...If I am writing a paper, work e-mail, or discussion post for an online course I tend to use the same writing process. I would say it is a mix of both Anne Lamott’s described process in “Shitty First Drafts” and the 3x3 writing process in Guffey. My writing is usually done in 3 stages but sometimes only 2, when the prewriting and drafting stage blend together or if I am preparing something like and e-mail that does not need as much prewriting as a paper or discussion post might need. The first thing I do when preparing to write it get out a piece of paper and take notes. I scribble down the questions that needed answered or my thoughts on the topic of the e-mail I am preparing. Once I have those thoughts on paper I try and began to organize...
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...Thinking about my individual writing process has caused me to forget how I begin a paper. It’s strange to think about the concept of what writing is before you actually write something. After reading over the assigned pages to give me the help I need to discover what my individual writing process is I “skimmed” over freewriting. I tend to just start writing and let my thoughts flow and I feel like it’s what best suits my writing style. So here we go. My individual writing process includes freewriting, lists, and looping. I like to use freewriting because I enjoy continually writing and letting my ideas flow out. Sometimes when I get stuck, it helps me to have a list of the things that I want to include in my writing so I can elaborate and expand on them. After I get to a certain point, I use the process of looping. Looping can be considered a side effect of freewriting. I loop by rereading what I have written and decide if I like the order and the theme of my...
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...Starting my writing process can be hard, through this semester of taking composition 1 I have learned that there it is always better taking your time reading your papers to revise them better, also I have learned to just get what I am trying to write on to the paper even though I may not make sense at first. There are many different ways for me at becoming better at revising my papers. One of the ways that I learned was though the this course, is by looking at each sentience indevisionully. This will help make sure that the sentience I am writing goes good with the paragraph and make sense for when people read it. One thing that I also have to work on when writing my papers is that, is being able to find my grammar mistakes. When I find...
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...N I N G O B J E C T I V E S 10 1. Identify the purpose and structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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...accomplishments, and why do you view them as such? — Harvard http://www.free-essay-writing-topics.com/index.php?page=mba-application-accomplishment-questions What is the most significant change or improvement you have made to an organization with which you have recently been affiliated? Describe the process you went through to identify the need for change and manage the process of implementing change. What were the results? — Kelley Describe your greatest professional achievement and how you were able to add value to your organization. — Johnson The goal in answering this kind of question is to analyze, rather than summarize, an achievement. This advice is particularly true if you're discussing an accomplishment that is listed elsewhere on the application. Your readers want to gain insight into your character, not read a factual summary of what occurred. Here are some guiding principles to use in constructing your answer: (1) Choose something that's meaningful to you. Some applicants feel obligated to choose the most objectively impressive accomplishments. You should write about something that has personal significance, even if you weren't formally recognized for it. What matters is that you write passionately and insightfully about your subject. Unless otherwise specified, you should feel free to draw on academic, personal, or professional successes. (2) Focus on details about the process. Show the reader through concrete details how you achieved what you did. If you want...
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...Graded Assignments 4 Unit 1 Journal 1: Personal Narrative 4 Unit 1 Journal 1: Personal Narrative Handout 6 Unit 1 Journal 2: Civic Narrative 9 Unit 1 Journal 2: Civic Narrative Handout 11 Unit 1 Assignment 1: What Would You Do? 12 Unit 2 Journal 1: Personal Narrative 13 Unit 2 Journal 1: Personal Narrative Handout 15 Unit 2 Journal 2: Civic Narrative 19 Unit 2 Journal 2: Civic Narrative Handout 20 Unit 2 Journal 3: Article Response 22 Unit 2 Assignment 1: What Would You Do? 23 Unit 2 Assignment 2: Declaration of Independence and Public Safety 25 Unit 3 Journal 1: Car Commercials 26 Unit 3 Journal 2: Personal Narrative 27 Unit 3 Journal 2: Personal Narrative Handout 28 Unit 3 Journal 3: Civic Narrative 31 Unit 3 Journal 3: Civic Narrative Handout 32 Unit 3 Journal 4: Taste vs. Judgment 34 Unit 3 Presentation 1: What Would You Do? 35 Unit 3 Assignment 1: Habits That Hinder Thinking 36 Unit 4 Journal 1: Invention Exercise 37 Unit 4 Journal 1: SWOT Analysis Template 38 Unit 4 Journal 2: Personal Narrative 39 Unit 4 Journal 2: Personal Narrative Handout 41 Unit 4 Journal 3: Civic Narrative 43 Unit 4 Journal 3: Civic Narrative Handout 44 Unit 4 Assignment 1: What Would You Do? 46 Unit 4 Assignment 2: Invention White Paper 47 Unit 5 Journal 1: Personal Narrative 48 Unit 5 Journal 1: Personal Narrative Handout 49 Unit 5 Journal 2: Civic Narrative 51 Unit 5 Journal 2: Civic Narrative Handout 53 Unit 5 Assignment 1: What Would...
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...I would categorize my senior year as one of wild progression when it came to my writing. Senior year mirrors my sophomore year almost exactly when it comes to just pure progression. In that sophomore year, I greatly improved in an area that had irked me for years, the organization of content, and I grew in other critical areas throughout the course of this year. While I would consider my writing far more refined than it was in 10th grade, there are still multiple core elements that I always work to improve. The first few journals last semester echoed the thoughts of a teen who refused to take risks in his writing, who couldn’t be told his faults without a fear of personal attack. Last year the majority of my writing was for AP courses, and...
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...Associate Program Material Appendix C Rhetorical Modes Matrix Rhetorical modes are methods for effectively communicating through language and writing. Complete the following chart to identify the purpose and structure of the various rhetorical modes used in academic writing. Provide at least 2 tips for writing each type of rhetorical device. |Rhetorical Mode |Purpose – Explain when or why |Structure – Explain what organizational |Provide 2 tips for writing in | | |each rhetorical mode is used. |method works best with each rhetorical mode. |each rhetorical mode. | |Narration |Anytime you tell what happened |The organizational method that works best |Two tips for narrative writing| | |or tell a story you use |with narrative writing is chronological |are decide if the story is | | |narration. |order. |factual or fictional, and use | | | | |transitional words and | | | | |phrases. | | |The purpose of an illustration |Order of importance is the best way to |One tip is to use transitional| |Illustration |essay is to show or demonstrate |organize an illustration...
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...The writing of the long song “How can I be proud of my Jamaican roots, when my ancestors had been slaves”? This question asked by a woman with Jamaican roots followed British novelist Andrea Levy for a long time. She wondered how anyone could be ashamed of his or her legacy and thus the foundation of her book, The Long Song, was laid. However, writing the book was a more difficult task than presumed. Levy considered many things at the preliminary stage of the book as she knew that she didn’t want to write yet another historical novel about slavery. This is the reason why she chose to write the “behind the scenes”-essay, The Writing of The Long Song. Herein she elaborates and discusses the process of writing her book and raises important questions that deal with extremely relevant themes such as family pride and the filtering of history. Levy opens her essay with a flashback to the conference she attended several years earlier in London where the main theme was the legacy of slavery. She remembers a woman asking the panel how she could be proud of her Jamaican roots when her ancestors had been slaves (p. 7, ll. 5-7). Levy doesn’t remember the panel’s answer to the woman but the question stayed with her for a long time and it ended up being her motivation for writing the book The Long Song. Levy is of Jamaican heritage herself and in contrary to the young woman, she proudly acknowledges her slave ancestry: “If our ancestors survived the slave ships they were strong. If they...
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...Africa through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...because these factors contribute and influence an author’s point of view as well as each author’s unique voice and message depending on the time period. Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, is a slave narrative. The literary conventions of the slave narrative define the work. Slave narratives echo biblical stories that often reflect persecuted groups attempting to escape to freedom. Jacobs’s piece details her struggle to escape her master from sexual abuse. Vivanco (2003), “The process from sin to rebirth in spiritual autobiographies is paralleled by the process from slavery to freedom in slave narratives. Slaves experience a change from chattel, enduring suffering, to man or woman living in the Promised Land, the North,” (para. 5). Further distinction of the slave narrative is how authors shape the story, often chronologically. Slave narratives illustrate an author’s personal experience though many share common themes of extreme violence/abuse and racial prejudice. Slave narratives are essentially autobiography, which offer an author’s own experience for readers to find meaning. Jacobs’s female voice sheds light on issues affecting slave women; sexual abuse and losing children to death or slave trade particularly. Jacobs’s narrative is a prime example of how different slave women were treated as opposed to men. Both...
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...call his name. In this poem, identity is not seen as something that is solid and concrete but as something that is situated and constructed by others, a glimpse of poststructuralist view on identity. Recently, language learning has been seen as participation and negotiation of self (see Higgins, forthcoming; Kinginger, 2004; Lam, 2000; Morita, 2004; Ohara, 2001; Pavlenko & Lantolf, 2000; and Solé, 2007 among others). The trend is resonated in the growing interest in language learner identity and the studies in narratives. In this paper, a case of heritage language learner will be investigated upon the theoretical frame of poststructuralism. Narrative inquiry will be used to analyze how she negotiates her learner identity. The purpose of this paper is two-fold: First, by looking at the struggle a language learner makes to acquire her heritage language, I reclaim the centrality of identity in defining heritage language learners. Second, to widen the horizons of narrative studies to the cyber space as it provides an ample source of easily accessible data and it has become one of the commonplace media of daily communication. Heritage Language Learners and Identity To refer to the Heritage Language Learners (HLLs), various terms have been implemented such as ‘native speakers,’ ‘quasi native speakers,’ ‘bilingual speakers,’ or, from the dissatisfaction with the prior terms, ‘home background speakers,’ and ‘heritage language speakers’ (Valés, 2005: p. 412). There has not yet been...
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...Search” paper allows you to relate your personal experience engaged with some aspect of a topic, to hunt for facts and opinions firsthand, and to provide a step-by-step record of the search process. It’s part research paper, part personal narrative, part reflection. • First step: choose a controversial topic broadly pertaining to digital technology, digital media, “the internet,” television, or modern computing technology that truly interests you—specifically some problem or concern you want to be more informed about (use Homework #1 as a launching point). The topic, however, has to be argumentatively rich, meaning that there have to be many different viewpoints on the issue. • Second step: rather than starting with a thesis or claim, you’re going to begin with a question or problem spurred by some personal experience or exploration. Think of yourself like an investigative journalist or social scientist: if you’re writing about online communities, immerse yourself in one; if you’re writing about internet/television/cell phone addiction, deprive yourself for a few days; if you’re investigating some activity, try engaging in that activity; etc. You’re trying to get the heart of a controversy by gaining first-hand experience. • Third step: start researching. As you research, keep track of what you know and what you learn about the topic, how your assumptions change, and how different sources affect your perspective on your personal experiences and other sources. If you...
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...erian novelJournal of Education and Practice ISSN 2222-1735 (Paper) ISSN 2222-288X (Online) Vol 2, No 4, 2011 www.iiste.org A Study on Gender Consciousness in Nigerian Autobiographical Narratives and Power of the Interview Ogunyemi, Christopher Babatunde Department of English, College of Humanities, Joseph Ayo Babalola University PMB 5006 Ilesa 233001 Osun State, Nigeria. bbcoguns2@yahoo.se Akindutire, Isaac Olusola Department of Physical and Health Education, Faculty of Education University of Ado Ekiti Ado Ekiti. Ekiti State, Nigeria ioakindutire@yahoo.com Adelakun, Ojo Johnson Department of Economics, Joseph Ayo Babalola University, PMB 5006 Ilesa 233001, Osun State, Nigeria joadelakun@yahoo.co.uk Abstract The study explores some self-created metaphors in male autobiographical writings in Nigeria. It visualizes the negation of female gender in art. The paper investigates the dichotomy of language, the use of irony and situational metaphors to displace conventional ones; it blends theories with critical evaluation of discourse. The research uses empirical methods in solving hypothetical questions with the use of extensive and relatively unstructured interviews. It examines the interviews of twenty five people independently, these people include: University lecturers, students, administrative and technical staff. The work analyzes concurrently their interview testimonies to search for congruence. Data analysis begins with a detailed microanalysis in which emergent concepts...
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