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Final Conferences

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UnLitter Us Campaign PSA - Poet Denice Frohman

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Independent Reading
Oscar Speeches
Panel Presentations
Portfolio Prep

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Independent Reading
Oscar Speeches
Panel Presentations
Portfolio Prep

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Independent Reading
Oscar Speeches
Panel Presentations
Portfolio Prep

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Independent Reading
Oscar Speeches
Panel Presentation Prep
Portfolio Prep

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Independent Reading
Oscar Speeches
Panel Presentation Prep
Portfolio Prep

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Due Student Led Parent Conferences
Oscar Speech Brackets
NoRedInk Summative

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Panel Presentation Reflections
Reading Log
Portfolio

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Agenda
NoRedInk Summative
Independent Reading
Oscar Speeches
Conferences
Panel Presentation Reflection

Attendance Question
What is the best father's day gift you have heard of? What gift would you want if you were a parent?

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Agenda
ATTENTION: ALL ASSIGNMENTS DUE MAY 26
Independent Reading
Attendance Question
Quick Write: Exam Reflection
Oscar Speech Brackets
Goal Spreadsheet
Portfolio: Add Three Reflections
Panel Research
Conferences

Attendance Question
When was the last time you laughed?  What was the cause?

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You will need: Chromebook, notebook, writing utensil

Essential Questions:

What is the relationship of the individual to the community?
How are young people affected by adult decisions?

Agenda:

Independent Reading

Attendance Question

Independent Reading
Oscar Speech Brackets
Lateral Reading Notes
Goal Spreadsheet
Portfolio
Panel Research
Conferences

Attendance Question: Who do you think looks up to you?

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Agenda
Independent Reading
Oscar Speech Brackets: Jennifer Lawrence vs. Emma Stone
Coca-Cola Scholars Foundation
Busan International HS Program
Portfolio
Panel Research
Conferences

Attendance Question

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Programs - Coca-Cola Scholars Foundation

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Seeking visionary leaders. Apply for part of $3.1 million in scholarships for high school seniors and two-year community college students.

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Essentially, students will be creating two presentations: 1) An educational presentation that presents insight and solutions to a global problem; 2) A cultural exchange video, i.e. students exhibit a specific part of their culture. Being that we are American and an organization dedicated to girls of color, I try to recruit girls from various cultural backgrounds and encourage them to showcase their home culture, thus representing the diversity of America. Last year, the girls chose fashion and we had Mexican, Trinidadian, Nigerian, and Black/African-American cultural representation.

The attached document will provide more information on the expectations and details of the forum including deadlines, what to submit, etc.

The presentations require research and attention to detail, and students must submit a manuscript of what they will say in their presentation.

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Due this week

Personal Statement
Panel Presentations
Lateral Reading Notes

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Michelle Yeoh Makes History As First Asian Star To Win Best Actress At The Oscars

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‘Ladies, don’t let anybody tell you you’re past your prime’

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Find and evaluate online sources that you can use to write a research document.

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Virtual Town Hall #9 ft. J. Alvin Wilbanks- Superintendent GCPS

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Agenda
Independent Reading
Oscar Speeches
Conferences
Panel Presentation Reflection

Attendance Question
How do you think our society would be different if we treated teachers like we do NBA draft picks?

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If We Treated Teachers Like Pro Athletes - Key & Peele

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Agenda
Independent Work
Attendance Question

Oscar Speech Brackets: Julia Roberts vs. Frances McDormand
Rhetorical Precis on "A Class Divided" (See handout from practice exam in folder)
Personal Statement (due Friday)

Independent Reading
Goal Spreadsheet
Portfolio
Panel Research
Personal Statement

Attendance Question
If you could do a job a week for 52 weeks, what would be your top ten jobs to try?

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Panel Research
Exam Reflection
Portfolio: Add three reflections

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Agenda
Independent Reading
Attendance Question
Goal Spreadsheet
Portfolio
Panel Research
Conference

Attendance Question
What were you least prepared for as you took the exam?

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Agenda
Research Question
AP Lang Review Practice Exam 2 MCQs
FRQ Q1 Outline
Debate Reflection
Daily Grammar Practice (Week Eighteen)
they could be seen plainly tall gaunt men with excited faces running with long strides toward a wandering fence
Pop Quiz
Portfolio Update

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Test Anxiety: Breathe - Northwestern University

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Agenda
Q1 Outline (AP Classroom Practice Exam 2 FRQ)
DGP Week 18 Due

Write one takeaway from the test anxiety tips in the attached article.

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Test Anxiety

An animated video about test anxiety that highlights the importance of mindfulness and writing practices to loosen worries from your mind to help boost your grade!

Meditation Music by Anatolie Antoniu & Marin Nicoarã | Graphic Animation by Koyote Sundance Meiners-Rios | Video & Audio by Thomas Molash
Practices to Decrease Test Anxiety

Write it Out!

Write it Out Audio (7:38)

Get rid of worries before the exam - A guided practice that clears out worries from the mind; research shows it has increased test performance by at least 5 points.

Walk Off Your Stress

Walk Off your Stress Audio (11:50)

Mindful walking helps to distract you from worrying and increase well-being as you are more present in the world around you rather than up in your head worrying about stuff that usually doesn't happen.

Catch Your Breath

Catch Your Breath Audio (9:34)

This practice helps decrease the stress response so you can think more clearly and do better on your exam.

5 Minute Meditation

5 Minute Meditation (7:20)

Research says 5 minutes of deep breathing will boost your exam scores, so chill out for a few minutes using this practice.

Find a Comfortable Rhythm

Find a Comfortable Rhythm Audio (6:10)

Paced breathing helps to distract the mind from worries, freeing up space in the brain to think about more important stuff.

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Test Anxiety: Breathe - Northwestern University

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An animated video about test anxiety that highlights the importance of mindfulness and writing practices to loosen worries from your mind to help boost your grade! Meditation Music by Anatolie Antoniu & Marin Nicoarã | Graphic Animation by Koyote Sundance Meiners-Rios | Video & Audio by Thomas Molash Write it Out!

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You will need: Chromebook, notebook, writing utensil

Essential Questions

How do adult decisions affect children?

Learning Objectives

Describe the line of reasoning and explain whether it supports an argument’s overarching thesis.

Develop a line of reasoning and commentary that explains it throughout

an argument.

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

Attendance Question
MCQ Practice Exam

Q1 Outline

AP Classroom

CRAAP Notes

Research Searches

Attendance Question
Which of the 5 Best Practices to Live Your Life do you use?

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You will need: Chromebook, notebook, writing utensil

Essential Questions

In what ways are images texts?

How do graphics and text features add to or detract from informational text?

Learning Objectives

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

My Fair Lady Film Text Prep

No Attendance Question

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APA Bibliography Course Hero. (2016, September 8). Pygmalion Study Guide. In Course Hero. Retrieved March 25, 2023, from https://www.coursehero.com/lit/Pygmalion/ In text (Course Hero, 2016) Chicago Bibliography Course Hero. "Pygmalion Study Guide." September 8, 2016. Accessed March 25, 2023. https://www.coursehero.com/lit/Pygmalion/. Footnote Course Hero, "Pygmalion Study Guide," September 8, 2016, accessed March 25, 2023, https://www.coursehero.com/lit/Pygmalion/.

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You will need: Chromebook, notebook, writing utensil

Essential Questions

How do adult decisions affect children?

Learning Objectives

Describe the line of reasoning and explain whether it supports an argument’s overarching thesis.

Develop a line of reasoning and commentary that explains it throughout

an argument.

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

Attendance Question

Q2/Q3 Timed Writing
Q3 Database

No Attendance Question

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2023 AP Bazemore Group Research Presentation Task Map - Google Jamboard

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Agenda
Author Visit
Panel Groups: Slides Shell
Independent Reading/TYFA

No Attendance Question

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2023 AP Bazemore Group Research Presentation Task Map - Google Jamboard

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2023 AP Bazemore Group Research Presentation Task Map

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Philosophical Chairs
Education Web quest
Panel Group Topics Google Form
Philosophical Chairs Reflection
Author Visit Reflection
Rhetoric in writing and speaking handout
Q3 Database
Textbook: Read pages 77-86 (quiz to come)
AP Classroom Review

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Agenda
My Fair Lady Text Prep
Turn in DBQ Revision

No Attendance Question

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TYFA Ch. 12
Chavez Bingo Reflection
My Fair Lady Text Prep
DBQ Essay Revision
AP Classroom Test Review

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Reading the Situation: Coming soon!

Writing the Situation: Here's a checklist to give you the Who, What, When, Where, and How.

Rhetorical Choices

Rhetorical Choices Analysis: How should you describe choices? Hint: use verbs.

Claims and Evidence

Claims: The Because of every argument.

Evidence: Oh, yeah? Prove it!

Reading Claims and Evidence: An example to help you nail this thing.

Writing Claims and Evidence: 7 steps to writing glory.

Line of Reasoning: Get ready for the enthymeme. It works better than it spells.

Reading the Reasoning: You're a detective. Look for these 7 clues.

Writing the Reasoning: The 8 things you want to do during the test. Panic-free.

Thesis: How to write a great thesis sentence.

The Datum Fallacy: From the blog, a big problem with facts.

Fallacy Quiz: Test your knowledge of these logical screw-ups!

Organization

4 types of outlines, from the Ciceronian to the Comet (including the one you should use on the test).

Style

Comparisons: Coming soon!

Figures: They're where the word magic happens.

Syntax: Coming soon!

Word Choice: Coming soon!

Spot the Magic in These Quotations quiz: See the real meaning behind figures and tropes.

Writing

Rewriting: The very best, most delightful form of torture.

Writing (and Speaking!) to Rule the World: Or even better? To change it.

How to Become a Writer: A blog post on remapping your brain.

Write the Perfect College Admissions Essay: From the blog, a special kind of persuasive essay.

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Reading the Situation: Coming soon! Writing the Situation : Here's a checklist to give you the Who, What, When, Where, and How. Rhetorical Choices Analysis : How should you describe choices? Hint: use verbs. Claims : The Because of every argument. Evidence : Oh, yeah? Prove it!

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Due today!
Progressive Essay
GADS: Argue a Position
GADS: Design an infographic

Agenda
Attendance Question

TYFA Ch. 9

NoRedInk Practice (Thesis Statement) (quiz tomorrow… no retakes) link for 1st
Link for 4th

Immigration DBQ - Background Essay reverse outline on a quick write page titled, “Immigration Background Essay Reverse Outline”

Author Questions (take a photo of questions in notebook for TYFA author Heinrichs and upload to the Canvas assignment)

Attendance Question
Watch the video and write a one sentence response. This video pairs with chapter one in Thank You For Arguing.

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NoRedInk Quiz
AP Classroom MCQ Practice (optional)
Persuasive Cover Letter
Immigration DBQ

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All secondary and undergraduate students are eligible, including international students and students who have graduated a semester early (in this case, in December 2020). Submissions may include up to six poems (maximum of ten pages single-spaced) and/or up to three works of prose (combined word limit of 3,500 words). Excerpts of longer works are acceptable.

Simultaneous submissions-as well as submissions that have been recognized by other organizations and/or featured in campus-wide publications-are accepted, provided that simultaneously submitted work is acknowledged as such in the cover letter portion of the submission. Submitters should reach out promptly by adding a note to their submission on Submittable if work under consideration is accepted elsewhere.

All submissions will be considered for publication in the Adroit Journal. Each student may send one submission per genre per year, but may send entries in both the poetry and prose categories in a given year.
Winners will be awarded $200, and their work-along with the work of runners-up-will be featured in the Adroit Journal. Runners-up and finalists will receive a copy of their judges' latest book.
To accommodate this while offering free online issues, we have set a non-refundable submission fee of $13. If you require financial assistance, please download this form and follow the instructions.
Please direct any questions to editors@theadroitjournal.org.
* * *
2021 Judges

Samantha Hunt is the author of The Dark Dark: Stories, and three novels: Mr. Splitfoot, a ghost story; The Invention of Everything Else, about the life of inventor Nikola Tesla; and The Seas. She is the recipient of a Guggenheim Fellowship, the Bard Fiction Prize, the National Book Foundation's 5 Under 35 Prize, the St. Francis College Literary Prize and a finalist for the Orange Prize and the PEN/Faulkner. The Unwritten Book, a work of nonfiction, will be published in 2022. Hunt teaches at Pratt Institute in Brooklyn, New York.

Carl Phillips is the author of 15 books of poetry, most recently Pale Colors in a Tall Field (FSG, 2020) and Wild Is the Wind (FSG, 2018), winner of a Los Angeles Times Book Prize. His selected poems, Quiver of Arrows: Selected Poems 1986-2006, was published by FSG in 2007. Other books include The Tether (FSG, 2002), winner of the Kingsley Tufts Poetry Award, Double Shadow (FSG, 2012), winner of the Los Angeles Times Book Prize, and Silverchest (FSG, 2014), a finalist for the Griffin Prize. A four-time finalist for the National Book Award, and a finalist for the National Book Critics Circle Award, Carl's other honors include the Lambda Literary Award, an Award in Literature from the American Academy of Arts and Letters, the Theodore Roethke Memorial Foundation Poetry Award, the Thom Gunn Award for Gay Male Poetry, and fellowships from the Guggenheim Foundation, the Library of Congress, and the Academy of American Poets, for which he served as Chancellor from 2006-2012.

* * *

Recent Winners

2020 -

Poetry: Tariq Thompson: "On Their Birthday, Suge Knight & My Daddy Discuss Forgiveness", selected by Jericho Brown.Runner Up: Stephanie Chang | University College London, '25.

Prose: Yasmeen Khan: "Valley of Saints", selected by Kristen Arnett.Runner Up: Coral Bello-Martinez | Franklin & Marshall College, '20.

Gerardo Azpiri | Poetry | Bennington College, '23
Julia Bohm | Nonfiction | Colorado College, '22 Leyla Çolpan | Poetry | University of Pittsburgh, '20 Elliot Connors | Nonfiction | Yale University, '20 Kaya Dierks | Fiction | The Branson School, '21 Sophia Marusic | Fiction | Princeton University, '21 Edward Moreta Jr. | Poetry | Kenyon College, '22 Sophie Paquette | Nonfiction | Columbia University, '23 Madeleine Pulman-Jones | Poetry | University of Cambridge, '21 Kit Pyne-Jaeger | Fiction | Cornell University, '20 Grace Wang | Poetry | Columbus North High School, '20 Alex Zhang | Poetry | Columbia University, '20

Semifinalists:
Lukas Bacho | Fiction | University High School, '20 | Poetry | Wellesley College, '21 | Fiction | Yale University, '21
Matilda Berke
Charlie Blodnieks | Poetry | Columbia University, '21 Julia Bohm | Poetry | Colorado College, '22 Darnell ("DeeSoul") Carson | Poetry | Stanford University, '21 Yue Chen | Poetry | Williams College, '22 Luke Coombs Misiak | Poetry | University of Illinois at Urbana-Champaign, '20 Mayah DeMartino | Fiction | Western Washington University, '21 Lane Devers | Nonfiction | Interlochen Arts Academy, '21 Mosab Hamid | Other/Hybrid Prose | Wesleyan University, '23 Charlie Lee | Fiction | Yale University, '20 Zain Murdock | Poetry | Columbia University, '22 Deon Robinson | Poetry | Susquehanna University, '20 Nora Wagner | Fiction | College Preparatory School, '23 Nancy Walecki

Grace Wynter | Fiction | Yale University, '20
Click here for the 2020 Commended Winners List.
2019 -

Poetry: Fiona Stanton: "The Devout Childhood of St. Elizabeth of Hungary", selected by Franny Choi.Runner Up: Daniel Blokh| Alabama School of Fine Arts, '19

Prose: Angelo Hernandez-Sias: "Gift", selected by Jamel Brinkley.Runner Up: Jason Lalljee | University of Chicago, '20

Via Bleidner | Fiction | University of California - Santa Barbara, '21
Lucy Catlett | Poetry | University of Virginia, '19
Amelia Chen | Fiction | Williams College, '22
Yujane Chen | Poetry | University of California - Berkeley, '20
Lexi Covalsen | Fiction | Oglethorpe University, '20
Grace Gilbert | Poetry | State University of New York - Geneseo, '19
Becca Lambright | Nonfiction | University of Pennsylvania, '19
Annalise Lozier | Poetry | Yale University, '21
Brennan Sprague | Poetry | Monroe Community College, '20
Bianca Zhou | Fiction | Emory University, '22

Semifinalists:
Anna Butcher | Fiction | Alabama School of Fine Arts, '19
Ethan Chua | Poetry | Stanford University, '20
Alex Clifford | Fiction | Charleston County School of the Arts, '20
Bailey Cohen | Poetry | New York University, '20
Vivian DeRosa | Fiction | Communications High School, '19
Taylor Fang | Poetry | Logan High School, '20
Sarah Feng | Poetry | Pinewood School, '20
Ava Goga | Poetry | Smith College, '20
Sabine Holzman | Poetry | Orange County School of the Arts (Gap Year), '19
Eileen Huang | Poetry | Yale University, '22
Angela Hui | Fiction | Harvard University, '20
Yasmeen Khan | Fiction | Grand Oaks High School, '22
Sarah Lao | Poetry | The Westminster Schools, '21
Natalie Love | Nonfiction | Phillips Exeter Academy, '19
Sahara Sidi | Nonfiction | Wesleyan University, '22
Thomas Waddill | Fiction | Davidson College, '19

2018 -

Poetry: Theis Anderson: "Three Fields to Leave You", selected by Alex Dimitrov.Runner Up: Lauren Sanderson| Colgate University, '18

Prose: Polina Solovyeva: "Bug Murder", selected by Rachel Heng.Runner Up: Sarah Feng| Pinewood School, '20

Matilda Berke | Poetry | Wellesley College, '21
Julia Bohm | Fiction | Interlochen Arts Academy, '18
Andre Bouyssounouse | Fiction | University of California - Santa Barbara, '21
Becca Lambright | Nonfiction | University of Pennsylvania, '20
Kalvin Marquiz | Poetry | Baton Rouge Magnet High School, '18
Katherine Pyne-Jaeger | Poetry | Cornell University, '20
Jeddie Sophronius | Poetry | Western Michigan University, '18
Nikki Velletri | Poetry | Mount Saint Charles Academy, '19

2017 -

Poetry:Safwan Khatib: "Empire with a Harp Inside It", selected by Safiya Sinclair.
Runner Up:Christina Im | Sunset High School, '18

Prose: Charity Young: "Sabratha", selected by Allegra Hyde.Runner Up: Aidan Forster | SC Governor's School for the Arts & Humanities, '18
Finalists:
Olivia Alger | Fiction | Interlochen Arts Academy, '17
Aidan Forster | Poetry | SC Governor's School for the Arts & Humanities, '18
Julia Gourary | Fiction | The Nightingale-Bamford School, '17
Adam Hamze | Poetry | University of Texas - Austin, '17
Angelo Hernandez-Sias | Fiction | Columbia University, '20
Alisha Yi | Poetry | Edward W. Clark High School, '18
Zuyi Zhao | Poetry | The Benjamin School, '17
Joyce Zhou | Poetry | Neuqua Valley High School, '18
Lily Zhou | Poetry | Aragon High School, '18
Semifinalists:
Poetry: Rachel Cruea: " The Yellow Marrow Doesn't Matter," selected by Corey Van Landingham.
Runner Up: Theophilus Kwek: Three Poems

Prose: Brynne Rebele-Henry: " from The Glass House," selected by Kevin Moffett.Runner Up: Walker Caplan: "Elephants"
Honorable Mentions:
Christina Im | Poetry | Sunset High School, '18
Jessica Li | Fiction | Livingston High School, '16
Polina Solovyeva | Fiction | The Hotchkiss School, '16
Scott Stevens | Poetry | Menlo School, '16
Sophie van Waardenberg | Fiction | University of Auckland, '18
Christian Wessels | Poetry | State University of New York at Brockport, '16
Editors' List:
2015 -

Poetry: Ian Burnette: " dear radio," selected by Tarfia Faizullah.
Runner Up: Brynne Rebele-Henry: " Purple "

Prose: Lydia Weintraub: " Feelies," selected by Alexander Maksik.Runner Up: John Stegner: " Cleansing "
Honorable Mentions:
Mariel Alonzo | Poetry | University of the Philippines - Diliman, '16
Sara Henry | Poetry | University of Chicago, '15
Christina Qiu | Prose | Harvard University, '19
Maia Rosenfeld | Prose | Brown University, '19
Emily Zhang | Poetry | Richard Montgomery High School, '16

Editors' List:

Rachael Allen | Prose | Bowdoin College, '18
Mehul Bhagat | Poetry | Emory University, '18
Nathan Blansett | Poetry | Emory University, '19
Catherine Brams | Poetry | Middlebury College, '18
Walker Caplan | Prose | Lakeside School, '16
Lev Craig | Poetry | Harvard University, '16
Cu Fleshman | Prose | University of California - Irvine, '18
Mitchell Glazier | Poetry | West Virginia University, '17
Ava Goga | Poetry | Robert McQueen High School, '16
Safwan Khatib | Poetry | Columbia University, '19
Erin Koehler | Poetry | State University of New York - Geneseo, '15
Jessica Li | Prose | Livingston High School, '16
Annalise Lozier | Poetry | Interlochen Arts Academy, '17
Blaike Marshall | Poetry | College of Charleston, '17
Grant McClure | Poetry | Wofford College, '19
Jared Newman | Prose | Yale University, '19
Lucy Silbaugh | Prose | Abington Friends School, '16
Jeremy Windham | Poetry | Stephen F. Austin State University, '15

2014 -

Poetry: Nathan Durham: "Chevrolet," selected by Richie Hofmann.
Runner Up:Ian Burnette: "Harvests"
Honorable Mention:Emily Knott: "Elegy Broadcast from the Top of a Radio Tower"
Honorable Mention:Oriana Tang: "Chinese New Year"
Honorable Mention:Maddie Kim: "Mothers in July"

Prose: Isabel DeBre: "Digging," selected by Wendy Rawlings.Runner Up: Madeleine Cravens: "Girls and Boys: Growing Up in Four Parts"
Honorable Mention:Dalton Fischer-Linnett: "When Dutch Klaas was Fearless"
Honorable Mention:Frances Saux: "Difficult"
Honorable Mention:Catherine Mosier-Mills: "The Practical Applications of Calculus"

Editors' List:

Camara Brown | Poetry | University of Pennsylvania, '17
Alicia Lai | Poetry | Princeton University, '18
Cheryl Julia Lee | Poetry | Nanyang Technological University, '14
Emma Lister | Poetry | Colyton Grammar School, '15
Kyle Michelson | Poetry | Stanford University, '15
Torn Porter | Prose | Stanford University, '16
Christina Qiu | Prose | Livingston High School, '15
AM Ringwalt | Prose | Emerson College, '1 7
Lucy Wainger | Poetry | Stuyvesant High School, '16
Megan Walters | Prose | Interlochen Arts Academy, '15
Jay G. Ying | Poetry | University of Edinburgh '16

2013 -

Editors' List:

2012 -

Editors' List:

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All secondary and undergraduate students are eligible, including international students and students who have graduated a semester early (in this case, in December 2020). Submissions may include up to six poems (maximum of ten pages single-spaced) and/or up to three works of prose (combined word limit of 3,500 words).

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National Volunteer Month
Celebrate Diversity Month

Distracted Driving Awareness Month

Financial Literacy Month

Foot Health Awareness Month

Irritable Bowel Syndrome Awareness Month

Lawn and Garden Month

Mathematics Awareness Month

National Arab American Heritage Month

National Autism Awareness Month

You will need: Chromebook, notebook, writing utensil

Essential Questions

In what ways are images texts?

How do graphics and text features add to or detract from informational text?

Learning Objectives

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

Independent Reading/Ch. 13 TYFA

Attendance Question

Q1 Timed Writing Revision

Daily Grammar Practice

Panel Groups
Pygmalion Anticipation Guide
Conferences

Attendance Question: Which terms from the comedy glossary are new for you?

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Agenda
TYFA Ch. 12
Progressive Essay Recap
DBQ Outline
Make up
Conferences

Attendance Question
Which humorous rhetorical choice from the comedy toolbox would be effective in an academic essay?  Explain.

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You will need: Chromebook, notebook, writing utensil

Essential Questions

In what ways are images texts?

How do graphics and text features add to or detract from informational text?

Learning Objectives

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

Independent Reading/Ch. 14 TYFA

Attendance Question
Rhetorical Device Bingo Sheet - Rhetorical Choices

My Fair Lady

Attendance Question
Which  of the April monthly observances mean the most to you?

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APA Bibliography Course Hero. (2016, September 8). Pygmalion Study Guide. In Course Hero. Retrieved March 25, 2023, from https://www.coursehero.com/lit/Pygmalion/ In text (Course Hero, 2016) Chicago Bibliography Course Hero. "Pygmalion Study Guide." September 8, 2016. Accessed March 25, 2023. https://www.coursehero.com/lit/Pygmalion/. Footnote Course Hero, "Pygmalion Study Guide," September 8, 2016, accessed March 25, 2023, https://www.coursehero.com/lit/Pygmalion/.

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Agenda
Independent Reading
Oscar Speech Brackets
Portfolio
Panel Research
Conferences

Attendance Question

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Independent Reading

Attendance Question

Independent Reading
Oscar Speech Brackets: Matthew McConaughey vs. Brendan Fraser
A Class Divided
Goal Spreadsheet
Portfolio: Add panel bio to slides
Panel Research
Personal Statement

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FRONTLINE | PBS | Official Site | Documentary Series

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A Class Divided | FRONTLINE | PBS | Official Site | Documentary Series

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The day after Martin Luther King, Jr. was killed, third-grade teacher Jane Elliott gave her class an unforgettable lesson in discrimination.

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New York Times Opinion columnists, editorials and guest essays. Analysis from David Brooks, Maureen Dowd, Charles Blow, Paul Krugman and others.

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You will need: Chromebook, notebook, writing utensil

Essential Questions

In what ways are images texts?

How do graphics and text features add to or detract from informational text?

Learning Objectives

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

Independent Reading/TYFA

Attendance Question

Panel Discussion Topic Browser (Google Form)
1st Block Jamboard

Philosophical Chairs - American Dirt  Commentary

Independent Work
Rhetoric in writing and speaking handout
Education Web Quest
Textbook: Read pages 77-86 (quiz to come)
AP Classroom Review

Attendance Question
What is your favorite fragrance?

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Mulan | I'll Make A Man Out Of You | Disney Sing-Along

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NoRedInk Diagnostic
TYFA Ch. 6-8
GADS "Argue a Position"
CommonLit "Pygmalion"
Photo of the Week
Graph of the Week
GADS: "Design an Infographic in Google Drawings"
Conferences

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Jackson pens solo dissent as Supreme Court vacates abortion ruling

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Jackson pens solo dissent as Supreme Court vacates abortion ruling

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The Supreme Court on Monday struck down a federal court ruling upholding the right for a minor to go to court to get permission to undergo an abortion, with Justice Ketanji Brown Jackson penning a …

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“How to Say Nothing in 500 Words”: Classic Writing Advice for Today’s Writers

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“How to Say Nothing in 500 Words”: Classic Writing Advice for Today’s Writers

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Writing tips for every era and every writer

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How to Quote on SAT Essay [2021] SAT essay punctuation tips

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How to Quote on SAT Essay [2021] SAT essay punctuation tips

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Douglass Summative
TYFA
Online Forum
Film Text Prep
Film Analysis
Q3 To Do Annotations
Analytics Statements Group Work
Argument Game board
Article of the Week
NoRedInk Embedding Quotations Practice (Optional)
NoRedInk Embedding Quotations Quiz
AP Classroom Unit 5 Progress Check
Conferences

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How to Quote on SAT Essay [2021] SAT essay punctuation tips

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Learning Objectives
REO 5.A Describe the line of reasoning and explain whether it supports an argument’s overarching thesis.
REO 6.A  Develop a line of reasoning and commentary that explains it throughout an argument.
REO 5.B  Explain how the organization of a text creates unity and coherence and reflects a line of reasoning.
REO 6.B  Use transitional elements to guide the reader through the line of reasoning of an argument.
STL 7.A  Explain how word choice, comparisons, and syntax contribute to the specific tone or style of a text.
STL 8.A  Strategically use words, comparisons, and syntax to convey a specific tone or style in an argument.

Agenda
TYFA CH. 5
TYFA Quick Write
Take notes on video "Most Powerful Persuasion Tool"
Analytical Statements
Douglass vs Harriet Online Forum (Due Today)

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You will need: Chromebook, notebook, writing utensil

Essential Questions

In what ways are images texts?

How do graphics and text features add to or detract from informational text?

Learning Objectives

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

Independent Reading/TYFA

Attendance Question

Rhetorical Device Bingo Sheet

Cesar Chavez: An American Hero

Attendance Question
Fill in your bingo sheet with rhetorical choices. Write the one you feel good about appearing in the movie.

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Agenda
TYFA Ch. 1-4
Film Analysis
Argument Game Board (See Tuesday agenda for link)

Attendance Question
Read this film review and then write your own.
Here is another review to use as a mentor text.
Skim and scan the two reviews. What can you deduce are the main components of a review?

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The breathtaking courage of Harriet Tubman - Janell Hobson

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Signal and Lead-in Phrases // Purdue Writing Lab

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This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

In most citation styles, including APA, MLA, and Chicago style, you can add variety to your research writing by not always using the same sentence structure to introduce quotations, paraphrases, or pieces of information borrowed from different sources. It is relatively simple to use a wide variety of different expressions to introduce both direct and indirect citations. These expressions, which usually occur in the parts of sentences that come just before quotes and paraphrases, are called signal phrases (or, in some cases, lead-in phrases).

Often, signal phrases can be distinguished by the presence of a verb like "indicate" or "argue" that references what the author is doing in the original source. However, a few select signal phrases contain no verbs (e.g., "According to [author],").

In the examples below, the author being cited is Jane Doe. The examples in the first section are adapted to APA, which recommends past-tense verbs in signal phrases. For MLA (as well as Chicago style), the same verbs can also be used in the present tense instead of the past tense, as the second section below shows.

APA

The work of Doe indicated that . . .

Doe acknowledged that . . .

Doe has drawn attention to the fact that . . .

MLA

The work of Doe shows that . . .

Be sure each signal phrase verb matches your intention for the in-text citation. Read the whole sentence after you finish to ensure that the signal phrase grammatically coheres with any content that follows the quote or paraphrase.

Expressing Disagreement with a Signal Phrase

Of course, some quotes and paraphrases express disagreement or negative opinions. In these cases, be sure that any verbs in the signal phrase match the nature of the quote or paraphrase. See the examples below.

APA

Doe rejected the claim that nature is more important than nurture.

Doe denied the claim that nature is more important than nurture.

MLA

Doe refutes the claim that nature is more important than nurture.

Doe disputes the claim that nature is more important than nurture.

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This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice. Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission.

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Conference Prep

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Step 1 Discuss Goals and Tasks

You will need:

Portfolio

Course Expectations Letter

Goal Spreadsheet

My Best Work Assignment

Other challenges, questions or comments

Step 2  Identifying Challenges

Here is what I was l trying to get out of the assignment Here is what I learned

Here is what I thought was successful

Here is what was less successful

Here is why

Here is what I might do differently

Here is what I would like help with

I didn’t give myself enough time, so here is what I plan to do

I started too late, but now I will

I didn’t understand this because

I couldn’t really get into this subject because

I need some advice regarding motivation. What do I do when

Step 3  Talk through your best work

What assignment are you most proud of

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This Photo Series Will Make You See Race in a New Way

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Agenda

Argument Game Board

Stations
Makeup Work
NoRedInk Quiz (Makeups, too)

Discussion

Essay Structure Jigsaw

Structure Notes

TYFA Ch. 1-4

MCQ Practice

Conferences

Attendance Question
What is the overall message of the attached photo?

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A new photo series is making people rethink the way the world deals with race in everyday life.

The images, which first appeared in " O, The Oprah Magazine," reverse racial expectations in simple settings, such as showing a young white girl picking out a toy, faced with row upon row of black dolls. The scenarios are meant to allude to the complexities that, women experience every day in dealing with race.

The images are not meant to point fingers, but instead are meant to encourage others to challenge their own mindset and racial expectations, and then to talk about it, the series' photographer, Chris Buck, told Global Citizen.

The idea stemmed from a conversation with the creative team at "O" magazine and Oprah Winfrey herself, at Winfrey's home, according to Lucy Kaylin, the publication's editor-in-chief.

"The race package grew out of a brainstorming session we had with Oprah at her home. The topic was on all of our minds, and she encouraged us strongly to pursue it," Kaylin told Global Citizen via email.

"For the photos, we looked for scenarios that on some level were familiar and ordinary and then turned racial assumptions on their heads -getting readers to look with fresh eyes at the ways race factors into our everyday lives," she said.

Buck was commissioned by the magazine to capture the "little details" that really make readers of the magazine stop and think about race, diversity, and representation.

"My job was to help bring it to life and to do, obviously, the technical aspects, but also help get the little details to get the message across and to make it feel realistic in the way that it's meant to," Buck told Global Citizen.
Read More: Muslim Women Created a Human Chain Outside Westminster and It's Beautiful
"I'm really known most for my odd portraits of public figures and such, but I've also done plenty of pictures that are more conceptual for magazines and advertising. Doing pictures that are idea driven and highly conceptual is not a big stretch for me - it's not unusual," Buck said. "So in that sense it fits within part of what I do."

But while Buck's photos have pushed conceptual limits in the past, there is something new about this series for him.

"The aspect of doing a social or political aspect is different ... I've not traditionally done issue driven portraits. That's definitely different for me," he said.

"To me what's interesting in the pictures is that they're doing exactly what they're supposed to be doing in the sense that they're meant to raise questions," he said.

Some people feel like there are answers in the photo series, and "that's fine," but ultimately, the general aim to get people talking and strike up conversations on the subject, according to Buck.

"The basic idea of the pictures is to upend racial expectations in a context in which you might have people of one race in a social situation," Buck said.

"Our hope was that the photos and essays in the package would raise readers' consciousness," Kaylin said. "Ideally it stays raised: Don't accept systemic frictions and bias as just being part of life. Be aware, and be part of the solution."

And beginning the conversation on race is the first step toward eliminating stereotypes that can hold people back from equal opportunities and a future with reduced inequalities.
Read More: Nicki Minaj Is Starting a Charity to Pay Off Student Debt

Fortunately, there are media outlets, like Oprah's magazine, dedicated to furthering discussion on race.

In fact, "O, the Oprah Magazine" just released another powerful photo series, that features eight women who share the first moment they became aware of their race.

This time, however, the stories are stripped down, less fantastical, yet the photos push forward the same message: we all need to talk about race.

And as for a follow up to this series on race, that's still to be determined. But Buck had some thoughts on making the series better.

He said he was moved by the responses from women who saw the series but would like to make the images more nuanced, more ambiguous to include everyone in the conversation.

"People get what we're getting at but I wonder if there would have been a better response across the racial spectrum if we had done it in a more nuanced way. That's why I appreciate the feedback of people who don't feel welcome to the table of discussion," he said. "I want all people to feel welcome, and I like the idea that this is an open discussion and everyone feels like they can air their grievances."

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This Photo Series Will Make You See Race in a New Way

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A new photo series is making people rethink the way the world deals with race in everyday life. The images, which first appeared in " O, The Oprah Magazine," reverse racial expectations in simple settings, such as showing a young white girl picking out a toy, faced with row upon row of black dolls.

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You will need: DGP, writing utensil, notebook

Essential Questions
What patterns or trends can be identified among the arguments about this issue?
What strategies will help me comprehend a text?
How does the context of a problem or issue affect how it is interpreted or presented?
How does insight strengthen an argument?
Why is reflection significant to growth?
What is the argument’s main idea and what reasoning does the author use to develop it?
What line of reasoning and evidence would best support my argument?
To what extent is my reasoning logical?
How can I explain contradictions within or between arguments?
How do I connect and analyze the evidence in order to develop an argument and support a conclusion?
What is the best way to acknowledge and attribute the work of others that was used to support my argument?

Agenda
Douglass Ch. 11
Lit Circle Discussions (Presentations 4th)
Q2 Rubric Analysis and Revision Discussion

No Attendance Question

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Discussion

Fragments and comma splices

Introducing and attributing quotes

Analytical Statements

Essay Structure Jigsaw

Self Edit Read Aloud

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Graph of the Week

NoRedInk Practice ( Optional)

NoRedInk Grammar Quiz

Douglass Summative

Article of the Week: GADS “Annotate a Text in Google Docs

Student Led Parent Conferences

AP Classroom Progress Checks

Textbook Exercises

Film Text Prep

Conferences: Line of Reasoning

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Summer Writing Mentorship Program (Due 3/12)

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Summer Writing Mentorship Program (Due 3/12)

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Class of 2023

Director: John Allen Taylor

Mentors: Jenessa Abrams, Ellen Adams, Sara Afshar, Dana Alsamsam, Scott Edward Anderson, Katie Berta, Mark Kyungsoo Bias, Mario Chard, Rob Colgate, Claudia Cortese, Caroline Crew, Kaya Dierks, Asa Drake, Alyson Mosquera Dutemple, Ryan Dzelzkalns, Brad Felver, Gabriela Denise Frank, Michael Frazier, Bareerah Y. Ghani, Melissa Goodrich, Andrew Gretes, Astha Gupta, Jose Hernandez Diaz, Brionne Janae, Ricardo Frasso Jaramillo, Megan Kim, Ibe Liebenberg, Maja Lukic, Rachel Inez Marshall, Eduardo Martinez-Leyva, Coleen Mayo, Melissa Michal, Ernest Ògúnyemí, Marcus Ong Kah Ho, Sebastián H. Páramo, Emilia Phillips, Jacques J. Rancourt, Devi Satry, Steffi Sin, Jeddie Sophronius, Tola Sylvan, Rebecca Thomas, Gale Thompson, Jorrell Watkins, Kate Wisel, and Winniebell Xinyu Zong.

Mentees: Karma Abboud, Audric Adonteng, Siani-Simone Ammons, Soa Andriamananjara, Jude Armstrong, Sofia Bacolas, Jessica Bakar, Cathleen Balid, Bea Becker, Ronan Blackwell, Saturn Browne, Cameron Calonzo, Ava Chen, David Chen, Brian Chica-Herrera, Breanna Crossman, Mia Grace Davis, Zoe Dorado, William Du, Mackenzie Duan, Julia Eng, Elena Ferrari, Rua Figueroa, Robert Gao, Elana Gardner, Noah Gilligan, Brian Guan, Juliette Hagobian, Laila Hartman-Sigall, Jocelyn Hayes, Tien Hoang, Elizabeth Hsu, Shnayjaah Jeanty, Smile Ximai Jiang, Jialing Jiao, Cindy Jin, Sofia Kamal, Natalie Kim, Cassius Klingenfuss, Emilia Kniestedt, Victoria Kurakata, Joelle Lamaie, Jane Laurence, Paris LeClaire, Jessie Leitzel, Sandra Lin, Naomi Ling, Gary Liu, Joanna Liu, Jamie Lu, Sam Luo, Adele Mamedova, Ramona McNish, Emilie Mendoza, Merrik Moriarty, Kate North, Adesiyan Oluwapelumi, Anna Parker, Emily Pedroza, Tara Prakash, Heather Qin, Sanat Ranadive, Aidan Raudenbush, Bella Rotker, Eunji Ryu, Christopher Schwarting, Gia Shin, Xime Silva, Celina Simone, Carina Solis, Emmi Sugino, Nora Sun, Lakshmi Sunder, Elise Tao, Starlie Tugade, Dili Ugochukwu, Caitlin Villacrusis, Ariana Wang, Evan Wang, Chloe Wong, Cara Wreen, Isabella Wu, Stella Wu, Jerry Xiao, Jacqueline Xiong, Chloe Xue, Hans Yang, Daniel Yim, Avery Yoder-Wells, April Yu, Avery Yue, Sharon Zhang, and Sophia Zhang.

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Student Writer Application Process

The application for this year's mentorship program consists of four parts: three Application Essays, a Writing Sample, an Optional Academic Transcript, and an Optional Additional Information Section.

Please click here to view the Application Essays template for application to the 2023 Adroit Journal Summer Mentorship Program . Please note that you must respond to all three questions for your application to be considered. We encourage you to double space your responses and include a page break between them, making sure to also include the full question to which you are responding above each answer. (P.S. We find that conventional fonts like Times New Roman, Arial, or Garamond often work best!)

Students who wish to apply to multiple genres may do so by utilizing both the First Choice and Second Choice options in the mentorship application form linked below. Important: If you wish to apply to more than one genre, , one for each genre, with your second-choice genre following the first. please include two complete writing samples in one file

Please find our summer mentorship FAQ in full . Please direct additional questions to adroitmentorship@gmail.com.

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Class of 2022

Director: John Allen Taylor

Program Assistants: Emory Brinson, Kaya Dierks, Yasmeen Khan, Sarah Fathima Mohammed, Jieyan Wang, and Rachael Lin Wheeler.

Mentors: Dana Alsamsam, Scott Edward Anderson, Darius Atefat-Peckham, Katie Berta, Mark Kyungsoo Bias, Stephanie Chang, Caroline Crew, Jose Hernandez Diaz, Asa Drake, Caroline Fairey, Ananya Garg, Melissa Goodrich, Amanda Hawkins, Kinsale Hueston, Brionne Janae, Erin Jones, W. Todd Kaneko, Jasmine Khaliq, Ben Loory, Angie Sijun Lou, Maja Lukic, Lindsay Lynch, Samantha Mann, Rachel Inez Marshall, Sara Martin, John Paul Martinez, Eduardo Martinez-Leyva, Aram Mrjoian, Kechi Nomu, Ernest Ògúnyẹmí, Marcus Ong Kah Ho, Ruben Quesada, Jessica Nirvana Ram, Leslie Sainz, Raena Shirali, Steffi Sin, Jeddie Sophronius, Melanie Tafejian, Jonny Teklit, Ari Tison, Nur Turkmani, Jorrell Watkins, and Kate Wisel.

Mentees: Priya Allen, Sarkis Antonyan, Abeer Arif, Kalli Azad, Shaliz Bazldjoo, Sophie Bernik, Gia Bharadwaj, Dia Bhojwani, Rho Bloom-Wang, Helena Brittain, Wyatt Browne, Ana Carpenter, Believe Chakenya, Abigail Chang, Kate Choi, Madeline Chun, Lucia Colwell, Kendall Cooper, Kassandra Delgado, Lizzy Duke-Moe, Alana Esposito, Róisín Flanagan, Stephanie Fuentes, Melanie García, Avery Gendler, Gael Granados, Sabrina Guo, Natalie Hampton, Caden Heiser-Cerrato, Charlotte Hensley, Ivi Hua, Arihant Jain, Kate-Yeonjae Jeong, Fiona Jin, Annie Johnson, Kaysyn Jones, Andrew Kang, Harsimran Kaur, Vidhatrie Keetha, Elizabeth Keller, Megha Khemka, Linda Kong, Carolyn Lau, Arim Lee, Yujia Li, Daniel Liu, Grace Marie Liu, Bryana Lorenzo, Luiza Louback Fontes, Fiona Lu, Audrey Matzke, Aamina Mughal, Olga Musiał, Jenna Nesky, Maabena Nti, Gillian Perry, Emily Pickering, Meghna (Chili) Pramoda, Katheryn Prather, Michelle Qiao, Fiona Reenan, Kaydance Rice, Trini Rogando, Sasha Rotko, Tyler Sookralli, Dilara Sümbül, Ocean Teu, Katie Tian, Christine Tsu, Ashley Wang, Natalie Wei, Catherine Xie, Madison Xu, Ziyi Yan, Maggie Yang, Mimi Yang, Angelina Yeung, Corina Yi, Sheerea Yu, Andrew Yuan, Tina Zeng, Emma (Wanqi) Zhang, Lauren Zhang, Ray Zhang, Sarah Zhang, and Vivian Zhu.

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Previous Cohorts

Class of 2021

Director: John Allen Taylor

Admission Screeners: Lukas Bacho, Emory Brinson, Adelina Rose Gowans, Yasmeen Khan, Ollie Kim Dupuy, Luz Manuñga, Jackson Neal, Ernest Ogunyemi, Katherine Vandermel, and Jieyan Wang.
Click here to learn more about our 2021 mentors.
Mentees: Dua Aasim, Oyinloluwa Aderibigbe, Aminah Aliu, Sophie App-Singer, Megan Balents, Ashley Bao, Dana Blatte, Jewel Cao, Sara Carmichael, Ashley Choi, Melody Choi, Jonathan Chu, Noa Covo, R.C. Davis, Blair Enright, Neva Ensminger, Ai Li Feng, Jordyn Flaherty, Jacob Franklin, Cynthia Gan, Zoe Goldstein, Dhwanee Goyal, Kevin Gu, Camryn Hambrick, Samantha Hsiung, Jenny Hu, Corine Huang, Yong-Yu Huang, Myra Kamal, Tyler Kellogg, Elane Kim, Jessica Kim, Tyler King, Ariana Lee, Stella Lei, Janet (Jay) Li, Lauren Lisk, Amy Liu, Danju Zoe Liu, Samantha Liu, Sophia Liu, Zizheng Liu, Fabiana Loria, Tinashe Manguwa, Bryan McNeal, Zara Meadows, Divya Mehrish, Christina Miles, Ida Mobini, Sylvia Nica, Tess O'Brien, Aiko Offner, Chinonye Omeirondi, Katherine Oung, Katriona Page, Zoe Reay-Ellers, Deja Robinson, Isabella Santoni, Alex Sayette, Poem Schway, Remi Seamon, Ella Sohn, Yejin Suh, Esther Sun, Riley Tao, Alexa Theofanidis, Elisa Troncoso-Cabello, Julie von Bahr, Sunny Vuong, Yash Wadwekar, Robin Wang, Rachael Lin Wheeler, Allison Wong, Claire Yang, Sarah Yang, Sophie Young, Iris Yu, Aaron Zhang, Aileen Zhao, Ran Zhao, William Zhou, and Serrina Zou.

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Class of 2020

Co-Directors: Peter LaBerge & John Allen Taylor.

Student Assistants: Taylor Fang & Krystal Yang.
Click here to learn more about our 2020 mentors.
Mentees: Margaret Balich, Brynn Beatty, Rachel Brooks, Christian Butterfield, Alice Cai, Lucy Cai, Alison Cao, Annie Cao, Spencer Chang, Adya Chatterjee, Jennifer Chiu, Annie Davison, Lane Devers, Kaya Dierks, Madelyn Dietz, Julia Do, Amour Ellis, Aanika Eragam, Sandhya Ganesan, Manasi Garg, Aran Glynn, Liv Goldreich, Adelina Rose Gowans, Katie Grierson, Dedeepya Guthikonda, May Hathaway, Jonah Henry, Charlotte Hughes, Annika Inampudi, Shriranjani Iyengar, Lyra Jannetta, Cassandra Kesig, Zain Ul Abidin Khan Alizai, Dohyun Kim, Sophie Kim, Irma Kiss-Barath, Divyasri Krishnan, Anne Kwok, Bianca Denise Layog, Jimin Alice Lee, Youngseo Lee, William Leggat, Corinne Leong, Stella Li, Sophie Main, Luz Mañunga, Aria Miao, Emma Miao, Sofia Miller, Sarah Fathima Mohammed, Marjan Naderi, Charlotte Newman, Semilore Ola, Edith Patterson, Luisa Peñaflor, Lana Perice, Tre Poole, Em Power, Isabel Prioleau, Gayatri Rajan, Sophia Ramirez, Laya Reddy, Lauren Rooney, Jenny Shi, Elizabeth Shorkey, Alejandro Sigui, Olivia Sisson, Vivien Song, Sarah Street, Cobin Szymanski, Elyse Thomas, Jonathan Truong, Sakshi Umrotkar, Katherine Vandermel, Shreya Vikram, Nora Wagner, Amy Wang, Kexin Wang, Layla Wheelon, J. Xiang, Lily Yanagimoto, Amy Zhou, Frank Zhou, and Sophie Zhu.

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Class of 2019

Co-Directors: Carly Joy Miller & John Allen Taylor.

Student Assistants: Polina Solovyeva & Emily Tian.

Mentees: Claire Ahn, Aidan Aragon, Lukas Bacho, Kelsie Bennett, Maya Berardi, Elliot Bradley, Sage Braziel, Emory Brinson, Aluna Brogdon, Adina Cazacu-De Luca, Ana Chen, Daniel Chen, Sarah Chen, Isabella Cho, Audrey Chong, Annika Clark, Alex Clifford, Leo Cox, Jude Ehmka, Kendra Gilbert, Hannah Han, Catherine Ji, Lara Katz, Yasmeen Khan, Felix Killingsworth, Sarah Lao, Sylvan Lebrun, Jeffrey Liao, Emily Liu, Cynthia Lu, Katie Lu, Kaja Lucas, Tasneem Maher, Duy Quang Mai, Frances McKittrick, Uma Menon, Ernest O. Ogunyemi, Fiyinfoluwa Oladipo, Ottavia Paluch, Annamiciah Pendarvis, Meena Rakasi, Abby Richards, Mya Rigoli, Grace Song, Tuesday Sweeney, Yvanna Vien Tica, Patrick Tong, Ari Vishin, Jieyan Wang, Lydia Wei, Hana Widerman, Cindy Xin, Krystal Yang, Ann Zhang, Sophia Zhao, and Cynthia Zhou.

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Class of 2018

Co-Directors: Peter LaBerge & Carly Joy Miller.

Mentees: Darius Atefat-Peckham, Emma Banks, Tom Bosworth, Leah Boyd, Eliza Browning, Bailey Bujnosek, Adriana Carter, Stephanie Chang, Amelia Chen, Emily Chen, Sandra Chen, Haley Chung, Ana Maria Cornejo Silva, Kateri David, Olivia Dupuy, Quinn Filler, Dominy Gallo, Jocelyn Gao, Victoria Gong, Maria Gray, Amal Haddad, Evan Hochstein, Sabine Holzman, Olivia Hu, Bessie Huang, Kaylee Jeong, Jocelyn Leuenberger, Qingying (Susan) Li, Juliet Lubwama, Megan Lunny, Grace Lytle, Solomon Mussing, Jackson Neal, Linh Nguyen, Elise Ofilada, Harper Oreck, Sophie Paquette, Alexandria Quigley, Maya Salameh, Andrea Salvador, Maia Siegel, Cindy Song, Derek Song, Greta Timmins, Nikki Velletri, Priyanka Voruganti, Anna Wang, Grace Wang, Judy Xie, Jessica Xu, and Gabrielle Zhu.

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Class of 2017

Director: Carly Joy Miller.

Mentees: Isabella Alvarez, Fareena Arefeen, Tess Becket, Matilda Berke, Rudrakshi Bhattacharjee, Stella Binion, Margaret Blackburn, Bronwen Brenner, Anna Butcher, Yiwei Chai, Katie Chen, Steven Chung, Grace Coberly, Lyrik Courtney, Uma Dwivedi, Annie Fan, Taylor Fang, Sarah Feng, Lily Goldberg, Justin Han, Yuri Han, Vincent Hao, Jacqueline He, Mai Hoang, Caldwell Gregg Holden, Lilly Hunt, Kara Jackson, Heather Jensen, Isabella Jiang, Nadia Jo, Masfi Khan, Audrey Kim, Heather Yenna Kim, Katherine Kim, Ananya Kumar-Banerjee, Ezra Lebovitz, Eunice Lee, Shereen Lee, Julia Lee-Papastavros, Morgan Levine, Enshia Li, Isabella Li, Serena Lin, Margaret Lu, Vivian Lu, Erin O'Malley, Rebecca Oet, Andrew Rickert, Tessa Rudolph, Emily Schultz, Vidhima Shetty, Ashira Shirali, Tarik Shwaish, Sahara Sidi, Griffin Somaratne, Rachel Sucher, Emily Tian, Stephanie Tom, Amelia Van Donsel, Valerie Wu, AnQi Yu, Zuyi Zhao, Nicole Zhen, Adam Zhou, and Joyce Zhou.

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Class of 2016

Co-Directors: Peter LaBerge & Douglas Ray.

Mentorship Correspondent: Frani O'Toole.

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Class of 2015

Director: Peter LaBerge.

Mentees: Nathan Blansett, Gabriel Braunstein, Walker Caplan, Carissa Chen, Catherine Cheng, Jordan Cutler-Tietjen, Maya Eashwaran, Sophie Evans, Griffin Blue Fay, Maeve Flaherty, Talia Flores, Aidan Forster, Andrea Giugni, Ava Goga, Alex Greenberg, Kathryn Hargett, Anastasia Hutnick, Christina Im, Safwan Khatib, Anna Kramer, Michal Leibowitz, Jane Levy, Brianna McNish, Abigail Minard, Meghana Mysore, Taylor Petty, Ben Read, Brynne Rebele-Henry, Elena Sénéchal-Becker, Shannon Sommers, Jane Song, Caroline Tsai, Jamie Uy, Smriti Verma, Lucy Wainger, Eli Winter, Trudy Wrona, Carrie Zhang, Emily Zhang, Jessica Zhang, Audrey Zhao, and Emily Zhao.

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Class of 2014

Director: Peter LaBerge.

Mentors: Elizabeth Ballou, Alexa Derman, Katherine Frain, Kaitlin Jennrich, Caleb Kaiser, Peter LaBerge, and Talin Tahajian.

Mentees: Rebecca Alifimoff, Ethan Aronson, Adelina Ceretto, Lindsay Emi, Robert Esposito, Charlotte Goddu, Eden Arielle Gordon, Erica Guo, Caroline Harris, Maddie Kim, Jessica Li, Erica Lin, Emma Lister, Helene Lovett, Emily Mack, Alyssa Mulé, Meredith Prochaska, Christina Qiu, Lucy Silbaugh, Jasmine Simms, Audrey Spensley, Lily Spiro, Oriana Tang, Sarah Tran, and Daniel Warner.

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Class of 2013

Founder & Director: Peter LaBerge.

Mentors: Sarah Fletcher, Caleb Kaiser, Peter LaBerge, and Emma Townley-Smith.

Mentees: Julia Allen, Samantha Ardoin, Yasmin Belkhyr, Samantha Berkefeld, Rachel Bunting, Emily Burns, Brittany Clark, Sarah Craig, Flora de Falbe, Lauren Finkle, Katherine Frain, Miles Hewitt, Lily Kerfoot, Alicia Lai, Owen Lucas, Jane Loechler, Molly McGinnis, Reiss McGuinness, Bridget Menasche, Jacob Oet, Amanda Prager, Christina Qiu, Abigail Schott-Rosenfield, Amanda Silberling, Sarah Stanton, Talin Tahajian, Lucy Wainger, and Shelley Whitaker.

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Summer Mentorship Program - Details & Guidelines - The Adroit Journal

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Now in its seventh year, The Adroit Journal Summer Mentorship Program is an entirely free and online summer writing program for high school students. The program pairs experienced writers with high school writers interested in learning more about the writing processes of drafting, redrafting and editing.

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Theme

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The only way you will ever need to teach theme

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1818 to 1835 | Frederick Douglass Timeline | Articles and Essays | Frederick Douglass Papers at the Library of Congress | Digital Collections | Library of Congress

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Agenda
TYFA Ch. 4-5
Douglass Summative
Analytical Statements
Conferences

Independent Work
Q1, Q2, and Q3 Essay Revisions
Article of the Week
Film Analysis
Unit 5 Progress Check (AP Classroom)
Argument Game Board (See Tuesday’s agenda)

Attendance Question
What is one new idea or concept you have gleamed from Jay Heinrich’s Thank You For Arguing?

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Reads newspaper article on John Quincy Adams's antislavery petitions in Congress; learns of the abolitionist movement.

Buys copy of a compilation of speeches, Caleb Bingham's The Columbian Orator, with which he hones his reading and speaking skills.

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1818 to 1835 | Frederick Douglass Timeline | Articles and Essays | Frederick Douglass Papers at the Library of Congress | Digital Collections | Library of Congress

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Timeline 1818 Born Frederick Augustus Washington Bailey, a slave, in Tuckahoe, Talbot County, Maryland. Mother is a slave, Harriet Bailey, and father is a white man, rumored to be his master, Aaron Anthony. He had three older siblings, Perry, Sarah, and Eliza.

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The year 2020 will be remembered as a perfect storm of traumas. A global pandemic crashed on every shore. Politics rattled America. And a long-overdue racial reckoning began.

In the midst of this tumult, one name has emerged again and again-a man, it seems, destined to inform both his time and ours. Frederick Douglass once faced a reckoning of his own, and his words and deeds still teach us today.

Before becoming one of America's great abolitionists, writers, orators, and icons, Frederick Douglass spent the first 20 years of his life in bondage. Born into slavery in Talbot County, Maryland, in February 1818, he was enslaved by multiple people during his first two decades. But none affected him like Captain Thomas Auld.

The son of an American Army commander during the War of 1812, Auld became a prominent local shipbuilder and pious Christian. He inherited enslaved people through his first wife, Lucretia, and quickly adapted to the ways of slavery, becoming a cruel master.

In one of three autobiographies Douglass wrote, he recalls his time on the Auld plantation as "the scene of some of my saddest experiences of slave life." He wrote that Auld "subjected me to his will, made property of my body and soul, reduced me to a chattel, hired me out to a noted slave breaker to be worked like a beast and flogged into submission...."

In 1838, after being passed around the Auld family and ending up back with the cruel captain, Douglass escaped the bonds of slavery disguised as a sailor and armed with false papers and a train ticket to the free North. (Explore the Underground Railroad's 'great central depot' in New York.)

For the next 40-plus years, Auld remained a distant spectator as Douglass became one of the most famous and influential figures of his generation. Through mutual acquaintances, Auld was aware of Douglass's best-selling books, read the many tributes to Douglass in newspaper after newspaper, and heard of the venues packed with people yearning to hear the master orator. Perhaps he even learned how much President Lincoln depended on Douglass's insights and friendship.

Douglass and his former enslaver didn't come face to face again until 1877, when Auld was 81. Sick and palsied, Auld knew he didn't have much time left to make peace with his past. He sent his servant to invite the famous statesman to return to Auld's home on the Eastern Shore of the Chesapeake Bay once more.

Douglass accepted the invitation right away. The moment he arrived at Auld's home was "the first time that a black man had ever entered a white home in St. Michaels by the front door, as an honored guest," notes historian Dickson Preston, author of Young Frederick Douglass.

Douglass describes the encounter at length in his final autobiography. He remembers "holding [Auld's] hand" and engaging in "friendly conversation." When Auld addressed him as "Marshal Douglass" (Douglass was then serving as U.S. Marshal for the District of Columbia), he corrected him, saying, "not Marshal, but Frederick to you, as formerly." Those words caused Auld to "shed tears" and show "deep emotion." For his part, Douglass writes that "seeing the circumstances of his condition affected me deeply, and for a time choked my voice and made me speechless."

Near the end of the emotional meeting, Douglass asked Auld what he thought about his running away four decades before. "Frederick," Auld responded, "I always knew you were too smart to be a slave. Had I been in your place I should have done as you did." Touched by the answer, Douglass replied, "I did not run away from you, but from slavery."

Such a warm exchange between two men with their history may be difficult to imagine from a 21st-century perspective. As was frequently the case with Douglass, however, there's more to the encounter than meets the eye.

"Douglass shows us in this meeting that it is possible to carry oneself with dignity and to obey the dictates of justice, while still showing respect and kindness towards even those who have committed injustice toward you," says Timothy Sandefur, a Douglass biographer and an adjunct scholar with the Cato Institute, a libertarian research institute in Washington, D.C.

But showing respect and kindness and forgetting past transgressions aren't the same thing. "Any interpretation of this encounter that says Black people need to suck it up and forgive white people in order to have peace misses the mark completely," says Noelle Trent, Director for Collections and Education at the National Civil Rights Museum. "This is not a lesson in forgiveness. This is a lesson in personal reconciliation."

Part of that reconciliation came for Douglass by recognizing how far he'd come in his time away from Auld.

"This meeting was, in a way, a victory lap for Douglass," says Ka'mal McClarin, a historian with the National Parks Service. "Douglass wanted to show Auld who he became after he was free of the constraints of slavery. The rest of the world had gotten to know the elder statesman, the Victorian gentleman, the United States Marshal; this was the moment when the man who ran away and the man who returned finally came full circle."

One thing Douglass may have hoped to gain from reuniting with Auld was insight into his own family roots.

"Douglass never learned who his father really was," says David Blight, professor of history at Yale University and author of the Pulitzer Prize-winning Frederick Douglass: Prophet of Freedom. "He was seeking knowledge of his paternity, and sought to know who his kinfolk were."

Douglass also wanted to address how he had publicly denigrated Auld over the years. "He had made Thomas Auld a famous American villain," says John Stauffer, a Douglass scholar and professor at Harvard University.

Indeed, in his final autobiography, Douglass acknowledges that "I had traveled through the length and breadth of this country and of England [to] hold up this conduct of his...to make his name and his deeds familiar to the world in four different languages."

Though Douglass never expressed regret for telling the world what Auld had done, he did say he never wished "to do him injustice" and "entertain[ed] no malice" towards Auld.

"This meeting teaches a powerful lesson on rapprochement," says Stauffer, the Harvard professor. "Douglass lived by a creed that in God's eyes, all humans are equal. Douglass was once small and Auld great; now Douglass [was] great and Auld small. As such, Douglass treating Auld as his equal further reflects Douglass's emphasis on equality: on treating all people as equals, with respect."

In describing the encounter in his autobiography, Douglass says as much himself: "Here we were...in a sort of final settlement of past differences, preparatory to [Auld's] stepping into his grave, where all distinctions are at an end, and where the great and the small, the slave and his master, are reduced to the same level."

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Why Frederick Douglass met with his former enslaver Thomas Auld

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The year 2020 will be remembered as a perfect storm of traumas. A global pandemic crashed on every shore. Politics rattled America. And a long-overdue racial reckoning began. In the midst of this tumult, one name has emerged again and again-a man, it seems, destined to inform both his time and ours.

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I am fully sensible of the greatness of that freedom which I take with you on the present occasion; a liberty which Seemed to me scarcely allowable, when I reflected on that distinguished, and dignifyed station in which you Stand; and the almost general prejudice and prepossession which is so prevailent in the world against those of my complexion.

I suppose it is a truth too well attested to you, to need a proof here, that we are a race of Beings who have long laboured under the abuse and censure of the world, that we have long been looked upon with an eye of contempt, and 1 that we have long been considered rather as brutish than human, and Scarcely capable of mental endowments.

Sir I hope I may Safely admit, in consequence of that report which hath reached me, that you are a man far less inflexible in Sentiments of this nature, than many others, that you are measurably friendly and well disposed toward us, and that you are willing and ready to Lend your aid and assistance to our relief from those many distresses and numerous calamities to which we are reduced.

Now Sir if this is founded in truth, I apprehend you will readily embrace every opportunity to eradicate that train of absurd and false ideas and oppinions which so generally prevails with respect to us, and that your Sentiments are concurrent with mine, which are that one universal Father hath given being to us all, and that he hath not only made us all of one flesh, but that he hath also without partiality afforded us all the Same Sensations, and endued us all with the same faculties, and that however variable we may be in Society or religion, however diversifyed in Situation or colour, we are all of the Same Family, and Stand in the Same relation to him.

Sir, if these are Sentiments of which you are fully persuaded, I hope you cannot but acknowledge, that it is the indispensible duty of those who maintain for themselves the rights of human nature, and who profess the obligations of Christianity, to extend their power and influence to the relief of every part of the human race, from whatever burthen or oppression they may unjustly labour under, and this I apprehend a full conviction of the truth and obligation of these principles should lead all to.

Sir, I have long been convinced, that if your love for your Selves, and for those inesteemable laws which preserve to you the rights of human nature, was founded on Sincerity, you could not but be Solicitous, that every Individual of whatsoever rank or distinction, might with you equally enjoy the blessings thereof, neither could you rest Satisfyed, short of the most active diffusion of your exertions, in order to their promotion from any State of degradation, to which the unjustifyable cruelty and barbarism of men may have reduced them.

Sir I freely and Chearfully acknowledge, that I am of the African race, and in that colour which is natural to them of the deepest dye,* and it is under a Sense of the most profound gratitude to the Supreme Ruler of the universe, that I now confess to you, that I am not under that State of tyrannical thraldom, and inhuman captivity, to which too many of my brethren are doomed; but that I have abundantly tasted of the fruition of those blessings which proceed from that free and unequalled liberty with which you are favoured and which I hope you will willingly allow you have received from the immediate hand of that Being, from whom proceedeth every good and perfect gift.

Sir, Suffer me to recall to your mind that time in which the Arms and tyranny of the British Crown were exerted with every powerful effort in order to reduce you to a State of Servitude, look back I intreat you on the variety of dangers to which you were exposed, reflect on that time in which every human aid appeared unavailable, and in which even hope and fortitude wore the aspect of inability to the Conflict, and you cannot but be led to a Serious and grateful Sense of your miraculous and providential preservation; you cannot but acknowledge, that the present freedom and tranquility which you enjoy you have mercifully received, and that it is the peculiar blessing of Heaven.

This Sir, was a time in which you clearly saw into the injustice of a State of Slavery, and in which you had just apprehensions of the horrors of its condition, it was now Sir, that your abhorrence thereof was so excited, that you publickly held forth this true and invaluable doctrine, which is worthy to be recorded and remember'd in all Succeeding ages. "We hold these truths to be Self evident, that all men are created equal, and that they are endowed by their creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happyness."

Here Sir, was a time in which your tender feelings for your selves had engaged you thus to declare, you were then impressed with proper ideas of the great valuation of liberty, and the free possession of those blessings to which you were entitled by nature; but Sir how pitiable is it to reflect, that altho you were so fully convinced of the benevolence of the Father of mankind, and of his equal and impartial distribution of those rights and privileges which he had conferred upon them, that you should at the Same time counteract his mercies, in detaining by fraud and violence so numerous a part of my brethren under groaning captivity and cruel oppression, that you should at the Same time be found guilty of that most criminal act, which you professedly detested in others, with respect to yourselves.

Sir, I suppose that your knowledge of the situation of my brethren is too extensive to need a recital here; neither shall I presume to prescribe methods by which they may be relieved; otherwise than by recommending to you and all others, to wean yourselves from these narrow prejudices which you have imbibed with respect to them, and as Job proposed to his friends "Put your Souls in their Souls stead," thus shall your hearts be enlarged with kindness and benevolence toward them, and thus shall you need neither the direction of myself or others in what manner to proceed herein.

And now, Sir, altho my Sympathy and affection for my brethren hath caused my enlargement thus far, I ardently hope that your candour and generosity will plead with you in my behalf, when I make known to you, that it was not originally my design; but that having taken up my pen in order to direct to you as a present, a copy of an Almanack which I have calculated for the Succeeding year, I was unexpectedly and unavoidably led thereto.

This calculation, Sir, is the production of my arduous Study in this my advanced Stage of life; for having long had unbounded desires to become acquainted with the Secrets of nature, I have had to gratify my curiosity herein thro my own assiduous application to Astronomical Study, in which I need not to recount to you the many difficulties and disadvantages which I have had to encounter.

And altho I had almost declined to make my calculation for the ensuing year, in consequence of that time which I had allotted therefor being taking up at the Federal Territory by the request of Mr. Andrew Ellicott, yet finding myself under Several engagements to printers of this state to whom I had communicated my design, on my return to my place of residence, I industriously apply'd myself thereto, which I hope I have accomplished with correctness and accuracy, a copy of which I have taken the liberty to direct to you, and which I humbly request you will favourably receive, and altho you may have the opportunity of perusing it after its publication, yet I chose to send it to you in manuscript previous thereto, that thereby you might not only have an earlier inspection, but that you might also view it in my own hand writing.-And now Sir, I shall conclude and Subscribe my Self with the most profound respect your most Obedient humble Servant,

NB any communication to me may be had by a direction to Mr. Elias Ellicott merchant in Baltimore Town.

B B

As an Essay of my calculation is put into the hand of Mr. Cruckshank of philadelphia, for publication I would wish that you might neither have this Almanack copy published nor give any printer an opportunity thereof, as it might tend to disappoint Mr. Joseph Cruckshank in his sale. 3

B B

*My Father was brought here a S[lav]e from Africa. 2

RC ( MHi); at head of text: "Thomas Jefferson Secretary of State"; endorsed by TJ as received 26 Aug. 1791 and so recorded in SJL. Engraved facsimile from FC ( PHC); in Banneker's hand; differs from RC in spelling, capitalization, punctuation, and other respects (see notes for some examples); at head of text: "Thomas Jefferson Secretary of State"; at foot of text: "Thomas Jefferson Secretary of State Philadelphia." The facsimile also includes the text of TJ's reply of 30 Aug. 1791 and has the following printed note at the foot of the text: "The Letters, from which this facsimile is taken, are in the hand writing of Banneker, who copied them into the volume of Manuscripts, in which they have been preserved. His house and manuscripts were burnt soon after his decease, except this book which was at a neighbor's at the time."

Banneker's accomplishments and the well-known exchange of letters between Banneker and TJ are described in Silvio A. Bedini, The Life of Benjamin Banneker (New York, 1972); see also Winthrop D. Jordan, White over Black: American Attitudes Toward the Negro, 1550-1812 (Chapel Hill, N.C., 1968).

The history of TJ's changing attitudes toward Banneker reflects in miniature the contradiction in his views on the vexing issues of slavery and race relations in America. As revealed primarily in Notes on the State of Virginia, TJ firmly believed that slavery was a violation of the natural rights of man and hoped for its abolition. Yet he was equally convinced that blacks and whites could not peacefully coexist in freedom because of certain natural distinctions between them, such as color, temperament, and above all intellectual ability. He therefore argued that emancipation must be accompanied by colonization of the freed slaves beyond the limits of the United States.

In a widely read discussion that set the terms of debate on this issue in America for decades to come, TJ oscillated between ascribing black intellectual inferiority to the workings of nature and attributing it to the impact of slavery. Though at times he virtually suggested that blacks were intellectually inferior to whites by nature, in the end he left it to science to determine whether nature or environment was responsible for what he perceived to be a distressing absence of intellectual accomplishment among blacks, especially in the arts and sciences. "I advance it therefore as a suspicion only," he concluded, "that the blacks, whether originally a distinct race, or made distinct by time and circumstances, are inferior to the whites in the endowments both of body and mind" ( Notes, ed. Peden William Peden, ed., Notes on the State of Virginia, Chapel Hill, 1955 , p. 137-43; Jordan, White over Black, p. 429-39). Benjamin Banneker was the first and only black man to challenge TJ's suspicion directly during his lifetime.

The eldest child of a free black couple who owned a tobacco farm in Baltimore County, Maryland, Banneker began to emerge from obscurity in 1788, the year after the publication of the first American edition of Notes on the State of Virginia. At that time Banneker, then in his fiftyseventh year, borrowed a set of astronomical instruments and four works on astronomy from George Ellicott, a member of a distinguished family of Quaker entrepreneurs who opposed slavery and operated a group of gristmills near Banneker's farm. Banneker applied himself to the study of astronomy and soon became so proficient in it that he conceived the idea of publishing an almanac in order to promote "the Cause of Humanity as many are of Opinion that Blacks are Void of Mental endowments" (Elias Ellicott to James Pemberton, 10 June 1791, PHi: Pennsylvania Abolition Society Papers). Encouraged by George Ellicott and his brother Elias, a member of the Maryland Society for the Abolition of Slavery, Banneker prepared an ephemeris for the year 1791 that caught the attention of Major Andrew Ellicott, a cousin of the Ellicott brothers. He was so impressed by Banneker's mathematical achievement that he brought it to TJ's attention and, with TJ's approval, employed Banneker as an assistant during the preliminary survey of the Federal District early in 1791 (Joseph Townsend to James Pemberton, 28 Nov. 1790, PHi: Pennsylvania Abolition Society Papers; TJ to Condorcet, 30 Aug. 1791; Bedini, Banneker, p. 9-136).

Banneker soon won the support of several leading Quaker abolitionists in Maryland and Pennsylvania who were eager to take advantage of his scientific work to refute the growing belief in American society that blacks were intellectually inferior to whites by nature (Banneker to Andrew Ellicott, 6 May 1790; Joseph Townsend to James Pemberton, 14 and 28 Nov. 1790, all in PHi: Pennsylvania Abolition Society Papers; Bedini, Banneker, p. 94-102; Jordan, White over Black, p. 445-8). Buoyed by the prospect of further support from key figures in the Maryland and Pennsylvania antislavery movements, Banneker finished a second ephemeris in June 1791. Members of the Pennsylvania Society for the Abolition of Slavery recommended its publication in Philadelphia after David Rittenhouse, the foremost American scientist of the day, and William Waring, a noted Philadelphia astronomer, vouched for the accuracy of Banneker's work. It was thus against this background of careful and intense preparation that Banneker wrote the above letter and sent a copy of his ephemeris for 1792 to the man who was not only a distinguished statesman, scientist, and critic of slavery in his own right, but also the author of the recent pessimistic analysis of black intellectual capabilities (Elias Ellicott to James Pemberton, 10 June and 21 July 1791, PHi: Pennsylvania Abolition Society Papers; Banneker, p. 137-52; Jordan, Notes, ed. Peden William Peden, ed., Notes on the State of Virginia, Chapel Hill, 1955 , p. 137-43; Bedini, White over Black, p. 429-39, 455).

TJ's polite response was heartening to Banneker and his supporters. He expressed hope for the appearance of "such proofs as you exhibit" that nature had endowed blacks with "talents equal to those of the other colors of men" and that their apparent absence among blacks was only the result of "the degraded condition of their existence, both in Africa and America." He also informed Banneker that he was sending his ephemeris to Condorcet, the noted philosophe, ardent opponent of slavery, and secretary of the Académie Royal des Sciences in Paris, so that it could be used to redeem blacks "against the doubts which have been entertained of them" ( TJ to Banneker, 30 Aug. 1791; see also TJ to Condorcet, 30 Aug. 1791, wherein TJ was more specific about the significance of Banneker's accomplishments).

At Banneker's suggestion and with the strong agreement of his Quaker supporters, the exchange of letters with TJ was published in 1792 in a variety of forms for the express purpose of advancing the antislavery cause by demonstrating that black failure to match the intellectual achievements of whites was the result of slavery rather than nature (Bedini, Banneker, p. 158, 163, 166-8, 183-8). But the correspondence soon became little more than a weapon in the hands of TJ's political enemies, who tried to use it to prove that he was a crypto-abolitionist. In the electoral campaigns of 1796 and 1800, southern Federalists cited his reply to Banneker as evidence that he favored "a speedy emancipation of the ... slaves" (William Loughton Smith, The Pretensions of Thomas Jefferson to the Presidency Examined ... [United States, 1796], p. 9-10 [Address to the Citizens of South Carolina, on the Approaching Election of President and Vice-President of the United States [Charleston, S.C., 1800], p. 16 [ Sowerby,E. Millicent Sowerby, comp., Catalogue of the Library of Thomas Jefferson, Washington, 1952-1959, 5 vols. No. 3174]; see also William Henry Desaussure, Banneker, p. 280-1). Even after TJ's reelection to the presidency, Thomas Green Fessenden, a Federalist satirist from New Hampshire, ridiculed TJ for allegedly abandoning the racial views set forth in Notes on the State of Virginia simply because of the "wonderful phenomenon of a Negro Almanac, (probably enough made by a white man)" (Thomas Green Fessenden, Sowerby, E. Millicent Sowerby, comp., Catalogue of the Library of Thomas Jefferson, Washington, 1952-1959, 5 vols. No. 3228]; and Bedini, Democracy Unveiled, or, Tyranny Stripped of the Garb of Patriotism, 2 vols. [New York, 1805], ii, 52n.).

TJ continued to think about Banneker. He might have first viewed Banneker's accomplishments as evidence of natural intellectual equality of blacks, but the absence of sufficient additional evidence and a later incorrect suspicion that Banneker had not worked independently led TJ to disparage Banneker's achievements ( TJ to Condorcet, 30 Aug. 1791; TJ to Henri-Baptiste Grégoire, 25 Feb. 1809; and TJ to Joel Barlow, 8 Oct. 1809; Bedini, Banneker, p. 202-34; and Richard B. Davis, ed., Jeffersonian America: Notes on the United States of America Collected in the Years 1805-6-7 and 11-12 by Sir Augustus John Foster, Bart. [San Marino, Cal., 1954], p. 148-9). Nor can there be much doubt that he experienced increasing difficulty in reconciling his ownership of slaves with his libertarian political principles. Thus TJ was an early exemplar of the classic American dilemma of whether the equalitarian ideals of the Declaration of Independence were intended to apply to all members of American society or to whites only (see Jordan, White over Black, p. 429-81; David Brion Davis, The Problem of Slavery in the Age of Revolution, 1770-1823 [New York, 1975], p. 169-84; and John C. Miller, The Wolf by the Ears: Thomas Jefferson and Slavery [New York, 1977], p. 3-103, for analyses of TJ's racial attitudes).

1. Preceding thirteen words are missing from FC.

Permanent Link What's this?

https://founders.archives.gov/documents/Jefferson/01-22-02-0049

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Founders Online: To Thomas Jefferson from Benjamin Banneker, 19 August 1791

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I am fully sensible of the greatness of that freedom which I take with you on the present occasion; a liberty which Seemed to me scarcely allowable, when I reflected on that distinguished, and dignifyed station in which you Stand; and the almost general prejudice and prepossession which is so prevailent in the world against those of my complexion.

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Read Across America Day

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Attendance Question: Look at the AntiSlavery International website.  Investigate the source and explain whether or not this is a credible source for obtaining information about how to fight slavery today.

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How does grammar usage and mechanics assist with clarity?

What are some effective ways to connect claims and evidence?

What is the argument’s main idea and what reasoning does the author use to develop it?

What line of reasoning and evidence would best support my argument?

To what extent is my reasoning logical?

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Factual questions (level one) can be answered explicitly by facts contained in the text.

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Universal questions (level three) are open-ended questions that are raised by ideas in the text. They are intended to provoke a discussion of an abstract idea or issue.

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How to Write a Reflection Paper in 7 Easy Steps

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How to Write a Reflection Paper in 7 Easy Steps

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If writing a reflection paper is hard task for you, we’ll tell about perfect outlining and formatting of reflection paper. 15 bonus example topics are waiting for you!

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Which of the modern slavery myths did you believe before we began this unit?

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Modern Slavery: Myths & Facts

Modern slavery is all around us, but most people don't even realize it. Learn the truth about these common myths and then sign up to help end modern slavery for good. SIGN ME UP

​

MYTH: Slavery is a thing of the past

FACT: No, it is not. Slavery has ancient roots in history and still exists today in many different forms. Although it is not defined by law, "modern slavery" is used to describe situations where someone is forced to work or marry and cannot refuse or leave because of threats, coercion, violence, deception, etc. Human trafficking, bonded labour and forced domestic work are just a few examples of forced labour. But that doesn't mean it's inevitable. A coordinated effort by governments and activists around the world could end forced labour for good. That's what the ILO's Protocol on Forced Labour is all about.

MYTH: Relatively few people are victims of forced labour

FACT: There are more people in slavery today than at any other time in history. More than 40 million people around the world were victims of modern slavery in 2016, including about 25 million in forced labour, and 15 million in forced marriages. If they all lived together in a single city, it would be one of the biggest cities in the world.
Sources:

MYTH: Forced labour only happens in the developing world

FACT: Forced labour happens in every country in the world. More than one and half million people work in slavery-like conditions in Europe, in North America, in Japan and in Australia.
Sources:

MYTH: Sex trafficking accounts for most cases of forced labour

FACT: Around one in five are victims of sexual exploitation. Most of the people in slavery work in industries such as agriculture, fishing, construction, manufacturing, mining, utilities and domestic work.

MYTH: Forced labour isn't a big money-maker

FACT: Forced labour is huge business. An ILO study estimated that forced labour generates annual profits of over US$ 150 billion, which is as much as the combined profits of the four most profitable companies in the world.
Sources:

MYTH: Forced labour doesn't affect me

FACT: Forced labour affects everyone. Even if you're not a victim of forced labour, you're still affected by it. Businesses, for example, face unfair competition from unscrupulous companies who reap the profits of forced labour. That may put pressure on them to lower wages or cut benefits. Meanwhile governments lose out on precious tax revenue while facing huge legal costs from prosecuting forced labour cases-money which could be spent on public services like education, healthcare or public transportation.

MYTH: Most of the money from forced labour is made in the developing world
FACT: The annual profits per victim of forced labour are far, far higher in developed economies and the European Union than they are anywhere else in the world. Sources:

MYTH: There isn't very much I can do to help people trapped in forced labour

FACT: You can play a part in the fight to end slavery. It is up to governments to enact and enforce legislation, protect their citizens and ratify the Protocol on Forced Labour. And you can make sure that happens by showing you care.

1. Sign up to join the 50 for Freedom campaign.

2. Ask at least two of your friends to sign up too.

3. Ask your representative to support the Protocol on Forced Labour.

Check out our Campaign Toolkit for more ideas on how to help

Share what you've learned.

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Modern Slavery: Myths & Facts Modern slavery is all around us, but most people don't even realize it. Learn the truth about these common myths and then sign up to help end modern slavery for good. SIGN ME UP ​ FACT: No, it is not.

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As Michael Harvey writes, paragraphs are "in essence-a form of punctuation, and like other forms of punctuation they are meant to make written material easy to read." Effective paragraphs are the fundamental units of academic writing; consequently, the thoughtful, multifaceted arguments that your professors expect depend on them. Without good paragraphs, you simply cannot clearly convey sequential points and their relationships to one another.

Many novice writers tend to make a sharp distinction between content and style, thinking that a paper can be strong in one and weak in the other, but focusing on organization shows how content and style converge in deliberative academic writing. Your professors will view even the most elegant prose as rambling and tedious if there isn't a careful, coherent argument to give the text meaning. Paragraphs are the "stuff " of academic writing and, thus, worth our attention here.

Key Sentences (a.k.a. Topic Sentences)

prefer to call them "key sentences." There are at least two downsides of the phrase "topic sentence." First, it makes it seem like the paramount job of that sentence is simply to announce the topic of the paragraph. Second, it makes it seem like the topic sentence must always be a single grammatical sentence. Calling it a "key sentence" reminds us that it expresses the central In academic writing, readers expect each paragraph to have a sentence or two that captures its main point. They're often called "topic sentences," though many writing instructors idea of the paragraph. And sometimes a question or a two-sentence construction functions as the key.

Key sentences in academic writing do two things. First, they establish the main point that the rest of the paragraph supports. Second, they situate each paragraph within the sequence of the argument, a task that requires transitioning from the prior paragraph. Consider these two examples:

Version A:
Now we turn to the epidemiological evidence.
Version B:
The epidemiological evidence provides compelling support for the hypothesis emerging from etiological studies.

Both versions convey a topic; it's pretty easy to predict that the paragraph will be about epidemiological evidence, but only the second version establishes an argumentative point and puts it in context. The paragraph doesn't just describe the epidemiological evidence; it shows how epidemiology is telling the same story as etiology. Similarly, while Version A doesn't relate to anything in particular, Version B immediately suggests that the prior paragraph addresses the biological pathway (i.e. etiology) of a disease and that the new paragraph will bolster the emerging hypothesis with a different kind of evidence. As a reader, it's easy to keep track of how the paragraph about cells and chemicals and such relates to the paragraph about populations in different places.

A last thing to note about key sentences is that academic readers expect them to be at the beginning of the paragraph. (The first sentence this paragraph is a good example of this in action!) This placement helps readers comprehend your argument. To see how, try this: find an academic piece (such as a textbook or scholarly article) that strikes you as well written and go through part of it reading just the first sentence of each paragraph. You should be able to easily follow the sequence of logic. When you're writing for professors, it is especially effective to put your key sentences first because they usually convey your own original thinking. It's a very good sign when your paragraphs are typically composed of a telling key sentence followed by evidence and explanation.

Knowing this convention of academic writing can help you both read and write more effectively. When you're reading a complicated academic piece for the first time, you might want to go through reading only the first sentence or two of each paragraph to get the overall outline of the argument. Then you can go back and read all of it with a clearer picture of how each of the details fit in. And when you're writing, you may also find it useful to write the first sentence of each paragraph (instead of a topic-based outline) to map out a thorough argument before getting immersed in sentence-level wordsmithing.

Cohesion and Coherence

With a key sentence established, the next task is to shape the body of your paragraph to be both cohesive and coherent. As Williams and Bizup explain, cohesion is about the "sense of flow" (how each sentence fits with the next), while coherence is about the "sense of the whole."

For the most part, a text reads smoothly when it conveys a thoughtful and well organized argument or analysis. Focus first and most on your ideas, on crafting an ambitious analysis. The most useful guides advise you to first focus on getting your ideas on paper and then revising for organization and word choice later, refining the analysis as you go. Thus, consider the advice here as if you already have some rough text written and are in the process of smoothing out your prose to clarify your argument for both your reader and yourself.

Cohesion

Cohesion refers to the flow from sentence to sentence. For example, compare these passages:

Version A:
Granovetter begins by looking at balance theory. If an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other, according to balance theory (1973:1363). Bridge ties between cliques are always weak ties, Granovetter argues (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. If two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. Only weak ties that do not have the strength to draw together all the "friends of friends" can connect people in different cliques.

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the "friends of friends."

Version A has the exact same information as version B, but it is harder to read because it is less cohesive. Each sentence in version B begins with old information and bridges to new information.

The first sentence establishes the key idea of balance theory. The next sentence begins with balance theory and ends with social ties, which is the focus of the third sentence. The concept of weak ties connects the third and fourth sentences and concept of cliques the fifth and sixth sentences. In Version A, in contrast, the first sentence focuses on balance theory, but then the second sentence makes a new point about social ties before telling the reader that the point comes from balance theory. The reader has to take in a lot of unfamiliar information before learning how it fits in with familiar concepts. Version A is coherent, but the lack of cohesion makes it tedious to read.

The lesson is this: if you or others perceive a passage you've written to be awkward or choppy, even though the topic is consistent, try rewriting it to ensure that each sentence begins with a familiar term or concept. If your points don't naturally daisy-chain together like the examples given here, consider numbering them. For example, you may choose to write, "Proponents of the legislation point to four major benefits." Then you could discuss four loosely related ideas without leaving your reader wondering how they relate.

Coherence

While cohesion is about the sense of flow, coherence is about the sense of the whole . For example, here's a passage that is cohesive (from sentence to sentence) but lacks coherence:

Your social networks and your location within them shape the kinds and amount of information that you have access to. Information is distinct from data, in that makes some kind of generalization about a person, thing, or population. Defensible generalizations about society can be either probabilities (i.e., statistics) or patterns (often from qualitative analysis). Such probabilities and patterns can be temporal, spatial, or simultaneous.

Each sentence in the above passage starts with a familiar idea and progresses to a new one, but it lacks coherence-a sense of being about one thing. Good writers often write passages like that when they're free-writing or using the drafting stage to cast a wide net for ideas. A writer weighing the power and limits of social network analysis may free-write something like that example and, from there, develop a more specific plan for summarizing key insights about social networks and then discussing them with reference to the core tenets of social science. As a draft, an incoherent paragraph often points to a productive line of reasoning; one just has to continue thinking it through in order to identify a clear argumentative purpose for each paragraph. With its purpose defined, each paragraph, then, becomes a lot easier to write. Coherent paragraphs aren't just about style; they are a sign of a thoughtful, well developed analysis.

The Wind-Up

Some guides advise you to end each paragraph with a specific concluding sentence , in a sense, to treat each paragraph as a kind of mini-essay. But that's not a widely held convention. Most well written academic pieces don't adhere to that structure. The last sentence of the paragraph should certainly be in your own words (as in, not a quote), but as long as the paragraph succeeds in carrying out the task that it has been assigned by its key sentence, you don't need to worry about whether that last sentence has an air of conclusiveness. For example, consider these paragraphs about the cold fusion controversy of the 1980s that appeared in a best-selling textbook :

The experiment seemed straightforward and there were plenty of scientists willing to try it. Many did. It was wonderful to have a simple laboratory experiment on fusion to try after the decades of embarrassing attempts to control hot fusion. This effort required multi-billion dollar machines whose every success seemed to be capped with an unanticipated failure. 'Cold fusion' seemed to provide, as Martin Fleischmann said during the course of that famous Utah press conference, 'another route'-the route of little science.

In that example, the first and last sentences in the paragraph are somewhat symmetrical: the authors introduce the idea of accessible science, contrast it with big science, and bring it back to the phrase "little science." Here's an example from the same chapter of the same book that does not have any particular symmetry :

The struggle between proponents and critics in a scientific controversy is always a struggle for credibility. When scientists make claims which are literally 'incredible', as in the cold fusion case, they face an uphill struggle. The problem Pons and Fleischmann had to overcome was that they had credibility as electrochemists but not as nuclear physicists. And it was nuclear physics where their work was likely to have its main impact.

The last sentence of the paragraph doesn't mirror the first, but the paragraph still works just fine. In general, every sentence of academic writing should add some unique content. Don't trouble yourself with having the last sentence in every paragraph serve as a mini-conclusion. Instead, worry about developing each point sufficiently and making your logical sequence clear.

Conclusion: Paragraphs as Punctuation

To reiterate the initial point, it is useful to think of paragraphs as punctuation that organize your ideas in a readable way. Each paragraph should be an irreplaceable node within a coherent sequence of logic. Thinking of paragraphs as "building blocks" evokes the "five-paragraph theme" structure explained earlier : if you have identical stone blocks, it hardly matters what order they're in. In the successful organically structured college paper, the structure and tone of each paragraph reflects its indispensable role within the overall piece. Make every bit count and have each part situated within the whole.

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As Michael Harvey writes, paragraphs are "in essence-a form of punctuation, and like other forms of punctuation they are meant to make written material easy to read." Effective paragraphs are the fundamental units of academic writing; consequently, the thoughtful, multifaceted arguments that your professors expect depend on them.

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Fragments are simply grammatically incomplete sentences-they are phrases and dependent clauses. We talked about phrases and clauses a bit in Basic Parts of a Sentence. These are grammatical structures that cannot stand on their own: they need to be connected to an independent clause to work in writing. So how can we tell the difference between a sentence and a sentence fragment? And how can we fix fragments when they already exist?

Common Causes of Fragments

Part of the reason we write in fragments is because we often speak that way. However, there is a difference between writing and speech, and it is important to write in full sentences. Additionally, fragments often come about in writing because a fragment may already seem too long.

Non-finite verbs (gerunds, participles, and infinitives) can often trip people up as well. Since non-finite verbs don't act like verbs, we don't count them as verbs when we're deciding if we have a phrase or a clause. Let's look at a few examples of these:

Running away from my mother.

To ensure your safety and security.

Beaten down since day one.

Even though all of the above have non-finite verbs, they're phrases, not clauses. In order for these to be clauses, they would need an additional verb that acts as a verb in the sentence.

Words like since, when, and because turn an independent clause into a dependent clause. For example "I was a little girl in 1995" is an independent clause, but "Because I was a little girl in 1995" is a dependent clause. This class of word includes the following:

Relative pronouns, like that and which, do the same type of thing as those listed above.

Coordinating conjunctions (our FANBOYS) can also cause problems. If you start a sentence with a coordinating conjunction, make sure that it is followed a complete clause, not just a phrase!

As you're identifying fragments, keep in mind that command sentences are not fragments, despite not having a subject. Commands are the only grammatically correct sentences that lack a subject:

Drop and give me fifty!

Count how many times the word fragrant is used during commercial breaks.

Fixing Sentence Fragments

Let's take a look at a couple of examples:

1. Ivana appeared at the committee meeting last week. And made a convincing presentation of her ideas about the new product.

2. The committee considered her ideas for a new marketing strategy quite powerful. The best ideas that they had heard in years.

3. She spent a full month evaluating his computer-based instructional materials. Which she eventually sent to her supervisor with the strongest of recommendations.

Let's look at the phrase "And made a convincing presentation of her ideas about the new product" in example one. It's just that: a phrase. There is no subject in this phrase, so the easiest fix is to simply delete the period and combine the two statements:

Ivana appeared at the committee meeting last week and made a convincing presentation of her ideas about the new product.

Let's look at example two. The phrase "the best ideas they had heard in years" is simply a phrase-there is no verb contained in the phrase. By adding "they were" to the beginning of this phrase, we have turned the fragment into an independent clause, which can now stand on its own:

The committee considered her ideas for a new marketing strategy quite powerful; they were the best ideas that they had heard in years.

What about example three? Let's look at the clause "Which she eventually sent to her supervisor with the strongest of recommendations." This is a dependent clause; the word which signals this fact. If we change "which she eventually" to "eventually, she," we also turn the dependent clause into an independent clause.

She spent a full month evaluating his computer-based instructional materials. Eventually, she sent the evaluation to her supervisor with the strongest of recommendations.

Practice

Identify the fragments in the sentences below. Why are they fragments? What are some possible solutions?

1. The corporation wants to begin a new marketing push in educational software. Although, the more conservative executives of the firm are skeptical.

2. Include several different sections in your proposal. For example, a discussion of your personnel and their qualifications, your expectations concerning the schedule of the project, and a cost breakdown.

3. The research team has completely reorganized the workload. Making sure that members work in areas of their own expertise and that no member is assigned proportionately too much work.

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Sentence Fragments | College Writing Handbook

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Fragments are simply grammatically incomplete sentences—they are phrases and dependent clauses. We talked about phrases and clauses a bit in Basic Parts of a Sentence. These are grammatical structures that cannot stand on their own: they need to be connected to an independent clause to work in writi…

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Thursday 4/27 Author Talk with Jay Heinrichs

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Thursday 4/27 Author Talk with Jay Heinrichs

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Skill Category 4: Analyze and select evidence to develop and refine a claim.

Skill 4.A: Develop paragraphs comprised of a claim and evidence that supports the claim.

Big Idea And Essential Knowledge

Claims and Evidence

CLE-1: Writers make claims about subjects, rely on evidence that supports the reasoning that justifies the claim, and often acknowledge or respond to other, possibly opposing, arguments.

CLE-1.A: Writers convey their positions through one or more claims which require a defense.

CLE-1.B: Writers defend their claims with evidence and/or reasoning.

Agenda
Pygmalion Notes

TYFA Quick Write
CommonLit "Pygmalion" (Read and answer questions)
AP Classroom FRQ

Conference

Attendance Question
Watch the attached video, "The Pygmalion Effect." How have you been impacted by the Pygmalion Effect?

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You will need: DGP, writing utensil, notebook

Agenda
Independent Reading
DGP Week 19
Panel Presentation Overview
Research Question
Panel Slide Design Theme
AP Classroom Practice
Individual Goals

Attendance question: Which of these logical fallacies show up in your arguments?

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Common Lit - Douglass MCQ Practice Ch. 1, 1&7, 11
Document Based Question Background Essay Questions (DBQ)

Reverse Synthesis (Sources)

Graph of the Week
Article of the Week: GADS “Annotate a Text in Google Docs”
Lit Circle Presentations
Student Led Parent Conferences
AP Classroom Progress Checks
Textbook Exercises

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You will need: Notebook, Writing Utensil

Agenda

Independent Reading/ Ch. 7 TYFA

Mini-Lesson: GADS: "How to Argue a Position"

Argument Group Activity

Progressive Essay

Conferences

Essential Questions:
How does the context of a problem or issue affect how it is interpreted or presented?

What strategies will help me comprehend a text?

What keywords should I use to search for information about this topic?

Learning Objectives:
Demonstrate an understanding of an audience’s beliefs, values, or needs.
Explain how an argument demonstrates understanding of an audience’s beliefs, values, or needs.

Attendance Question
Which of the four styles of humor do you find most humorous? How would you classify your sense of humor? What evidence do you base this answer?

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Argue a Position on a Public Policy Issue

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Choose a public policy issue to research and argue your position in a presentation using Google Slides.

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Eligibility: Sophomores and juniors in the current academic school year are eligible to be nominated by their school's English department. Nominations should be based on whether the writer exhibits the power to inform and move an audience through language. Entries are only accepted from teachers; students may not self-nominate.

Schools in the United States, Canada, Virgin Islands and American Schools Abroad are eligible to nominate students. Nominating schools must be US accredited.

The number of nominees allowed from each school is determined by the current total enrollment in grades 10, 11, and 12. The enrollment figure used must be from an official administrative report of the current year and must not include ninth-grade students.

Use the following guide for nominations:

Under 500 students: 1 nominee

500-999 students: 2 nominees

1,000-1,499 students: 3 nominees

1,500-1,999 students: 4 nominees

2,000-2,499 students: 5 nominees

2,500-2,999 students: 6 nominees

3,000-3,999 students: 7 nominees

4,000 or more students: 8 nominees

Award Specifics: Nominated students must submit a themed writing in PDF form. Beginning with the 2023 contest, participants will no longer submit "best" writings. When filling out the entry form, you will also be asked to give a title and brief introduction to the work.

1. Themed Writing - must be written based on the topic developed by the Achievement Awards Advisory Committee. Maximum length for the theme writing is ten (10) pages. The student's name must appear in the upper left-hand corner of each page.

2. Title and Submission Description of the Themed section written by the student in present tense. The description should be written so that the review committee clearly understands the importance and purpose of the proposed submission. It should also be written to generate the interest of your intended audience. This introduction will be included on the digital entry form and should not be included on the PDF. (This section is preferred but not required for eligibility.)

General Directions for Themed Writing:

One teacher completes one entry form per student and uploads the student's "Themed" writings in PDF form. Only teachers/administrators are allowed to submit student work.

The student's name should appear in the upper left-hand corner of each page. This is important so we can judge each piece accurately! (If you are submitting an arts-based entry like a photo essay or graphic novel, you may adjust this format as long as we can tell which piece is which. Email aa@ncte.org with any questions.)

The page number must appear in the upper right-hand corner of each page.

The school's name must not appear on the paper or within the body of writing.

Please use legible type - no smaller than 11 or 12 point.

Double space with one inch margins on all sides. This does not apply to poetry.

Remember that only excerpts that are within the ten (10) page maximum from research papers, term papers, and novels will be accepted - not the full text.

Late entries will not be accepted.

The Themed piece should be written from the students' personal voice and perspective. Take care to not make it sound like a school assignment! The judges want to see your creativity and personality in the piece.

Judging: Teams of teachers across the nation will judge entries using a secure judging site. Entries with top scores will be selected for the Achievement Award in Writing First Class. Writings are judged holistically on content, purpose, audience, tone, word choice, organization, development, and style.

If you are interested in signing up to judge, please email aa@ncte.org.

Below are the guidelines by which your writing will be evaluated by the NCTE judges. Keep these guidelines in mind as you draft and revise:

1. Expression of Ideas

Writing conveys meanings; reflects strong thinking

Thematic meaning(s) effectively controlled

Themed writing responds to the stated prompt

Piece is unified, and builds upon itself, even if the structure is nontraditional

Sense of clarity of purpose, completeness, and closure

2. Language Use

Writing style appropriate to content and genre

Writing reflects mastery of technical aspects of writing (e.g., control over punctuation and syntax)

Writer uses language powerfully, via apt, original word choice, unique phrasing

Strong flow produced via syntactical control and variation

Writer effectively employs detail, evocative language, and/or imagery to enliven writing and to express ideas

3. Unique Perspective and Voice

Uniqueness of writer is evident through stylistic choices

Writing conveys unique, authentic, original perspective

Style conveys unique, authentic, original voice

Awards: Results are announced in May. Starting with the 2023 contest, a new structure for awards will be used.

To reflect various levels of distinction and recognition, there will now be four, rather than two, designations:

Achievement Awards in Writing First Class

Superior

Excellent

Merit

All nominated students will receive their appropriate certificate from their nominating teacher. Additionally, those who receive the First Class award will have their name and their school's name appear on the NCTE website.
The recipients of the Certificate of Superior Writing for 2022 are listed by state below.
For more information contactaa@ncte.org.

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Eligibility: Sophomores and juniors in the current academic school year are eligible to be nominated by their school's English department. Nominations should be based on whether the writer exhibits the power to inform and move an audience through language. Entries are only accepted from teachers; students may not self-nominate.

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Three Types of Arguments: Classical, Rogerian, Toulmin

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Independent Work

Defensible Thesis Practice

Complete any work from Monday’s agenda that is incomplete.

Watch the video, "What's Wrong With the Five Paragraph Essay and How to Write Organically"

Reverse Synthesis Assignment

AP Classroom: Choice MCQ Unit 1 Progress Check

Textbook Work: Appendix B - Read pages 1192-1202 in the textbook and take notes on the Rogerian and Toulmin Models

Watch TYFA Ch. 1. Video

Revise Q3 Argument Essay

Watch this video on the classical oration and take notes on this essay style.

Create a reverse outline for your Q2 Timed Writing: MLK Letter Rhetorical Analysis Essay

Individual Goals

Optional: NoRedInk Clauses Practice

Attendance Question
Type your name, first and last, in the comment section when you read this.

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Three Types of Arguments: Classical, Rogerian, Toulmin

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You will need: Chromebook, notebook, writing utensil

Essential Questions:

What is the relationship of the individual to the community?
How are young people affected by adult decisions?

Agenda:

Independent Reading

Attendance Question

Independent Reading
Oscar Speech Brackets
Goal Spreadsheet
Portfolio
Panel Research
Conferences

Attendance Question: Where is the humor in the cartoon? (This question is not asking if you think the cartoon is funny)

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Celebrate Diversity Month

Distracted Driving Awareness Month

Financial Literacy Month

Foot Health Awareness Month

Irritable Bowel Syndrome Awareness Month

Lawn and Garden Month

Mathematics Awareness Month

National Arab American Heritage Month

National Autism Awareness Month

You will need: Chromebook, notebook, writing utensil

Essential Questions

In what ways are images texts?

How do graphics and text features add to or detract from informational text?

Learning Objectives

Write a thesis statement that requires proof or defense and that may preview the structure of the argument.

Develop a paragraph that includes a claim and evidence supporting the claim.

Explain how grammar and mechanics contribute to the clarity and effectiveness of an argument.

Agenda

Independent Reading/Ch. 12 TYFA

Attendance Question

Q1 Timed Writing (Immigration DBQ)
Daily Grammar Practice
Panel Groups
Conferences

Attendance Question: What is the argument conveyed in the attached cartoon?

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You will need: Textbook,  DBQ Handout, Chromebook, notebook, writing utensil

Essential Questions
What patterns or trends can be identified among the arguments about this issue?

How do public figures craft stories to appeal to the American people?

What strategies will help me comprehend a text?

How does the context of a problem or issue affect how it is interpreted or presented?

How does insight strengthen an argument?

What is the best way to acknowledge and attribute the work of others that was used to support my argument?

How do graphics and text features add to or detract from informational text?

Learning Objectives:

Analyze and evaluate the rhetorical use of images, graphics, video, film, and design components of print- and web-based texts.

Photo of the Week
Graph of the Week: Interpret one graph from the "Key Findings about U.S. immigrants." Copy the graph into the Graph of the Week handout.
To guide you with your response, start with some observations.

What is the topic?

What quantities are being compared? (If there are x- and y- axes, what do they represent?)

What are some observations that you can make?

What do you foresee happening in the next 10 years?

➢ Is there an upward or downward trend? ➢ Are there any sudden spikes in the graph? ➢ What is being compared in the graph? ➢ What prediction can I make for the future? ➢ What inferences can I make about the graph?

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You will need: DGP, writing utensil, notebook

Agenda
CommonLit Douglass Questions

Essential Questions
What patterns or trends can be identified among the arguments about this issue?
What strategies will help me comprehend a text?
How does the context of a problem or issue affect how it is interpreted or presented?
How does insight strengthen an argument?
Why is reflection significant to growth?
What is the argument’s main idea and what reasoning does the author use to develop it?
What line of reasoning and evidence would best support my argument?
To what extent is my reasoning logical?
How can I explain contradictions within or between arguments?
How do I connect and analyze the evidence in order to develop an argument and support a conclusion?
What is the best way to acknowledge and attribute the work of others that was used to support my argument?

Attendance question:

What are you thankful for today? Think small.