Revising

Do Now: Please open your half-draft and count up the paragraphs. On a separate sheet of paper, list the number of paragraphs and leave some space between each number.

1. Turn to your paper, read the first paragraph, and write on your list the main point you make in this paragraph. A word of phrase will do here. (n.b., If you can’t summarize the content of a paragraph, you probably have multiple ideas in play in that paragraph that may need revising; note each of the ideas expressed in the paragraph.)

2. Do the same for each paragraph of your paper in turn.

3. Now focus on your list (which reflects the direction of your paragraphs!)
     a. How well does the list cohere?
     b. How does one idea connect to the next?
     c. Are the connections between ideas made explicit in your writing?

4. Use your notes to do four things:
i. See whether each paragraph plays a role in supporting your thesis.
ii. What needs to be revised – your thesis? Or the order of the points in your argument?
iii. Look for unnecessary repetition of ideas.
iv. Compare your notes with your half-draft to see whether the sentences in each paragraph are related to the main point of that paragraph, per the notes you've taken.

"Revision Activities." Vanderbilt.edu. Vanderbilt U, n.d. Web. 20 March 2016.

HW: Add at least one more paragraph to your draft.

Paragraphs

Do Now: Please read Clark's chapter on varying the lengths of paragraphs. What is one useful idea from the piece?

1. Paragraph Exercises
     A. Try the first "Workshop" exercise with Fadiman's paragraph.
     B. Read the three paragraphs introducing Virginia Woolf's A Room of One's Own. Discuss the author's purpose with a friend.
     C. Try the second "Workshop" exercise with the paragraph you drafted for today.
2. Finishing slideshows and drafting more paragraphs
3. Exit Ticket: One takeaway I have about the paragraph is...

HW: Add at least one paragraph to your half-draft.

From Outline to Half Draft

Do Now: Any time we reach a milestone (like finishing the big outline!), it's worth looking back over the ground we've covered and thinking about the journey.

Please open your outline and write a brief reflection covering what you have learned about at least one of the following: 1) yourself, 2) your topic, 3) organizing an outline in support of a complex synthesis argument.

1. Reflection
2. Coming up...
3. Outline Presentation

HW: Turn one subheading from your outline into at least one paragraph.

Turning in the Big Outline

Congratulations! You've composed your big outline and are ready to submit it. Please turn in the link here and give yourself a pat on the back for a job well done!

Modernism

Do Now: Read Elizabeth Barrett Browning's sonnet and talk to your group about how it is a typical example of a love poem.

1. Love Poems
2. Modernist Love Poems ("The Love Song of J. Alfred Prufrock")
3. Applicable methods/meanings
4. Exit Ticket: How is the way Eliot communicates the experience of love different from typical or conventional portrayals?

HW: Keep working on those great outlines! We'll have time on Thursday to do some fine tuning.

Modernism

Do Now: Do any of your thesis novels make use of a device listed on the handout? How so?

1. Modernism defined
2. Contrasting Romanticism with Modernism (Wordsworth and Stevens)
3. Attributes of Modernist poetry that might relate to fiction




HW: For Monday, please make sure that you have shared your outline work with me and that you have at least six pieces of evidence per big idea (you'll ultimately need 10-12/big idea, but having six by Monday will assure that you're on track and not staying up till ungodly hours the day before the outline is due).

Secondary Source Day

“The great works of Modernism live amidst the tools of modern relativism, skepticism, and hope for secular change; but they balance on the sensibility of transition, often holding in suspension the forces that persist from the past and those that grow from the novel present. They turn on ambiguous images: the city as a new possibility and an unreal fragmentation; the machine, a novel vortex of energy, and a destructive implement; the apocalyptic moment itself, the blast or explosion that purges and destroys-- . . . . It is the image of art holding transition and chaos, creation and de-creation, in suspension which gives the peculiar concentration and sensibility of Modernist art—gives it what one of the contributors in this volume calls its ‘Janus-faced’ quality.” (Bradbury 46)

Please use today's lab time to find your seventh and eighth secondary sources. These sources might explore one or more of your primary sources or they might examine another topic: your author's life; a concept important to your thesis; historical events that relate to what you've read, etc.

If you already have these sources, then please continue grouping and organizing evidence for your outline.