Formal essay writing

1. Formal essay writing English 12

2. KWL – Formal Essays • Write down everything you know about composing a formal essay.

3. 1st block

4. 3rd block

5. 4th block

6. Main Components of Writing • Content • Organization • Voice/Style • Grammar/Mechanics

7. Content What you are saying. Textually correct. Supported with apt & specific evidence. Responds to prompt properly. Well-focused & persuasive. Discuss literary work with significant insight and understanding. Interest Grabber.

8. ORGANIZATION Logical organization of thoughts. Transitions. Proper elements in appropriate paragraphs. Title/Author – intro & conclusion.

9. VOICE/STYLE How you say it. Correct tense. No 1st person. Formality. Effective control of language.

10. GRAMMAR / MECHANICS Underline/italics/quotes. Contractions. No distracting errors.

11. AP Rubric

12. The score reflects the quality of the essay as a whole—its content, its style, its mechanics. Students are rewarded for what they do well. The score for an exceptionally well-written essay may be raised by 1 point above the otherwise appropriate score. In no case may a poorly written essay be scored higher than a 3. 9 – 8 These well-focused and persuasive essays identify a tragic character who functions as an instrument of others’ suffering.These essays also discuss how that suffering contributes to the tragic vision of the work as a whole. Using apt textual support, these essays not only explore the nature of the suffering, but they also analyze how that suffering contributes to the work’s tragic vision. Although not without flaws, these essays exhibit the writer’s ability to analyze a literary work with insight and understanding, to control a thesis, and to write with clarity, precision, coherence, and - in the case of a nine (9) – with particular persuasiveness and/or stylistic flair.

13. 7 – 6 These competent essays identify a tragic character in an appropriate novel or play and analyze that character’s impact on others’ suffering. They also attempt to articulate how that suffering he or she brings on to others contributes to the work’s tragic vision (Work as a Whole). Although these essays have some insight, the analysis provided by the 7 – 6 essays is less thorough, less perceptive, and/or less specific in supporting detail than that of the 9 -8 essays. References to the text may not be as apt or as persuasive. Essays scored a 7 will demonstrate more sophistication in both substance and in style than those scored a 6, though both 7’s and 6’s will be generally well written and free from significant or sustained misinterpretations.

14. 5 These essays tend to be superficial in analysis even though they may respond to the assigned task and may offer a plausible interpretation of an appropriate novel or play. They often rely upon plot summary that contains some analysis, implicit or explicit. Although they may be obliquely attempt to explain the work as a whlole, the tragic vision, they may demonstrate a rather simplistic understanding of it. Typically, these essays reveal unsophisticated thinking and /or immature writing.

15. 4–3 These lower-half essays reflect an incomplete or oversimplified understanding of the work discussed, or they may fail to establish how the tragic figure brings about others’ suffering or how that suffering contributes to the work as a whole. They may rely on plot summary alone. Their assertions may be unsupported or even irrelevant. Often wordy, elliptical, or repetitious, these essays lack control over the elements of college-le el composition. Essays scored a 3 exhibit more than one of the stylistic errors; they may also be marred by significant misinterpretation and /or poor development.

16. 2–1 These essays compound the weaknesses of the paper in the 4-3 range. Often, they are unacceptably brief. They may be poorly written on several accounts and contain distracting errors in grammar and mechanics. The writer’s remarks are presented with little clarity, organization, or supporting evidence. Especially inept, vacuous, and /or undound essays must be scored a 1. 0 These essays do no more than make a reference to the task. — These essays either are left blank or are completely off topic

17. These essays also discuss how that suffering contributes to the tragic vision of the work as a whole What is that?????

18. Work as a Whole… It means THEME

19. THEME A generalization about life

20. A theme will: Be a complete sentence.

21. A theme will NOT: reference the literature, plot, or characters in any way. Use first person (I, you, me, my, our, us, we) Be a cliché Time will tell All is fair in love and war Time heals all wounds

22. Mini-Theme vs. Theme

23. Work as a whole/Theme Mini-Theme Work as a whole/theme A person’s commitment to war must be absolute, leaving relationships and other aspects of daily life to be returned to following battle. All’s fair in love in war. When it comes to war, there are no rules. • War

24. Work as a whole/theme Mini-Theme Work as a whole/Theme It is during times of hardship that relationships not only test their love, but strengthen it, as well. Time heals all wounds. As time passes, the inflictions brought on by life tend to restore back to health. • LOVE

25. frankenstein • The Pursuit of Knowledge (Spark) • Although knowledge can empower a person; however, that same empowerment can prove their destruction. • Tragic people • A person only truly becomes tragic when their actions affect not only themselves, but more importantly, others.

26. Frankenstein • CliffNotes: • Dangerous Knowledge (Mini-Theme) • Develop now into full theme: • Sublime Nature (Mini-Theme) • Full Theme: • Monstrosity (Mini-Theme)] • Full Theme:

27. Puzzle Pieces Work as a Whole

28. Work Backwards • 1. Read prompt ACTIVELY. Really spend time engaging in what the prompt is asking you to do. • 2. Make an outline or other organizational structure to sort out your thoughts. • 3. Come up with a work as a whole!

29. WAAW - Frankenstein 4. Once you have a WAAW,thenexplain how that Tragic figure brings about suffering to others, thus illuminating that work as a whole.

30. Introductiontitle/authorinterest grabberthesis • According to critic Northrop Frye, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightening than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightening.” If Northrop Frye is truly accurate in his account, then the “divine lightening” of despair strikes rampantly in the town of Geneva, Switzerland. Mary Shelley’s Gothic novel Frankenstein showcases a man, Victor Frankenstein, who acts as the conductor of power and tragedy as his selfish actions end up affecting all those whom he loves thus making him truly a tragic figure. Through the horrific sufferings of Victor’s father and the monster, Victor is truly not the victim of his doing but the tragic figure that conducts and spreads despair to others in his life. It is through this tragic figure of Frankenstein that Shelley is able to show her audience how a person only truly becomes tragic when their actions affect not only themselves, but more importantly, others.

31. Interest grabber • According to critic Northrop Frye, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightening than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightening.” If Northrop Frye is truly accurate in his account, then the “divine lightening” of despair strikes rampantly in the town of Geneva, Switzerland. Mary Shelley’s Gothic novel Frankenstein showcases a man, Victor Frankenstein, who acts as the conductor of power and tragedy as his selfish actions end up affecting all those whom he loves thus making him truly a tragic figure. Through the horrific sufferings of Victor’s father and the monster, Victor is truly not the victim of his doing but the tragic figure that conducts and spreads despair to others in his life. It is through this tragic figure of Frankenstein that Shelley is able to show her audience how a person only truly becomes tragic when their actions affect not only themselves, but more importantly, others.

32. Title and author • According to critic Northrop Frye, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightening than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightening.” If Northrop Frye is truly accurate in his account, then the “divine lightening” of despair strikes rampantly in the town of Geneva, Switzerland. Mary Shelley’s Gothic novel Frankenstein showcases a man, Victor Frankenstein, who acts as the conductor of power and tragedy as his selfish actions end up affecting all those whom he loves thus making him truly a tragic figure. Through the horrific sufferings of Victor’s father and the monster, Victor is truly not the victim of his doing but the tragic figure that conducts and spreads despair to others in his life. It is through this tragic figure of Frankenstein that Shelley is able to show her audience how a person only truly becomes tragic when their actions affect not only themselves, but more importantly, others.

33. Work as a whole • According to critic Northrop Frye, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightening than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightening.” If Northrop Frye is truly accurate in his account, then the “divine lightening” of despair strikes rampantly in the town of Geneva, Switzerland. Mary Shelley’s Gothic novel Frankenstein showcases a man, Victor Frankenstein, who acts as the conductor of power and tragedy as his selfish actions end up affecting all those whom he loves thus making him truly a tragic figure. Through the horrific sufferings of Victor’s father and the monster, Victor is truly not the victim of his doing but the tragic figure that conducts and spreads despair to others in his life. It is through this tragic figure of Frankenstein that Shelley is able to show her audience how a person only truly becomes tragic when their actions affect not only themselves, but more importantly, others.

34. Organization • According to critic Northrop Frye, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightening than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightening.” If Northrop Frye is truly accurate in his account, then the “divine lightening” of despair strikes rampantly in the town of Geneva, Switzerland. Mary Shelley’s Gothic novel Frankenstein showcases a man, Victor Frankenstein, who acts as the conductor of power and tragedy as his selfish actions end up affecting all those whom he loves thus making him truly a tragic figure. Through the horrific sufferings of Victor’s father and the monster, Victor is truly not the victim of his doing but the tragic figure that conducts and spreads despair to others in his life. It is through this tragic figure of Frankenstein that Shelley is able to show her audience how a person only truly becomes tragic when their actions affect not only themselves, but more importantly, others.