Answer these questions:
- How clearly does my problem/solution connect all five of my sources? Why do I think at least three of these sources are scholarly? (Pages 459-460 provide help for determining if a source is scholarly.) How closely do my works cited page entries follow the appropriate examples in the textbook? How much more research do I need to do?
- What can I do to summarize more effectively?
- How explicitly have I identified the thesis statements of the sources I am annotating? What are they? Can I list them? How can I make sure they are an obvious part of my annotation?
- How can I make my attributive tags persuasive? Do I know what kinds of sources I have and have I included them in my annotations?
- How do I plan to use each source? Have I made my plans for each source clear in its annotation?
- Which of my sources is the least credible? Which is the most? Why? How will I describe these limitations?
- How do my sources contrast with each other? What do they have in common?
- What separates my summary from my comments? What makes my switch from objective summary to evaluations, plans and connections obvious?
In a small group, identify three sentences from the story that exemplify more than one technique.
- Quote the sentence.
- Answer the question “What two techniques does this single sentence use?” for each of the three sentences.
- Your answer should take the form of an assertion followed by the word “because” and an explanation.
For example, “She could hear Mister Lafkowitz talking—his words spun out in a silky, unintelligible hum.”
- This sentence characterizes Mister Lafkowitz because it describes his voice. Description is a common strategy for characterization
- This sentence creates an image because images are the results of the combination of sensory language and nouns: “words” are the noun here and “unintelligible hum” is an example of auditory sensory language.
Then, as an individual, draft three sentences of fiction that each use more than one strategy/technique.
Review pages 54 and 55 of Oliver’s A Poetry Handbook. Then, break the paragraph below into lines. Every line should be enjambed, with the exception of the last.
Mend the coat before you go out. Once we stood beside the shore. The chap slipped into the crowd and was lost. The rude laugh filled the empty room. Coax a young calf to drink from a bucket. Dill pickles are sour but taste fine. The third act was dull and tired the players. The pup jerked the leash as he saw a feline shape. A bowl of rice is free with chicken stew. The couch cover and hall drapes were blue. Sever the twine with a quick snip of the knife. These days a chicken leg is a rare dish. His wide grin earned many friends. The brown house was on fire to the attic. That guy is the writer of a few banned books. The horn of the car woke the sleeping cop. Her purse was full of useless trash. Kick the ball straight and follow through. The dark pot hung in the front closet. A shower of dirt fell from the hot pipes. Screw the round cap on as tight as needed. He lent his coat to the tall gaunt stranger. Her purse was full of useless trash. He carved a head from the round block of marble. Bottles hold four kinds of rum. Hoist the load to your left shoulder. The fruit peel was cut in thick slices. The fight will end in just six minutes. Cut the cord that binds the box tightly. Soap can wash most dirt away.
How much do you need to plan a short story before you begin writing it? Consider Donald Barthelme’s essay “Not-knowing.”