Casa Grande High School

Writing Handbook
Table of Contents
Parts of Speech . . . . . . . . . . 1
Sentence Structure . . . . . . . . . 2
Parallel Structure and Punctuation . . . . . . . 4
Common Grammar Errors . . . . . . . . 9
Formatting Papers . . . . . . . . . 10
The Essa . . . . . . . . . . 11
Technological !ocuments and the "usiness #etter . . . . . 12
Email Eti$uette . . . . . . . . . 14
%ncorporating &uotations . . . . . . . . 1'
Citing Sources . . . . . . . . . 1(
)or*s Cited #ist . . . . . . . . . 19
+nnotating a Te,t . . . . . . . . . 22
#iterar Terms . . . . . . . . . . 2-
Gree* and #atin .oots . . . . . . . . . 2'
#iterature and Tpes of )riting . . . . . . . . 2/
Plagiarism . . . . . . . . . . 2(
+ppendi, +0 Po1er Standards . . . . . . . . 29
+ppendi, "0 Scoring Guide for the Essa . . . . . . -2

0
Parts of Speech
There are nine parts of speech0 nouns2 3er4s2 ad5ecti3es2 ad3er4s2 pronouns2 con5unctions2 prepositions2
inter5ections2 and articles.
Noun: + noun is a naming 1ord. %t names a person2 place2 o45ect2 idea2 $ualit2 or action.

Examples: student2 school2 empire2 tree2 *indness2 arri3al
erb: + 3er4 is a 1ord that descri4es an action 6doing something7 or a state 64eing something7.
Examples: run2 5ump2 stud2 4elie3e2 ha3e
!d"ecti#e: +n ad5ecti3e is a 1ord that modifies a noun.
Examples: 4lissful2 ecstatic2 hideous2 incompetent
!d#erb: +n ad3er4 is a 1ord that modifies a 3er42 ad5ecti3e2 or another ad3er4.
Examples: hurriedl2 depressingl2 esterda2 e3er1here
Pronoun: + pronoun is used instead of a noun. %t pro3ides 3ariet in the use of 3oca4ular.
Examples: %2 ou2 he2 she2 1e2 it
Con"unction: + con5unction 6coordinating and su4ordinating7 5oins t1o 1ords2 phrases2 or clauses
together.
Examples: Coordinating con5unctions include but, so, and, or; subordinating
conjunctions include because, as if, though.
Preposition: + preposition usuall comes 4efore a noun or a pronoun. %t 5oins the noun to another part
of the sentence.
Examples: on2 in2 42 under2 o3er2 around
$nter"ection: +n inter5ection is an unusual 1ord that can stand alone. %t often e,presses emotion or
surprise. %nter5ections are usuall follo1ed 4 e,clamation mar*s. 8se them sparingl.
Examples: 9oora: ;uch: 9a: <i*es:
!rticle: +n article in used to introduce a noun.
Examples: the2 a2 an
1
Sentence Structure
+ sentence is made up of a su45ect and a predicate= it e,presses a complete thought.
Sub"ect: The su45ect pro3ides the noun or pronoun on 1hich the predicate acts.
The su45ect is the central topic of the sentence. %n other 1ords2 the su45ect is the >1hat?
or >1ho? of the sentence.
Example: % @su45ectA sa1 @predicateA +tticus strolling 1ith his hands in his poc*ets.
Example: +CB!C @su45ectA 4egan @predicateA in 19/- 4 Calcolm and +ngus <oung.
Predicate: The predicate of a sentence contains the principal 3er4. %t pro3ides information2 the
e,planation of the action2 condition2 or effect on the su45ect. %n other 1ords2 it is the
su45ectDs action.
Example: !illDs 3oice @su45ectA rose @predicateA steadil in the dar*ness.
Example: Eimm PageDs riff @su45ectA in >Fashmir? is used @predicateA in Puff !addDs
song >Come 1ith Ce.?
Clause: + clause is a group of 1ords that has a su45ect and a predicate. %t can either 4e
independent or dependent @su4ordinateA.
$ndependent clause: %ndependent clauses are groups of 1ords in a sentence that can stand
alone 4ecause the e,press a complete thought. %n other 1ords2 an
independent clause is a complete simple sentence.
%ependent clause: !ependent clauses2 also *no1n as su4ordinate clauses2 are groups of
1ords that ha3e a su45ect and a predicate 4ut can not stand alone. %n
other 1ords2 a dependent clause is a fragment 4ecause it does not e,press
a complete thought.
Coordinating Con"unctions: Coordinating con5unctions are used to com4ine independent
clauses. + simple 1a to remem4er the se3en coordinating
con5unctions is 4 remem4ering the acronm &!N '()S0
&(* !N% N(* '+T (* )ET S(
Subordinating Con"unctions: Su4ordinating con5unctions are used to connect dependent and
independent clauses0
+fter +s much as E3en though So that )hen
+lthough +s soon as 9o1 Than )here
+s +s though %f Though )hene3er
+s if "ecause Go1 that 8nless )hile
+s long as "efore Since 8ntil )here3er
2
Simple sentence: The simple sentence consists of a single independent clause.
Example: Scout hurried home.
Example: Cadonna 1as a cheerleader and a straight + student in high school.
Compound sentence0 + compound sentence has t1o or more independent clauses. + semicolon
or a coordinating con5unction 6and2 or2 4ut2 for2 nor2 so2 et7 1ith a
comma 5oin them.
Example: Eem said he didnDt e3en 1ant to go ,independent clause-2 4ut ,coordinating
con"unction- he 1as una4le to resist foot4all in an form ,independent clause-2
and ,coordinating con"unction- he stood gloomil on the sidelines 1ith +tticus
and me 1atching Cecil Eaco4sDs father ma*e touchdo1ns for the "aptists
,independent clause-.
Example: CC+ of the "eastie "os organiHed the Ti4etan Freedom Concert in 199I2 a t1oJ
da long festi3al in Golden Gate Par* ,independent clause-= it attracted o3er
1002000 people ,independent clause-.
Complex sentence: + comple, sentence consists of one independent clause and one or more
dependent clauses.
Example: +fter Scout reached home ,dependent clause-2 she faced the 1rath of +tticus
,independent clause-.
Example: "ecause he came do1n 1ith the flu ,dependent clause-2 George 9arrison of the
"eatles nearl missed their first Ed Sulli3an Sho1 appearance ,independent
clause-.
Compound.complex sentence: + compoundJcomple, sentence includes t1o or more
independent clauses 1ith one or more dependent clauses.
Example: +lthough Scout lo3es her 4rother ,dependent clause-2 the argue constantl
,independent clause-= he treats her li*e a girl ,independent clause-.
Example: "ecause Casa Grande has a strong academic program ,dependent clause-2 man
students are admitted to outstanding uni3ersities ,independent clause-2 and the
go on to pursue fascinating careers ,independent clause-.
-
Parallel Structure
Parallel structure promotes clarit2 elegance2 and 4alance. %t consists of a similar pattern of 1ords that
sho1 the e$ual importance of t1o or more related ideas. Parallel structure can happen at the 1ord2
phrase2 or clause le3el. 8se commas to separate parallel 1ords2 phrases2 and dependent clauses. 8se
semicolons to separate parallel independent clauses.
Parallel single /ords:
Example: Scout lo3ed reading2 plaing2 and fussing.
Example: Eem lo3ed foot4all2 mo3ies2 and +tticus.
Parallel phrases:
Example: %n the dar*2 in the night2 in the sno12 Elie and his father trudged to1ard Glei1itH.
Parallel dependent clauses:
Example: )hen #ennie *illed the mouse2 1hen #ennie *illed the pupp2 1hen #enn *illed
CurleDs 1ife2 #ennieDs doom 1as predicta4le.
Parallel independent clauses:
Example: The motor 4oat crossed the la*e in fifteen minutes= the canoe too* t1o hours.
Punctuation
Comma
1. 8se a comma 4efore a coordinating con5unction 6for2 and2 nor2 4ut2 or2 et2 soKF+G ";<S7 in a
sentence.
Example: +ll of us 1ent to the mo3ie2 4ut most of us left earl.
Example: Furt Co4ain 1as a leftJhanded guitarist2 4ut he 1as a rightJhanded drummer.
2. 8se a comma after an introductor clause2 phrase2 or 1ord.
Example: "ecause % could not 4orro1 the car2 % had to 1al* home from school.
Example: +fter the first semester2 students ma $ualif for the Casa Grande 9onor Societ.
-. 8se a comma to set off interrupting 1ords in a sentence.
Example: C teacher2 1ho is al1as tal*ing2 dri3es me craH.
4
Example: Snoop !ogg2 1ho 1as a Crip gang mem4er in high school2 started his o1n outh
foot4all league2 >the Snoop <outh Foot4all #eague2? to 1hich he donates t1o
million dollars each ear.
4. 8se a comma to set off an appositi3e0
Example: The EliHa4ethan author2 )illiam Sha*espeare2 1as *no1n for his perfect poetr.
Example: 0ohnn Cash2 a popular singer and song1riter2 ne3er ser3ed more than one night
in prison.
'. 8se commas to separate 1ords in a series.
Example: )illiam Sha*espeare had a great talent2 a lo3ing daughter2 and a hostile 1ife.
Example: "ritne Spears 1as named the most annoing person of 200I 4 Star magaHine2
9oll1oodDs 9ottest Com in 200' 4 In Touch magaHine2 and se,iest 1oman in
the 1orld in 2002 4 Stuff magaHine.
I. 8se a comma 4et1een multiple modifiers acting on the same 1ord.
Example: !ri3ing to SharonDs house 1as an arduous2 tiring 5ourne.
Example: #istening to the .amones is usuall an interacti3e2 participator e,perience.
/. 8se commas 1hen introducing or attri4uting dialogue.
Example: >)e donDt *no1 1hat ou are tal*ing a4out2? said .o4ert.
Example: >+ll ou need is lo3e2? said the late Eohn #ennon.
(. 8se a comma to set off a name in a direct address.
Example: >Cs. Fautsch2 ha3e ou corrected m paper etL?
Example: >9e2 Cr. Tam4ourine Can2 pla a song for me.?
Semicolon
1. 8se a semicolon to separate independent clauses2 if not using a coordinating con5unction 6F+G
";<S7
Example: She lo3es attending Casa= it is a great school.
Example: Car* +nthon is the original 4ass plaer of Man 9alen= )olfgang Man
9alen2 EddieDs son2 replaced him.
2. 8se a semicolon 4efore and a comma after the follo1ing 1ords 1hen used 4et1een independent
clauses0 however, then, for instance, moreover, therefore, nevertheless, consequently, hence, thus,
in fact.
'
Example: Sharon studied for the test= ho1e3er2 she failed an1a.
Example: The fling inflata4le pig on the co3er of Pin* FlodDs Animals al4um fle1 off its
tethers on the second da of the photo shoot= conse$uentl2 there 1as chaos at
#ondonDs 9eathro1 +irport.
-. 8se a semicolon 4efore items in a series containing internal commas.
Example: ;n her cruise2 she planned to ta*e the follo1ing0 the ne1est Sue Grafton
mster2 fi3e 1ee*s on the 4est seller list= her 4rotherDs camera2 an e,pensi3e
Son digital= three garment 4ags2 each filled 1ith ne1 spring dresses.
Example: The original lineJup of the )ho is comprised of .oger !altr2 lead singer2 1ho
1as once *ic*ed out of the 4and for insulting the other mem4ers= Eohn Ent1istle2
4assist2 1ho sometimes 1ore a 9allo1een s*eleton costume on stage= Feith
Coon2 drummer2 1ho often loaded his drums 1ith e,plosi3es= and Pete
To1nsend2 guitarist2 1ho used a signature mo3e called >the 1indmill.?
Colon
1. 8se a colon 4efore a list that is introduced 4 such e,pressions as >the follo1ing2? >as follo1s?
or >including.?
Example: The 1inners of the race include the follo1ing0 Ste3e Cartin2 #eo Carillo2 and
Susan ". +nthon.
Example: The .olling Stones ha3e man hit songs2 including0 >Start Ce 8p2? >#etDs
Spend the Gight Together2? and >.u4 Tuesda.?
2. 8se a colon to introduce a long2 formal $uotation or statement.
Example: Finall2 Eefferson pic*ed up the $uill pen and 4egan to 1rite0 >)hen in the course
of human e3entsN?.
Example: PrinceDs hit >.asp4err "eret? includes the lrics0 >% 1as 1or*ing part time in a
fi3e and dime B m 4oss 1as Cr. Cagee B he told me se3eral times that he didnDt
li*e m *ind B 4ecause % 1as a 4it too leisurel.?
-. 8se a colon to introduce a list if the introduction is an independent clause.
Example: Eoseph Camp4ell lists three traditional $ualities of a hero0 strength2 honest2 and
humilit.
Example: Eefferson +irplane2 pioneers of the pschedelic roc* genre2 e,emplifies the
19I0s0 radical lrics2 alternati3e lifestles2 and li4eral politics.
4. 8se a colon after the salutation in a 4usiness letter.
Example: !ear Cs. Scheele0
I
Example: !ear Prudence0
!postrophe
1. 8se an apostrophe in forming possessi3es.
Form the possessi3e case of singular and plural nouns 4 adding Ds1
Examples: FenDs car EamesDs guitar PeopleDs Par*
Form the possessi3e of plural nouns ending 1ith an s 4 adding an apostrophe.
Examples: ra44itsD cages girlsD athletics
The possessi3es of man pronouns ha3e no apostrophe.
Examples: his its
H2phen
1. 8se a hphen in compound 1ords
Examples: Cs. .eillJCloud t1oJearJold child
%ash
1. 8se a dash to enclose an internal series.
Example: Three 4asic dance stlesKthe 1altH2 the tango2 the fo, trotKdemand careful
practice and e,ecution.
Example: Fleet1ood CacDs three lead singersKSte3ie Gic*s2 Christine CcMie2 and
#indse "uc*inghamKpro3ide drama and intrigue.
2. 8se a dash to set off a parenthetical element2 often for emphasis.
Example: 9er recent 4eha3iorKho1e3er 4iHarreKmust 4e 5udged 1ith compassion.
Example: !ef #eppardDs drummerK1ho lost one arm in a car accidentKplas on a custom
drum *it.
-. 8se a dash 4efore an appositi3e at the end of a sentence.
Example: + passion for s1imming demonstrates a lo3e of all tpes of 1aterKoceans2
pools2 and la*es.
4. 8se a dash to set off an interior appositi3e.
Example: "ro1nDs popular no3elKThe Da inci !odeK4ecame a film.
/
Example: #nard S*nardDs song >Free4ird?K1ith its nearl fi3e minute guitar soloK
holds spot 191 on "olling StoneDs '00 greatest songs of all time.
$talics3+nderlining
1. 8se italics or underlining to indicate the titles of 4oo*s2 plas2 magaHines2 ne1spapers2 1or*s of
art2 titles of al4ums2 and the names of ships and aircraft.
Examples: The Starshi# $nter#rise "omeo and %uliet The &hite Album
2. 8se italics or underlining for foreign 1ords and letters of the alpha4et.
Example: The consonants t and d sound ali*e.
Example: Cs. Fautsch is fashiona4l au courant.
Exclamation 4ark
1. 8se an e,clamation mar* for e,tra emphasis.
Examples: !o not o3eruse e,clamation mar*s: )ham:
Ellipsis
1. 8se an ellipsis 6three periods 1ith a space 4et1een each7 to mar* omitted 1ords.
Example: 9e thought2 >The 4oat . . . too far . . . not going to ma*e it.?
5uotation 4arks
1. 8se $uotation mar*s to enclose a personDs e,act 1ords.
Example: 6% canDt 4elie3e ou didnDt see it either2? said Car.
Example: Cadonna said2 >#isten2 e3erone is entitled to m opinion.?
2. 8se $uotation mar*s to enclose titles of chapters2 articles2 short stories2 poems2 songs and other
parts of 4oo*s or periodicals.
Example: The poem >Siren Song? 4 Cargaret +t1ood is one of m fa3orites.
Example: +erosmithDs >Same ;ld Song and !ance? is featured on 'uitar (ero ).
(
Common Grammar Errors
&ragment: + fragment is an incomplete sentence.
$ncorrect: +ccording to the "eatles.
Correct: +ccording to the "eatles2 1e all li3e in a ello1 su4marine.
Comma Splice: The comma splice uses a comma to do the 1or* of a period or a semicolon.
$ncorrect: Eudas PriestDs .o4 9alford has fi3eJocta3e 3oice2 he is a classicall
trained 3ocalist.
Correct: Eudas PriestDs .o4 9alford has fi3eJocta3e 3oice. 9e is a classicall
trained 3ocalist.
Correct: Eudas PriestDs .o4 9alford has fi3eJocta3e 3oice= he is a classicall
trained 3ocalist.
*un.(n: The runJon sentence com4ines t1o or more independent clauses 1ithout
punctuation.
$ncorrect: The EaglesDs concert 1as a 1aste of mone the 4and mem4ers forgot
ho1 to pla man of the songs the guitars 1erenDt e3en tuned.
Correct: The EaglesDs concert 1as a 1aste of mone. The 4and mem4ers forgot
ho1 to pla man of the songs2 and the guitars 1erenDt e3en tuned.
Sub"ect.erb !greement: Catch singular su45ects 1ith singular 3er4s2 plural su45ects 1ith
plural 3er4s.
$ncorrect: Pearl Eam 1ere on an e,pensi3e tour2 4ut offset their en3ironmental
footprint 4 planting trees in the rain forest.
Correct: Pearl Eam 1as on an e,pensi3e tour2 4ut offset its en3ironmental
footprint 4 planting trees in the rain forest.
Pronoun.!ntecedent !greement: +n antecedent must match our choice of pronoun.
$ncorrect: Each mem4er of Fiss ha3e to spend an hour 4efore the concert putting
on their ma*eJup.
Correct: Each mem4er of Fiss has to spend an hour 4efore the concert putting
on his ma*eJup.
!#oid +nnecessar2 Shifts in Tense: There are man e,ceptions to this rule2 4ut in general2 maintain a
consistent tense in our 1riting.
$ncorrect: Eoan Eett than*ed the cro1d and 4egins to roc*.
Correct: Eoan Eett than*ed the cro1d and 4egan to roc*.
&ault2 Parallelism: E,press related ideas in similar form.
$ncorrect: "o4 !lan 1as a poet2 a friend2 and he 4ro*e man rules.
Correct: "o4 !lan 1as a poet2 a friend2 and a re4el.
4isplaced 4odifier: To a3oid confusion2 put our modifier in its proper place.
$ncorrect: 8n1ashed and unrul2 the 4o too* his dog to o4edience school.
Correct: The 4o too* his dog2 un1ashed and unrul2 to o4edience school.
9
&ormatting Papers
The appearance of our paper announces its $ualit e3en 4efore it is read. Conse$uentl2 it is important
that our paper appear professional2 organiHed2 and polished.
8nless other1ise directed 4 our teacher2 1ordJprocess and format all ta*eJhome 1riting using the
guidelines pro3ided 4 the Codern #anguage +ssociation. <our teachers 1ill refer to this stle as the
C#+ format.
8se the model 4elo1 to guide ou.
To re3ie10
Pro3ide a heading and title for our papers.
!o not underline2 italiciHe2 or use $uotation mar*s on the title of our o1n paper.
!ou4leJspace our papers2 so our teacher can easil read and 1rite comments on them.
8se 12Jpoint Times Ge1 .oman.
%ndent the first sentence of each paragraph one halfJinch from the left margin.
#ea3e oneJinch margins at the top2 4ottom2 and sides of our essa.
8se one side of the page onl.
10
The Essa2
Expositor2
E,positor 1riting includes 4usiness letters2 research reports2 analtical and interpreti3e essas. These
forms usuall include an introduction2 a 4od2 and a conclusion.
+ strong introduction includes a thesis 6the controlling idea7. 8suall the thesis is at the end of the first
paragraph. The thesis should include an opinion a4out the authorDs 1or*. %f ou are 1riting a4out a piece
of literature2 the introduction must include the title of the 1or* and the authorDs complete name.
Thesis e,amples0
The manipulation of children can lead to disastrous results0 the 4etraals 4 #ord
Capulet2 Gurse2 and Friar #aurence result in .omeo and EulietDs untimel deaths.
ScoutDs naO3e grasp of racism in Cacom4 highlights the entrenched pre5udice of the
South in the 1940s.
%n each of the 4od paragraphs the topic sentence 7claim8 is generall the first sentence. The claim
should 4e related to our thesis. Context refers to the source of our information. E#idence might 4e
$uotations2 facts2 statistics2 paraphrased references to information2 or anecdotes. Commentar2 is our
e,planation of the 1a that this information relates to our thesis. %t might ta*e se3eral sentences to
support a claim.
The conclusion is our final opportunit to pro3e the 3alidit of our thesis. %t might restate the thesis in
a fresh 1a2 relate the idea to contemporar life2 or refer to other 1or*s that support the same idea.
Narrati#e
Garrati3e essas are stories or anecdotes2 rather than the more analtical papers descri4ed a4o3e.
Personal Narrati#e
+ personal narrati3e is 1hen a person 1rites a4out himself or a4out his e,periences. %n this stle of
narrati3e 1riting2 the 1riter has a plot.
$maginati#e Narrati#e Writing
)hen a narrati3e 1riter 1rites fiction2 it is *no1n as imaginati3e narrati3e 1riting. 9ere the 1riter has to
create a plot.
Narrati#e Essa2: Garrati3e essas are al1as 1ritten from a specific point of 3ie1. The narrati3e essa
should support a central theme.
Persuasi#e Essa2
Persuasi3e essas structure ideas and arguments in an organiHed and logical fashion. )riters should use
specific rhetorical strategiesKsuch as ethos2 pathos2 and logosKto support assertions. + persuasi3e essa
clarifies and defends positions 1ith precise and rele3ant e3idence2 including facts2 e,pert opinions2
$uotations2 and e,pressions of commonl accepted 4eliefs and logical reasoning. +nother important
component of a persuasi3e essa is that the 1riter must address readersD concerns2 counterclaims2 4iases2
and e,pectations.
11
Technical %ocuments
Technical documents 6e.g.2 a manual on rules of 4eha3ior for conflict resolution2 procedures for
conducting a meeting2 minutes of a meeting7 report information and con3e ideas logicall and correctl.
This 1riting offers detailed and accurate specifications2 and includes scenarios2 definitions2 and e,amples
to aid comprehension 6e.g.2 trou4leshooting guide7. Effecti3e technical documents anticipate readersD
pro4lems2 mista*es2 and misunderstandings.
The 'usiness 9etter
+ 4usiness letter is effecti3e onl if its content is strong and its appearance is perfect.
The most common format for the 4usiness letter is the block format. %n this format2 the entire letter is left
5ustified2 and the 1riting 1ithin paragraphs is singleJspaced.
9ere are the elements ou 1ill need for a perfect 4usiness letter0
%ate: )rite the month2 da2 and ear t1o inches from the top of the page.
Sender:s !ddress0 There are t1o options here. %f ou use the first option2 include the senderDs address
t1o spaces 4elo1 the date. !o not include the senderDs name2 as it is included in the letterDs closing. %f
ou use the second option2 include the senderDs address after the closing signature. The e,ample 1eD3e
included here uses the second option.
$nside !ddress0 The inside address is the recipientDs address. %f ou are 1riting to an organiHation and do
ha3e a specific personDs name2 do some research to find out the 4est person to address our concerns. 8se
the title appropriate to our recipient2 such as Cr.2 Ciss2 Crs.2 or Cs. %f our recipient is a 1oman2 and
ou are unsure of her preference2 use Cs.
Salutation: <our salutation greets the recipient. 8se their title follo1ed 4 their last name. "ecause this is
a formal letter2 follo1 their name 1ith a colon.
'od20 Single space our paragraphs and lea3e a 4lan* line 4et1een paragraphs.
Closing0 #ea3e a 4lan* line 4et1een our last paragraph and our closing. CapitaliHe the first 1ord onl
6i.e.2 )ith 4est regards7 and follo1 it 1ith a comma. #ea3e four lines 4et1een the closing and the
senderDs name. %n this space2 the sender 1ill 1rite his or her signature2 prefera4l using 4lue or 4lac* in*.
Enclosures0 #et the recipient *no1 if ou enclosed an documentsKsuch as a rPsumP or a chartKalong
1ith our letter. Tpe Enclosures one line 4elo1 the closing. %f ou 1ish2 ou ma follo1 Enclosures 1ith
a colon and list the name of each document ou are including.
12
+ugust 222 2012
Cartin English
--- +llegor .oad
Petaluma2 C+ 949'2
!ear Cr. English0
"egin 1ith a friendl opening in our introductor paragraph. Tell our reader the purpose of
our letter. %n a fe1 sentences2 e,plain our purpose. <ou do not need to go into depth or detail
a4out this purpose here.
<our 4od paragraphs 1ill pro3ide the supporting detailsK4ac*ground information2 firstJhand
accounts2 facts2 and statisticsKour reader needs in order to understand our purpose. + fe1
short paragraphs are all ou need to de3elop and to support that purpose.
Finall2 our closing paragraph 1ill restate our purpose and 1h it is important. %f ou re$uire
something from our reader2 4e sure to re$uest it here.
Sincerel2
Amanda Lucida
+manda #ucida
'/9 Sunset "oule3ard
9oll1ood2 C+ 900I9
1-

Email Eti;uette
Chances are ou are alread a master of 1riting and sending email. The casual email to a friend2 ho1e3er2
1ill pro4a4l 4e radicall different from one sent to a teacher or emploer. To help determine ho1 ou
1ill 1rite an email2 as* ourself the follo1ing $uestions0
)ho is our audienceL
)hat is our purpose in sending this emailL
)hat su45ect are ou 1riting a4outL )ould it 4e 4etter to discuss it in person or 4 phoneL
)hat *ind of response 1ould ou li*e to recei3eL
%f ou are 1riting an email for 1or* or school2 consider using the follo1ing tips0
1. Create a su45ect line that informs our reader of the emailDs content.
"equest for !urrent 'rade
A *uestion about the $ssay Due on &ednesday
I &as Absent Today and +eed the (omewor,
2. ;pen our email 1ith a greeting that includes the readerDs name.
Dear -s. $nglish,
-. "e 1arm and persona4le 4ut not slopp.
Than,s, -s. $nglish, for giving us a handout with the directions for the essay. I have a question.
4. +s a courtes to our reader2 4e clear2 direct2 and concise. %t can 4e hard to grasp multiple details
or comple, information 1hen reading an email.
'. +3oid a44re3iations.
&u/ u# th0 1 ur handout might not 4e clear to man of our readers.
I. 8se appropriate upper and lo1er case letters and con3entional punctuation.
using all lower case letters and no #unctuation loo,s as if you dont care
2SI+' A33 !A4ITA3 3$TT$"S 3556S AS I7 8529"$ S(52TI+':::
/. +fter ou recei3e a repl to our email2 send a $uic* than*Jou email letting our 1riter *no1
ou ha3e recei3ed his or her response and ha3e the information ou need.
14
(. End our email 1ith an appropriate closing and our name. %n addition2 if ou 1ish our reader to
contact ou 4 phone or mail2 include the appropriate contact information.
&arm regards,
Antonia Student
;<=<> ?1@AB1=C
9. %n general2 send attachments onl if our reader e,pects them. ;ften2 attachments contain 3iruses
K1hether ou realiHe it or notKand some readers might not open our email if the see there is
an une,pected attachment. Similarl2 donDt send chain letters unless our reader has re$uested
them.
10. %f possi4le2 create an email account that uses a formal email name. %f ou are appling for an
internship2 5o42 or college +StudentQcomcast.net loo*s more professional than
pSFoFittenQcomcast.net.
$ncorporating 5uotations
%ntroductions and conclusions might occasionall use a $uotation for effect= ho1e3er2 do not 4egin or end
a 4od paragraph 1ith a $uotation. + 4od paragraph must 4egin 1ith a topic sentence that ma*es a claim
4efore pro3iding conte,t2 the $uoted te,t2 and the commentar.
)hen using $uotations in a 4od paragraph remem4er0 6CC5C:< Claim= Context= 5uotation=
Commentar21
Example 7;uoting from To Kill a Mockingbird b2 Harper 9ee8:
ScoutDs innocence allo1s her to turn a1a the 1rath of the mo4 that comes to lnch Tom
.o4inson ,Claim-. +fter the cro1d disperses ,Context-2 Scout is surprised 1hen Cr.
Cunningham sas a4out his son2 >%Dll 4e proud to tell him ou said he2 little lad? 61'48
,5uotation-. 9er naO3e recognition of Cr. Cunningham highlights 9arper #eeDs 4elief in the
innate goodness of children ,Commentar2-.
Gracefull incorporate $uotations into our 1riting 4 $uoting full sentences from the te,t2 or em4edding
$uoted fragments into our o1n sentences.
Examples0
+se a statement and a colon to introduce a ;uotation:
" the end of To 6ill a -oc,ingbird2 Scout understands the fascination she and Eem ha3e
held for "oo .adle0 >Eust standing on the .adle porch 1as enough? 62/97. Scout realiHes "oo
has uno4trusi3el 1atched them gro1 up.
1'
+se a speaking #erb and a colon to introduce a ;uotation:
)hen +tticus as*s Scout not to 4rag a4out his shooting pro1ess2 she replies0 >)hatL %
certainl am. +inDt e3er4odDs dadd the deadest shot in Cacom4 Count?6-(7.
+se a ;uoted fragment:
The respect the +frican +merican communit had for +tticus is apparent 1hen .e3erend
S*es tells Scout and Eem to stand up 4ecause their >fatherDs passin? @sicA 62117.
&uote the te,t carefull. "e sure to use e,act spelling2 punctuation2 and capitaliHation2 e3en if it is
incorrect. <ou ma indicate the mista*e is not ours 4 using >@sicA.?
%f the $uotation is longer than four lines of prose or three lines of 3erse2 ou must indent it 4 ten spaces
into a 4loc* $uote. Caintain dou4le spacing2 and do not use $uotation mar*s. %n this case2 put the page or
line num4ers in parentheses after the ending punctuation.
Example:
%n his closing statements2 +tticus argues that all humans ha3e fundamental fla1s=
therefore2 the should not 4e so $uic* to 5udge others0
"ut this is a truth that applies to the human race and to no particular race of men.
There is not a person in this courtroom 1ho has ne3er told a lie2 1ho has ne3er
done an immoral thing2 and there is no man li3ing 1ho has ne3er loo*ed upon a
1oman 1ithout desire. 6((7
8nfortunatel2 changing the to1nDs culture is not as eas as e,posing its moral
inconsistencies.
Signal Phrases: Strong academic 1riters indicate a direct $uote or paraphrase is a4out to follo1 4 using
signal phrases. The signal phrase might contain the name of the author or the title of the 1or* and then a
specific 3er4.
Ta*e a moment to read this e,cerpt from "ill TancerDs essa2 >"re1ing "attle0 Star4uc*s 3s.
Cc!onaldDs2? in Time magaHine0
%D3e al1as thought of these t1o chains as polar oppositesKone designed as a
sophisticated fau, li3ing room 1here customers could get a decent coffee drin* and read
1I
their ne1spapers= the other2 a riot of plasticJandJ3inl 4ooths and 4right fluorescent
lighting 1here meals are counted in 4illions. 6-/7
#et us sa ou 1ere using TancerDs essa in a paper ou 1ere 1riting. 9ere are t1o e,amples of signal
phrases ou might use0
%n >"re1ing "attles0 Star4uc*s 3s. Cc!onaldDs2? Tancer suggests that Star4uc*s is
>designed as a sophisticated fau, li3ing room? 6-/7.
Tancer notes that Star4uc*s is much li*e a fa*e li3ing room 1here one can sip coffee and
read the ne1spaper 6-/7.
9ere are sample 3er4s to choose from 1hen using a signal phrase0
+rgues E,plains ;4ser3es .e3eals
Claims %mplies Proposes States
Comments Caintains .eflects Suggests
EmphasiHes Gotes .emar*s )rites
1/
Citing Sources
%f ou ha3e used the facts2 ideas2 or 1ords of another author2 ou must gi3e proper credit in our paper.
C#+ pro3ides t1o methods of citation0
Parenthetical citations0 Sometimes called internal citations2 parenthetical citations identif the source
from 1hich ou ha3e ta*en our fact2 idea2 or $uotation. + parenthetical citation is enclosed in parenthesis
and includes one or 4oth of these elements0
%t identifies the author of our source.
%t pro3ides the location 1here the information cited can 4e found.
When citing e#idence in 2our essa22 gi3e the author and page num4er of our source. There are
a num4er of 1as ou ma pro3ide this information.
Examples:
Cths pro3ide an essential sense of our identit and place in the larger 1orld 6"ierlein /7.
E. F. "ierlein2 in 3iving -yths2 suggests2 >Cths can act to in3est our li3esKour e,istenceK1ith
meaning? 6/7.
Cths2 notes E. F. "ierlein2 reflect our man cultural identities 6/7.
See 6$ncorporating 5uotations< section for ho/ to incorporate ;uotes longer than four
lines1
When ;uoting from a poem= pro3ide line num4ers rather than page num4ers in the parentheses.
%ndicate line 4rea*s 1ith a slash mar* and a space on each side to separate them.
Example: The command >do not resist this poem B this poem has r ees B this poem has his
head? 6.eed -IJ-(7 alarms the reader.
When ;uoting from a pla2= pro3ide the title of the pla2 the act2 scene2 and line num4ers in
parentheses.
Example: 9orrified 4 1hat she has said a4out .omeo2 Euliet cries0 >+h2 poor m lord2
1hat tongue shall smooth th name B )hen %2 th threeJhours 1ife2 ha3e mangled
itL? 6"omeo and %uliet %%%.ii.9(J997.
1(
Works Cited 9ist
! Works Cited list pro3ides the full information a4out our sources. %t allo1s the reader of our paper to
find the sources ou reference. )hen creating our )or*s Cited2 please remem4er to follo1 the
esta4lished C#+ format0
The list of )or*s Cited appears at the end of the paper. "egin the list on a ne1 page2 and num4er
each page2 continuing the page num4ers after the te,t. For e,ample2 if the te,t of our research
paper ends on page 102 the )or*s Cited list 4egins on page >>.
The page num4ers appear in the upper right hand corner2 one halfJinch from the top2 and flush
1ith the right margin.
Center the title2 )or*s Cited2 one inch from the top of the page.
!ou4leJspace 4et1een the title and first entr.
"egin each entr flush 1ith the left margin= if an entr runs more than one line2 indent the
su4se$uent line or lines one halfJinch from the left margin.
!ou4leJspace the entire list2 4oth 4et1een and 1ithin entries.
Entries in a )or*s Cited list are arranged in an alpha4etical order. %f the authorDs name is
un*no1n2 alpha4etiHe 4 the title2 ignoring an initial >a2? >an2? or >the.?
The follo1ing e,amples of sources on a )or*sJCited list come from 4rentice (all 3iteratureD 'old 3evel.
'ook /ith one author:
Ples2 Thomas. The 5rigins and Develo#ment of the $nglish 3anguage. 2
nd
ed.
Ge1 <or*0 9arcourt "race Eo3ano3ich2 %nc.2 19/1.
'ook /ith t/o or three authors:
CcCrum2 .o4ert2 )illiam Cran2 and .o4ert CacGeil. The Story of $nglish. Ge1 <or*0
Penguin "oo*s2 19(/.
19
'ook /ith an editor:
Truth2 So5ourner. +arrative of Sojourner Truth. Ed. Cargaret )ashington. Ge1 <or*0
Mintage "oo*s2 199-.
'ook /ith more than three authors or editors:
)ellington2 .o4ert ".2 et al. &riting -usic Today. "oston0 Sunrise Press2 199I.
Single /ork from an antholog2:
9a1thorne2 Gathaniel. ><oung Goodman "ro1n.? 3iteratureD An Introduction to
"eading and &riting. Ed. Edgar M. .o4erts and 9enr E. Eaco4s. 8pper Saddle
.i3er2 GE0 PrenticeJ9all2 %nc.2 199(. -/IJ-('.
$ntroduction in a published edition:
)ashington2 Cargaret. %ntroduction. +arrative of Sojourner Truth. " So5ourner Truth.
Ge1 <or*0 Mintage "oo*s2 199-. pp. 3J,i.
Signed article in a /eekl2 maga?ine:
)allace2 Charles. >+ Modacious !eal.? Time 14 Fe4. 20000 I-.
Signed article in a monthl2 maga?ine:
Gustaitis2 Eoseph. >The Stic* 9istor of Che1ing Gum.? American (istory
;ct. 199(0 -0J-(.
Ne/spaper:
Thuro12 .oger. >South +fricans )ho Fought for Sanctions Go1 Scrap for %n3estors.?
&all Street %ournal 11 Fe4. 20000 +1R.
+nsigned editorial or stor2:
>Selecti3e Silence.? Editorial. &all Street %ournal 11 Fe4. 20000 +1-.
Pamphlet /ith no author= publisher= or date:
Are 8ou at "is, of (eart Attac,E n.p.2 n.d.
@n.p.2 n.d. indicates that there is no *no1n pu4lisher or dateA
&ilmstrips= slide programs= #ideotape= and %%:
The Diary of Anne 7ran,. !ir. George Ste3ens. Perf. Cillie Per*ins2 Shelle
)inters2 Eoseph Schild*raut2 #ou Eaco4i2 and .ichard "emer.
T1entieth Centur Fo,2 19'9.
20
*adio or tele#ision program:
>The First %mmortal Generation.? 5c,ham9s "a/or. 9ost .o4n )illiams.
Guest !amien "roderic*. Gational Pu4lic .adio. 2- Ca 1999. Transcript.
$nternet:
+ational Association of !hewing 'um -anufacturers. 19 !ec. 1999. )e4. ( Sept. 2002.
Green2 Eoshua. >The .o3e Presidenc.? The Atlantic.com. +tlantic Conthl Group2 Sept. 200/.
)e4. 1' Ca 200(.
Personal $nter#ie/:
Smith2 Eane. Personal %nter3ie1. 10 Fe4. 200-.
Signed article from an enc2clopedia:
+s*eland2 !onald .. >)elding.? &orld Foo, $ncyclo#edia. 1991 ed.
21
!nnotating a Text
)hen ou annotate2 or mar*2 a te,t2 ou record the process of our internal con3ersation 1ith an authorDs
1or*. <our annotations 1ill help ou to remem4er *e information in a te,t and to record our $uestions
and responses. There are se3eral 1as to annotate. Charles "aHerman suggests the follo1ing useful
strategies.
(n the text itself:
8nderline 1ords2 phrases2 and sentences ou feel are important.
Circle important 1ords.
Place a star ne,t to an important point.
!ra1 a dou4le 4ar ne,t to a *e passage or idea.
$n the margins of a text:
!efine a 1ord.
#ist the multiple meanings of a 1ord.
Paraphrase a difficult passage.
SummariHe a passage.
Gum4er the se$uence of points an author ma*es in an argument.
Gote page num4ers to indicate 1here else in the 4oo* an image or idea occurs.
+s* a $uestion.
)ou can also record ideas that come to 2ou /hile 2ou read:
Connect an e3ent2 character2 setting2 or image to our personal e,perience.
Connect an of these things to film2 literature2 histor or current e3ents.
Speculate on the possi4le sm4olic importance of an o45ect2 setting2 or image.
Speculate on the possi4le significance of a characterDs name or an e3ent.
Gote the repetition of a 1ord2 phrase2 image2 or idea and the possi4le significance of this
repetition.
22
Note: +lthough it is easiest to annotate directl on the page ou are reading2 sometimes the te,t is not
our o1n. %n that case2 1e recommend ou record our annotations on PostJits2 placing them 1here ou
1ould ha3e placed our original mar*s.
9iterar2 Terms
!nalog20 a comparison that contains se3eral points of resem4lance
!utobiograph20 a form of nonfiction in 1hich a 1riter tells his or her o1n stor
'iograph20 a form of nonfiction in 1hich a 1riter tells a stor a4out another person
'lank #erse: poetr 1ritten in unrhmed iam4ic pentameter
Character0 a person or an animal that ta*es part in the action of a literar 1or*
Conflict0 a struggle 4et1een opposing forces 6internal conflict ta*es place 1ithin a character=
e,ternal conflict can 4e among characters2 nature2 ideas2 etc.7
Connotation0 implied meaning of a 1ord
%enotation0 literal definition of a 1ord
%ialogue0 con3ersation among characters
%iction0 1ord choice
Exposition0 1riting or speech that e,plains a process
&iction0 prose a4out imaginar characters or e3ents
&igurati#e language0 not literal 1riting 6e.g.2 meta#hor, hy#erbole, simile, #ersonification>
Genre0 a categor or tpe of literature. There are usuall three ma5or genres0 poetr2 prose2
drama
$mager20 descripti3e 1riting meant to appeal to the senses
4etaphor0 a figure of speech that compares t1o unli*e o45ects to emphasiHe their similarities
4onologue0 a speech 4 one character in a pla
42th0 a fictional tale that e,plains the actions of gods or the causes of natural phenomenon
Narration0 1riting that tells a stor
Narrator: the spea*er or character 1ho tells a stor
Nonfiction0 prose that is a4out real people or e3ents
2-
Personification0 tpe of figurati3e language in 1hich a nonhuman su45ect is gi3en human characteristics
Plot0 the se$uence of e3ents in a literar 1or*
Prose0 language that is not poetr
Protagonist0 central character in a literar 1or*
Setting0 the time and place in a literar 1or*
Simile0 a figure of speech that compares t1o unli*e ideas or o45ects and uses >li*e? or >as?
Solilo;u20 a long speech e,pressing the thoughts of a character alone on stage
Sonnet0 a poem 1ith 14 lines2 traditionall in iam4ic pentameter 1ith a prescri4ed rhme scheme
S2mbol0 person2 place2 or o45ect that represents something larger than itself
Theme0 the central message or idea of a 1or* of literature
Tone: the 1riterDs attitude 6e.g.2 lo3ing2 plaful7 to1ards his or her su45ect
24
9atin and Greek *oots
*oot 4eaning Examples
anti6co7 old anti$ue2 anti$uated2 anti$uit
ci3 citiHen ci3ic2 ci3il2 ci3ilian2 ci3iliHation
corp 4od corporation2 corporal punishment2 corpse2 corpulent
cred 4elie3e creed2 credence2 credit2 incredulous2 incredi4le
dict sa2 spea* dictionar2 dictator2 predict2 3erdict2 contradict
fac2 fact2
fic2 fect
do2 ma*e factor2 fact2 manufacture2 amplification2 confection
2'
fid2 fide2
feder6is7
faith2 trust fidelit2 confident2 infidelit2 federal2 confederac
gen 4irth2 race2 produce genesis2 genetics2 genealog2 generate2 pathogen
graph2
gram
1rite2 1ritten graph2 autograph2 photograph2 graphite2 telegram
leg la1 legal2 legislate2 legislature2 legitimiHe
log2 logo2
olog
1ord2 stud2 speech catalog2 prologue2 dialogue2 Hoolog
luc2 lum2
lus2 lun
light translucent2 luminar2 luster2 #una
man hand manual2 manage2 manufacture2 manicure2 manifest
medi half2 middle2 4et1een2
half1a
mediate2 medie3al2 Cediterranean2 mediocre2 medium
mor2 mort mortal2 death mortal2 immortal2 mortalit2 mortician2 mortuar
neo ne1 Geolithic2 nuveau riche2 neologism2 neophte2 neonate
omni all2 e3er omnipotent2 omniscient2 omnipresent2 omni3orous
pac peace pacifist2 pacif2 pacific ocean
path2
path
feeling2 suffering pathos2 smpath2 antipath2 apath2 telepath
phil lo3e philosoph2 philanthrop2 philharmonic2 4i4liophile
poli cit metropolis2 police2 politics2 megalopolis2 acropolis
pol man polsaccharide2 polandrous2 poltheistic
pop people population2 populous2 popular
proto first prototpe2 protocol2 protagonist2 protoHoan
2I
sacr2 sanc2
secr
sacred sacred2 sacrosanct2 sanction2 consecrate2 desecrate
sci2
scientia
*no1 science2 conscious2 omniscient2 cognoscenti
scri42
script
1rite scri4e2 scri44le2 descri4e2 prescri4e2 manuscript
sent2 sens feel sentiment2 consent2 resent2 sense2 sensation2 sensiti3e
solus alone solo2 solilo$u2 solitaire2 solitude
stru2
struct
4uild structure2 construct2 instruct2 o4struct2 destruction2 destro
tele far telephone2 telegram2 telescope2 tele3ision2 telecast
tempo time tempo2 temporar2 e,temporaneousl2 contemporar2 temporal
the2 theo God2 a god monotheism2 poltheism2 atheism2 theolog
tp print tpe2 prototpe2 tpical2 tpograph2 tpif
3ac empt 3acate2 3acuum2 e3acuate2 3acation2 3acant
3er2 3eri true 3er2 3erdict2 3erif2 3erisimilitude
9iterature and T2pes of Writing
Genre @
th
Grade
Core 9iterature
>A
th
Grade
Core 9iterature
Po/er
Standards
Go3el Eohn Stein4ec*2 5f -ice and
-en
George ;r1ell2 CGB1 or )illiam
Golding2 3ord of the 7lies
PS 2.22 -.0
!rama )illiam Sha*espeare, "omeo
and %uliet
)illiam Sha*espeare, -acbeth PS 2.4
Short Stor Eames 9urst2 >The Scarlet %4is? PS 2.2
Poetr #angston 9ughes2 >!ream
!eferred?
)illiam Sha*espeare2 Sonnet
1-0
G1endoln "roo*s2 >The "ean
Eaters?
)illiam Sha*espeare2 Sonnet 1(
PS -.2
PS 2.4
GonJFiction .osa Par*s and Eim 9as*ins0
>C Stor?
Elie )iesel2 +ight
To4ias )olff2 This Foy9s 3ife or
Caa +ngelou2 I 6now &hy the
!aged Fird Sings
PS -.2
PS -.2
2/
Ctholog "ernard E3slin2 (eroes, 'ods,
and -onsters of the 'ree,
-yths
PS 1.-
@
th
Grade
Supplemental 9iterature
>A
th
Grade
Supplemental 9iterature
Mignette Sandra Cisneros2 (ouse on
-ango Street
PS -.0
Short Stor Cartha Escutia2 >#etter of
)elcome?
.a "rad4ur2 >There )ill Come
Soft .ains?
PS -.2
Go3el Fae Gi44ons2 $llen 7oster
Epic Poetr 9omer2 The 5dyssey Sophocles2 Antigone PS 1.-
G Go3el #e1is Carroll2 Alice in
&onderland H Through the
3oo,ing 'lass
Sue Con* Fidd2 The Secret 3ife of
Fees
PS -.2
Go3el Phillip Pullman2 The 'olden
!om#ass
Car* 9adden2 The !urious
Incident of the Dog in the +ightA
Time
PS 2.1
Go3el 9arper #ee2 To 6ill a
-oc,ingbird
9ermann 9esse2 Siddhartha PS -.2
Go3el E.. Tol*ien2 The (obbit Eohn Fno1les2 A Se#arate 4eace PS -.2
Go3el .odolfo +naa2 Fless -e, 2ltima PS -.2
Go3el Eeanne )a*atsu*i 9ouston2
7arewell to -an/anar
Eulia +l3areH2 In the Time of the
Futterflies
PS -.2
GonJFiction Eames S. +c*erman and Eohn
S1eet2 The Fible InIAs
3iterature
Ga4riel Garcia Car$ueH2 The Story
of a Shi#wrec,ed Sailor
PS -.2
@
th
and >A
th
Grade Core Writing 4odes
+uto4iograph and "iograph PS 2.2
"usiness #etter PS 2.'
%nterpreti3e Essa PS 2.2
Simple .esearch Paper PS 1.42 PS
Plagiarism
Casa Grande 9igh SchoolDs polic on plagiarism is clear0 plagiarism is a form of cheating and is
unaccepta4le. +ccording to the Casa Grande 9igh School 9and4oo*2 ou 1ill recei3e a failing grade on
plagiariHed assignments. %t is possi4le that ou 1ill 4e referred for discipline that ma include suspension
or e,pulsion.
+ccording to the Codern #anguage +ssociation 6C#+72 1hich dictates stle and guidelines for 1riting2
>8sing someone elseDs ideas or phrasing and representing those ideas or phrasing as our o1n2 1hether
on purpose or through carelessness2 is a serious offense *no1n as #lagiarism.?
The department recommends se3eral 1as to a3oid plagiarism0
1. )rite do1n sources 1hen ta*ing notes.
2. !o not loo* at the te,t 1hen paraphrasing.
2(
-. %f using anotherDs ideas2 4e sure to identif the source.
4. !o not cut and paste internet documents 1ithout including the source.
29
!ppendix !: Po/er Standards
+t Casa Grande 9igh School2 1e are proud of the di3erse interests2 strengths2 and e,periences 1e 4ring to
our classes. ;ur curriculum2 ho1e3er2 is unified through the California State Standards. These standards
are farJreaching and comprehensi3e. The Petaluma Eoint 9igh School !istrict has selected se3eral of
these standards on 1hich to focus. The materials in this hand4oo* are aligned 1ith and 4uilt on 1hat the
district has termed Po1er Standards 6PS7.
*E!%$NG: >1A Word !nal2sis= &luenc2= and S2stematic ocabular2 %e#elopment
Vocabulary and Concept Development
>1B !istinguish 4et1een the denotati3e and connotati3e meanings of 1ords and interpret the connotati3e
po1er of 1ords.
>1C %dentif Gree*2 .oman2 and Gorse mtholog and use the *no1ledge to understand the origin and
meaning of ne1 1ords 6e.g.2 the 1ord narcissistic is dra1n from the mth of Garcissus and Echo7.
*E!%$NG: B1A *eading and Comprehension
Structural Features of Informational Materials
B1> +nalHe the structure and format of functional 1or*place documents2 including the graphics and
headers2 and e,plain ho1 authors use the features to achie3e their purposes.
B1C Generate rele3ant $uestions a4out readings on issues that can 4e researched.
B1D SnthesiHe the content from se3eral sources or 1or*s 4 a single author dealing 1ith a single issue=
paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.
*E!%$NG: C1A 9iterar2 *esponse and !nal2sis
Structural Features of Literature
C1B Compare and contrast the presentation of a similar theme or topic across genres to e,plain ho1 the
selection of genre shapes the theme or topic.
C1C +nalHe interactions 4et1een main and su4ordinate characters in a literar te,t 6e.g.2 internal and
e,ternal conflicts2 moti3ations2 relationships2 influences7 and e,plain the 1a those interactions affect the
plot.
C1D !etermine charactersD traits 4 1hat the characters sa a4out themsel3es in narration2 dialogue2
dramatic monologue2 and solilo$u.
C1@ E,plain ho1 3oice2 persona2 and the choice of a narrator affect characteriHation and the tone2 plot2 and
credi4ilit of a te,t.
-0
W*$T$NG: >1A Writing Strategies
rgani!ation and Focus
>1> Esta4lish a controlling impression or coherent thesis that con3es a clear and distincti3e perspecti3e
on the su45ect and maintains a consistent tone and focus throughout the piece of 1riting.
"esearc# and Tec#nology
>1D !e3elop the main ideas 1ithin the 4od of the composition through supporting e3idence 6e.g.2
scenarios2 commonl held 4eliefs2 hpotheses2 definitions7.
$valuation and "evision
>1@ .e3ise 1riting to impro3e the logic and coherence of the organiHation and controlling perspecti3e2 the
precision of 1ord choice2 and the tone 4 ta*ing into consideration the audience2 purpose2 and formalit
of the conte,t.
W*$T$NG: B1A Writing !pplications
B1> Write biographical or autobiographical narrati#es or short stories:
a. .elate a se$uence of e3ents and communicate the significance of the e3ents to the audience.
4. #ocate scenes and incidents in specific places.
c. !escri4e 1ith concrete sensor details the sights2 sounds2 and smells of a scene and the specific
actions2 mo3ements2 gestures2 and feelings of the characters= use interior monologue to depict the
charactersD feelings.
d. Pace the presentation of actions to accommodate changes in time and mood.
e. Ca*e effecti3e use of descriptions of appearance2 images2 shifting perspecti3es2 and sensor
details.
B1B Write responses to literature:
a. !emonstrate a comprehensi3e grasp of the significant ideas of literar 1or*s.
4. Support important ideas and 3ie1points through accurate and detailed references to the te,t or
to other 1or*s.
c. !emonstrate a1areness of the authorDs use of stlistic de3ices and an appreciation of the
effects created.
d. %dentif and assess the impact of percei3ed am4iguities2 nuances2 and comple,ities 1ithin the
te,t.
B1E Write business letters:
a. Pro3ide clear and purposeful information and address the intended audience appropriatel.
4. 8se appropriate 3oca4ular2 tone2 and stle to ta*e into account the nature of the relationship
1ith2 and the *no1ledge and interests of2 the recipients.
c. 9ighlight central ideas or images.
d. Follo1 a con3entional stle 1ith page formats2 fonts2 and spacing that contri4ute to the
documentsD reada4ilit and impact.
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W*$TTEN F (*!9 9!NG+!GE C(NENT$(NS >1A Written and (ral 9anguage Con#entions
%rammar and Mec#anics of &riting
>1B 8nderstand sentence construction 6e.g.2 parallel structure2 su4ordination2 proper placement of
modifiers7 and proper English usage 6e.g.2 consistenc of 3er4 tenses7.
Manuscript Form
>1C Produce legi4le 1or* that sho1s accurate spelling and correct use of the con3entions of punctuation
and capitaliHation.
9$STEN$NG !N% SPE!G$NG: >1A 9istening and Speaking Strategies
Compre#ension
>1> Formulate 5udgments a4out the ideas under discussion and support those 5udgments 1ith con3incing
e3idence.
>1D Choose appropriate techni$ues for de3eloping the introduction and conclusion 6e.g.2 4 using literar
$uotations2 anecdotes2 references to authoritati3e sources7.
>1E Present and ad3ance a clear thesis statement and choose appropriate tpes of proof 6e.g.2 statistics2
testimon2 specific instances7 that meet standard tests for e3idence2 including credi4ilit2 3alidit2 and
rele3ance.
9$STEN$NG !N% SPE!G$NG: B1A Speaking !pplication 7Genres and Their Characteristics8
B1> %eli#er narrati#e presentations:
a. Garrate a se$uence of e3ents and communicate their significance to the audience.
4. #ocate scenes and incidents in specific places.
c. !escri4e 1ith concrete sensor details the sights2 sounds2 and smells of a scene and the specific
actions2 mo3ements2 gestures2 and feelings of characters.
d. Pace the presentation of actions to accommodate time or mood changes.
B1D %eli#er oral responses to literature:
a. +d3ance a 5udgment demonstrating a comprehensi3e grasp of the significant ideas of 1or*s or
passages 6e.g.2 ma*e and support 1arranted assertions a4out the te,t7.
4. Support important ideas and 3ie1points through accurate and detailed references to the te,t or
to other 1or*s.
c. !emonstrate a1areness of the authorDs use of stlistic de3ices and an appreciation of the
effects created.
d. %dentif and assess the impact of percei3ed am4iguities2 nuances2 and comple,ities 1ithin the
te,t.
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!ppendix ': Scoring Guide for the Essa2
! Papers
Student 1or* at this le3el is e,cellent= it effecti3el addresses the assigned topic. The 1or*
is 1ell organiHed2 de3eloping ideas 1ith e,cellent commentar and 1ellJchosen concrete detail=
has an effecti3e2 fluent stle mar*ed 4 a 3ariet of sentence patterns and po1erful 3oca4ular=
is generall free from errors in grammar2 usage2 and the con3entions of 1ritten English2 including
spelling2 capitaliHation2 and punctuation.
' Papers
Student 1or* at this le3el demonstrates su4stantial e3idence of achie3ement= it presents rele3ant
responses to the topic. The 1or*
is 1ell organiHed2 de3eloping ideas 1ith appropriate concrete detail and commentar=
displas effecti3e 3oca4ular and some sentence 3ariet=
has some errors in grammar2 usage2 and the con3entions of 1ritten English2 including spelling2
capitaliHation2 and punctuation2 4ut these errors do not significantl interfere 1ith meaning.
C Papers
Student 1or* at this le3el is ade$uate2 4ut has clear limitations. The 1or*
lac*s clear structure2 focus2 or ela4oration2 or de3elops ideas 1ith limited concrete detail2 or
superficial commentar=
displas little sentence 3ariet2 lac* of sentence control2 and limited or inappropriate 3oca4ular=
has errors in grammar2 usage2 and the con3entions of 1ritten English2 including spelling2
capitaliHation2 and punctuation2 that partiall o4scure meaning.
% Papers
Student 1or* at this le3el is limited. The 1or*
is unorganiHed and illogical= de3elopment is 1ea*=
displas inade$uate control of sentence and paragraph structure and has 1ea* 3oca4ular=
displas man repeated errors in grammar2 usage2 and the con3entions of 1ritten English2
including spelling2 capitaliHation2 and punctuation2 that o4scure meaning.
& Papers
Student 1or* at this le3el demonstrates little or no e3idence of achie3ement. The 1or*
displas little rele3ance to the topic=
is unfocused2 illogical2 incoherent2 or disorganiHed=
has serious and per3asi3e errors in 1ord choice2 sentence structure2 grammar2 usage2 and the
con3entions of 1ritten English2 including spelling2 capitaliHation2 and punctuation.

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