger Games – Suzanne Collins
The Knife of Never Letting Go – Patrick Ness
I Never Promised You a Rose Garden – Joanne Greenberg
In the Time of the Butterflies – Julia Alverez
An Innocent Soldier – Josef Holub
Just Listen – Sarah Dessen
A Lesson Before Dying – Ernest Gaines
The Life of Pi – Yann Martel
Mirel’s Daughter - Kay Gill
The Off Season – Catherine Murdock
Outbreak – Robin Cook
Paper Towns – John Green
Parrot in the Oven – Victor Martinez
The Perfect Shot – Elaine Alphin
Postcards from No Man’s Land – Aidan Chambers
The Pox Party – M. T. Anderson
Pretties – Scott Westerfield
Rebel Angels – Libba Bray
The Riddle – Alison Croggon
The Road - Cormac McCarthy
The Ropemaker A Single Shard – Linda Sue Park
Skinny – Carl Hiaasen
Skybreaker – Kenneth Oppel
Sold – Patricia McCormick
Summer of My German Soldier – Bette Greene
Tamar - Mal Peet
Thieves Till We Die – Stephen Cole
A Thousand Splendid Suns – Khaled Hosseni
Troy – Adele Geras
We All Fall Down: a Novel – Robert Cormier
Non-fiction and Biography
10,000 Days of Thunder – Philip Caputo
American Daughter Gone to War – Winnie Smith
Black Sunday: The Great Dust Storm... – Frances Stalling
Born Free – Joy Adamson
The Cage – Ruth Minsky Sender
Chew on This: Everything You Don’t Want to Know... – Eric Schlosser
China’s Son - Da Chen
The Endurance – Caroline Alexander
Flags of Our Fathers - James Bradley
Geeks: How Two Lost Boys Rode the Internet... – Jon Katz
Hitler Youth: Growing Up in Hitler’s Shadow – Susan Bartoletti
An Inconvenient Truth: The Crisis of Global Warming – Al Gore
Into the Wild – Jon Krakauer
This Land Was Made for You and Me - Elizabeth Partridge
Last Chance in Texas: The Redemption of.... – John Hubner
Longitude: The True Story of a Lone Genius – Dava Sobel
The Perfect Storm - Sebastian Junger
Playing for Keeps – David Halberstam
Quiet Strength: The Principles, Practices... – Tony Dungy
Rocket Boys – Homer Hickman
Shattering the Glass - Pamela Grundy and Susan Shackelford
Spook – Mary Roach
Stolen Lives – Malika Oufkir
Trapped! - Robert Murray and Roger W. Brucker
We Are Witnesses – Jacob Boas
Revised – May - 2009
To: Advanced Placement English Language Students
Re: Summer Reading
Date: May 18, 2009
We hope you are looking forward to your Advanced Placement English
Language class that begins in the fall. One purpose of this course is to
increase the amount of personal reading that you do.
1.
You will be expected to read a total of one book from the attached
list and complete the journal assignment (see attached sheet) on
each before school starts, as well as a newspaper/news magazine
reading assignment.
2.
Everyone is required to read All Over but the Shoutin’ by Rick
Bragg. This book and the others on the reading list will be available
at Carroll County Public Library throughout the summer. There will
be a quiz on All over but the Shoutin’ on the first day of school.
3.
You should be finished with all books by the time school starts.
Most of the books on the list are also available at the Carroll
County Public Library or can be purchased at new and used at
bookstores or online. A good site for used books is Abebooks.com.
4.
Since this class will focus mainly on non-fiction, you are also
expected to read a daily newspaper and/or news magazine. Compile
a Journal of 5 articles that interested you with a brief reflective
paragraph about why they piqued your interest. There will be a
test concerning current events on the first day of School.
5
All materials will be due the first day of school.
No Mommy/Daddy/Guardian/Significant other: story, “reason” or
alibi will supersede this due date. This is a college level course
and you have been given significant advance warning of the due
date.
Throughout the summer books can be checked out through the Carroll
County Public Library. They are open Monday through Saturday. NO
Excuses. Most of these titles are also readily available at any public
library and possibly on-line as well.
Journal Assignment
PART 1: A precis of each book: a precis is a careful summary of the basic ideas of the
work without detail, reason, or illustrations. Include all of the following information in
outline form:
I. Authorial Background (include name, year of birth/death, reasons for writing the work)
II. Literary Period and Country
III. Settings
IV. Main Persons or subjects with key quotations said by or about the main persons or
subjects.
V. Themes
VI. Summary (four to five paragraphs maximum)
VII. Unique literary devices See: Literary Terms used in College Essays Handout. Compile
two examples of each of these techniques in each of your précis: Metaphor, Allusion,
Simile, Imagery. Write each quote and include the page number.
Reading in an AP course should be both wide and deep. This reading necessarily builds upon
the reading done in previous English courses. Next September we will assume that you have
read the major works usually taught in grades nine and ten. If you have somehow missed
reading some of these books, do not let the summer pass without reading them. Again,
select one from the following choices below, plus All Over but the Shoutin’’.
Under the Banner of Heaven by Jon Krakauer
A Tribe Apart by Patricia Hersch
Women in the Material World by Faith D’Aluisio
Women in American Society by Melissa J. Doak
Fast Food Nation by Eric Schlosser
A Brief History of Time by Stephen Hawking
The Race for the Lord God Bird by Phillip Hoose
Let me Play: The story of Title IX
The Autobiography of an Ex-Colored Man by James Johnson
Amistad: The Long Road to Freedom by Walter Myers
Flags of our Fathers: The heroes of Iwo Jima by James Bradley
The Soul of a Butterfly by Muhammad Ali
John Lennon: All I Want is the Truth by Elizabeth Partridge
The Measure of a Man by Sydney Poitier
Up From Slavery by Booker T. Washington
Prozac Nation: Young and Depressed in America by Elizabeth Wurtzel
Two Years before the Mast by Richard Henry Dana, Jr.
Black Elk Speaks by Nicholas Black Elk
Coming of Age in Mississippi by Anne Moody
John Lennon - All I Want is the Truth by Elizabeth Partridge
Up from Slavery by Booker T. Washington
I Know Why the Caged Bird Sings by Maya Angelou
Walden by Henry David Thoreau
Black Boy by Richard Wright
Autobiography of Benjamin Franklin
A Life at Full Throttle by Janet Guthrie
This Land was Made for You and Me by Woody Guthrie
It’s Not About the Bike - My Journey Back to Life By Lance Armstrong
The Condor’s Shadow by Davis S. Wilcove
Next of Kin by Roger Fouts
On Death and Dying by Elizabeth Kubler-Ross, M.D.
A Civil Action by Jonathan Harr
There Is a River by Vincent Harding
Eyes on the Prize by Juan Williams
The Mole People by Jennifer Toth
There Are No Children Here by Alex Kotlowitz
Reviving Ophelia by Mary Piper, PH.D.
Profiles in Courage by John F. Kennedy
Having Our Say by the Delany Sisters
Sybil by Flora Rheta Schreiber
Breaking Blue by Timothy Egan
The Hot Zone by Richard Preston
A History of PI by Petr Beckmann
Pilgrim at Tinker Creek by Annie Dillard
Reason for Hope by Jane Goodall
The Greatest Generation by Tom Brokaw
A Fence Away from Freedom by Ellen Levine
The Souls of Black Folk by W.E.B. Du Bois
Bury My Heart at Wounded Knee by Dee Brown
A Rumor of War by Philip Caputo
“The Good War” by Studs Terkel
What are People For? by Wendell Berry
The Thread That Runs So True by Jesse Stuart
Shantyboat Journal by Harlan Hubbard
Collapse by Jared Diamond
Guns, Germs and Steel by Jared Diamond
Colored People by Henry Louis Gates
An Inconvenient Truth by Albert Gore
Longitude by Dava Sobel
A Brief History of Time by Stephen Hawking
Three Cups of Tea by Greg Mortenson and David Oliver Relin
Nine Parts of Desire by Geraldine Brooks
Last Chance in Texas by John Hubner
In Cold Blood by Truman Capote
Jesus Land by Julia Sheeres
Science and Human Values by Jacob Bronowski
Into Thin Air by John Krakauer
Team of Rivals by Doris Kearns Goodwin
Life on the Color Line by Gregory Howard Williams
His Excellency by Joeseph Ellis
Crazy Horse by Mari Sandoz
Where have all the Leaders Gone? by Lee Iaccoca
The Freedom Writers Diary by The Freedom Writers
Blind Man’s Bluff by Sherry Sontag
Endangered Species by Kimberly Evans
Weight in America by Barbara Wexler
Recovering the Sacred by Winona LaDuke
I will plant a Lilac Tree by Laura Hillman
The Real Revolution by Marc Aronson
A Long Way Gone: Memoirs of a Boy Soldier: Ishmael Beah
Gandhi by John Severance
Education of a Wandering Man by Louis L’Amour
With Malice Toward None by Steven Oates
Stolen Innocense by Erin Merryn
Adapted from the Village Academy website at
http://www.mrtadeja.com/Summer_Reading_04-05.pdf and from the West WindsorPlainsboro (NJ) website at http://www.west-windsorplainsboro.k12.nj.us/forms5/AP%20Language%20-%20summer%20reading%202005.pdf
Literary Terms Used in College Essays
Devices of sound: the techniques of deploying the sound of words, especially in poetry,
such as rhyme, alliteration, assonance, consonance, and onomatopoeia
Style: the characteristic manner of expression of an author; includes diction, syntax,
figurative language, imagery, selection of detail, sound effects, and tone
Point of view: any of several possible vantage points from which a story is told
Theme: the main thought expressed by a work; meaning of the work as a whole (could be
more than one)
Allusion:a reference in a work of literature to something outside the work, especially to a
well-known historical or literary event, person, or work
Symbol: something that is simultaneously itself and a sign of something else, ie the
American flag
Simile: a comparison; a figure of speech comparing two objects, usually using "like," "as," or
"than"
Rhetorical Techniques: the devices used in effective or persuasive language, such as
apostrophe, contrast, repetitions, paradox, understatement, sarcasm, satire, and rhetorical
question
Narrative Techniques: the methods involved in telling a story; asks you to discuss
procedures used to tell story; (point of view, manipulation of time, dialogue, or interior
monologue)
Diction: word choice; important to the meaning and the effect of a passage
Figurative Language: writing that uses figures of speech such as metaphor, simile, and
irony
Details: smaller items or parts making up a larger picture or story; as when describing a
character or a scene
Structure: the arrangement of materials within a work; the logical division of a work
Attitude: a speaker's, author's, or character's disposition toward or opinion of a subject or
writing
Setting: the background, physical location, or time and place to a story
Imagery: the sensory details of work; visual, auditory, or tactile images evoked by the
words of a literary work or images evoked through figurative language (metaphors, similes,
diction)
Metaphor: a figurative use of language in which a comparison is expressed without the use
of a comparative term such as "like," "as," or "than"
Tone: the manner in which an author expresses his or her attitude; intonation of the voice
that expresses meaning -- This could move several times throughout the passage from quiet
to apprehensive, to confident to exuberant to terrified
Irony: a figure of speech in which intent and actual meaning differ, characteristically praise
for blame or blame for praise; implies a discrepancy between statement and meaning; verbal
type is saying the opposite of what one means
Syntax: the structure of a sentence; the arrangement of words in a sentence * Could
include discussion on length or brevity of sentences, kinds of sentences (questions,
exclamations, declarative sentences, rhetorical questions-or simple, loose, complex, or
compound.
To: Advanced Placement English Literature Students
Re: Summer Reading
Date: May 18, 2009
We hope you are looking forward to your Advanced Placement English Literature class that
begins in the fall. One purpose of this course is to increase the amount of personal reading
that you do.
1. You will be expected to read a total of two books, A Hammer for My Heart, and one
choice from the attached list, and complete the journal assignment (see attached
sheet) on each before school starts, as well as a newspaper/news magazine reading
assignment.
2. Everyone is required to read A Hammer for my Heart. It is part of the CC Public
library community read project. You must read the book and attend one of the
group talks. For additional credit, you should attend the conference with the
author. This book and the others on the reading list will be available at Carroll
County Public Library throughout the summer. There will be a quiz on A Hammer for
my Heart on the first day of school.
3. You should be finished with all books by the time school starts. Most of the books
on the list are also available at the Carroll County Public Library or can be purchased
at new and used at bookstores or online. A good site for used books is
Abebooks.com.
4. You are also expected to read a daily newspaper and/or news magazine. Compile a
Journal of 5 articles that interested you with a brief reflective paragraph about
why they piqued your interest.
5. All materials will be due the first day of school.
No Mommy/Daddy/Guardian/Significant other: story, “reason” or alibi will
supersede this due date. This is a college level course and you have been
given significant advance warning of the due date. Students failing to
complete summer reading will receive a zero for the assignment and may be
removed from the AP roster.
Throughout the summer books can be checked out through the Carroll County Public
Library. They are open Monday through Saturday. NO Excuses. Most of these titles
are also readily available at any public library and possibly on-line as well.
Journal Assignment
PART 1: A precis of each book: a precis is a careful summary of the basic ideas of the
work without detail, reason, or illustrations. Include all of the following information in
outline form:
I. Authorial Background (include name, year of birth/death, reasons for writing the work)
II. Literary Period and Country
III. Settings
IV. Main Persons or subjects with key quotations said by or about the main persons or
subjects.
V. Themes
VI. Summary (four to five paragraphs maximum)
VII. Unique literary devices See: Literary Terms used in College Essays Handout. Compile
two examples from each book of the following techniques: Metaphor, Simile, Allusion,
Imagery, Devices of sound.
Reading in an AP course should be both wide and deep. This reading necessarily builds upon
the reading done in previous English courses. Next September we will assume that you have
read the major works usually taught in grades nine and ten. If you have somehow missed
reading some of these books, do not let the summer pass without reading them. Again,
select one from the following choices below, plus A Hammer for my Heart..
Fiction (Novel)
A, B
Isabel Allende (Daughter of Fortune)
Julia Alvarez (In the Time of the Butterflies)
Kingsley Amis (Lucky Jim)
Martin Amis (Time's Arrow)
Rudolfo Anaya (Serafina's Stories)
Margaret Atwood (The Handmaid's Tale, Alias Grace, Surfacing)
Jane Austen (Pride and Prejudice, Emma)
James Baldwin (Go Tell It on the Mountain)
Saul Bellow (The Adventures of Augie March)
Charlotte Bronte (Jane Eyre)
Emily Bronte (Wuthering Heights)
C
Italo Calvino (Invisible Cities, The Baron in the Trees)
Albert Camus (The Plague, The Stranger)
Truman Capote (In Cold Blood)
Raymond Carver (Cathedral)
Willa Cather (Death Comes for the Archbishop, My Antonia, O Pioneers!)
Sandra Cisneros (The House on Mango Street)
John Cheever (The Wapshot Scandal)
Kate Chopin (The Awakening)
Joseph Conrad (Heart of Darkness, Lord Jim)
James Fenimore Cooper (Deerslayer, Last of the Mohicans)
Stephen Crane (The Red Badge of Courage)
D
Louis DeBernieres (Corelli's Mandolin)
Don DeLillo (Libra)
Anita Desai (Clear Light of Day)
Charles Dickens (A Tale of Two Cities, Great Expectations, Mystery of Edwin Drood)
E.L. Doctorow (Ragtime)
Fyodor Dostoevsky (Crime and Punishment, Notes from Underground, The Idiot)
Theodore Dreiser (Sister Carrie)
Alexandre Dumas (The Count of Monte Cristo)
E, F
George Eliot (Middlemarch)
Ralph Ellison (The Invisible Man)
Louise Erdich (Antelope Wife)
Howard Fast (Citizen Tom Paine)
William Faulkner (As I Lay Dying, The Sound and the Fury)
Henry Fielding (Tom Jones)
F. Scott Fitzgerald (The Great Gatsby, Babylon Revisited)
Ford Madox Ford (The Good Soldier)
E.M. Forster (A Passage to India)
John Fowles (The French Lieutenant's Woman, The Magus)
Charles Frazier (Cold Mountain)
G, H
Myla Goldberg (Bee Season)
Nadine Gordimer (July’s People)
Graham Greene (The Heart of the Matter)
Sara Gruen (Water for Elephants)
Jane Hamilton (A Map of the World, The Book of Ruth)
Thomas Hardy (Tess of the D'Urbervilles, Return of the Native, Jude the Obscure, Far
from the Madding Croud)
Nathaniel Hawthorne (The House of the Seven Gables)
Joseph Heller (Catch 22)
Ernest Hemingway (The Sun Also Rises, Islands in the Stream)
Hermann Hesse (Siddhartha)
Zora Neale Hurston (Their Eyes Were Watching God)
I, J, K
Kazuo Ishiguro (Remains of the Day)
Henry James (The Aspern Papers, The American)
Ha Jin (Waiting)
James Joyce (Dubliners)
Franz Kafka (The Metamorphosis)
Ken Kesey (One flew over the Cuckoo’s Nest)
Barbara Kingsolver (Poisonwood Bible)
Maxine Hong Kingston (The Woman Warrior)
Joy Kogawa (Obasan)
Milan Kundera (The Unbearable Lightness of Being)
L, M
Margaret Laurence (The Stone Angel)
D.H. Lawrence (Sons and Lovers)
Bernard Malamud (The Fixer, The Natural)
Katherine Mansfield (The Garden Party and Other Stories)
Gabriel Garcia Marquez (One Hundred Years of Solitude, Love in the Time of Cholera)
Bobbie Ann Mason (In Country)
Cormac McCarthy (Blood Meridian)
Carson McCullers (The Heart is a Lonely Hunter, The Member of the Wedding)
Herman Melville (Moby Dick, Billy Budd)
Toni Morrison (Jazz, Beloved, Song of Solomon)
Bharati Mukherjee (Desirable Daughters, Tree Bride)
N, O, P
Vladimir Nabokov (Lolita)
Sena Jeter Naslund (Four Spirits)
Joyce Carol Oates (We Were the Mulvaneys)
Tim O'Brien (Going After Cacciato, In the Lake of the Woods, The Things They Carried, If
I Die in a Combat Zone)
Flannery O'Connor (Wise Blood)
George Orwell (1984)
Cynthia Ozick (Heir to the Glimmering World)
Alan Paton (Cry the Beloved Country)
Iain Pears (An Instance of the Fingerpost)
Katherine Anne Porter (Ship of Fools)
R, S, T
Erich Maria Remarque (All Quiet on the Western Front)
Jean Rhys (Voyage in the Dark)
Ann Rynd (The Fountainhead, Atlas Shrugged)
JeanPaul Sartre (No Exit)
Jonathan Swift (Gulliver's Travels)
Amy Tan (The Joy Luck Club)
Leo Tolstoy (Anna Karenina)
Jean Toomer (Cane)
Ivan Sergeevich Turgenev (Fathers and Sons)
Mark Twain (The Adventures of Tom Sawyer, The Adventures of Huckleberry Finn)
U, V, W
John Updike (Gertrude and Claudius)
Luisa Valenzuela (Clara)
Kurt Vonnegut (Slaughterhouse Five, Cat’s Cradle)
Alice Walker (Temple of My Familiar)
Robert Penn Warren (All the King’s Men)
Evelyn Waugh (Brideshead Revisited, The Loved One)
Eudora Welty (The Optimist's Daughter)
Edith Wharton (The House of Mirth, Age of Innocence)
John Edgar Wideman (Brothers and Keepers)
Virginia Woolf (To the Lighthouse)
Richard Wright (Native Son)
Drama
A, B, C
Aeschylus (Prometheus Bound)
Edward Albee (Who's Afraid of Virginia Woolf?)
Amiri Baraka (Dutchman)
Samuel Beckett (Waiting for Godot)
Anton Chekhov (The Cherry Orchard)
William Congreve (The Way of the World)
G, H, I
Oliver Goldsmith (She Stoops to Conquer)
Lorraine Hansberry (A Raisin in the Sun)
Lillian Hellman (The Children's Hour, The Little Foxes)
David Henry Hwang (M. Butterfly)
Henrik Ibsen (The Wild Duck, A Doll's House, Hedda Gabler)
M, O, P, R
Arthur Miller (Death of a Salesman)
Moliere (The Misanthrope, Tartuffe)
Sean O'Casey (The Harvest Festival)
Eugene O'Neill (Long Day's Journey into Night, The Iceman Cometh)
Harold Pinter (Homecoming)
Luigi Pirandello (Six Characters in Search of an Author)
S, V, W
William Shakespeare (Hamlet, King Lear, Othello)
Upton Sinclair (The Jungle)
Sophocles (Antigone, Oedipus Rex)
Tom Stoppard (Arcadia, Rosencrantz and Guildenstern are Dead)
Luis Valdez (Zoot Suit)
Oscar Wilde (The Importance of Being Earnest)
Tennessee Williams (A Streetcar Named Desire, Cat on a Hot Tin Roof, The Glass
Menagerie)
August Wilson (Fences, The Piano Lesson)
Literary Terms Used in College Essays
Devices of sound: the techniques of deploying the sound of words, especially in poetry,
such as rhyme, alliteration, assonance, consonance, and onomatopoeia
Style: the characteristic manner of expression of an author; includes diction, syntax,
figurative language, imagery, selection of detail, sound effects, and tone
Point of view: any of several possible vantage points from which a story is told
Theme: the main thought expressed by a work; meaning of the work as a whole (could be
more than one)
Allusion:a reference in a work of literature to something outside the work, especially to a
well-known historical or literary event, person, or work
Symbol: something that is simultaneously itself and a sign of something else, ie the
American flag
Simile: a comparison; a figure of speech comparing two objects, usually using "like," "as," or
"than"
Rhetorical Techniques: the devices used in effective or persuasive language, such as
apostrophe, contrast, repetitions, paradox, understatement, sarcasm, satire, and rhetorical
question
Narrative Techniques: the methods involved in telling a story; asks you to discuss
procedures used to tell story; (point of view, manipulation of time, dialogue, or interior
monologue)
Diction: word choice; important to the meaning and the effect of a passage
Figurative Language: writing that uses figures of speech such as metaphor, simile, and
irony
Details: smaller items or parts making up a larger picture or story; as when describing a
character or a scene
Structure: the arrangement of materials within a work; the logical division of a work
Attitude: a speaker's, author's, or character's disposition toward or opinion of a subject or
writing
Setting: the background, physical location, or time and place to a story
Imagery: the sensory details of work; visual, auditory, or tactile images evoked by the
words of a literary work or images evoked through figurative language (metaphors, similes,
diction)
Metaphor: a figurative use of language in which a comparison is expressed without the use
of a comparative term such as "like," "as," or "than"
Tone: the manner in which an author expresses his or her attitude; intonation of the voice
that expresses meaning -- This could move several times throughout the passage from quiet
to apprehensive, to confident to exuberant to terrified
Irony: a figure of speech in which intent and actual meaning differ, characteristically praise
for blame or blame for praise; implies a discrepancy between statement and meaning; verbal
type is saying the opposite of what one means
Syntax: the structure of a sentence; the arrangement of words in a sentence * Could
include discussion on length or brevity of sentences, kinds of sentences (questions,
exclamations, declarative sentences, rhetorical questions-or simple, loose, complex, or
compound.
Journal Topics (Due the first day of class)
1. Characters
a.
List the characters in your novel and briefly describe them and their
values.
b.
Pick one with whom you can relate and tell why.
c.
Which ones would you like to meet? Why?
d.
Would any of them be your friend? Enemy? Explain.
2. Conflict
a.
List three conflicts from your book and explain how they started and how
they were resolved.
b.
What could be an alternate solution for each problem?
3. Memorable quotes
a.
Choose three quotes from your story that have significant meaning for
you.
b.
Explain them.
4. Realism (if you are reading fiction, otherwise omit)
a.
Do you believe what is happening in your book? Why or why not?
b.
Can you "suspend your belief?" Why or why not?
c.
Are there any unexpected twists of plot, character, or diction? Describe.
5. Your reaction
a.
What do you like about the book? Dislike?
b.
How does the book relate to “real life” today?
c.
Does it relate to any other book that you have read or film you've
viewed? Why and how?
6. Overall evaluation of the novel
a.
What impact has this book made on you?
b.
Is there any section that you would change in this book?
c.
Will this book ever be considered a "classic?" Explain.
d.
Finally, write a two-page alternate ending to the book that continues the
author’s style.
7. Vocabulary Notebook
a.
For each novel, choose 25 words that are unfamiliar to you.
b.
Write the word, the sentence, and page number where the word is found,
and the correct definition. For example, (from The Catcher in the
Rye): chiffonier; "He got it off Stradlater's chiffonier, so he
chucked it on the bed." P. 22; a narrow, high chest of drawers or
bureau, often with a mirror attached.
c.
You will have a total of 50 words in your notebook.
Copied and adapted from: http://www.westga.edu/~kidreach/Journals.html