Solved by verified expert:Its a rough draft 2-3 pages, i have attached the prompt and the outline please read them both carefully. also use MLA format.only use this source
The Story and Its Writer, 9th ed., Ed. Ann Charters (ISBN-13# 9781457664618); NOT THE COMPACT EDITION no outside sources.
• This draft may not contain all of your assertions as outlined in your previous assignment, but it should not skip assertions in their presentation.
• You must include evidence (direct quotations) from the story you choose to complete this assignment. A paper without direct evidence will not receive full credit. Only use the story for evidence/support. NO RESEARCH PERMITTED IN THIS PAPER. THIS IS A CLOSE-READING PAPER.
• This draft should adhere to all MLA style standards.
fall_2017_____lit_2010_____paper_two_prompt_options.docx
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FALL 2017 — LIT 2010 — PAPER TWO PROMPT OPTIONS, GUIDELINES, & DEADLINES
PAPER OPTIONS
Please select ONE of the following six prompts for your second paper:
Kevin Brockmeier’s “The Year of Silence”: Argue what this story communicates about humanity’s listening habits.
Stronger paper responses to this prompt will logically incorporate these considerations as informed by the story: What is
suggested about listening well to our surroundings? To ourselves, our desires, or our thoughts? To each other or our commu
What are we encouraged to pay attention to? What are we discouraged from doing? What does the story convey about extre
initiatives like the Silence Initiative? What are the benefits of the silence? Detriments? What are the benefits of the sound?
Detriments? What do we make of the blending of illusion and reality occurring in the story? What of individuality? What o
evaluation and meditation? What of peace and difficulty? Contentment and excitement? Do patterns of human behavior em
with either or both of the supernatural occurrences of silence and sound? If so, what patterns emerge? What might be the
consequences of these patterns? Do the characters learn anything within the story? Do they listen to the message communic
through the silence (in Morse Code) in the end? What does this suggest?
OR
Daniel Orozco’s “Orientation”: Argue what this story communicates about the existential experience of the workpla
environment.
Stronger paper responses to this prompt will logically incorporate these considerations as informed by the story: Who is the
story’s narrator? What is his tone, his areas of focus, and the quality of his orientation? What is the quality of the other emp
lives and how we learn about these? Who are “you” in the story? What do we know about “your” job from this orientation?
is the significance of the recurring threat of being fired and over what? Why the juxtaposition of employees’ lives to office
supplies? Why include the specified relationships between employees? The relationship between the employees and their o
manager? The inclusion of a serial killer, a woman who predicts death through a bleeding palm, and the kind of absurd
information revealed during the orientation? How do we see the presence of bureaucracy in the story? What is the structura
of the office and its location to similar adjacent buildings? Where do we sense the presence of disconnect and dehumanizat
the story’s workplace? In what ways do we see the absurdist style of this story reflecting existentialist beliefs about existen
OR
Aimee Bender’s “The Girl in the Flammable Skirt”: Argue what this story communicates about environmental influ
upon the discovering identity.
Stronger paper responses to this prompt will logically incorporate these considerations as informed by the story: What effec
the sectioning of this story have on its expression of character? What do we learn about the protagonist (narrator) in this sto
What is her age? Her behaviors? Her strengths and flaws? Her typical thoughts? What is her interaction with her father like
is her father often on his deathbed, and how does this affect the narrator? What of the multiple mentions of illness in the sto
What is the role of the stone backpack or the tissue? The rats? Paul? Humor? The girl with skirt aflame? Where do we see
compassion or sensitivity in the story? Where do we see passion? How else might we define passion? Does the narrator arc
character? Does her situation change? What seem to be her desires regarding identity? What does the story suggest about se
driven identity versus victimization by circumstances?
OR
George Saunders’ “Brad Carrigan, American”: Argue what this story communicates about American culture and it
values.
Stronger paper responses to this prompt will logically incorporate these considerations as informed by the story: the story’s
as TV show sitcom and the positioning of the readers as TV audience; the presence of other TV shows on the sitcom and T
general; the use of satire, humor, and exaggeration in the story; what Old Rex represents to Brad; how Doris has changed; t
lessons Doris and Chief Wayne preach at the start of the story; the violence, dumbing-down, and hypersexualizing or Brad’
show; the reason(s) for Brad’s show’s changes; the morphing of the backyard and living room; the presence of internationa
suffering people and their treatment by the story’s American characters; Brad’s strengths, values, and flaws juxtaposed to b
other American characters and the international characters; the existence of the gray space and Brad’s final words; etc.
OR
(options cont. on next page)
Amy Hempel’s “In the Cemetery Where Al Jolson Is Buried”: Argue what this story communicates about the powe
storytelling.
Stronger paper responses to this prompt will logically incorporate these considerations as informed by the story:
How is this story in a minimalist style? How does the distance employed in this style affect its narration? Characterize its n
What kind of roles do the characters play, and do they have names/labels/titles/nicknames? What does this suggest about th
identities? Their relationships to each other? How might this speak to the Hollywood motif in the story and elements of the
setting, specifically the “Hollywood” hospital, Al Jolson, the hospital room camera, the masks? What do these represent? W
the purpose of the stories the narrator tells her dying friend? What do they do for the friend? The narrator? Is the narrator
avoidant? Of what? Are there situations or circumstances she cannot avoid? What are the narrator’s fears? What is importa
about these fears? Why does the narrator leave her friend alone to die? Why does she feel the need to tell us this story abou
failure to be there for her friend? What doesn’t the narrator tell the dying friend while she tells her stories? What is the
significance of the full chimpanzee story, specifically the references to “the language of grief” (10)? What do we make of t
narrator’s confession to us and admission that she could lie—though seemingly has not—about her experience? What is the
of storytelling for the narrator?
OR
Sandra Cisneros’ “Barbie-Q”: Argue what this story communicates about societal expectations, particularly regard
gender and class.
Stronger paper responses to this prompt will logically incorporate these considerations as informed by the story: the story’s
narrator as a young girl; the narrator’s socio-economic status and her cultural/societal identity; the representation of an Am
feminine ideal through Barbie dolls; the unrealistic expectations set by Barbie dolls; what about the dolls the girls focus on
how they play with these dolls; the “presence” of an invisible Ken doll; the presence of limiting identifiers in the story; the
presence of superficiality, materialism, and an American consumerist culture in the story; the items available at the flea ma
and what these indicate about its clientele; the narrator’s tone when playing with her initial dolls, when she first sees all the
she ends up purchasing at the flea market, and when she plays with the damaged dolls; the use of repetition, syntax, and
punctuation in the story’s final paragraph; the presence of covering to fit into society and its expectations of an ideal (regar
beauty, etc.) in the story; the Barbie dolls as metaphor; etc.
ADDITIONAL PROMPT GUIDANCE
• Change the word “communicates” in the prompt to one more appropriate to your specific argument as needed; to
communicate is a very broad term. Example substitutes: warns, informs, proposes, questions, challenges, etc.
• Capture the appropriate scope for your argument within your thesis statement. Think of your thesis as an umbrella
which all your assertions must be broadly covered—the umbrella cannot be vague, or you have left extra space, i.e. pot
assertions alluded to but undeveloped in your paper; the umbrella cannot be too narrow, or you haven’t covered all the
assertions your paper argues. Create a thesis that is both broad (expressing the appropriate scope to cover or encompass
assertions) and specific (detailed in a way that categorizes your assertions, encapsulating their relationship/connection
other within the thesis statement without listing them directly).
• All responses to any of these prompts should attempt to use the elements of fiction as evidence for your assertions
within your assertions/argument—remember A/E/C structure). It is easy to stick to offering plot and character evidence
but consider plot structure, language (in the story and in the title), voice, style, setting, POV, and any other significant
elements of fiction (juxtaposition, symbolism, allegory, color imagery, tone, etc.) that supports your argument when yo
presenting evidence.
• Your paper should provide the story’s full context, (generally, briefly, and when appropriate) so the reader knows w
happens in the story from start to end without having read the actual story. Your paper should use the entire scope of th
to prove its argument. This is not to say you must discuss every event or small circumstance in the story. This is to say
must provide enough varied context and evidence that the reader finishes your paper and knows what generally happen
story. They should know the most significant parts of the story and how they prove your argument about what the story
communicating.
• If you must use a definition as evidence or context for an assertion, use the Oxford English Dictionary (OED) Onli
available through FAU’s Library databases. Use EZ-Proxy to log on when off campus. Do not use other dictionaries.
GUIDELINES & DEADLINES
NOTE: Include the prompt option you have chosen in the fifth line of your heading for each of these assignments below W
assignment abbreviated as follows, e.g.: P2 Outline – Bender.
DUE W 11/1 (2.5%): Outline: 1 page or less — see sample outline at end of this document
• Start your outline with your thesis statement: one complete sentence that is clear, concise, debatable, & non-listing
the relationship between the ideas explored in your paper and the direction in which your paper will go).
• The outline below the thesis statement must be at least four assertions — one complete, concise sentence each — i
order they are intended to appear in your draft. Be careful to differentiate between arguments and observations or summ
when composing each assertion. Pay attention to making your assertions transitional sentences, as well.
• Label the thesis (‘Thesis’) and each assertion clearly (‘Assertion 1,’ ‘Assertion 2,’ and so on).
• Your assertions are your topic sentences appearing at the start of each body paragraph in your draft. At this plannin
stage, organize your assertions by placing them in the strongest possible order to display the bare bones of what will be
fully-developed and proven argument in the final draft stage.
• Do not include quotations in this assignment. This is just for asserting and organizing your argument.
• Submit this assignment in hardcopy. Also submit this assignment through Canvas in .rtf, .doc, or .docx format. No
format can be accepted. You will find the submission link under “Assignments.” It is labelled “Paper Two Outline.” Th
being submitted to TurnItIn.
DUE W 11/15 (4%): Rough Draft: 2-3 pp. (to very bottom of 2nd p. or onto a 3rd p.; work cited on following page)
• This draft may not contain all of your assertions as outlined in your previous assignment, but it should not skip asse
in their presentation.
• You must include evidence (direct quotations) from the story you choose to complete this assignment. A paper with
direct evidence will not receive full credit. Only use the story for evidence/support. NO RESEARCH PERMITTED IN
PAPER. THIS IS A CLOSE-READING PAPER.
• This draft should adhere to all MLA style standards.
• Submit this assignment in hardcopy (3 copies). Also submit this assignment through Canvas (once) in .rtf, .doc, or
format. No other format can be accepted. You will find the submission link under “Assignments.” It is labelled “Paper
Rough Draft.” This is being submitted to TurnItIn. Multiple copies are needed for peer review. Separate peer review
guidelines will be distributed in class.
DUE F 12/8 (30%) [OPT. Early Submission: DUE W 12/6 — for ½ letter grade boost to draft]:
Final Draft: 4-5 pp. (very bottom of 4th p. or onto a 5th p.; work cited on the following page)
• You must include evidence (direct quotations) from the story you choose to complete this assignment. A paper with
direct evidence will not receive full credit. Only use the story for evidence/support. NO RESEARCH PERMITTED IN
PAPER. THIS IS A CLOSE-READING PAPER.
• This draft should adhere to all MLA style standards.
• Submit this assignment in hardcopy. Also submit this assignment through Canvas in .rtf, .doc, or .docx format. No
format can be accepted. You will find the submission link under “Assignments.” It is labelled “Paper Two Final Draft.”
is being submitted to TurnItIn.
All feedback and grades will be provided on the hardcopies of each assignment.
No feedback or grades will be posted to Canvas.
Sample Outline — (using William Faulkner’s “A Rose for Emily”)
Thesis:
This story demonstrates that Emily’s futile efforts to resist the passage of time are misguided by the communityenforced belief she has more power over her existence than is realistic.
Assertion 1:
Emily stubbornly clings to her lifestyle by refusing to conform to the community’s changing standards over time
Assertion 2:
Emily makes this refusal to change in order to retain the remnants of a familiar privileged identity that is otherwi
slipping away from her over time.
Assertion 3:
While they dislike and pity Emily, the community paradoxically allows for this privileged identity of Emily’s to
continue, which makes them complicit in her rebellious actions while remaining distant companions.
Assertion 4:
Isolated by the community’s distance, Emily is further separated from reality and, therefore, freer to deny the nat
time, including how both lifestyles and lives eventually end.
YourLastName 1
YourFirstName YourLastName
Instructor’s Name
Course Title
1 November 2017
Any Topic (Writer’s Choice)
NAME:
PROFESSOR:
DATE:
ORIENTATION STORY BY DANIEL OROZCO
Introduction
This is quite a mind blowing story involving an orientation at a new workplace.
The plot takes drive when a new employee- who is not so relevant in this case, is getting
familiarized with the foreign office setting. The narrator of the story is unknown. The plot
thickens as the personal relationships of other employees in the office are brought out in the
YourLastName 2
open. This happens to be the most important part of the story of “Orientation” ( Daniel
Orozco.1-176)
Outline
Thesis: In this paper I will argue the ideas of Daniel Orozco in his story in regards to
the workplace experience.
•
Assertion 1: Is it Orientation or otherwise Disorientation taking place?
•
Assertion 2:All about personal relationships
•
Assertion 3: Does disorientation happen in all orientations?
•
Assertion 4:Parting shots in regards to the story
Body
Is Orientation or Disorientation happening?
In his story, Daniel brings out the fact that the story that started as an orientation
actually ended as disorientation. I argue with this notion since the significant point of a job
Orientation is the achievement of familiarity and in this case, that was exactly what the
person who conducted the orientation was trying to do.
All about personal relationships.
In the Orientation, the new employee got to get a glimpse of the glutton, the trump,
the weirdo, the palm reader, the invisible manager, the serial killer, the cheater and so forth
(Daniel Orozco.p.1-176). The author seems to have a tone that suggests that this is wrong. I
also insist on that fact that since it is better for one to actually figure out and understand the
impressions and attitudes around them at the workplace. The new employee would then know
how to act, react, respond and engage with the different characters.
Does disorientation happen in all orientations?
YourLastName 3
I would have to disagree about disorientation happening in all job orientations since
where I have worked before, the tone of the person conducting the orientation was quite
different from the on e in the story. Personal relationships were not discussed and the trashing
of fellow employees was not detected.
Parting shots in regards to the story
The story seems to go against all beliefs of today’s orientation process according to
the authors tone. His interesting comments of the plot of the story gives an idea of orientation
being a futile procedure in which the eventual achievement found is pure gossip and uncouth
jokes. I disagree with all that since even if personal agendas were addressed in an unofficial
manner, the process took its due course of “familiarization”.
REFERENCES
1. Faber & Faber. 2011.Orientation: And Other Stories.
https://books.google.co.ke/books?id=JcHsnIxD5IAC&printsec=frontcover&dq=orient
YourLastName 4
ation+and+other+stories&hl=en&sa=X&redir_esc=y#v=onepage&q=orientation%20
and%20other%20stories&f=false
2. Daniel Orozco.2011.Orientation: And Other Stories
3. A Charters – 2014.The Story and Its Writer Compact: An Introduction to Short
Fiction
…
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