ENC 1101-0006

FRESHMAN COMPOSITION
AND RHETORIC
SPRING 2016
MWF 10:10-11:00 AM; WMS 217
COURSE SITE: HTTP://ENC1101WITHSEAN2.WEEBLY.COM/
Instructor: Sean McCullough
Email: stm15d@my.fsu.edu
Office: WMS 322

Office Hours: MW 11:30 AM 1:30 PM

and by appointment

COLLEGE COMPOSITION MISSION STATEMENT

College Composition courses at Florida State University teach writing as a recursive and frequently
collaborative process of invention, drafting, and revising. Writing is both personal and social, and students
should learn how to write for a variety of purposes and audiences. Since writing is a process of making
meaning as well as communicating, College Composition teachers respond to the content of students'
writing as well as to surface errors. Students should expect frequent written and oral response on the
content of their writing from both teachers and peers. Students are expected to be active participants in the
classroom community. Learning from each other and from their teachers, students are invited to give
thoughtful, reasoned responses to both assigned readings and the compositions of their peers. With an
emphasis on in-class discussions and workshops, College Composition courses facilitate critical
understandings between reading and composing. If you would like further information regarding FSU's
College Composition Program, feel free to contact the program director, Dr. Deborah Coxwell-Teague,
dteague@fsu.edu.

COURSE GOALS
This course aims to help you improve your writing skills in all areas: discovering what you have to say,
organizing your thoughts for a variety of audiences, and improving fluency and rhetorical sophistication.
You will write and revise three papers, devise your own purposes and structures for those papers, work
directly with the audience of your peers to practice critical reading and response, and learn many new
writing techniques.

COURSE OBJECTIVES
In ENC 1101 and ENC 2135, students work to develop their own thinking through writing. The First-Year
Composition Program sees the aimsgoals and objectivesof the courses as outcomes for students, and we
share the position adopted by the Council of Writing Program Administrators (WPA) regarding
outcomes, or types of results, and not standards, or precise levels of achievement . . . [that] we expect to
find at the end of first-year composition (from the WPA Outcomes Statement). The aims lie in several
areas:

Rhetorical Knowledge

By the end of first-year composition, students should:

Focus on a purpose
Respond to the needs of different audiences
Respond appropriately to different kinds of rhetorical situations
Use conventions of format and structure appropriate to the rhetorical situation
Adopt appropriate voice, tone, and level of formality
Understand how genres shape reading and writing
Write in several genres

Critical Thinking, Reading, and Writing

By the end of first-year composition, students should:
Use writing and reading for inquiry, learning, thinking, and communicating
Understand a writing assignment as a series of tasks, including finding, evaluating, analyzing, and
synthesizing appropriate primary and secondary sources
Integrate their own ideas with those of others
Understand the relationships among language, knowledge, and power

Processes
By the end of first-year composition, students should:
Be aware that it usually takes multiple drafts to create and complete a successful text
Develop flexible strategies for generating, revising, editing, and proof-reading
Understand writing as an open process that permits writers to use later invention and re-thinking to
revise their work
Understand the collaborative and social aspects of writing processes
Learn to critique their own and others works
Learn to balance the advantages of relying on others with the responsibility of doing their part
Use a variety of technologies to address a range of audiences

Knowledge of Conventions
By the end of first-year composition, students should:
Learn common formats for different kinds of texts
Develop knowledge of genre conventions ranging from structure and paragraphing to tone and
mechanics
Practice appropriate means of documenting their work
Control such surface features as syntax, grammar, punctuation, and spelling.

Composing in Electronic Environments

By the end of first-year composition, students should:
Use electronic environments for drafting, reviewing, revising, editing, and sharing texts
Locate, evaluate, organize, and use research material collected from electronic sources, including
scholarly library databases; other official databases (e.g., federal government databases); and informal
electronic networks and internet sources

Understand and exploit the differences in the rhetorical strategies and in the affordances available
for both print and electronic composing processes and texts.

COURSE MATERIALS

On Writing: A Process Reader, FSU edition, by Wendy Bishop

The Brief McGraw-Hill Handbook, FSU edition, by Maimon, Peritz, and Yancey
Our Own Words available online
Access to a Computer (the university provides a number of computer labs)
A Notebook

QQC/IN-CLASS WRITINGS
These posts provide a space for ungraded, less formal writing that focuses on exploring and developing
ideas, along with critical writing about assigned readings and classroom discussions. These posts will vary
from 100-250 words each. To receive credit, students must ask two questions on the QQC blogsite to two
different classmates and then respond to at least one question (directed toward you or somebody else), meet
the word requirement for the particular assignment, and demonstrate knowledge of and engagement with
the assigned topic. These writings will not be taken through stages of drafting, peer review, and revision
and, thus, will not count towards the course word count of a minimum of 6000 words.

PARTICIPATION
Your participation in class counts for five percent of your final grade. I will grade your participation based
on your performance in three areas: 1) completing in-class writing assignments, 2) actively engaging in
class discussions, and 3) presenting your Anthem Project during the last week of class. However, I
understand that not everyone participates in the same way, so this does not necessarily mean that you need
to speak in every class. I do ask that you come to class prepared, having read the assigned reading, listen
attentively and, if youd like, take notes.

A NOTE ON READING QUIZZESS

I dont like them. You dont like them. If we all (notice, this means me as well) make a concerted effort to
contribute to class discussions, well never have to see them. We have a short class time, so lets make the
most of it by not having to waste it on silly, little quizzes.

GRADE CALCULATION
Project 1:
Project 2:
Project 3:
Project 4:
QQC:
Participation:

20%
25%
20%
20%
10%
5%

Each of the three major projects will go through three major drafts. Students
grades for the course will be penalized for late submission of drafts. I reserve the
right to deduct half a letter grade from the final grade of your project for each
day a draft is turned in late.

ATTENDANCE
FSUs Composition Program maintains a strict attendance policy to which this course adheres: an excess of
two weeks of absencesthats more than four absences in a TR or MW class (or more than six absences in
a MWF class) is grounds for failure. For this class, an excess of six absences is grounds for failure. You
are required to be an active member of the ENC 1101 classroom community, and if you do not attend class

regularly, you cannot fulfill that requirement. You should always inform your instructor, ahead of time
when possible, about why you miss class. Save your absences for when you get sick or for family
emergencies. Additionally, not showing up for a conference counts as two absences.
If you have an excellent reason for going over the allowed number of absences, you should call
Undergraduate Studies (644 2451) and make an appointment to discuss your situation with them. If you can
provide proper documentation of extreme circumstances (for example, a medical situation or some other
crisis that resulted in you having to miss more than the allowed number of classes), Undergraduate Studies
will consider the possibility of allowing you to drop the course and take it the following semester.
Important Note: FSUs Composition Program Attendance Policy does not violate the University Attendance
Policy that appears in the University Policies section later in this syllabus. The Composition Program
Attendance Policy simply specifies the number of allowed absences, whereas the University Attendance
Policy does not.

FINAL GRADES
A
AB+
B
BC+

93 100
90 92
87 89
83 86
80 82
77 79

C
CD+
D
DF

73 76
70 72
67 69
63 66
60 62
0 59

To demonstrate college-level writing competency as

required by the State of Florida, the student must
earn a C- or higher in the course, and earn at
College-level
least a C- average on the required writing
Writing
assignments. If the student does not earn a C-
Requirement
average or better on the required writing
assignments, the student will not earn an overall
grade of C- or better in the course, no matter
how well the student performs in the remaining
portion of the course.

UNIVERSITY POLICIES
UNIVERSITY ATTENDANCE POLICY
Excused absences include documented illness, deaths in the family and other documented crises, call to
active military duty or jury duty, religious holy days, and official University activities. These absences will
be accommodated in a way that does not arbitrarily penalize students who have a valid excuse.
Consideration will also be given to students whose dependent children experience serious illness.

ACADEMIC HONOR POLICY

The Florida State University Academic Honor Policy outlines the Universitys expectations for the integrity
of students academic work, the procedures for resolving alleged violations of those expectations, and the
rights and responsibilities of students and faculty members throughout the process. Students are responsible
for reading the Academic Honor Policy and for living up to their pledge to be honest and truthful and
[to] strive for personal and institutional integrity at Florida State University. (Florida State University
Academic Honor Policy, found at http://fda.fsu.edu/Academics/Academic-Honor-Policy.)

AMERICANS WITH DISABILITIES ACT

Students with disabilities needing academic accommodation should: (1) register with and provide
documentation to the Student Disability Resource Center; and (2) bring a letter to the instructor indicating
the need for accommodation and what type. This should be done during the first week of class. This
syllabus and other class materials are available in alternative format upon request. For more information
about services available to FSU students with disabilities, contact the: Student Disability Resource Center
874 Traditions Way 108 Student Services Building Florida State University Tallahassee, FL 32306-4167
(850) 644-9566 (voice) (850) 644-8504 (TDD) sdrc@admin.fsu.edu http://www.disabilitycenter.fsu.edu/

FREE TUTORING FROM FSU

On-campus tutoring and writing assistance is available for many courses at Florida State University. For
more information, visit the Academic Center for Excellence (ACE) Tutoring Services comprehensive list
of on-campus tutoring options at http://ace.fsu.edu/tutoring or tutor@fsu.edu. High-quality tutoring is
available by appointment and on a walk-in basis. These services are offered by tutors trained to encourage
the highest level of individual academic success while upholding personal academic integrity.

LIBERAL STUDIES FOR THE 21ST CENTURY

The Liberal Studies for the 21st Century Program at Florida State University builds an educational
foundation that will enable FSU graduates to thrive both intellectually and materially and to support
themselves, their families, and their communities through a broad and critical engagement with the world in
which they live and work. Liberal Studies thus offers a transformative experience. This course has been
approved as meeting the Liberal Studies requirements for English and thus is designed to help you become
a clear, creative, and convincing communicator, as well as a critical reader.

SYLLABUS CHANGE POLICY

Except for changes that substantially affect implementation of the evaluation (grading) statement, this
syllabus is a guide for the course and is subject to change with advance notice.

OTHER INFORMATION
READING/WRITING CENTER (RWC)
What is the RWC?
Part of the English Department, the RWC serves Florida State University students at all levels and from all
majors. Think of the RWC as an idea laboratory: it is a place to develop and communicate your ideas!
Who uses the RWC?
In short: everyone! The RWCs clients include a cross-section of the campus: first-year students writing for
composition class, upper-level students writing term papers, seniors composing letters of applications for
jobs and graduate schools, graduate students working on theses and dissertations, multilingual students
mastering English, and a variety of others.
Where is the RWC located?
As of Fall Semester 2015, the RWC currently has four locations: the newly remodeled Williams 222
location, the gleaming Johnston Ground location, the happening Strozier Library location, and the up-andcoming Dirac Library location. For students who are distance learners, online tutoring is available. Contact
Dr. McElroy at smcelroy@fsu.edu for information.
What are the hours?
Hours vary by location. Check the online schedule for availability.

Who works there?

The tutors in the RWC are graduate students in English with training and experience in teaching writing,
and undergraduate students who have completed a 3-credit English elective course in tutoring writing and
who have been apprentice tutors in the RWC.
What happens in a RWC session?
Many things! You can come with a prompt and talk about your ideas with someone who will be an active
listener and ask questions to help you figure out what you think. You can come with a few ideas jotted
down, and you can talk through your organization with a tutor. Once you have written parts of a draft or a
whole draft, you can see if you communicated your ideas clearly by having a tutor be your practice
audience. They will listen as a reader, and explain to you what they are thinking as a reader. If they hear
what you intended to communicate, hooray! If not, you have an opportunity to revise before you give your
work to your actual audience. The tutors will even help you learn editing and proofreading strategies so you
can independently communicate your ideas clearly.
How do I make an appointment?
The best way is by using our online scheduling website: http://fsu.mywconline.com Instructions for making
an appointment can be found here:http://wr.english.fsu.edu/Reading-Writing-Center/How-to-Make-anAppointment While we will accept walk-ins if a tutor is available, it is usually best to book ahead.
How much tutoring help can I have?
All FSU students can have 1.5 hours of tutoring a week FOR FREE! This includes all locations, i.e., NOT
1.5 hours in Williams, 1.5 hours in Strozier, etc. Students who opt to register for ENC 1905, REA 1905, or
ENG 5998 may have more time depending on the number of credits they choose to take. Appointments are
limited to 60 minutes/day.

THE DIGITAL STUDIO

What is the Digital Studio?
The Digital Studio provides support to students working individually or in groups on a variety of digital
projects, such as designing a website, developing an electronic portfolio for a class, creating a blog,
selecting images for a visual essay, adding voiceover to a presentation, or writing a script for a podcast. The
DS has both Macs and PCs, and some of the cool software available in the DS includes Photoshop,
InDesign, Windows Movie Maker, iMovie, and more!
Who uses the DS?
Any FSU students who want to complete digital class assignments (e.g., for FYC or WEPO) or to improve
overall capabilities in digital communication. Students also use the DS to make Prezis, business cards,
flyers for their own student organizations, and more!
Where is the DS?
There are two DS locations: Williams 222 and Johnston Ground.
What happens in a DS session?
Like the RWC, think of the DS as an idea lab, only it is a place to explore ideas in digital texts and to learn
new technologies to communicate ideas in those mediums.
How do I make an appointment?
The best way is by using our online scheduling website: http://fsu.mywconline.com The DS does accept
walk-ins, but the DS gets booked by large groups and is very busy at the end of the semester, so it is best to
plan ahead.
How much tutoring can I have?
You can use the DS as much as youd like!

MLA GUIDANCE AND GRAMMAR INSTRUCTION

Purdue Owl Writing Laboratory https://owl.english.purdue.edu/owl/

CIVILITY
This class will tolerate neither disruptive language nor disruptive behavior. Disruptive language includes,
but is not limited to, violent and/or belligerent and/or insulting remarks, including sexist, racist,
homophobic or anti-ethnic slurs, bigotry, and disparaging commentary, either spoken or written (offensive
slang is included in this category). While each of you have a right to your own opinions, inflammatory
language founded in ignorance or hate is unacceptable and will be dealt with immediately. Disruptive
behavior includes the use of cell phones, pagers or any other form of electronic communication during the
class session (email, web-browsing). Disruptive behavior also includes whispering or talking when another
member of the class is speaking or engaged in relevant conversation (remember that I am a member of this
class as well). This classroom functions on the premise of respect, and you will be asked to leave the
classroom if you violate any part of this statement on civility. Remember that you will send me an email
that indicates you have read and understand this policy.

PLAGIARISM
Plagiarism is grounds for suspension from the university as well as for failure in this course. It will not be
tolerated. Any instance of plagiarism must be reported to the Director of College Composition and the
Director of Undergraduate Studies. Plagiarism is a counterproductive, non-writing behavior that is
unacceptable in a course intended to aid the growth of individual writers. Plagiarism is included among the
violations defined in the Academic Honor Code, section b), paragraph 2, as follows: Regarding academic
assignments, violations of the Academic Honor Code shall include representing anothers work or any part
thereof, be it published or unpublished, as ones own. A plagiarism education assignment that further
explains this issue will be administered in all ENC 1101 courses during the second week of class. Each
student will be responsible for completing the assignment and asking questions regarding any parts they do
not fully understand.

DESCRIPTION OF MAJOR PROJECTS

Project 1: The Crots Essay (minimum of 1500 typed, polished words, plus a 300-600 word
Process Memo)
This paper will seem strange to you; youve probably never written anything like it before. Were going to
write using crots.
A crot is a flash a segment a chunk a fragment. Its any and all of these things. Crots dont use
transitions. I want this paper to be life flashes significant experiences in your life that make you who you
are. The essay will function as a mosaic a bunch of crots cobbled together to construct a whole vision of
who you are. These reflections can be from childhood, adolescence, your high school careers, first
impressions of college and people whom youve met or would like to meet, visions of your future. They
can be fictional they can be real. And when I say they can be fictional, I mean they can be a composite
sketch of someone or something. They can be false only their essence has to be true. In this paper, I want
your life experiences. This is your biography.
Heres how well work it. Together and apart, we will write short scenes. They could be as long as 500
words or as short as fifty, so long as it reaches 1,500 words, the minimum for this paper. Well sketch
people and places and ourselves using vivid detail.

Write with fragments. Use slang if you want. Write poetry. Write a short, short story. Write a song. Write an
exposition. Imitate a style. Parody something. Run-ons, anyone? Adopt different voices. Pretend youre
someone else. Switch from first-person to second-person to third-person. Dont get lazy. This is more work
than a regular essay. When your scenes are done, well discover a common thread among them and arrange
them to form a narrative. Can it be chronological? Of course. Can it not be chronological? Of course.
The purpose: what will this paper actually do for you? Its my aim to show you that creativity and writing
in college can go together. Its my aim to show you that a worthwhile and interesting piece of writing does
not need to have a concrete beginning, middle, and endall writing is not a 5 paragraph sandwich. My aim
is to show you that using vivid detail enhances your writing immeasurably. My aim is to show you that you
can tell a story by indirectly telling it. My aim is for you to realize something important about yourself and
your writing. My aim is for you to actually enjoy this.
Feel free to incorporate images or links that you think might make your essay more effective.
Due Dates for Drafts:

Wednesday, Sept. 07:

Friday, Sept. 16:
Wednesday, Sept. 28:

Rough Draft (at least 500 words)

Second Draft (at least 1500 words)
Third Draft (complete, polished draft)

Project Two: Character Analysis (2000-2500 typed, polished words, plus a 300-600 word Process
Memo)
To analyze a character, you must find out what makes him/her tick by looking at social, behavioral,
physical, and mental traits. You also must examine how the show or movie in which your character exists
presents those traits through actions, words, thoughts, looks, and reactions. Aristotle once said a tragic
hero has four characteristics: 1) Nobleness or wisdom, 2) A tragic flaw that denotes mistakes or excess in
behavior, 3) A reversal of fortune brought about because of the hero's tragic flaw, and 4) The discovery or
recognition that the reversal was brought about by the hero's own actions.
You will choose a character from any TV show or movie that you feel drawn to. You will begin with:
Primary Exploration:
(The below examples are from books but please take the point and extend it to the story-telling in
your chosen TV show or movie)
1) Pay attention to the characters ethics. Does the character make just or unjust choices? Consider
Atticus Finch in Harper Lees To Kill a Mockingbird. Atticus does not make morally correct choices only
when it is convenient for him to do so. Rather, he shows hes a truly just character by sticking to his
principles even when his life is at stake.
2) Decide whether the characters actions are wise or unwise. For example, one may think of Friar
Laurence in Shakespeares Romeo and Juliet as being a character who continually makes poor decisions
that reflect his inner corruption.
3) What is the characters motivation? As you are mulling over the pros and cons of each characters
internal thoughts and external actions, you will want to also consider why the character is acting or thinking
in a particular way. Has the author given you any clues about the characters past? In Amy Tans novel The
Joy Luck Club, Lindo Jongs domination of her daughter Waverly can be understood, if not entirely
excused, by her terrible experiences in China.
4) Consider the effects of the characters behavior on other characters. Jane Austens Pride and

Prejudice is rife with the effects of one characters actions on others. When Lydia decides to run off with
the charlatan Wickham, she puts the whole familys reputation, as well has her own, at risk, and even
involves those outside her family, like Darcy.
5) Look for repeatedly used words that describe the character. Those words often give insight into a
characters psychology and motivations. In John Steinbecks novel East of Eden, Kathy is frequently
referred to as having sharp little teeth and a flickering tongue, which are symbols of her snake-like
monstrousness.
6) Be aware of items associated with the character. They may say something about his or her state of
mind. A classic example is the delicate unicorn figurine in Tennessee Williams play The Glass Menagerie.
The figurine is symbolic of Lauras own sense of hope and her own fragility.
7) Read between the lines. Often what a character does not say is as important as what he or she does say.
Think of Abner Snopes in William Faulkners short story Barn Burning. When the court finds Snopes
guilty of ruining his boss rug, prior knowledge of Abners character tells us that his silence upon hearing
the verdict actually speaks volumes. We know he will react later...and violently.
8) Is the character flat or round? A character is considered flat (or static) when he or she does not
experience change of any kind, does not grow from beginning to end. Shakespeare often uses comic
villains as flat characters, like Don Jon in Much Ado About Nothing. Round characters are those who do
experience some sort of growth, like Nora in Henrik Ibsens A Dolls House. By the end of the play, she has
gone from being meek and submissive to being strong and liberated.
9) Consider the historical time period of the character. Refrain from making modern judgments about
the past; put the characters actions and thoughts in context. A female character living in England in the
1800s obviously could not make the choices that she could today, for both political and social reasons.
10) Finally, what does the author think? Look for any of the writers own judgments about the characters
they have created. They may be directing you toward an intended interpretation. In The Scarlet Letter,
Nathaniel Hawthorne certainly meant for his readers to see Hester as good and Chillingsworth as evil.
Remember to use specific examples from the show/movie to provide evidence for your analysis. Youll
want to explain the character to us using some of the common themes above and I want to see you explain
to your reader WHY you are drawn to this character. Do you have things in common with them or not? Do
they make you want to be a certain way? Has this character and their relationships had an impact on your
life and why?
Due Dates for Drafts:
Friday, Oct. 07:
Wednesday Oct. 19:
Friday Oct. 28:

Rough Draft (at least 1,000 words)

Second Draft (~2,000 words)
Third Draft (complete, polished draft)

Project #3: Your Anthem (includes a minimum of 1200-1500 typed, polished words, plus a 300-600
word Process memo)
In this essay, we'll do some more personal writing but use the medium of music. You will choose a song
that you could call your anthem: a song that so perfectly coincides with your life, describes it - exemplifies
it - that it could be "your" song. There will be limitations and rules however.
For one, I really want you to think about this and consider options. Please don't choose the song you are
most familiar with right now. Secondly, think long and hard about which song you pick because you need
to be able to talk about it in depth. Thirdly, I will ask you to deconstruct the song. We will read some things
about reading texts - any kind of text - and making meaning out of reading, so this won't be so difficult.

You will point out what about this song draws you to it, be it the singer's voice or the instrumentation or
composition. Feel free to analyze the sound, the feeling, the music itself as well as the lyrics. You will
analyze why you have even chosen this song. Your final task is to point out what the song is missing.
Where does it stop being a perfect complement to who you are? What would you add?
You will also need to do a slight bit of research on the song/artist. We will learn in class about research and
citations. You will need at least one outside source - besides your song - but you can feel free to use more.
You may not cite Wikipedia. The best place to go would be either a fan page, the band's website, or the
record label's website. But you should also hit up the library for possible books/biographies about your
artist. I will also require a works cites page, which we'll discuss in class.
As an additional aspect of this paper, you each will present your song to the class, playing it on either
youtube or through a CD or mp3 on a flash drive. The accompanying presentation will tell the class, in
essence, why you chose the song and how it relates to you; a simplified version of your essay. This portion
of your presentation will last roughly three minutes. (The rest will be your 3-5 minute song.) By orating to
the course, you will gain some experience in public speaking.
Due Dates for Drafts:
Friday, Nov. 04:
Friday, Nov. 11:
Wednesday, Nov. 16:

_________
Rough Draft (at least 500 words
Second Draft (at least 1,200 words)
Third Draft (complete, polished draft)

PROJECT #4: RADICAL REVISION (INCLUDES A MINIMUM OF 500 1000 WORDS FOR THE PROCESS
AND REFLECTION

ESSAY AND PRESENTATION)

For this assignment, each student is responsible for revising one of his/her previous essays into a digital
presentation. The goal is to have each student manipulate his or her own rhetoric in order to operate
efficiently via another format. There are no set parameters for this particular assignment. For instance, you
might choose to construct a revisioning of some of your crots from your crots essay OR you may want to
create a Prezi presentation that outlines the major talking points presented in Paper 2. The point is to get
you to consider how best to transfer information from one medium to another. In accordance with this
project, you will be required to give a short 5 minute presentation to the class showing the results of your
revision.
Process Essay (Minimum of 250 Words):
1.) inform me of the reasoning behind your choice article, list, or quiz
2.) show a conscious consideration of rhetorical situation
3.) give me a clear outlook on your process
Reflection Essay (Minimum of 250 Words):
1.) What was your favorite part of completing your radical revision?
2.) Was it difficult to condense information when transferring from one medium to another?
3.) What did you learn when returning to your previous essay?

Due Dates for Drafts:

Monday, Nov. 21:
Wednesday, Nov. 30:
essay)
Monday, Dec. 05:

_________
Rough Draft (start your remediation)
Second Draft (keep working on remediation and compose process
Third Draft (complete, polished draft)

*REVISION POLICY
Major assignments will be graded at draft three; if you are unhappy with your grade, you will have (for
major assignments #1-3; time does not allow revision of major assignment #4) the option to revise and
resubmit at any point throughout the semester. This does not guarantee a higher grade, but if significant
revisions are made, the chances are good. Please note that simply correcting surface spelling/grammar
errors or changing a word here and there is unlikely to result in a radically higher score. See the course
schedule for revision deadlines.

TENTATIVE COURSE SCHEDULE

Week
1

Topics to Be Covered
Introduction to course; review syllabus; theories of writing; what is writing?;
complete plagiarism exercise; Introduce Project 1; complete invention exercises to
help generate ideas for Project 1

Rhetorical Situation; Theory Building; Voice and Audience activity; Rough Draft
P1

The Writing Process; Revision; Mapping; Peer Workshop; Second Draft P1

Individual Conferences;

Introduce Project 2; complete invention exercises to help generate ideas for Project
2; Third Draft P1; Process Memo P1

Learning to Critique; Engaging in Academic Discourse; Debate; Rough Draft P2

Individual Conferences

MLA Workshop; Writing an Academic Essay; Peer Workshop; Intros and

Conclusions; Analysis and Summary
Discuss arrangement; Conceptualizing the Discipline; Introduce P3; Third Draft of
P2

9
10

Research; Genre; Voice; Claims and Evidence; Integrating Sources; Writing about
Something Different; Rough Draft P3

11

Different Languages of Discourse; Writing with Other Sign Systems; Peer

Workshop P3; Second Draft P3

12

Bias; Social Components of Writing; Introduce Project 4; Genre and Rhetoric;

Third Draft of P3

13
14

Rough Draft of P4; Thanksgiving!

Draft 2 of P4; Peer Workshop; Reflection; Course Review; Course Eval; In-Class
Work Day
Draft 3 of P4 Due; Presentations

15