Lost Tools of Writing - Level 1 - Demo by CiRCE Institute

The Lost Tools of Writing TEACHERâ&#x20AC;&#x2122;S GUIDE LEVEL 1 - 4TH EDITION

The CiRCE Institute Concord, NC www.circeinstitute.org

The Lost Tools of Writingâ&#x201E;˘, Level 1 4th Edition ÂŠ 2011

4190 Brownwood Lane, Concord, NC, 28027 704-786-9684 www.circeinstitute.org All rights reserved. No part of this program may be reproduced in any form, by any Means, without written permission from the publisher.

Permissions TEACHERS who purchase or for whom schools purchase the complete The Lost Tools of Writing™ package are granted permission to duplicate pages from the Teacher’s Guide for their personal use. They are also granted permission to copy pages from the Teacher Guide’s as reference pages for their students, including, but not limited to, the assessment guides provided in this Teacher’s Guide. One Student Workbook should be purchased for each student who is taught The Lost Tools of Writing™. Some Invention worksheets will be imitated more than once. If the teacher or student wishes to copy these pages, they may do so, but only for the individual student who possesses the Student Workbook. Students are also encouraged to imitate the pattern of the worksheet on their own paper. Permission is not granted to copy worksheets or exercise forms or any other material from one student’s workbook for other students. Permission is granted for quotations and short excerpts to be used in published materials with the condition that the source of those quotations and excerpts is included in the published materials. For longer excerpts, please contact us at www.circeinstitute.org.

Acknowledgements THE LOST TOOLS OF WRITING™ is the product of a vast team effort. Hundreds of teachers and students have experienced The Lost Tools of Writing™ training and many have been generous with their suggestions and feedback. This fourth edition is our enthusiastic “Thank You!!” to everyone who contributed ideas to help us make The Lost Tools of Writing™ the best composition program in the world. The authors of this Fourth Edition are Andrew Kern, Michael “Buck” Holler, Camille Goldston, David Wright, Leah Lutz, and Renee Mathis. Special acknowledgement goes to the members and alumni of the CiRCE Institute Apprenticeship who have taught, practiced, reviewed and developed The Lost Tools of Writing™ in their various contexts. Arlene Roemer de Feltre helped revise and modify parts of this Teacher’s Guide as well as many of the worksheets in the Student’s Workbook. Alexandra Houck also developed many of worksheets in the Student’s Workbook. Furthermore, thank you to all who have participated in a Lost Tools Of Writing™ Workshop, to teachers who have been part of an in-house Lost Tools Of Writing™ Teacher Training, to parents who stole a Saturday from their busy schedules, and to heads of school who demonstrated their commitment to classical education when they supported their teachers’ efforts to achieve excellence in both classical composition and classical teaching. The CiRCE Institute is a not-for-profit corporation, dependent upon, and grateful for, the generosity of benefactors who share her vision for classical education. If not for the tremendous support of so many fellow believers, The Lost Tools of Writing™ would never have seen the light of day. You have sustained us, and it would be wrong to fail to acknowledge and thank you.

Contents Overview Teacher’s Guide Guide Introduction To the Teacher ...................................................................................................................... 1

Part One: Foundations Chapter One A Guide to the Canons: Solving the Three Problems Every Writer Faces……………..11

Chapter Two Sequence and Schedule: A Proposed Plan of Action .................................................... 17

Part Two: Lessons Chapter Three Introducing the Lesson Guides ........................................................................................ 25

Chapter Four The Lesson Guides: What To Teach and How To Teach It ........................................... 37

Part Three: Assessment Chapter Five How To Edit the Essay: How Students Should Revise Their Own Essays ................ 255

Chapter Six A Guide to Assessment: How To Evaluate Your Students’ Work .............................. 263

Appendices Appendix A Essay Templates ............................................................................................................. 271

Appendix B Frequently Asked Questions .......................................................................................... 279

Appendix C Glossary ........................................................................................................................... 281

Appendix D Recommended Resources ............................................................................................. 286

Appendix E Index .................................................................................................................................. 291

Table of Contents Teacher’s Guide Introduction To the Teacher About the Craft of Writing .......................................................................... 1 About The Lost Tools of Writing ................................................................. 2 About this Teacher Guide ............................................................................ 4 Key Terms To Remember…………………………………………………7

Part One: Foundations Chapter One A Guide to the Canons: Solving the Three Problems Every Writer Faces The Canons of Composition ...................................................................... 11 Guide to Invention: Asking Questions with the Five Topics .................... 12 Guide to Arrangement: Worksheets and Templates .................................. 14 Guide to Elocution: Basic Editing, Schemes, and Tropes ......................... 15 Summary.................................................................................................... 16 Chapter Two Sequence and Schedule: A Proposed Plan of Action The Tri-weekly Lesson Sequence ............................................................. 17 The Year-at-a-Glance Chart ...................................................................... 20

Part Two: The Lesson Guides Chapter Three Introducing the Lesson Guides The Purpose, Structure, and Order of the Lesson Guides ......................... 25 The Content of Lessons One Through Twelve.......................................... 28 The 5 Frames of the Instruction Model ..................................................... 31 How the Canons Fit Into the Lessons ........................................................ 33 Preparing for Each Lesson......................................................................... 34

Chapter Four The Lesson Guides: What To Teach and How To Teach It Introductory Lesson: The Three Problems ................................................ 37 Lesson One: Rudimentary Persuasive Essay ............................................ 41 Lesson Two: Introductory Persuasive Essay ............................................. 55 Lesson Three: Basic Persuasive Essay I ................................................... 75 Lesson Four: Basic Persuasive Essay II ................................................... 93 Lesson Five: Basic Persuasive Essay III ................................................. 115 Lesson Six: Basic Persuasive Essay IV ................................................... 135 Lesson Seven: Complete Persuasive Essay ............................................. 155 Lesson Eight: Complete Persuasive Essay - Review ............................... 175 Lesson Nine: Comparison Essay - Themes and Sub-ideas ...................... 193 Lesson Ten: Comparison Essay - Introduction and Conclusion ............. 213 Lesson Eleven: Comparison Essay Review and Practice........................ 233 Lesson Twelve: Reviewing the Canons.................................................... 251

Part Three: Assessment Chapter Five How To Edit the Essay: How Students Should Revise Their Own Essays The Editing Process ................................................................................. 255 Self-Edit Checklists ................................................................................. 255 Chapter Six A Guide to Assessment: How to Evaluate Your Studentsâ&#x20AC;&#x2122; Work Taking the Position of a Coach ............................................................... 263 The Procedure .......................................................................................... 263 Assessment Rubric .................................................................................. 267

Appendices Appendix A Essay Templates Rudimentary Persuasive Essay ................................................................ 271 Introductory Persuasive Essay ................................................................. 271

iii

Basic Persuasive Essay I ......................................................................... 272 Basic Persuasive Essay II ....................................................................... 273 Basic Persuasive Essay III ...................................................................... 274 Basic Persuasive Essay IV ...................................................................... 275 Complete Persuasive Essay ..................................................................... 276 Simple Comparison Essay ....................................................................... 277 Complete Comparison Essay ................................................................... 278 Appendix B Frequently Asked Questions What are the prerequisites for beginning? ............................................... 279 How do I use the program with younger students? ................................. 279 Is this program only for Classical Schools? ............................................ 279 I’m not a writing teacher; I’m a homeschool mom. Am I qualified?. ..... 279 Why don’t you use familiar words? ........................................................ 279 What about other kinds of writing? ......................................................... 279 Do I have to use this in conjunction with literature? ............................... 280 Does this program teach literary analysis? .............................................. 280 How will this program prepare my child for college? ............................. 280 How do I grade the work? ....................................................................... 280 What if I teach only one day a week?...................................................... 280 Help! I’m confused. ................................................................................. 280 Appendix C Glossary .................................................................................................................. 281 Appendix D Recommended Resources ................................................................................. 286 Appendix E Index ………………………………………………………………………………291 Appendix F Lesson Summaries. ……………………………………………………………293

Introduction: To The Teacher

::Introduction

To the Teacher Times are bad. Children no longer obey their parents, and everyone is writing a book. Cicero

In This Chapter:  About

the Craft Of Writing  About The Lost Tools of Writing™  About This Teacher’s Guide  Key Terms To Remember

I. About the Craft of Writing When Leonardo da Vinci was apprenticed to Verrochio, he was given a new leather apron and put to work. “You must dampen this canvas evenly,” Verrochio instructed him, initiating him into the lowly tasks of a young apprentice. Then he added that Leonardo would be responsible to rise first in the morning to light the fires. In Iris Noble’s account, Leonardo da Vinci: The Universal Genius, she suggests that young Leonardo’s father had warned him: “You will do anything he tells you to do no matter how lowly or menial. That is the way you learn. That is the way of all apprentices.” Thus began the apprenticeship of the painter of the “Mona Lisa” and the most famous Renaissance rendition of “The Last Supper.” Painting is a craft as well as an art, with tools and techniques that must be mastered if an apprentice is to become a master. Leonardo da Vinci attained greatness not only because he was immensely talented, but also because he was intensely devoted and effectively instructed. Writing, like painting, is both a craft and an art, and like painting, writing well demands tools and techniques. A writer attains mastery of his craft when he masters the tools of that craft, and he gains mastery through discipline, focused attention, and good habits.

A writer gains mastery of his craft through discipline, focused attention, and good habits.

By choosing The Lost Tools of Writing™, you have initiated an apprenticeship in the craft of writing. This apprenticeship will surprise, challenge, and delight you as it prepares you and your students to enter the deeper realms of the world of the word. Unfortunately, many tools of this craft have been misplaced—some have even been forgotten. The Lost Tools of Writing™ reintroduces those lost tools of writing to the teacher and student of the 21st century. And what are those tools? Ideas! Simple, elegant, powerful ideas. Sometimes these ideas appear as questions (e.g. what do you mean by x?), sometimes as pictures. Sometimes they appear as categories of thought (e.g. Invention), sometimes as metaphors of the imagination.

Introduction: To The Teacher

However they appear, each idea is a tool that you and your students can add, one by one, to your writing toolbox. By the end of this first year, you will have collected and mastered enough tools to transform both your understanding of the craft of writing and your ability to practice it—and, therefore, teach it. You may find some of these ideas foreign and challenging. You will find many of them delightful. You will find all of them useful, and perhaps for more than just writing. Even so, you will learn these tools and their names one at a time, lesson-by-lesson, exercise by exercise. The CiRCE Institute staff, apprentices, and journeymen are with you every step of the way. We understand that lost tools take time to recover. But if we do not recover them, our students will fail to discover the beauty and wonder of the craft and art that is writing, and worse, the cultural renewal that is classical education will fall short of its promise.

II. About The Lost Tools of Writing™ The Lost Tools of Writing™ seeks two ends: first, to cultivate wisdom and virtue in students through the practice of classical composition, teaching them how to think more deeply; second, to provide a curriculum that enables teachers to teach composition following the ideals of classical education, which views the acquisition of wisdom and virtue as a valid end in and of itself. Therefore, classical education asserts that education should be about more than passing a test or getting a job. As a result, students and teachers alike gain judgment, discretion, and discernment in their writing (and teaching) while renewing their enthusiasm for the joys of learning. However, The Lost Tools of Writing™ Level One does not presume to be the culmination of a student’s writing career. Rather, it lays the foundation for higher-level writing, speaking and thinking skills. It prepares students for intensive readings of great works, story telling, poetry writing, oratory, debate, teaching, and other human activities that involve thinking, communication, and decision-making. Thus it lays the foundation for high school and college-level writing and thinking.

A Classical Writing Curriculum The Lost Tools of Writing™ is a curriculum, or series of exercises, in classical composition, which is a portion of classical rhetoric. Composition concerns itself with what can be written, while a full rhetoric program introduces the skills of oratory. Classical composition suggests that, to write successfully, every writer must solve three universal problems. Every writer must have something to say, when he comes up with something to say he must order his thoughts effectively, and once those thoughts are organized well he must express his ideas fittingly. Classical composition has been divided into three activities to help writers solve those three problems. These activities are called “canons,” and include: Invention (or Discovery): coming up with ideas Arrangement (or Disposition): ordering the ideas discovered Elocution (or Style): expressing the discovered ideas appropriately The Lost Tools of Writing™ trains students in these three canons through two kinds of composition: the Persuasive Essay and the Comparison Essay.

Introduction: To The Teacher

The Benefits of The Lost Tools of Writing™ You may wonder what makes The Lost Tools of Writing™ different from the countless other writing programs you may have already tried. You will find the surest distinctions in the results. The Lost Tools of Writing™ is a toolbox for the teacher who wants to teach her students to think more deeply and communicate more effectively. It does this by teaching writing as a craft that can be learned through hard work, dedication, and the development of a few time-tested skills. But if you and your students are dedicated to the art and craft of writing, The Lost Tools of Writing™ will help you:  Integrate your students’ present curriculum and therefore deepen their thinking.  Ensure that your students gain a justified confidence in their ability to think and to write.  Refine your thinking, writing, and teaching skills.  Gain benefits that we cannot anticipate. Please note that while The Lost Tools of Writing™ is not an SAT essay preparation program, your students will find that they can easily adapt what they learn from LTW to the expectations of the SAT essay. However, if your students plan on attending a college that includes SAT scores in their admission standards, we recommend that they participate in a workshop that explains the specifics of excelling on the SAT test.

The Structure of The Lost Tools of Writing™ The Lost Tools of Writing™ is divided into thirteen lessons, one of which is an introductory lesson, eleven essay lessons, and a final review lesson. Each lesson teaches a single essay by taking the student through each canon once: first Invention, then Arrangement, and then Elocution. So first the student will learn to come up with, or invent, ideas. Then Arrangement will teach him or her to sort, arrange, and outline those ideas. And, finally, the canon of Elocution will teach the student to express those ideas appropriately. Each lesson, and thus each essay, is more complicated than the previous as each lesson presents new, more complicated material. Since there are eleven main lessons (not counting the introductory lesson and the review lesson) and since each main lesson teaches a single essay the student who completes The Lost Tools of Writing™ will have written eleven complete essays. To see what is taught in each lesson, please turn to Chapter Two: Sequence and Schedule (p. 17). To help the teacher present these lessons, this Teacher’s Guide contains “lesson guides” that provide the teacher with helpful lesson descriptions, instruction models, answer keys, essay and outline samples, assessment notes, and more. The “lesson guides” are meant to help the teacher teach the lessons but should not be followed like a script. To learn more about the “lesson guides” keep reading this Introduction then turn to Chapter Three on page 25. For the actual lesson guides, please turn to Chapter Four on page 37.

The Features of The Lost Tools of Writing™ The Lost Tools of Writing™ includes the following tools to assist you as you teach your students to write:

Introduction: To The Teacher 1. Instructional CDs that introduce you to the purpose, structure, and tools of the The Lost Tools of Writing™. 2. This Teacher’s Guide includes the following elements:  Six detailed, instructive chapters: - Chapter One: A Guide to the Canons, or Solving the 3 Problems Every Writer Faces - Chapter Two: Sequence and Schedule, or A Proposed Plan of Action - Chapter Three: Introducing the Lesson Guides - Chapter Four: The Lesson Guides, or What To Teach and How To Teach It - Chapter Five: The Art of Revision, or How Students Can Edit Their Own Essays - Chapter Six: Notes On Assessment, or How To Evaluate Your Student’s Work  A Year-At-A-Glance Chart that presents the sequence and schedule by which you will teach the lessons.  A Tri-Weekly Lesson Sequence that maps a potential weekly process by which you can teach each lesson.  Lesson Guides that display lesson plans, lesson-specific schedules, sample worksheets, and much more.  Appendices, including all essay templates (or outlines), FAQs, a glossary, recommended resources, an index, and simplified lesson summaries. 3. A Student Workbook complete with worksheets, exercise forms and templates for each lesson that match the lesson guides in this Teacher’s Guide. This workbook easily allows you to coordinate your instruction with your students’ exercises. 4. External support for you as a teacher, including:  The LTW Mentor, a Yahoo Group that provides you with articles, tips, and samples.  The CiRCE Apprenticeship, a program that offers teachers the chance to participate in intensive, on-going instruction with Andrew Kern and other teachers from all over the country, on the theory and practice of Christian Classical Education. For details, visit our website at www.circeinstitute.org/apprenticeship.  Workshops around the country presented by Andrew Kern and CiRCE Certified Master Teachers. To plan a Lost Tools of Writing™ workshop in your area, call the CiRCE office at 704-786-9684 or email info@circeinstitute.org.

5. CiRCE’s free newsletter, The CiRCE Papers which you can subscribe to by visiting http://circeinstitute.com/newsletter-sign-up/.

III. About This Teacher’s Guide The Lost Tools of Writing™ is designed to help teachers understand the tools of writing one piece at a time, just as it is designed to teach students to write well one step at a time. To that end, this Teacher’s Guide has been structured with each successive chapter adding something new. This way, it doesn’t dump all of the information on you at one time. It has four parts and the first three have two chapters each. Part four has five appendices. Part one is called “Foundations” and is made up of chapters one and two. In Chapter One, you will find A Guide to the Canons that is an introduction to the three canons of Classical Composition, Invention, Arrangement, and Elocution, each of which is a solution to one of the three problems that every writer faces. Chapter One provides further detail about those three problems, and then defines each of the “canons” in detail. These canons are the core of classical composition and

Introduction: To The Teacher The Lost Tools of Writing™ and so it is important that you have a solid understanding of this chapter before you begin to teach. In Chapter Two, you will find A Recommended Plan of Action, or the sequence and schedule upon which you can build your year. It is important that the lessons be taught in order as they have been organized to be progressively more complicated. The ideas of Lesson Two build upon those of Lesson One, and the ideas of Lesson Three build upon those of Lesson Two, and so on. To see the order in which the lessons should be taught turn to the Year-At-A-Glance chart on pages 21-22. Also in Chapter Two you will find a “Tri-weekly Lesson Sequence,” a suggested plan of action that employs three weeks to teach each lesson. Part two contains chapters two and three and is about the lessons guides. Chapter Three introduces the teacher to the lesson guides by defining their structure and explaining how to most effectively use them. Please read this chapter carefully so you understand the purpose and structure of the lesson guides. Chapter Four is by far the longest chapter in the Teacher’s Guide, making up nearly two-thirds of the book. It contains one guide for every lesson, each of which is divided into one guide for every canon. Do NOT dive right into these guides without first carefully reading Chapter Three. Remember, each part of The Lost Tools of Writing is built upon the part before it. Part three is made up of chapters five and six and is about assessment. Chapter Five contains notes on assessment and is especially concerned with the steps that students take to revise their own essays. It contains “Self-Edit Checklists” for each essay. Chapter Six, the final chapter of the Teacher’s Guide, is about teacher evaluation. It discusses various ways of assessing your students’ work, steps you might take, and a grading rubric to help you out. Finally, at the back of the book, in part four, you will find five appendices: Essay Templates, FAQ’s, a Glossary, Recommended Resources, and an Index.

Getting started Before you dive too deeply into teaching The Lost Tools of Writing™ we recommended you:

Understand the basic ideas communicated by the program, especially:  The 3 problems of writing (Chapter 1)  The 3 canons of classical composition (Chapter 1)

Know your tools. Read the first few chapters of this Teacher’s Guide and survey the Students’ Workbook. Listen to the CDs included with the Teacher Guide (especially the three canons). Are acquainted with the features, especially:    

The sequence of the three canons as laid out in the “Year At A Glance” chart (Chapter 2) The Tri-Weekly Lesson Sequence (Chapter 2) The Lesson Guides (Chapters 3 & 4) The student self-edit checklists (Chapter 5)

Introduction: To The Teacher  The Assessment Guide (Chapter 6)  The Five Appendices

Access the support available to you through the CiRCE Institute community: The LTW Mentor Yahoo Group, The CiRCE Apprenticeship program, and the many other materials continually under development (visit www.circeinstitute.org for updates).

What to Expect The Lost Tools of Writing™ follows a classical approach to writing. You will learn terms like “canons,” “topics,” “schemes,” “tropes,” etc. Each new term will be introduced one at a time and in a way that builds upon the terms and ideas that came before it. You may fear that The Lost Tools of Writing™ is a very complicated program. Rest easy. The lesson guides in this book and the supports for you as a teacher will be with you every step of the way. You will be pleasantly surprised by how simple it is to teach the complex ideas that are the lost tools of writing when you break them down to simpler ideas and then teach them one idea at a time. This is what The Lost Tools of Writing™ enables you to do. Through the systematic step-by-step approach that follows you will guide your students down a path of depth and breadth made possible by the tools of classical rhetoric.

Introduction: To The Teacher

IV. Key Terms To Remember Lesson A lesson is a complete set of teaching material for one essay that includes all three canons. This curriculum contains thirteen lessons, with the first as an introduction and the last being a review. The eleven lessons in the middle will each take three weeks to teach. Lessons one through eleven each consist of canon guides for each of the three canons. Lesson Two provides two canon guides for Arrangement, and lessons four through eleven each provide two canon guides for Elocution.

Canon The word “canon” means “measure” or a “body of rules.” Classical rhetoric taught five canons—the first three were canons of composition, the fourth memory, and the fifth delivery. The Lost Tools of Writing™ works from the understanding that the three canons of composition provide solutions to the three problems every writer experiences. These three canons are Invention, Arrangement, and Elocution. The canons are the content taught in each lesson with the help of canon guides.

Canon Guide A canon guide is an independent sub-lesson that teaches one tool or idea from the canon of which it is a part. The canon guides are provided to help you teach the content of each canon. The number of canon guides for each lesson varies. While most of the lessons (2, 4-11) contain four canon guides, only three canon guides are provided in lessons one and three.

Invention Invention is the canon of composition in which the writer “discovers” ideas and subject matter for the essay being written. Invention solves the first problem of writing—coming up with something to say.

Arrangement Arrangement is the canon of composition by which the writer orders the materials gathered during Invention in a manner suited to the type of essay being written. Arrangement solves the second problem of writing - putting the material in order.

Elocution Elocution is the canon of composition in which the writer selects the appropriate words and forms to best express the ideas of the text. Elocution solves the third problem of writing - expressing ideas appropriately.

Template A template is a pattern. The template is the form to imitate when your students make an outline for their essays. The Lost Tools of Writing™ provides a distinct template for each essay your students will write.

Chapter Four: The Lesson Guides – Lesson One

::Chapter Four

The Lesson Guides {What To Teach and How To Teach It} “It is the mark of an ineffective teacher to answer a question before it has been asked.” David Hicks Norms and Nobility

In Chapter Three you read an introduction to the lessons, a brief overview of the content in each lesson, and an introduction to the structure of the lesson guides. In this chapter you will find the lesson guides themselves: detailed plans of instruction you can follow when you enter your classroom. Each lesson teaches the student to understand and apply one idea. There are twelve lessons plus an introductory lesson.

In This Chapter:  The

Introductory Lesson: The Three Problems  Lessons One Through Twelve  Lesson Twelve: Reviewing the Three Canons

The Introductory Lesson The Three Problems This lesson is different form every other lesson in The Lost Tools of Writing™. For one thing, it only takes one week or two classes. For another, everything that follows in lessons one through twelve is based on this lesson.

Context Want to know a very useful secret for the writing teacher? Here it is: our students already know almost everything they need to learn about writing. You prepare students for a lesson by making them aware of what they already know about the idea and by showing them that you can help them understand it even better. For the most part they need to give names to concepts with which they are more or less familiar and then learn how to use those concepts more effectively. For instance, you will find that when you teach Arrangement Lesson Seven—Refutation, that they already know how to refute their opponents. However, they might not have had a name for this process or have offered weak arguments when they tried it. The following guide to the Introductory Lesson equips you to help your students see what they already know and that they have the same problems when they write as everyone else has. It then

Chapter Four: The Lesson Guides â&#x20AC;&#x201C; Lesson One shows them that you understand these problems and have solutions for them. This introduction increases their confidence and readiness for the lessons that follow.

Teacherâ&#x20AC;&#x2122;s Preparation The Introductory Lesson introduces the program through a teacher-led discussion with the students about the three problems of writing. To prepare the Introductory Lesson, make sure you are familiar with the three canons. Make sure you understand that there are three problems to writing and that the three canons solve the three problems. 1. Invention solves the problem of coming up with something to say 2. Arrangement solves the problem of ordering your thoughts 3. Elocution solves the problem of expressing your thoughts appropriately. You will guide a discussion in which your students will mention things they have struggled with when they write. You will show them the canon with which each specific problem can be grouped by recording their specific problem under the fitting canon. When you collect ideas from your students, record them in a place where they can read them together. Have ready three white boards, chalk boards, flip charts, or some other means to record their thoughts. When you finish this discussion, your students will know the three common writing problems, they will understand the canons that solve each of them, and they will be able to align their challenges with the right canons.

Teaching the Introductory Lesson Problems collected After introducing yourself and providing all of your students an opportunity to introduce themselves, you should move to a discussion on writing. You may find it helpful to introduce writing by incorporating it into the personal introductions. You might ask your students, for example, to tell you their names, their favorite book, subject, movie, etc., and one thing they like about writing and one thing they dislike about it. When you have finished the introductions, ask for three volunteers who will record what students say on the white boards. Then ask your students what they find challenging when they write. They are allowed to repeat what they said during the introductions. Do not hurry. Two classes have been set aside for this discussion. As they answer, instruct the volunteers to record the problems on one of the three boards. Students will tell you their challenges and you will tell the volunteers where to write them. Problems that go under Invention, like thinking up something to say, coming up with a thesis, etc., should be recorded on the first board. Problems that belong with Arrangement, like ending the text, putting your thoughts in order, etc., should be recorded on the second board. Problems that go with Elocution, like coming up with the right word, figuring out the best sentence pattern, etc., should be recorded on the third board.

Chapter Four: The Lesson Guides – Lesson One Some problems will go on more than one board. For example, coming up with an opening is related to both Invention and Arrangement. Do not label the papers or boards, but be aware that each of them represents one of the three problems or canons. If one student says, “I can’t come up with anything to say,” that goes on the first board. If another says, “I don’t know when I am done,” that goes on the second board. If a third says, “I can’t find just the right word,” that goes on the third. Once you have collected at least a few (preferably ten or more) examples of problems for each canon, you can begin to analyze what your students have told you. NB: Some students will report subjective problems like being bored, frustrated, unmotivated, etc. When they do so, redirect them to the objective side by asking them what they are bored, frustrated, unmotivated, etc. about. Do not let the class become a counseling session except to tell them that these problems disappear when they apply the solutions to the objective problems. Problems compared and identified When you finish this exercise, guide the students in an evaluation of what is on the boards. Ask questions like: “What do these items on the first board have in common?” “How are all these items similar?” “Is there one problem that summarizes everything on this board?” When you finish evaluating and categorizing each board, and when you are comfortable that each student can tell you in his own words the central idea on each board, you then tell them (or ask them if you want to) the title for each problem: “We call the problem of coming up with ideas, ‘Invention’ or ‘Discovery,’ and one of the things we are going to do this year is solve this problem of Invention.” “We call the problem of getting our ideas in order, ‘Arrangement,’ or ‘Disposition,’ and one of the things we are going to do this year is solve this problem of Arrangement.” “We call the problem of expressing our ideas fittingly, ‘Elocution,’ or ‘Style,’ and one of the things we are going to do this year is solve this problem of Elocution.” “By the end of this year, you will be much more skilled at solving the problems of Invention, Arrangement, and Elocution.” Solutions Applied You can end with a simple promise like this: “This entire year is devoted to solving the three challenges we have identified today. If we can overcome these three challenges, we can all write well. And we can. So we will.”

Summary In this Introductory Lesson, you have introduced everything you will cover for the entire year. In fact, you have introduced everything you ever can cover when you study and practice writing. Even the problem of extrinsic motivation is simplified and reduced when the student knows how to classify any problem he comes up against.

Chapter Four: The Lesson Guides – Lesson One

Lesson One The Rudimentary Persuasive Essay I. Lesson Overview A. SNAPSHOT  In lesson one, you will teach your students how to write a Rudimentary Persuasive Essay.  Under Invention you will teach your students how to gather and record information for their essays.  Under Arrangement you will teach your students how to develop and outline the parts for their Rudimentary Persuasive Essay.  Under Elocution you will teach your students how to convert their outlines into a Rudimentary Persuasive Essay.

B. LESSON DESCRIPTIONS  INVENTION In general, this lesson requires two classes. Lesson Description While teaching Invention, you will show your students how to convert a question into an issue. Next, you will show your students how to discover information by finding affirmative, negative, and interesting reasons about the issue. We call this the ANI process.

Lesson Materials Lesson 1 Invention Guide: From Question to ANI Page 43 Invention Worksheet: The “ANI” Chart Student Workbook, page 3

ARRANGEMENT In general, this lesson requires one class. Lesson Description While teaching Arrangement, you will teach your students to create a Rudimentary Persuasive Essay outline by selecting material from the now completed Invention process. This outline serves as the foundation for all later outlines.

Lesson Materials Lesson 1 Arrangement Guide: From ANI to Outline Page 47 Arrangement Worksheet: Rudimentary Persuasive Essay— From ANI to Outline Student Workbook, page 4 Arrangement Template Student Workbook, page 6

Chapter Four: The Lesson Guides – Lesson One

ELOCUTION In general, this lesson requires one class. Lesson Description

Lesson Materials

While teaching Elocution, you will show your students how to convert the outline into a very simple prose text in paragraph form. They will write their Rudimentary Persuasive Essay by applying this lesson. Your students will then revise and turn their essays in during the last class of the tri-weekly sequence.

Lesson 1 Elocution Guide: From Outline to Text Page 51 There is no Student Worksheet for this lesson.

C. TRI-WEEKLY LESSON SEQUENCE  RUDIMENTARY PERSUASIVE ESSAY Week 1 Week 2

Week 3

Monday Lesson 1 Invention: From Question to ANI Lesson 1 Arrangement: From ANI to Outline

Tuesday Wednesday Apply ANI to practice essay and current essay.

Peer-review

Refine essays

• Select reasons • Complete the Worksheet • Imitate the Template

Thursday Complete Invention exercises Lesson 1 Elocution: From Outline to Text

Friday Review Question to ANI

• Discuss essays • Summarize lessons • Collect essays

Review and relax

• Convert outlines into essays

Chapter Four: The Lesson Guides – Lesson One

II. Lesson 1 Invention Guide: From Question to ANI A. GETTING READY  WHEN YOU COMPLETE LESSON 1 INVENTION GUIDE, YOU WILL: Understand…  that you can discover information on your issue by asking questions and recording your discoveries on an ANI chart. Know…  that an issue is a statement beginning with the word “whether” that requires reasons for and against it.  that ANI stands for Affirmative, Negative, and Interesting  that the purpose of the ANI is to gather information related to the issue. Be able to…  ask a question beginning with the word “should”.  convert the question to an issue beginning with the word “whether”.  use the ANI to gather information related to the issue. WHEN YOU TEACH THIS:  Remember: the main idea you want to teach your students is that they can discover information on their issue by asking questions and recording their discoveries on an ANI chart.  Begin: the lesson by asking how we make decisions. This helps to prepare your students to see the idea taught in Lesson 1 Invention. The issue used in this lesson is: Whether Edmund should have followed the White Witch.  Show: your students that they can discover and record information on their issue by following these steps: 1. Ask a “should” question. 2. Change the question to an issue beginning with “whether.” 3. Complete the ANI chart.  Guide: your students to summarize the steps identified above.  Apply: the lesson by 1. following the Lesson 1 Invention Worksheet (page 3) for the practice ANI. 2. instructing your students to write a question that they will use for their current essay. Each student should complete the Lesson 1 Invention Worksheet (page 3) and return for the next class with 10 reasons in the A (Affirmative) column, 10 reasons in the N (Negative) column, and 10 reasons in the I (Interesting) column.  Turn: 1. to page 46 for a sample of Lesson 1 Invention Worksheet. 2. to page 3 in the workbook for Lesson 1 Invention Worksheet.

Chapter Four: The Lesson Guides – Lesson One

B. INSTRUCTION MODEL OF LESSON 1 INVENTION GUIDE  PRE-PRESENTATION STAGE  GOAL: Make your students aware of how often they have to make decisions, and how they already have routines in place to make them. Subject Matter Sample Presentation Discuss decision making For Example, Choose or create an issue Have you had to make any decisions today? E.g., whether we should set a curfew. How did you do it? Transition to Presentation Point out that when we write essays we are Today we will learn a tool that will help us making decisions. make decisions in order to write a persuasive essay.

PRESENTATION STAGE  GOAL: Present to your students clear types that display the process they will follow when they complete the ANI chart. Subject Matter Sample Presentation Present a Type For Example, 1. Ask a “should” question. Should Edmund have followed the White 2. Convert the question to an issue beginning Witch? with the word “whether”. “Whether Edmund should have followed the 3. Complete the ANI chart. White Witch” Repeat for other Types Give me some reasons why Edmund should or Repeat this process as many times as you deem should not follow the White Witch. necessary. Once you determine that your What else can you say about the issue or any of students grasp the process, proceed to the its parts? comparison stage of this lesson. Can any of these things be moved to the A or N column?

COMPARISON STAGE  GOAL: Help your students realize how they discovered information on their issue by asking questions and recording their discoveries on an ANI chart. Subject Matter Sample Presentation Compare the steps: For Example, you took each time you modeled the process. What did we do first?  Confirmation What did we do next? And so on. If the students cannot answer this question, How was each type similar? present another type. Was there anything different?

Chapter Four: The Lesson Guides – Lesson One EXPLANATION STAGE  GOAL: Guide your students to explain in their own words how to discover and record information on their issue by completing the ANI chart. Subject Matter Sample Presentation Student states the concept For Example, We can discover information on our issue by What did we do each time we asked a question? asking questions and recording our discoveries on an ANI chart. How did we convert the question to an issue? Remediation If your students or student cannot state these Describe how we move from the question to steps, it is important not to move forward. gathering information for the ANI columns.

APPLICATION STAGE  GOAL: Assist your students to apply the steps they learned in this lesson. Subject Matter Sample Presentation Students begin the ANI for their first essay by For Example, applying this lesson. Lesson 1 Invention Worksheet: From Question Practice to ANI will be your model to help you discover Follow Invention Worksheet 1 as a model to and record information on the issue for your begin the practice essay. practice essay. Application Complete Lesson 1 Invention Worksheet for Now we will begin our first essay on our the current essay. current reading by completing Lesson 1 Invention Worksheet: From Question to ANI.

C. ASSESSMENT   When your students bring their ANI column information to the next class, you will want to glance at it to make sure they gathered enough information. Do NOT worry very much about the quality of information at this point; quantity is enough for now. Either when your students complete their arrangements, or when you collect the essay at the end of this lesson, you will collect the invention material with it and grade it at that time.

Chapter Four: The Lesson Guides – Lesson One

D. SAMPLE OF LESSON 1 INVENTION WORKSHEET: ANI  Question: Should Edmund have followed the White Witch? Issue: Whether Edmund should have followed the White Witch Affirmative: She was pretty

Negative: Lucy had warned him WW was evil

He was cold

Interesting: She had a sled A dwarf was with her

She was mean to the dwarf She had candy

It was winter She looked mean sometimes

Promised him power

Edmund was lost She wasn’t kind to her horses

Edmund was lost She yelled at Edmund

Edmund is staying with a professor

She scared Edmund

Children were bored

She only gave him Turkish Delight when she wanted something from him

Playing hide and go seek

He acted in secret

Sister Lucy

He snuck away

Sister Susan

He lied to his siblings about seeing WW

Witch was tall

She was nice to him She was queen She knows her way in Narnia

Ed has brother Peter

She took care of him She tells him they are in Narnia

He left Lucy and the Beavers

Chapter Four: The Lesson Guides – Lesson One

III. Lesson 1 Arrangement Guide: Rudimentary Persuasive Essay - ANI to Outline A. GETTING READY  WHEN YOU COMPLETE LESSON 1 ARRANGEMENT GUIDE, YOU WILL: Understand…  That after you develop the parts of a Rudimentary Essay you arrange them to create an outline that follows the pattern of the Lesson 1 Arrangement Template (Student’s Workbook page 6). Know…  that the proof is the reasons or arguments that defend the thesis.  that the conclusion is the summary of an essay.  that the introduction is the opening of an essay.  that the thesis is the statement of the proposition an essay will defend.  that the enumeration is the number of reasons used to support the thesis.  that the exposition is a statement of the main points in an essay.  that the arrangement template is the pattern to imitate when outlining an essay. Be able to…  create an outline following the pattern of the Lesson 1 Arrangement Template. WHEN YOU TEACH THIS:  Remember: the main idea you want to teach your students is that after they develop the parts of a Rudimentary Persuasive Essay they arrange them to create an outline that follows the pattern of the Arrangement Template.  Begin: the lesson by asking your students to describe structures, such as boundaries and skeletons. This helps prepare your students to see the idea taught in Lesson 1 Arrangement. The thesis used in this lesson is, “Edmund should not have followed the White Witch.”  Show: your students that they can develop the parts of a Rudimentary Persuasive Essay by following these steps: 1. Select most compelling reasons from the A and N columns. 2. Choose sides and write the Thesis statement. 3. Complete Arrangement Worksheet: From ANI to Outline. 4. Convert the worksheet into an outline by following Arrangement Template 1.  Guide: your students to summarize the steps identified above.  Apply: the lesson by 1. following the Lesson 1 Arrangement Worksheet (page 4 in the Workbook) for the practice outline. 2. completing the Arrangement Worksheet for the current essay. 3. creating an outline by following the pattern of Arrangement Template (page 6 in the Workbook).  Turn: 1. to page 50 in this guide for a sample of the Lesson 1 Arrangement Worksheet. 2. to page 4 in the workbook for the Lesson 1 Arrangement Worksheet.

Chapter Four: The Lesson Guides – Lesson One

B. INSTRUCTION MODEL OF LESSON 1 ARRANGEMENT GUIDE  PRE-PRESENTATION STAGE  GOAL: Make your students aware of how familiar they are with the idea of structure and the act of outlining. Subject Matter Sample Presentation Preparation For Example, Discuss things that have a common structure. Can you play football without boundaries? Transition to Presentation Why does a dog not have a cat’s skeleton? Writing also needs boundaries and a skeleton. What do you think is the skeleton of an essay?

PRESENTATION STAGE  GOAL: Present to your students clear types of the process they will follow to develop the parts and create an outline for a Rudimentary Persuasive Essay. Subject Matter Sample Presentation Present a Type For Example, 1. Select the most compelling reasons from the What points do you find most compelling under ANI A? Which do you like best under N? 2. Choose sides and write the Thesis Which do you think is more compelling, A or 3. Complete Arrangement Worksheet 1 N? 4. Convert the worksheet into an outline What are we trying to prove in our essay? following Arrangement Template 1 What reasons did we choose from our ANI? Repeat for other Types What come last in an essay? Repeat this process as many times as you deem What do we call the first section? necessary. Once you determine that your This is the template of our outline. In the students grasp the process, proceed to the future, there will be more to it. comparison stage of this lesson.

COMPARISON STAGE  GOAL: Help your students realize how they developed the parts and created an outline for a Rudimentary Persuasive Essay. Subject Matter Sample Presentation Compare the steps: For Example, you took each time you modeled the process. What did we do to create an outline?  Confirmation Describe the first step, the second, etc. If the students cannot answer this question, How was each type similar? present another type. Was there anything different?

Chapter Four: The Lesson Guides – Lesson One EXPLANATION STAGE  GOAL: Guide your students to explain in their own words how to develop the parts and create an outline for a Rudimentary Persuasive Essay. Subject Matter Sample Presentation Student states the concept For Example, We develop the parts of a Rudimentary How do we develop an outline out of the Persuasive Essay in the order of Proof, materials we came up with in the discovery Conclusion, and Introduction. Then we create process? an outline that follows the Lesson 1 Arrangement Template. Describe how we move from ANI to outline. Remediation If your students or student cannot state these steps, it is important not to move forward.

APPLICATION STAGE  GOAL: Assist your students to apply the steps they learned in this lesson. Subject Matter Sample Presentation Students will continue their first essay by For Example, applying this lesson Practice Follow the Lesson 1 Arrangement Worksheet Go through the process we’ve just practiced and the Lesson 1 Arrangement Template as together in order to create a practice outline. models for the practice essay. Application For our next class, complete another outline Use the materials from this lesson’s Invention for your current essay by following the same to complete the Arrangement Worksheet and process. Arrangement Template for the current essay.

C. ASSESSMENT   Look at your students’ arrangement worksheets to ensure they have been properly completed. Evaluate their outlines to ensure that they match the Lesson 1 Arrangement Template.

Chapter Four: The Lesson Guides – Lesson One

D. SAMPLE OF LESSON 1 ARRANGEMENT WORKSHEET: Rudimentary Persuasive Essay Write the Issue: Whether Edmund should have followed the White Witch Thesis and Proof (Note: Only the thesis statement needs to be a complete sentence.) Using your invention, decide whether you will support the affirmative or negative. Rewrite the issue as a thesis statement: Edmund should not have followed the White Witch Write the first main reason (Proof 1) for your thesis. Sister, Lucy, warned him WW evil Write the second main reason (Proof 2) for your thesis. Should’ve seen the WW evil Write out the third main reason (Proof 3) for your thesis. Acted in secret Conclusion Summarize your essay, repeating the thesis and three proofs. Edmund should not follow the WW - Lucy warned him WW evil, should’ve seen WW evil, acted in secret Introduction Write your thesis. Edmund should not follow the WW Write the enumeration. three List your three proofs. Lucy warned him WW evil, should’ve seen WW evil, acted in secret

Sample Arrangement Template: Rudimentary Persuasive Outline I. Introduction A. Thesis B. Enumeration C. Exposition 1. Proof 1 2. Proof 2 3. Proof 3 II. Proof A. Proof 1 B. Proof 2 C. Proof 3 III. Conclusion A. Thesis B. Summary of Proof 1. Proof 1 2. Proof 2 3. Proof 3 I. Introduction A. Thesis: Edmund should not have followed the White Witch B. Enumeration three C. Exposition 1. Lucy warned him WW evil 2. should’ve seen WW evil 3. acted in secret II. Proof A. Lucy warned him WW evil B. should’ve seen WW evil C. acted in secret III. Conclusion A. Thesis: Edmund should not have followed the White Witch B. Summary of Proof 1. Lucy warned him WW evil 2. should’ve seen WW evil 3. acted in secret

Chapter Four: The Lessons Guides

IV. Lesson 1 Elocution Guide: From Outline to Text A. GETTING READY  WHEN YOU COMPLETE LESSON 1 ELOCUTION GUIDE, YOU WILL: Understand…  that you convert an outline into an essay by turning the outline points into complete sentences. Know…  that the first essay is almost totally concerned with structure, not grace and eloquence.  that later essays will build on the foundations laid in this first essay.  that discipline and structure are the foundation for later artistic writing.  that a sentence is a complete thought while an outline point is a clue or reminder of that complete thought. Be able to…  convert outline points into complete sentences.  convert a rudimentary outline into a rudimentary essay. WHEN YOU TEACH THIS:  Remember: the main idea you want to teach your students is that they convert an outline into an essay by turning the outline points into complete sentences.  Begin: the lesson by asking how to write a sentence. This helps to prepare your students to see the idea taught in Lesson 1 Elocution.  Show: your students that they can convert an outline into an essay by following these steps: 1. Turn the Introduction into a sentence with the Enumeration. 2. Turn the Proof into three sentences. 3. Turn the Conclusion into a single sentence without the Enumeration.  Guide: your students to summarize the steps identified above:  Apply: the lesson by 1. converting the practice outline created in Lesson 1 Arrangement into a practice essay. 2. converting the outlines your students wrote from their current reading in Lesson 1 Arrangement into a Rudimentary Persuasive Essay.  Turn: 1. to page 54 for a sample Rudimentary Persuasive Essay. 2. to appendix of this guide for the Student Self-Edit Checklist. N.B.: Elocution Lesson 1—Outline to Text does not have a corresponding Student Worksheet.

Chapter Four: The Lessons Guides

B. INSTRUCTION MODEL OF LESSON 1 ELOCUTION GUIDE PRE-PRESENTATION STAGE  GOAL: Make your students aware of how they wrote sentences in the past. Subject Matter Sample Presentation Preparation For Example, Discuss writing sentences. How do you write a sentence? Transition to Presentation Tell them that they are going to convert their The first thing to learn is how to convert an outlines into essays. outline into an essay.

PREPARATION STAGE  GOAL: Present to your students clear types of the process they follow to convert an outline into an essay. Subject Matter Sample Presentation For Example, Present a Type Take the Edmund and the White Witch outline 1. Turn the Introduction into a sentence. and create a Rudimentary Persuasive Essay 2. Turn the Proof into three sentences. out of it. 3. Turn the Conclusion into a sentence. Take the Introduction from the outline and Repeat for other Types Repeat this process as many times as you judge make that the first sentence: Now write the proof. The first reason to defend necessary. Once you determine that your our thesis was? Second? Third? students grasp the process, proceed to the Finally, let’s take the Conclusion from the comparison stage of this lesson. outline and write the final sentence:

COMPARISON STAGE  GOAL: Help your students realize how they converted an outline into an essay by turning the outline points into complete sentences. Subject Matter Sample Presentation For Example, Compare the steps What did I do to convert the first outline to an you took each time you modeled the process. essay?  Confirmation How would you compare an outline to an If the students cannot answer this question, essay? present another type.

Chapter Four: The Lessons Guides EXPLANATION STAGE  GOAL: Guide your students to explain in their own words how to convert an outline into an essay. Subject Matter Sample Presentation Student states the concept For Example, We convert an outline into an essay by turning How do we turn an outline into an essay? the outline points into complete sentences. Remediation If your students or student cannot state these steps, it is important not to move forward.

APPLICATION STAGE  GOAL: Assist your students to apply the steps they learned in this lesson. Subject Matter Sample Presentation Students will complete their first essay by For Example, applying this lesson. Practice First, pull out your practice outline and write it Convert the practice outlines from the previous as an essay. lesson into Rudimentary Persuasive Essays. Application Convert the outline for the current essay into a Now, convert your current outline into an Rudimentary Persuasive Essay. Students will essay. This will be due by the next class. bring these essays to the next class.

C. ASSESSMENT   Provide your students with the Student Self-Edit Guide for Lesson 1: Rudimentary Persuasive Essay found in the appendix to this book or in their Student’s Workbook. Ensure that every sentence is written exactly as required. This essay must be the perfection of tedium.

Chapter Four: The Lessons Guides

D. Sample: Rudimentary Persuasive Essay Note: The following essay does not include schemes or tropes. Edmund should not have followed the White Witch for three reasons. Edmundâ&#x20AC;&#x2122;s sister Lucy warned him that the White Witch was evil, he should have seen that the White Witch was evil, and he acted in secret. The first reason Edmund should not have followed the White Witch was that his sister Lucy warned him that the White Witch was evil. The second reason Edmund should not have followed the White Witch was that he should have seen that the White Witch was evil. The third reason Edmund should not have followed the White Witch was that he acted in secret. Edmund should not have followed the White Witch because his sister Lucy warned him that the White Witch was evil, he should have seen that the White Witch was evil, and he acted in secret.

V. Wrapping Up Lesson 1 Summary In this first lesson, your students have learned to convert a question to an issue, gather information by applying the ANI columns, transform the information into an outline, and write an incredibly tedious, rudimentary three-point persuasive essay. Most important, they have been introduced to the pattern they will follow for the rest of the curriculum and for the rest of their lives when they have something to write or think about. When they turn in their essays, you should assess whether your students understand that the three canons are the solutions to the three problems. Everything builds on that foundation.

Next Step Now turn and read the introduction to Lesson Two: Introductory Persuasive Essay if you are reading to gain a detailed overview of the lessons, or ready to teach the next lesson. If you find it helpful, you may want to skim Lesson 2 Invention Guide, Lesson 2 Arrangement Guides A & B, and Lesson 2 Elocution Guide. But remember, you only have to teach one lesson at a time and the canons should be kept separate in your studentsâ&#x20AC;&#x2122; minds.

Chapter Six: A Guide to Assessment

::Chapter Six

A Guide to Assessment {How To Evaluate Your Students’ Work}

The LORD abhors dishonest scales, but accurate weights are his delight. Proverbs 11:1 When it comes to assessing an essay, the most important and often the most difficult requirement is to be honest. You need to provide honest feedback, and your students need to be humble enough to receive criticism. We can give honest criticism much more easily when we have objective standards based on a clear purpose. Remember your goal: you are trying to teach students to be good writers. A grade only has value if it helps move your student along the path to quality writing.

In This Chapter:  Taking the Position  The Procedure  Assessment

of a Coach

Rubric

I. Taking the Position of a Coach You are a coach, and the goal of any coach is to help the athlete or artist perform better. Help them every step of the way—encouraging and correcting them in steady, ongoing doses. Try to conduct a personal review with each student as often as possible. In these meetings, note two or three specific areas of strength and one or two areas that need remediation. Encourage them to refine their areas of strength and to pay closer attention to their weaknesses. Be careful not to try to correct every area in one sit-down discussion. As a coach you want to do more than just grade the final product. You want to oversee and provide feedback on the whole process of creating an essay. Do not apply quantitative measures to intangibles like giftedness or even apparent effort. But do comment on them. Subjective feedback should be distinguished from objective feedback. On the other hand, do measure things that are part of the craft of writing for which your students are responsible—even if it arises from instruction received in previous classes (e.g., spelling, grammar, etc.). Finally, do not give a final grade on a paper until you have ensured that your student fully understands what is expected of him and has had the opportunity to respond to your feedback.

II. The Procedure When you collect your students’ papers you have two options: you can collect the whole

Chapter Six: A Guide to Assessment assignment (all three canons) at one time, or you can collect the canons separately. If you have a large class we recommend the latter. In that case, you should collect Invention when they finish Arrangement, collect Arrangement when they finish the first draft of Elocution, and collect the essay itself when they finish all their revisions and editing. Collect Invention after they have finished Arrangement because they need the Invention materials to complete their Arrangement exercise. They also need the Arrangement materials to complete their Elocution exercise, so you will not collect their Arrangement materials until they have completed the first draft (the Elocution) of their essay. If you collect the whole assignment, including all Invention, Arrangement, and Elocution pages, you will do so on Thursday of Week 3. You will need at least a few days to grade all these papers and return them to your students, depending, of course, on the number of students in your class. If you teach 20 or more students at one time, you may want to divide them into two groups and instruct half of them to do their essays one week and the other half the next. The first time you see the stack of papers you collect, you may feel overwhelmed. It is not as bad as it looks. Invention does not take very long to grade, and Arrangement does not take much longer. Elocution takes the longest. The grading rubric (page 266) will guide you in this process. If you collect the essays on a Thursday, you should try to return them by the following Thursday.

Distinguishing the Stages of Assessment As indicated above, the first stage of assessment is ongoing, informal, impromptu evaluation of the students’ work by you, the teacher. The second stage is response by your students. Next comes the self-editing exercise by the students, which they should practice by following the selfediting checklists included in this Instruction Guide when they finish their first and/or second drafts. At least a few times each year, you should lead your students through a peer-review. Once the peer-review is completed, your students should complete a final revision and editing process. It is this final paper that they will hand in and that you will assess following one of the two options below. The final paper should almost always score well if the lesson has been thoroughly taught and reviewed. If your students do not understand how to do something, return to the lesson and review the idea they do not understand. If they do understand and your instructions are clear, your students need to execute the required tasks to score well. As you are teaching them a craft, do not evaluate for artistic genius. If you see it, by all means honor it, but do not reduce it to something measurable. The Lost Tools of Writing™ provides two options for assessing your students’ essays. The first option is an A / I assessment that allows your students to submit a finished essay. The second option is the perhaps more familiar point-scale assessment that allows you to assign a weighted grade for an essay that may or may not be complete.

Option One: A / I Assessment Anyone familiar with Andrew Pudewa and the Institute for Excellence in Writing will recognize this form of assessment. We are greatly indebted to Mr. Pudewa for his work in developing and applying the A / I assessment. According to this form, you can assess an essay by identifying what is correctly complete and what needs to be correctly completed. The goal for any writing task is to reach a finished composition. It is not enough to write something and move on to the next assignment. A crucial

Chapter Six: A Guide to Assessment step to quality writing is editing, and it is important that an essay is never marked complete until it is indeed revised. The essay is incomplete until all its parts are correctly completed. This means that your students need to be able to correctly apply everything you have taught them up to the current essay. After you have set a deadline, consider the essay as Accepted or Incomplete by marking it with either "A" or "I." You may set up checkpoints during the three-week period assigned for each essay to help your students complete the essay. If an essay is submitted and not edited or complete, return the essay. You should not accept an essay until it is complete. After the deadline, mark the unfinished essay as Incomplete, which you can registers as a "0" in your grade book. Once the essay is complete, accept the essay and mark it as Accepted with NO late penalties. Remember to only assess what you have taught. Follow these steps to guide your students’ toward submitting a complete essay.

Step One: Writing After you have taught each canon guide for the lesson, your students will write their first draft. It is important that your students understand that this is the first step toward completing a finished essay, but that this first draft is not a finished essay. Once the first draft is written, your students are ready for the next step.

Step Two: Editing Now is the time for your students to work through the Self Editing checklist for their current essay found in Chapter Five of this Teacher Guide. As your students work through the checklist they should make all corrections and repairs on their first draft. Once they complete their edits, they will rewrite their essays and submit their second draft for review.

Step Three: Reviewing At this point, you will review your students’ essays to determine whether they are correctly completed or incomplete. If a student’s essay is incomplete, mark and record it with an “I” and provide the appropriate feedback that will help your student to complete his or her essay. Repeat steps two and three before proceeding to the final step as many times as it takes.

Step Four: Accepting Once a student’s essay is complete, mark and record it with an “A.” Your student’s essay is now complete and accepted. Be sure to compliment your student for what he or she did well.

Option Two: Point-Scale Assessment For issuing a point-scale assessment, we recommend that you divide your students’ work into five categories, each of which is worth a total of 20 points. These categories are, for the most part, very objective. They are:  Invention  Arrangement  Elocution  Mechanics  Thought

Chapter Six: A Guide to Assessment

Invention Under Invention you are looking for evidence that your students understood and performed the required tasks. If you teach them the ANI columns and require them to write fifteen facts in each column, then you grade them accordingly. The fifteen facts in each column are worth a total of twenty points. If you require them to define their words following the steps of the Definition Worksheet and they do so, give them twenty points. Of course, the number of required tasks will grow as you proceed, so your students may eventually score only five points for definition, while scoring, for example, five more for comparison, five for the ANI columns, and five for circumstances. You will be able to adjust the score easily to the required tasks. Later in the year, both you and your students will need to exercise more discretion, but, even so, when you assess the Invention canon, you will, for the entire first year, emphasize quantity and procedures.

Arrangement Under Arrangement you will assess how thoroughly and accurately your students complied with the worksheet and template instructions. If they completed the worksheet without omission or error, and if they converted the worksheet into an outline by exactly following the template, they should receive 20 points for Arrangement.

Elocution Elocution can be divided into three divisions: Elocution proper, or expression, mechanics, and thought. Elocution includes what is usually graded in an essay. The teacher asks: “How well did my students express their thoughts?” While elocution requires more judgment and discretion than Invention and Arrangement, it still rests on an objective foundation. In essence you want to know, “Did my students implement what I have taught them about elocution in this essay?” In other words, if you taught your students the scheme of alliteration, did they use it correctly? What else did you require? Did they fulfill your requirements? If so, they should receive full credit for doing so.

Mechanics Mechanics and Thought are extensions of Elocution. Under Mechanics, you are looking for four things: Did your students follow instructions (including layout, heading, etc.), is the work a unity (Is it about one thing or does it wander from subject to subject?), and, are the grammar and spelling correct? Each of these four elements is worth five points.

Thought Under Thought you are looking for four things as well: Are the writers’ thoughts expressed clearly?, Are the ideas adequately supported?, Is the content appropriate and sufficient?, and, for a touch of the abstract, Does the paper show insight on the part of the writer? Each of these four elements is worth five points.

Steps to Grading the Essay To assess your students writing, go through the following steps:

Step 1: Survey the Invention materials  Did my students follow instructions?

Chapter Six: A Guide to Assessment  Did they follow the assigned procedures correctly?  Is everything present that was assigned? If I asked for 50 Affirmatives, did my student write 50 affirmatives?  Is the content substantive?

Step 2: Assess the Arrangement Worksheet  Determine whether each part of the worksheet is executed correctly.  Determine whether students’ outline follows the template exactly.

Step 3: Read the essay itself in layers First, read the whole essay quickly so you are oriented to it. This reading is a little like eating a cracker between sips of a drink. You need to get the taste of the previous essay out of your mouth before you can give the present one a thorough and honest assessment. If you can avoid knowing who wrote the essay, do so. Now, scan the essay quickly to identify the structure. Ensure that it follows the outline. It can be very helpful to put a symbol next to each part of the essay to identify the part of the template to which it belongs. For example, you might write “amp” in the margin to note that your student has included the amplification at this point.

Reading in layers: 1. Quickly, for orientation 2. Quickly, for structure 3. Scan, for spelling, grammar, and punctuation 4. Quickly, for what you have required 5. Read the whole essay for its own sake

Next, scan the essay to assess spelling, grammar, and punctuation. You may find it helpful to appoint a trustworthy aid for this task. When it comes to these mechanical issues, you should mark every mistake, whether you have taught the correct forms or not. You don’t need to take points off for everything you mark incorrect, but students should be prevented from continuing bad habits. Next, read the essay quickly, scanning it for what you have required on this essay. For example, if you required parallelism in the introduction and conclusion, ensure that they are included. In most early essays, every scheme and trope taught to date will be required in some form. Finally, you should read the whole essay for its own sake. Does it work? Is it clear and coherent? What has your student done that is noteworthy? You should scan and read with a red pen in your hand, noting whatever you are looking for. If something is wrong, show your students the errors and show them how to correct them. Because this program is objective they will not need to worry that you are declaring them unfit to call themselves human. Remember also that to assess is to exercise authority. To accept assessment is to accept authority. Every step along the way we must remember that our immediate goal is to teach our students to write well. Honesty requires direct criticism as well as praise for accomplishments. Your goal when you assess your students’ work is not to help your students feel good about themselves (or, for that matter, bad about themselves), but to write better.

Chapter Six: A Guide to Assessment

III. Assessment Rubric It is very important to instruct your students to correct their mistakes before they become bad habits. To prevent this, they must fix almost everything you mark incorrect. We recommend that you mark their papers according the rubric on the next page. Give them a copy of the rubric for their own reference.

Arrangement Elocution

Elocution

Content

Arrangement

Insight

Invention

Support

Invention

Clarity

Spelling

Clarity

Grammar

Thought:

Unity

Thought:

Followed Instructions

Mechanics:

Followed Instructions

Mechanics:

Chapter Six: A Guide to Assessment

Appendix F: Lesson Summaries

Appendix F

LESSON SUMMARIES LESSON ONE: RUDIMENTARY PERSUASIVE ESSAY Invention: From Question to ANI Lesson one Invention teaches the first two steps to writing a persuasive essay: 1) turning a question into an issue 2) discovering basic information by filling out the “ANI” chart. To turn a question into an issue restate the question as a statement that begins with the word “whether”. For example, if your question is “should Edmund have followed the White Witch?” then your issue is “whether Edmund should have followed the White Witch”. If your question is “was Achilles right to be angry with Agamemnon?” then your issue is “whether Achilles was right to be angry with Agamemnon”. The next step in the essay-writing process is to discover and organize information related to the issue according to whether it affirms or denies, or whether it is simply an interesting factoid related to the issue. To do this, fill out the “ANI” chart (“ANI” stands for “affirmative”, “negative”, and “interesting”). If a piece of information affirms your issue, place it in the “A” column. If it denies the issue place it in the “N” column. And if it is simply an interesting factoid then place it in the “I” column. So if your issue is “whether Edmund should have followed the White Witch” then in the “A” column you might place bits of information like the following: she gave him Turkish Delight, he didn’t know she was a witch, he was cold and hungry, he was lost. In the “N” column you might place information like this: Lucy had warned him about her, she wasn’t kind to her horses or the dwarf she was with, she yelled at Edmund, he would be sneaking away from his siblings. Meanwhile, in the “I” column you place interesting pieces of information: The White Witch had a sled, it was winter, he and his siblings had been playing hide-and-go-seek, and she was very tall. These first two steps - creating an issue out of a question and filling out the ANI chart - provide the foundation of any essay.

Arrangement: From ANI to Outline Lesson one arrangement introduces a number of key terms including “proof”, “thesis”, “introduction”, “conclusion”, “enumeration”, and “exposition”. Each of these terms refer to different parts of an outline. The proof states the reasons or arguments for the thesis. In turn, the thesis is the statement of the proposition the essay will defend. If the essay’s issue is “whether Edmund should have followed the White Witch” and you are taking the negative side of the issue then your thesis is “Edmund should not have followed the White Witch.” Your proofs, meanwhile, are the reasons you will present to defend this thesis. Simply put, the introduction is the opening to an essay and conclusion wraps up the essay by reviewing the argument the essay has presented. The enumeration is the number of reasons the essay presents in support of its thesis and the exposition is a statement that presents the main points that make up the essay’s proof.

Appendix F: Lesson Summaries

Lesson one presents an arrangement template that organizes these elements into a simple essay. Students will use this template to create a basic outline for their Rudimentary Persuasive Essay. This essay will be mind-numbingly simple and will be quite boring for most students. It should be. It is meant to create a foundation and ensuing essays will become progressively more complicated.

Elocution: From Outline to Text While the Student Workbook does not contain a worksheet for lesson one elocution, students will still learn to turn their outline from the lesson one arrangement into a rudimentary persuasive essay. They will do this by turning the phrases and key words used in their outlines into complete sentences. This first rudimentary persuasive essay is concerned with structure, not eloquence. It should lay the foundation for the discipline that the rest of the essays will demand. Do not worry about this essay “sounding good”. Worry about it being organized according to the proper structure.

LESSON TWO: INTRODUCTORY PERSUASIVE ESSAY Invention: Introduction To the Five Topics The five topics are tools for discovering information. Topic one is definition, topic two is comparison, topic three is circumstances, topic four is relationships, and topic five is authority. Central to classical rhetoric, each of these five topics have questions of their own that help the essay writer to come up with information pertaining to their issue. The topic of definition asks “who or what is X?”, “what kind of a thing is X?”, and “what are the parts of X?”. If X is Edmund than we might say that he is a boy from England who is in The Lion, the Witch, and the Wardrobe. We might also say that he is a brother and a son, that becomes a king, and that he is a character in a book. We might say that he has limbs, a heart, a brain, as well as emotions like fear and jealousy. The topic of comparison asks “how is X similar to Y?” and “how is X different from Y?” So we might compare Edmund to Peter by asking how Edmund is similar to Peter. They are both brothers to Lucy and Susan, they are both male, both are British, and both go to Narnia. Also both are characters in the book. However, they are different in that Peter is older, Peter is less mean to Lucy, and Peter does not sneak away from the group. Circumstance asks questions such as “what was happening in the place with which the issue is concerned?” and “what was happening at the time with which the issue is concerned?” If we ask this first question about the issue discussed above then we might ask, “What was happening in Narnia in the place or at the time Edmund followed the White Witch?” and we might answer by recalling that Narnia was in the middle of a 100-year winter or that the Witch was turning creatures into stone. Relationship, meanwhile, is concerned with what happened before and after the issue arose as well as cause and effect. So if we ask “what happened immediately before and after Edmund followed the White Witch” we might respond by recalling that Edmund and his siblings had been

Appendix F: Lesson Summaries left to say with an older professor during the war and that they had been arguing about whether Lucy was just imagining Narnia. Afterward, we might note, they became kings and queens of Narnia. And, finally, authority asks, “what do witnesses and experts say about the issue?” So we might ask what C.S. Lewis wrote about it in the book or what Edmund’s siblings thought. These topics and their accompanying questions can be powerful tools for the student looking to fill out an ANI chart and discover ideas.

Arrangement A: A Guide To Sorting Lesson two arrangement teaches students how to sort and categorize the information in their ANI chart into groups of likeness by using different symbols such as @, $, or &. To do this, students should place a symbol of their choosing next to the first item in the affirmative and negative columns of their ANI charts. Then they should determine which items in each column might be organized into the same group as this item. Students should place the same symbol next to all of the items that fit into this group. They should follow the same process for every item in each column until every item has a corresponding symbol next to it. Each symbol thus corresponds to a group into which the items in the columns have been catalogued. Next, students should choose an appropriate heading, or name, for each group. Then, based on the information in each group, they should choose the side of the issue - the affirmative or the negative - they will argue. Then, using the categories they assigned to each item in the chart, they should choose three proofs with three sub-proofs for each main proof. They will do this by deciding which three categories they created in the previous steps provide the most convincing evidence for the thesis they have chosen to defend. The main proof should be the header, or name of the group, and the sub-proofs should be chosen from the other items in that group’s categories.

Arrangement B: Introductory Persuasive Essay Outline Lesson one arrangement taught students how to create a simple rudimentary persuasive outline with a basic introduction, a basic three-sentence body, and a basic conclusion. In lesson two we will add supporting reasons to each of the three proofs. Using the items they catalogued with Arrangement worksheet A, students fill out worksheet B and it’s corresponding template to create a slightly more complicated outline than the lesson one version. Key terms from lesson one, such as exposition and enumeration, should be reviewed to ensure that students have a firm grasp of their definitions and purpose.

Elocution: Scheme 1 - Parallelism Parallelism is a scheme in which two or more words, phrases, or clauses are aligned in such a way that their parts of speech line up with the same parts of speech in the other words, phrases, or clauses. For example, when forming a list in a sentence (as in the example below), each item in the list should be the same part of speech or when combining two phrases with a semi-colon, the structure of the two phrases should be identical. Parallelism gives harmonious form, interest, and beauty to a sentence or passage. For example, consider the following correct usage of parallelism:

Appendix F: Lesson Summaries “Ronald Reagan was an actor, a governor, and a president.” On the other hand, consider the incorrect usage of parallelism (error in bold): Ronald Reagan was an actor, a governor, and then he presided over the country.

LESSON THREE: BASIC PERSUASIVE ESSAY I Invention: Definition I In lesson two you were introduced to the five topics and their questions. In lesson three we provide a more in-depth look at definition, the first of those five topics. You will learn to identify what a thing is by identifying the group of things it belongs to and how it is different from all the other members of that group. For each essay you will define the terms of the issue about which you are writing. A term is a word that names a particular thing (a person, idea, place, emotion, etc.) or a particular action. If you are writing an essay about the issue “whether Edmund should have followed the White Witch” then your terms are words like “Edmund”, “followed”, and “White Witch”. Words like articles and helping verbs are technically terms as well but it is not necessary to define them. So to define the term “Edmund” we must first identify what kind of thing “Edmund” is. What is he? He is a boy, he is a citizen of Great Britain, he is a brother and son, and he is a character in a book. Now that we have identified a few groups to which he belongs we must decide which of these groups will be most helpful for us as we think about the term in the context of this essay. For the sake of simplicity, let’s choose “boy” as the group to examine. First, we need to identify other members of the group “boy”. We might choose Peter (Edmund’s brother), Tom Sawyer, Dennis the Menace, Harry Potter, or Charlie Brown. The next step is to consider why each member of the list above is a member of the group “boy”. We need to identify properties or characteristics they all share. So we might identify them as older than babies but younger than men. Next, we need to identify characteristics that make the term “Edmund” different from every other member of the group “boy”. We might say that Edmund was a character in this particular book, that he was a king of Narnia, or that he was motivated by envy. That he was motivated by envy is probably the most relevant characteristic for the purposes of this essay. Now to write the definition for the term “Edmund” we include only the term, its group, and its difference. So Edmund is a boy motivated by envy. The term is “Edmund”, the group is “boy”, and the difference - or the differentia - is “motivated by envy”. These steps should be followed for every key term in the issue.

Arrangement: A Guide to Exordium Every essay should open with something to catch the reader’s attention and set the tone for the

Appendix F: Lesson Summaries rest of the essay. This opening is called the “exordium” and in lesson three arrangement we will introduce five basic types of exordium from which to choose: the question, the statistic, the challenge, the joke or anecdote, and the quotation. When used properly each of these options can effectively peak the interest and attention of the reader before you have even presented your thesis. If were are writing an essay about whether Edmund should have followed the White Witch and we want to open our essay with a question we might ask our readers something like “have you been tempted by something that seemed too good to be true?” or we might ask “have you ever been misled by someone who you thought seemed to be good?” If we want to open with a statistic we might say that 100% of creatures that dared to stand up to the White Witch were turned to stone. Or if we want to open with a challenge we might challenge our readers to imagine they have been fighting with a sibling and, magically, a chance appears to get back at them. Or if we want to open our essay with a joke or an anecdote we might begin by telling a personal story that is similar, in some way or another, to Edmund’s experience in Narnia. And finally, if we want to begin our essay with a quotation we might present a famous quote from the Bible on the dangers of pride or from a famous writer on the mischief into which young boys can easily fall. Each of these options for Exordium, when used properly, can be an effective method for capturing the attention of your reader.

Elocution: Basic Editing - Verbs There are three kinds of poor verbs: passive verbs, vague verbs, and cliché verbs. They should be avoided at all costs, should be eliminated when found, and should be replaced with more precise and vigorous verbs. Passive verbs should avoided because they lack meaning and energy, while vague verbs are insufficiently precise, and cliché’ verbs are overused and, therefore, lack the kind of punch that a good, strong verb should pack. A passive verb is a verb in which the subject of the sentence is not doing the action of the verb but is having it acted upon him. For example, in the sentence “the book was lost by the man” the subject - the book - is not acting but is being acted upon. It would be better to say, “The man lost the book.” Vague verbs lack specificity and vigor. Typically vague verbs are aided by helping verbs without which the sentence would be impossible, as in “Ickey does a dance” or “he got himself close to the window.” It would be better to say “Ickey dances” or “he moved closer to the window.” Cliché’ verbs make use of common euphemisms and figures of speech as in “he decided to make a clean breast of it and admit he had cheated” or “the employee would always go the extra mile.” One would be better served to express the idea more directly and instead say something like “he confessed that he had cheated” and “the new employee always does more than asked.” Strong verbs are like the life-blood of a sentence. Without vigorous, energetic, specific verbs a sentence cannot sufficiently express the writer’s ideas.

Appendix F: Lesson Summaries

LESSON FOUR: BASIC PERSUASIVE ESSAY II Invention: Definition II In lesson three you learned to define a term by identifying the group to which it belongs and the ways the term is different from every other member of that group. In this invention lesson you will learn to define a term by identifying its parts (for a concrete term) or aspects (for an abstract term). The parts of a term are the qualities, attributes, and characteristics (oftentimes physical) associated with the term. What are the parts of the term “Edmund”? He has a mind, a body, a spirit, wills, and the ability to reason. He is male, is a brother, is jealous, is curious, is a son, and so on.

Arrangement: Guide To Amplification Amplification is a concluding statement that highlights, or amplifies, the main of an essay. It answers the questions, “who cares?” and “why?” In addition to the recapitulation (a single sentence restating the thesis and summarizing the main proofs of an essay), the amplification is the most important part of the conclusion. It drives the point of the essay home, so to speak, and ensures that the reader sees the importance of the issue about which the essay was written. If we ask to whom it matters that Edmund followed the White Witch we might answer with any of the following: the land of Narnia, Edmund’s siblings, Mr. Tumnus, the White Witch, and so on. We then must ask why this issue matters to them. It matters to the land of Narnia because she has been locked into 100 years of winter and because the White Witch has been oppressing the Narnian people, it matters to Edmund's siblings because when he followed her they were into led to all kinds of trouble, it matters to Mr. Tumnus because in going to the Witch Edmund betrayed Mr. Tumnus, and it matters to the White Witch because she knows that Edmund is the answer to a prophecy that would end her reign in Narnia. Of course, this issue also matters to Edmund himself. But to whom, and why, does it matter most? That is for the essay writer to determine.

Elocution A: Basic Editing - Subjects In lesson three we reviewed how to imbibe an essay with strong, vigorous verbs. However, it is equally as important to ensure that each sentence in your essay contains clear subjects. There are three kinds of weak subjects: non-particular subjects, hidden subjects, and missing subjects. All examples of each of these should be eliminated from every sentence in your essays. A non-particular subject is a subject that is too general, as in “the horse broke the record at the Belmont Stakes” or “the football team won the Super Bowl.” Improved sentences with more specific subjects would read, “Secretariat broke the record at the Belmont Stakes” or “The Green Bay Packers won the Super Bowl.” A hidden subject is a subject that is not - but should be - the main actor in a sentence. As their name suggests, hidden subjects are often buried within the sentence somewhere, often behind a passive verb or at the end of a prepositional phrase, as in “the man was sent by the Duke to Olivia.” What is the subject of this sentence? The Duke. As you can see, it is buried at the end of

Appendix F: Lesson Summaries a prepositional phrase and a passive verb. This sentence should read “the Duke sent the man to Olivia.” Finally, a missing subject is like a hidden subject in that it hides behind a passive verb. It is different in that it is not in the sentence at all; it is not hiding behind a prepositional phrase. Consider this sentence: “more signs will be added in the near future.” What is the subject of the sentence? Can you find one hidden anywhere? Who will be adding the signs in the near future? The actor in this sentence is nowhere to be found. This sentence should read “the traffic department will add more signs in the near future.” Non-particular, hidden, and missing subjects should be avoided at all costs as they diminish the clarity and vigor of your essay. Focus on providing strong, clear actors in every sentence you write.

Elocution B Scheme 2 - Antithesis Antithesis is a scheme created by asserting a clause, inserting a contrasting conjunction (such as “but”), and stating the corollary of clause A in clause B. Antithesis arranges contrasting ideas in adjacent clauses that follow the same grammatical pattern. Consider the following examples: - “I’d rather be dirt poor and loved than filthy rich and despised” - “Woe to you who laugh now, for you will mourn and weep” - “Not that I loved Caesar less, but that I loved Rome more” To add antithesis to our essays we should identify a sentence or passage that contrasts two or more things (such as Edmund and Peter, Edmund and the White Witch, etc.) and then rewrite the sentence using a parallel structure that emphasizes the contrast. We might want to write, “Peter was a responsible leader but Edmund was an impudent loner” or “Edmund was cold, hungry and afraid, while the White Witch was warm, in possession of delicious hot food, and very powerful.” If used correctly, antithesis is a powerful tool for emphasizing the differences between terms and ideas.

LESSON FIVE: BASIC PERSUASIVE ESSAY III Invention: Comparison - Similarities and Differences Lesson five invention introduces comparison, the second of the five topics. The topic of comparison invites the student to examine the similarities and differences between terms in a more in-depth way than definition did previously. They will do so by examining the similarities and differences between what each terms is, has, and does. For example, Edmund is a human boy while the White Witch is a Narnian female witch. Edmund has a family, friends, and a conscience while the White Witch has a kingdom of subjects, the ability to perform magic, and a thirst for power. Edmund goes to school, knows about the wardrobe, and is redeemed while the White Witch turns creatures into stone, knows about Aslan, and is destroyed by her own greed.

Appendix F: Lesson Summaries On the other hand, there are similarities between the two: both have been to London (as you might know if you’ve read other Narnia book), both are in Narnia, both can be manipulative and self-promoting, both want to be in charge, and both can reason. Even a simple comparison such as this can shed valuable light upon the issue at hand.

Arrangement: A Guide to Division Division identifies the precise point of disagreement between the writer of an essay and those who hold the opposing view of his thesis. The purpose of the Division is to clarify precisely what is being discussed and where there is potential agreement. After all, it is useless to debate a point upon which there is agreement between the two sides. A good persuasive essay reveals the points upon which there is agreement and emphasizes the areas where there is disagreement. To create the Division of an essay, students should follow these steps: - Write your thesis - Write the counter-thesis (the position opposite yours) - Compare the two statements and determine the areas where the thesis and counter-thesis agree. For example, in an essay about whether Edmund should have followed the White Witch the thesis for the negative argument would be “Edmund should not have followed the White Witch” while the counter-thesis would be “Edmund should have followed the White Witch.” After comparing the two theses, the essay writer might note (after answering the questions in the lesson five arrangement student worksheet) that both arguments agree that Edmund, did, in fact, follow her. The point of contention, however, is in whether he was right to have done so. Unless an essay clearly articulates where the Division lies (and with it the common ground) it runs the risk of arguing in circles without saying anything useful.

Elocution: Basic Editing - Nominalization Pattern 1 A nominalization is an error in which a word that is not a noun but has been changed into a noun. You will learn how to repair the first of four nominalization patterns. Pattern 1 begins with “there is”, followed by a nominalization, and hides subjects that should not be hidden. For instance: “There is a reason for the water pollution.” The expletive “there is” is followed by the word “pollution”, which is a nominalization of the verb, “to pollute”. You will follow three steps to repair Nominalization pattern 1. First, turn the nominalization into a verb. Second, find or invent a new subject. Third, rewrite the sentence with the new subject and better verb. Let’s revise the sample sentence: “There is a reason for the water pollution.” First turn the nominalization “pollution” to the verb form, “polluted”. Now ask, “Who polluted?” The sentence does not state who polluted the water, so you must invent a new subject. You can choose something like, “Exxon”. Now rewrite the sentence with the new subject and better verb. Your new sentence will read, “Exxon polluted the water.”

Elocution: Simile A simile is a trope that forms an explicit comparison of two things that are of a different kind but share a striking quality. Similes use “like”, “as”, or “seem” to make a comparison explicit.

Appendix F: Lesson Summaries

To write a simile, you will follow three steps. First, select an object in your sentence that you want to emphasize. Second, list some of its characteristics or qualities. Third, link the object to a different object that shares a similar characteristic or quality by using “like”, “as”, or “seem.” For instance, if you wanted to emphasize the White Witch, you could proceed by listing some of her characteristics and qualities. You might note that she is deceptive and trying to hook, or catch, Edmund. Now, you need to name a different thing that is deceptive and tries to hook something, and link the White Witch to this object using “like”, “as,” or “seem.” You may consider that a fisherman uses this technique to catch fish. You could write a sentence with the simile that shows how the White Witch “used Turkish Delight to catch Edmund like a fisherman uses a worm on a hook to catch a tasty fish.”

LESSON SIX: BASIC PERSUASIVE ESSAY IV Invention: Comparison - Degree and Kind As you learned in lesson five, you can compare any two items by looking for their similarities and their differences. You discover the similarities and differences between two objects by asking what they both are, have, and do. To find comparisons of degree and kind, you begin by first finding the similarities between two objects. Then, you draw differences from the similarities. The differences you will extract from the similarities will be differences of degree (quantity) and kind (quality). For instance, a pen and a pencil are both writing instruments. To find a difference of degree, you will ask which one is better and why. To find a difference of kind, you will state what kind of writing instrument a pencil is, and what kind of writing instrument a pen is. Sometimes you will discover difference of degree by asking which object is more or less. For instance, both rabbits and dogs make noise, but which animal makes more noise and which makes less?

Arrangement: Guide To Refutation A refutation is simply a counter-argument. As you write a persuasive essay, you affirm your thesis by presenting proofs, or reasons, that support the position you have chosen. But not everyone will agree with your position. Others may choose the opposing position. The refutation is the part of your essay where you describe the opposing position, and then state why that position is weak. For instance, you might argue that Edmund should not have followed the White Witch, but someone might argue that he should have followed the White Witch. In your refutation, you first want to list the reasons an opponent might argue that Edmund should have followed the White Witch. Then you want to explain why that argument is weak. To write a refutation, you will follow three steps. First, you will state the counter-thesis. This is the statement that opposes your thesis. Second, you will detail two of the strongest reasons that

Appendix F: Lesson Summaries support the counter-thesis. You have already discovered and sorted the material for these reasons in your ANI. Simply return to your sorted ANI, and select two proofs from the A or N column. Remember, this will be the position you did not choose. Third, identify why these reasons are weak.

Elocution: Basic Editing - Nominalization Pattern 2 In lesson five, you learned that a nominalization is a word that is not a noun but is used as a noun. In this lesson, you will learn how to repair the second of four nominalization patterns. Nominalization pattern 2 begins with a vague verb followed by a nominalized object. For instance, in the sentence, “The gladiator gave a nod to the emperor” the verb, “gave”, is vague, and the object of the verb, “nod”, is a nominalization of the verb “to nod”. You will follow three steps to repair nominalization pattern two. First, turn the nominalization into a verb. Second, replace the vague verb with the more precise verb you discovered when you removed the nominalization. Third, rewrite the sentence with the new verb. If you return to the sample sentence, “The gladiator gave a nod to the emperor”, you will first turn the nominalization “nod” to the past tense verb form, “nodded”. Remove the vague verb “gave,” and rewrite the sentence with the verb “nodded.” The new sentence will read, “The gladiator nodded to the emperor.”

Elocution: Basic Editing - Nominalization Pattern 3 In this lesson, you will learn how to repair the third of four nominalization patterns. You learned that nominalization pattern two referred to the object of a vague verb. Nominalization pattern 3 follows the pattern of a vague verb preceded by a nominalized subject. For instance, in the sentence, “A decision was made to stop digging up the garden.” the verb phrase, “was made” is vague, and the subject of the verb phrase, “decision” is a nominalization of the verb “to decide.” You will follow three steps to repair Nominalization pattern 3. First, turn the nominalization into a verb. Second, find or invent a new subject for the new verb. Third, rewrite the sentence with the new subject and verb. If you return to the sample sentence, “A decision was made to stop digging up the garden”, you will first turn the nominalization “decision” to the past tense verb form, “decided”. Now ask, “Who decided?” No answer is provided in the sentence, so you must invent a subject. You can choose something like, “developer”. Now rewrite the sentence with the new subject and verb. The new sentence will read, “The developer decided to stop digging up the garden.”

LESSON SEVEN: COMPLETE PERSUASIVE ESSAY Invention: Circumstance The topic of circumstance helps you to discover information about your issue by asking what was happening at the time in which the issue is concerned. When you ask this question, you are

Appendix F: Lesson Summaries looking at the events that took place at the time of the issue. You want to begin by looking at what was happening in the place where the issue occurred, and then continue by working outward from this place. For instance, if you are thinking about whether Edmund should have followed the White Witch, you will begin by asking what was happening when Edmund stumbled upon the White Witch in Narnia. You can even begin by asking what was happening in Edmund’s mind, or the White Witch’s mind. From there, proceed by asking what was happening elsewhere in Narnia at the time, or what was happening at the Professor’s house, or in London, at the time. You are not concerned at this point whether the events are related to the issue; that comes in the next lesson.

Arrangement: Narratio The narratio is essentially a simple narration of background information that helps the reader to understand the context of your thesis. While it is possible to position the narratio anywhere in your essay, you will learn to write the narratio in the first part of the essay preceding your thesis. The narratio consists of the settings, characters, and events or actions that led to your issue. To write a narratio, you will follow four steps. First, identify an action or event that led to your issue by asking, “What happened?” Second, identify the setting of this event or action by asking, “Where did it take place?” and “When did it take place?” Third, identify the characters involved by asking, “Who was involved?” Fourth, take this information and convert it into a simple narrative. For instance, if you argue that Edmund should not have followed the White Witch, begin a narratio by asking, “What happened before this act?” Proceed by asking, “When and where did this take place?” and “Who was involved?”

Elocution: Trope 2 - Metaphor A metaphor compares two different kinds of things and draws a striking, implicit comparison. Unlike simile, metaphors avoid using the words “like” or “as” by directly stating that one object “is” the other object. In this way, metaphors draw a direct relation between two things that are different in kind. To write a metaphor, you will follow three steps. First, select an object you want to emphasize. Second, list some of its characteristics or qualities. Third, directly link the object to a different object that shares a similar characteristic or quality. For instance, if you wanted to emphasize the White Witch, you could proceed by listing some of her characteristics and qualities. You might note that she is controlling. Now, you need to name a different thing that is controlling and directly link the White Witch to this object. You may consider that a puppeteer is controlling and might, therefore, write something like, “The White Witch is a puppeteer who controls all of Narnia.”

Elocution: Basic Editing - Nominalization Pattern 4 42

Appendix F: Lesson Summaries In this lesson, you will learn how to repair the fourth and final nominalization pattern. Nominalization pattern 4 involves a series of nominalizations joined by prepositions. For instance, in the sentence, “The lawyer made an objection to the claim of the defendant” the nominalizations “objection” and “claim” are followed by the prepositions “to” and “of”. You will follow four steps to repair nominalization pattern four. First, turn the first nominalization into a verb. Second, make sure the sentence provides a clear subject. If not, invent one. Third, decide if you want to change the second nominalization. If you decide to remove the second nominalization, change it to a verb preceded by “how,” “why,” or another appropriate adverb. Fourth, rewrite the sentence with the new subject and better verbs. If you return to the sample sentence, “The lawyer made an objection to the claim of the defendant.” First, turn the first nominalization, “objection”, to the verb form “objected”. Now ask, “Who objected?” The sentence states that the lawyer objected, so the sentence provides a clear subject. Now decide if you want to change the second nominalization, “claim.” It does not seem necessary to change this word, since it is commonly used in court settings. Finally, rewrite the sentence using the new verb. Your new sentence will read, “The lawyer objected to the defendant’s claim.”

LESSON EIGHT: COMPLETE PURSUASIVE ESSAY - REVIEW Invention: Relationship - Antecedent and Consequent During your first introduction to the topic of relation, you will learn to discover information by considering the events or actions that take place before and after your issue. This first lesson on relationship teaches you to record events or actions that occur before (antecedent) and after (consequent) the issue. The events or actions do not need to be directly related to the issue. Their only relation at this point is that they either occur before or after the issue. For instance, if you are working on the issue whether Edmund should have followed the White Witch, begin by asking what happened before Edmund decided to follow the White Witch. Then, continue by asking what happened after Edmund decided to follow the White Witch.

Arrangement: Review No new content is introduced in this review lesson.

Elocution: Scheme 3 - Alliteration Alliteration is the repetition of initial consonant sounds in a phrase or verse. You are perhaps most familiar with the use of alliteration in tongue twisters. Consider, “Peter Piper picked a peck of pickles.” Or the Bernstein’s B Book, “Big brown bear, blue bull, beautiful baboon biking backwards blowing bubbles…” To write alliteration, you will follow two steps. First, underline and identify a series of ideas or words in a sentence that you would like to emphasize. Second, replace the words or ideas with

Appendix F: Lesson Summaries words that begin with the same consonantal sound. For instance, consider the following sentence, “When a goon has a spoon, he sings a nice tune and talks to the moon”. Here you might wish to continue with the “s” sounds found in “spoon” and “sings”. You can change the words “nice tune” to “sweet song,” and now you have four words beginning with the “s” sound. The new sentence will read, “When a goon has a spoon, he sings a sweet song and talks to the moon.”

Elocution: Scheme 4 - Assonance Similar to alliteration, assonance is the repetition of vowel sounds in a phrase or verse. You are perhaps most familiar with the use of assonance in nursery rhymes. Consider, “Hickory, dickory, dock; the mouse ran up the clock.” Or, “Mary, Mary, quite contrary, how does your garden grow?” To write assonance, you follow two steps. First, find synonyms for words in your sentence. Second, replace the words with synonymous words that share a similar vowel sound. For instance, in the sentence, “In the late evening, we go riding under the moon.” you can find synonyms for the words “evening,” “riding,” and “moon.” You might write new words like, “night,” “twilight,” “drive,” and “moonlight”. All of these words make use of the long “i” sound. When you replace the former words with the newly discovered synonyms, your sentence might read, “At twilight, we ride beneath the moonlight.”

LESSON NINE: COMPARISON ESSAY – THEMES & SUB-IDEAS Invention: Relation – Cause & Effect In lesson nine, you will learn to discover information about your issue by using the topic of Relation. In lesson eight, you learned to use Relation to discover events or actions that took place before or after the issue without necessarily being related to the issue. Now, you will learn to discover actions or events that caused the issue (cause), and actions or events caused by the issue (effects). To find actions or events that caused the issue, you will ask, "What caused the issue?" To find actions or events that the issue caused, you will ask, "What did the issue cause?" For instance, if you are working on the issue “whether Edmund should have followed the White Witch”, you will begin by asking what actions or events caused Edmund to follow the White Witch. Then, you will ask what actions or events Edmund's decision caused. Arrangement: Simple Comparison Essay - Themes and Sub-ideas The themes in a Comparison essay are the ideas that the two terms you are comparing have in common. The sub-ideas are the details that support and explain each theme. In the Persuasive essay, you learned to draw three proofs and sub-proofs from your sorted ANI. In the same way, you will draw three themes and sub-ideas from a sorted comparison of your two terms.

Appendix F: Lesson Summaries For instance, if you are comparing dogs to horses, you may discover that they both are animals, both have instincts, and both help people work. You may use these three similarities as your themes. After you sort the differences for each term, select those that support each theme. These are your sub-ideas. Like the Rudimentary essay, the Simple Comparison essay is basic. It does not have an introduction or conclusion. You will learn those in the next essay.

Elocution A: Trope 3 - Personification Personification is a trope that gives inanimate objects human qualities. For example, you may say, "The trees dance in the moonlight." Trees are inanimate, and do not dance. When you state that "trees dance", you are giving human qualities to a tree. To write a personification, you will follow three steps. First, identify an inanimate object in you sentence that you want to emphasize. Second, give it a human quality. Third, rewrite the sentence with the personification. For example, consider the sentence, "I scrubbed the table until it was very clean." You might choose the word “table” as your inanimate object. You can give it the human qualities of looking and smiling. The new sentence may read, "I scrubbed the table until it looked up and smiled at me."

Elocution B: Trope 4 - Apostrophe Apostrophe is a trope that addresses an imaginary person or abstract quality. For example, when Shakespeare writes, "Boldness, be my friend." he is addressing "boldness" as though it were a person. To write an Apostrophe, you will follow three steps. First, identify an inanimate object in your sentence that you would like to emphasize. Second, address it as though it were human. Third, rewrite the sentence. Consider the following sentence, "I love opening a book; it is an invitation to a world of discovery." You might choose the word "book" and address it as though it were a person. The new sentence would read, "O book, you invite me to a world of discovery."

LESSON TEN: COMPARISON ESSAY – INTRODUCTION & CONCLUSION Invention: Authority—Witnesses In this first lesson on the topic of authority, you will learn to evaluate and collect information from witness testimony. Witness testimony provides firsthand knowledge of an issue, term, event, or action. To evaluate and collect information from witness testimony you will follow three steps. First, identify a witness of the issue, term, event, or action. Second, evaluate the witness's credibility. Third, ask questions to gather information from the witness.

Appendix F: Lesson Summaries

For instance, if you are working on the issue “whether Edmund should have followed the White Witch”, you will first identify a witness to the event or facts about which the issue is concerned. You may, for example, select Mr. Beaver as a witness. Next, you need to evaluate his credibility as a witness. If he is credible, you will ask what evidence or statements he might provide about the issue.

Arrangement: Complete Comparison Essay - Introduction and Conclusion The introduction for a comparison essay locates the terms you are comparing in time and place, provides historical background, and states the themes. The conclusion for a comparison essay summarizes the themes, and explains why one term is better than the other. To write the introduction for a comparison essay, you will follow three steps. First, identify the time and place of your terms by asking the questions "Where?" and "When?" Second, detail the historical background for each term in your issue. Third, state the three themes of your essay. The first two steps are similar to the narratio in the persuasive essay. The third step is equivalent to the thesis, enumeration, and exposition in the persuasive essay. To write the conclusion for a comparison essay, you will follow two steps. First, summarize the themes. Second, explain why one term is better than the other. The first step is equivalent to the recapitulation in the persuasive essay. The second step is equivalent to the amplification in the persuasive essay. You are already familiar with the concepts of an introduction and conclusion from writing the persuasive essay. Here you are applying the introduction and conclusion to a comparison essay.

Elocution A: Scheme 5 - Anaphora Anaphora is a scheme that repeats words, phrases, or clauses at the beginning of successive phrases, clauses, or sentences. For example, when former President Bush stated, "We will not tire… We will not falter… We will not fail", he repeated the phrase "we will not" at the beginning of each sentence making use of Anaphora. To write an Anaphora, you will follow two steps. First, identify repetition in your writing. Second, rewrite to repeat the opening word or phrase. Consider the following series of sentences: "First you demanded an apple. Then you asked for a banana. I saw that you were eyeing my orange." You might notice that different requests are being repeated. Select one of the words, such as "demanded", and repeat it at the beginning of each new sentence. Now your sentences would read, "You demanded an apple. You demanded a banana. You demanded an orange.”

Elocution 6: Scheme 6 - Epistrophe Epistrophe is a scheme that repeats words, phrases, or clauses at the end of successive phrases, clauses, or sentences. For example, when Saint Paul writes, "When I was a child I spake as a child, I understood as a

Appendix F: Lesson Summaries child, I thought as a child", he is repeating the phrase "as a child" at the end of each phrase making use of Epistrophe. To write an Epistrophe, you will follow two steps. First, identify repetition in your writing. Second, rewrite to repeat the closing word or phrase. For example, if you had a list of items in a sentence as in, "He gave me flowers, jewelry, and chocolate on my birthday." you can write each gift in a separate sentence each ending with the phrase "on my birthday." Your new sentences would read, "He gave me flowers on my birthday. He showered me with jewelry on my birthday. He surprised me with chocolate on my birthday."

LESSON ELEVEN: COMPARISON ESSAY REVIEW & PRACTICE Invention: Authority—Experts In this second lesson on the topic of Authority you will learn to evaluate and collect information from expert testimony. An expert is an established authority of informed opinion on a subject. To evaluate and collect information from expert testimony, you will follow three steps. First, identify experts on the issue, term, event, or action. Second, evaluate the expert's credibility. Third, ask questions to gather information from the expert. For instance, if you are working on the issue “whether Edmund should have followed the White Witch”, you will first identify an expert who can provide expert opinion on the issue. You may, for example, select the professor as an expert on following the White Witch. Next, you need to evaluate his credibility by asking what he bases his opinion on, and how credible you consider him to be. If the professor is credible, you will ask what the professor says or might say about the issue.

Arrangement: Complete Comparison Essay – Review & Practice No arrangement lesson. This is review.

Elocution A: Trope 5 - Hyperbole Hyperbole is an exaggerated statement. For example, the statement "I'm so hungry I could eat a horse" exaggerates hunger by stating an impossible amount of food to eat. No one could eat a horse. To write Hyperbole, you follow three steps. First, find a word in your essay you want to emphasize. Second, exaggerate the word. Third, rewrite the sentence with the exaggerated word. For example, when considering the phrase, "Eloise looked up to the tall tree", you might exaggerate the word "tall" by using the phrase "mile-high". The new sentence would read, "Eloise looked up to the mile-high tree."

Elocution B: Trope 6 - Litotes Litotes is a trope that expresses an idea by denying its opposite.

Appendix F: Lesson Summaries For example, in the sentence, "When he saw the shores, he was not unacquainted with his island", the writer is not saying that the man was lost. Rather, the writer denied the opposite of acquaintance, which was the word "unacquainted," by writing the negative "not" before it. The sentence is saying that the man did recognize his island. To write Litotes, follow three steps. First, find an affirmative statement in your sentence. Second, state the opposite of the affirmation. Third, negate the opposite by using "not". For example, in the sentence, "Saint Paul was an energetic worker for the Church," you can identify "an energetic worker" as an affirmative statement. The opposite of this would be "lazy". Next, negate the opposite by writing "not" before it. The new sentence would read, "Saint Paul was not a lazy worker for the Church."