File - AP Language & Composition Home Page

“CONTINUOUS EFFORT—NOT STRENGTH OR INTELLIGENCE—IS THE KEY
TO UNLOCKING OUR POTENTIAL.” – WINSTON CHURCHILL
AP Language and
Composition SURVIVAL
GUIDE
Tools to help you succeed in AP Language and
Composition
Mrs. Fitch
2011-2012
ADAPTED FROM THE “AP HANDBOOK” BY PEGGY WINTER AND THE “YELLOW PAGES” BY JENNIFER CULLEN, BETH PRIEM, AND ELIZABETH DAVIS OF WESTWOOD HIGH SCHOOL, AUSTIN, TX, AND HANDOUTS
FROM OTHER INFLUENTIAL INSTRUCTORS.
What are the Benefits of the Advanced Placement (AP)
Program?
For Colleges and Universities:
It identifies and attracts highly motivated students who have succeeded in rigorous, college-level courses and demonstrated
their ability through demanding national examinations.
It provides admissions officers with an excellent predictor of student success in college.
It enables students to diversify and deepen their college curriculum by placing them out of introductory level college courses to
which they have demonstrated competence.
It improves the articulation of college and high school curricula.
For High Schools:
It enhances the quality of the curriculum.
It encourages focused efforts in curriculum alignment.
It challenges the academically capable students.
It provides opportunities for the best faculty to teach capable, motivated students in demanding courses.
It affords rewarding in-service opportunities for motivated faculty members.
It gives the college-preparatory program a reputation for high quality and standards.
For Students:
It can provide college credit for courses taken in high school.
It develops the analytical and study skills required to succeed in college courses.
It motivates students to undertake more challenging work in both high school and college.
It provides direction in selecting college majors.
It sets students on a more likely path to college graduation, double majors, and graduate school.
How does the AP English Class Differ from the On-Level Class?
Class Content:
Less or no use of the chronological and historical approach to English, World, and American Literature
More use of thematic and skill approaches to literature study
Longer, more challenging research projects, with emphasis on literary analysis
Focus on skill areas which directly relate to the kind of thinking and writing demanded by the national AP exams, such as critical
reading, timed writings, style analysis, and independent novel and drama study
A summer reading requirement
To succeed, AP students must:
Be able to read very well
Be confident in class discussion and oral expression
Be able to listen and participate in the thoughtful exchange of ideas
Take responsibility for reading and writing assignments without relying on CliffNotes, internet summaries, and other available
resources
Be able to accept and to offer constructive criticism
Be able to accept and to offer questions for which there are no clear answers
Possess writing abilities which demonstrate control of mechanics, grammar, and usage, organization, diction, and syntax
Seek out challenges and new concepts
Possess a respect and regard for literature, composition, and learning in general
Be willing to go beyond the minimum requirements of any assignment
M. L. Mosier-AP English
JUST INGREDIENTS
NOT A FORMULA!
[For AP Essays]
INTRODUCTION
[TTAA*PPS*]
T-Title and Author
T-Topic of Prompt
A-Attitude (tone; in verb or adjective form)
T+A+because=Thesis
A-Audience (non-fiction only)
*P-point of view
*P-purpose
*S-structure of the piece
(*only when applicable)
2+ sentences
CONCLUSION
[ARCCBE]
A- Author’s lesson
R- Reader’s learning, specific and global
C- Character’s learning
C- Connections
B- Biases revealed
E- Ending of the work
2+sentences
BODY PARAGRAPHS
[TADEQIT]
T- Topic of section/part
A- Attitude
T+A+because=topic sentence
D- Device/Characteristic
E- Explain how device works in section,
purpose
Q- Quotes/Examples
I- Interpretation and Anlaysis
T- Tie it back to the attitude
9-8
GENERIC SCORING GUIDE FOR AP LANGAUGE
The writers of these well-constructed essays completely answer the question using evidence
and explaining the relevance of the evidence. With a convincing thesis, the write demonstrates
a clear understanding of the task and the piece. Although not without flaws, these essays
reflect the writer’s ability to control a wide range of the elements of effective writing to provide
a keen analysis of the literary text.
7-6
Developing a sound thesis, these writers answer all parts of the question. These essays may
not be entirely responsive to the underlying meanings, but they provide specific examples and
meaningful evidence. The analysis is less persuasive and somewhat less sophisticated than 8
& 9 essays. They seem less insightful, or discussion is more limited. Nonetheless, they confirm
the writer’s ability to read literary texts with comprehension and to write with organization and
control.
5
These essays construct a reasonable thesis. They discuss the work without serious errors
but the analysis is often superficial. The writer may be vague and demonstrate insufficient
development. Typically, these essays reveal simplistic thinking. May include misinterpretations
of particular references or illustrations which distract from the overall effect. The writer also
exhibits some lack of control over the elements of composition.
4-3
These essays attempt to discuss the part of the question. The discussion, however, is
undeveloped or inaccurate. These writers may misread the passage in an essential way or
rely on paraphrase. Illustrations and examples tend to be misconstrued, inexact, or omitted
altogether. The writing may be sufficient to convey ideas, but typically characterized by weak
diction, syntax, grammar, or organization. Essays scored a 3 are even less able, may not refer
to technique at all, and will exhibit even more misinterpretation, inadequate development, or
serious omissions.
2-1
These essays fail to respond adequately to the question. They may demonstrate confused
thinking and/or weaknesses in grammar or other basic elements of composition. Mechanical
errors may be distracting. They are often unacceptably brief. Although the writer may
have made some attempt to answer the question, the views presented have little clarity or
coherence, and significant problems with reading comprehension are evident. Essays that are
scored 1 are especially inexact or mechanically unsound, and do less to address the topic.
0
This score is reserved for essays that make no more than a reference to the task, those that are
off-topic, and for a blank sheet.
Tips for Timed Writing
1. Read the prompt carefully.
Identify the abstract concept that is the focus of the prompt.
Identify any concrete device(s) the prompt specifies or suggests you use.
2. Read the passage for understanding.
Ask yourself who, what, when, where, why questions if necessary.
Keep the prompt in mind when you read.
3. Reread and mark the passage.
Focus on concrete devices that create the abstract.
Jot notes in the margins as you read. These notes may be all of the prewriting you have time to do.
4. Your thesis should directly reflect the prompt.
Do not be afraid to state the obvious.
Be clear as to the approach that you are taking and the concepts that you intend to prove.
5. Focus on your commentary.
Your insight and understanding of the literature, as well as how you make the connections called for in the prompt
are what the grader will look for.
Be sure to organize your ideas logically.
6. Your conclusion must be worth reading.
Do not just repeat with you have already said.
Your conclusion should reflect an understanding of the passage and the question.
Use a thematic statement, but avoid moralizing and absolute words.
Tone Vocabulary
AP Prompts often ask students to identify the author’s tone. AP gurus will tell you that to misinterpret tone is to
misinterpret meaning. Therefore, it is crucial that you develop a “tone vocabulary.” The tone of a text may be articulated
in several ways. The examples below are drawn from AP English exams multiple choice questions.
• With a single adjective (use with a part of Ambivalent, ironic, hopeful, hysterical, insistent (AP Lit
a text)
exam 2009)
Callous and reckless, petulant and critical, resigned and
• With an adjective-conjunction-adjective
construction
reconciled, detached but hopeful, civil but angry (AP Lang
2007)
Grounded optimism, stoic determination, grim despair,
• With an adjective-noun construction
bewildering chaos, violent retribution (AP Lit 2009)
With
an
adverb-adjective
construction
Grudgingly appreciative, cleverly nonjudgmental, bitterly
•
disillusioned, viciously sarcastic (AP Lang 2007)
Like the tone of a speaker’s voice, the tone of a work of literature expresses the writer’s feelings. To determine
the tone of a passage, ask yourself the following questions:
1. What is the subject of the passage? Who is its intended audience?
2. What are the most important words in the passage? What connotations do these words have?
3. What feelings are generated by the images of the passage?
4. Are there any hints that the speaker or narrator does not really mean everything he or she says? If any jokes
are made, are they lighthearted or bitter?
5. If the narrator were speaking aloud, what would the tone of his or her voice be?
Positive Tone
Happiness
Amiable
Exuberant
Cheery
Jubilant
Contented
Sprightly
Ecstatic
Genial
Pleasure
Enraptured
Amused
Peaceful
Appreciative
Playful
Whimsical
Satisfied
Friendliness/Courtesy
Accommodating
Forgiving
Pitying
Tender
Approving
Gracious
Sociable
Tolerant
Compassionate
Indulgent
Solicitous
Trusting
Cordial
Kindly
Soothing
Courteous
Obliging
Sympathetic
Animation
Ardent
Ecstatic
Hearty
Vigorous
Brisk
Energetic
Hopeful
Impassioned
Crisp
Exalted
Inspired
Eager
Feverish
Lively
Earnest
Hasty
Rapturous
Affectionate
Tender
Amorous
Erotic
Lustful
Sensual
Tranquility
Meditative
Dreamy
Optimistic
Idyllic
Serene
Soothing
Spiritual
Neutral Tone
General
Authoritative
Disbelieving
Matter-of-fact
Restrained
Baffled
Factual
Nostalgic
Sentimental
Ceremonial
Formal
Objective
Shocked
Clinical
Informative
Questioning
Urgent
Detached
Learned
Reminiscent
Dispassionate
Rational/Logical
Admonitory
Curious
Instructive
Sincere
Argumentative
Deliberate
Oracular
Unequivocal
Candid
Didactic
Pensive
Probing
Coaxing
Frank
Pleading
Analytical
Insinuating
Preoccupied
Serendipitous
Impish
Romance
Self-Control
Solemn
Nonchalant
Stoic
Serious
Cool
Gentle
Wary
Temperate
Cautious
Imperturbable
Prudent
Apathy
Blasé
Indifferent
Sluggish
Bored
Inert
Sophisticated
Colorless
Languid
Vacant
Defeated
Monotonous
Dispassionate
Resigned
Humorous/Ironic/Sarcastic Tone
Amused
Bantering
Condescending
Contemptuous
Facetious
Flippant
Ironic
Irreverent
Pompous
Ribald
Satiric
Scornful
Teasing
Wry
Playful
Hilarious
Bitter
Cynical
Giddy
Malicious
Ridiculing
Sharp
Belittling
Uproarious
Caustic
Disdainful
Humorous
Mocking
Sarcastic
Silly
Haughty
Comical
Droll
Insolent
Patronizing
Sardonic
Taunting
Insulting
Negative Tone
General
Agitated
Childish
Desperate
Passive
Irritated
Superficial
Vindictive
Arrogant
Coarse
Disappointed
Furious
Manipulative
Surly
Artificial
Cold
Disgruntled
Harsh
Obnoxious
Threatening
Audacious
Condemnatory
Disgusted
Indignant
Quarrelsome
Uninterested
Brash
Contradictory
Disinterested
Inflammatory
Shameful
Menacing
Sadness
Despairing
Melancholy
Somber
Despondent
Maudlin
Foreboding
Regretful
Gloomy
Remorseful
Bleak
Grim
Pain
Annoyed
Miserable
Sulky
Crushed
Mournful
Sullen
Dismal
Pathetic
Troubled
Fretful
Plaintive
Uneasy
Unfriendliness
Belittling
Imprudent
Unsociable
Boorish
Pitiless
Reproachful
Curt
Scolding
Demeaning
Spiteful
Disparaging
Suspicious
Anger
Belligerent
Enraged
Furious
Volatile
Irritable
Querulous
Vexed
Livid
Wrathful
Savage
Passion
Fierce
Insane
Reckless
Frantic
Impetuous
Insistent
Avaricious
Impulsive
Uncompromising
Voracious
Jealous
Hysterical
Nervous
Arrogance/Self-Importance
Boastful
Bold
Didactic
Bombastic
Defiant
Dignified
Smug
Lofty
Pretentious
Self-righteous
Domineering
Peremptory
Supercilious
Assured
Egotistical
Resolute
Pedantic
Confident
Imperious
Saucy
Sorrow/Fear/Worry
Aggravated
Embarrassed
Ominous
Anxious
Intimidated
Paranoid
Apologetic
Grave
Pessimistic
Apprehensive
Hollow
Poignant
Disturbed
Morose
Enigmatic
Submission/Timidity
Aghast
Contrite
Meek
Timid
Alarmed
Self-deprecatory
Modest
Tremulous
Ashamed
Docile
Obsequious
Unpretentious
Astonished
Groveling
Servile
Introspective
Astounded
Ingratiating
Sycophantic
Language Words-Used to describe the force or quality of the entire piece
Like word choice, the language of a passage has control over tone. Consider language to be the entire body of words used
in a text, not simply isolated bits of diction, imagery, or detail. For example, an invitation to a graduation might use formal language,
whereas a biology text would use scientific and clinical language.
Different from tone, these words describe the force or quality of the diction, images, and details AS A WHOLE. These words
qualify how the work is written.
Artificial
Bombastic
Colloquial
Concrete
Connotative
Cultured
Detached
Emotional
Esoteric
Euphemistic
Exact
Figurative
Formal
Grotesque
Homespun
Idiomatic
Informal
Insipid
Jargon
Learned
Literal
Moralistic
Obscure
Obtuse
Ordinary
Pedantic
Picturesque
Plain
Poetic
Precise
Pretentious
Provincial
Scholarly
Sensuous
Simple
Slang
Symbolic
Trite
Vulgar
Verbs
These verbs will be especially effective when the subject is the author, speaker, or a character. They are excellent replacements
for “be” verbs and instrumental in the formulation of thesis statements. Careful use of these verbs can result in precise identification
of an author’s purpose.
Verbs for Analysis
Accentuates
Accepts
Achieves
Adopts analyzes
Advocates
Allows
Alludes (to)
Alters
Approaches
Argues
Ascertains
Assesses
Assumes
Attacks
Attempts
Attributes
Avoids
Bases
Believes
Challenges
Changes
Characterizes
Chooses
Chronicles
Claims
Comments
Compares
Compels
Completes
Concerns
Concludes
Condescends
Conducts
Conforms (to)
Confronts
Considers
Contends
Contests
Contrasts
Contributes
Conveys
Convinces
Defies
Defines
Delineates
Demonstrated
Depicts
Describes
Despises
Details
Determines
Develops
Deviates (from)
Differentiates
Differs
Directs
Disappoints
Discovers
Discusses
Displays
Disputes
Disrupts
Distinguishes
Distorts
Downplays
Dramatizes
Elevates
Elicits
Emphasizes
Enhances
Enriches
Enumerates
Envisions
Evokes
Verbs to Use Instead of “Exemplifies”
Appears
Defines
Asserts
Demonstrates
Attests to
Denotes
Certifies
Depicts
Confirms
Discloses
Connotes
Elucidates
Corroborates
Endorses
Excludes
Expands
Experiences
Explains
Explores
Expresses
Extends
Extrapolates
Focuses
Forces
Foreshadows
Functions
Generalizes
Guides
Heightens
Highlights
Hints
Honors
Identifies
Illuminates
Illustrates
Imagines
Imparts
Impels
Implies
Includes
Indicates
Infers
Inspires
Intends
Interprets
Interrupts
Inundates
Investigates
Justifies
Juxtaposes
Lambasts
Laments
Lampoons
Links
Lists
Maintains
Makes
Manages
Manipulates
Minimizes
Moralizes
Mulls (over)
Muses
Notes
Observes
Opposes
Organizes
Outlines
Overstates
Patronizes
Performs
Permits
Personifies
Persuades
Ponders
Portrays
Postulates
Prepares
Presents
Presumes
Produces
Projects
Promotes
Proposes
Provides
Qualifies
Questions
Rationalizes
Reasons
Recalls
Recites
Recollects
Records
Recounts
Refers
Reflects
Regards
Regrets
Rejects
Represents
Results
Reveals
Ridicules
Satirizes
Seems
Sees
Selects
Specifies
Speculates
States
Strives
Suggests
Summarizes
Supplies
Supports
Suppresses
Symbolizes
Sympathizes
Traces
Undermines
Understands
Vacillates
Values
Verifies
Establishes
Evinces
Exhibits
Exposes
Expounds
Intimates
Manifests
Points to
Proves
Ratifies
Relates
Shows
Substantiates
Suggests
Typifies
Upholds
Validates
Adjectives for Use in Rhetorical Discussion
Describing the Author/Speaker
Analytical
Hypocritical
Bigoted
Idealistic
Broad-minded
Imaginative
Conservative
Intellectual
Cultured
Intolerant
Cynical
Liberal
Erudite
Narrow-minded
Fanatical
Opinionated
Humorous
Optimistic
Original
Orthodox
Perceptive
Philosophical
Progressive
Prophetic
Provincial
Radical
Rational
Reactionary
Realistic
Romantic
Sagacious
Sensible
Sentimental
Shallow
Skeptical
Sophisticated
Spiritual
Superficial
Sympathetic
Unorthodox
Unprejudiced
Visionary
Well-read
Whimsical
Describing the Style/Content
Lucid
Graphic
Exact
Concise
Piquant
Aphoristic
Poetic
Prosaic
Pure
Vigorous
Fluent
Glib
Polished
Classical
Rhetorical
Turgid
Vague
Diffuse
Ungraceful
Harsh
Unpolished
Crude
Utilitarian
Humanistic
Subjective
Melodramatic
Credible
Recondite
Absurd
Trivial
Intelligible
Succinct
Syllogistic
Plain
Forceful
Natural
Artistic
Pompous
Verbose
Abrupt
Vulgar
Pragmatic
Fanciful
Controversial
Commonplace
Explicit
Condensed
Allusive
Simple
Eloquent
Restrained
Bombastic
Grandiose
Pedantic
Labored
Formal
Naturalistic
Authentic
Mystical
Heretical
Precise
Pithy
Metaphorical
Homespun
Sonorous
Smooth
Extravagant
Obscure
Ponderous
Awkward
Artificial
Impressionistic
Plausible
Improbable
Describing Diction (Avoid saying The author uses plain diction. Instead, make diction the subject of your sentence, as in The author’s
plain diction conveys…)
High or formal
Low or informal
Neutral
Precise
Homespun
Concrete
Abstract
Plain
Simple
Figurative
Esoteric
Learned
Cultured
Literal sensuous
Literary
Connotative
Symbolic
Picturesque
Idiomatic
Neologistic
Provincial
Colloquial
Slang
Obscure
Pedantic
Inexact
Euphemistic
Trite
Jargon
Emotional
Bombastic
Grotesque
Vulgar
Scholarly
Insipid
Obtuse
Moralistic
Ordinary
Scientific
Proper
Pretentious
Old-fashioned
Exact
Describing Syntax (Avoid saying The author uses syntax. Instead, make syntax the subject of your sentence as in The author’s syntax
conveys…)
Loose sentence
Complex
CompoundDeclarative
Inverted
Compound
Exclamatory
complex
Antithetic
Terse
Imperative
Rhythmical
Telegraphic
Emphatic
Euphonic
Balanced
Epigrammatic
Simple
Periodic
Interrupted
Interrogative
Describing Organization/Structure/Point of View
Spatial
Chronological
Step-by-step
Objective
Contemplative
Reflective
Omniscient
Flashback
Subjective
Clinical
Flash forward
Nostalgic
Impersonal
In media res
Reminiscent
Dramatic
Describing Imagery
AP prompts often ask students to discuss the author’s imagery. The most successful student writers are able to categorize the
images in a prose passage. Such categorization may be articulated with precise adjectives like those in the list below.
Bucolic
Decay/
Religious
Olfactory
Sexual
Kinetic
decomposition
Gustatory
Sacred
Chaotic
Auditory
Pastoral
Sensual
War/militia
Kinesthetic
Animal
Tactile
Imagery may also be classified with nouns. Ex: imagery of death, decay, and decomposition. (The primary imagery is that of
darkness.)
Describing Speaker’s/Characters’ Physical Qualities (Great substitutions for pretty and ugly!)
Manly
Virile
Muscular
Dainty
Strapping
Stalwart
Handsome
Attractive
Fair
Comely
Shapely
Androit
Graceful
Elegant
Immaculate
Nimble
Ravishing
Dapper
Agile
Weak
Adept
Skillful
Vivacious
Emaciated
Lively
Spirited
Decrepit
Homely
Sickly
Frail
Hideous
Clumsy
Effeminate
Unwomanly
Awkward
Incongruous
Unkempt
Slovenly
Grotesque
Odious
Graceless
Bizarre
Repulsive
Sturdy
Repellent
Repugnant
Hardy
Lovely
Loathsome
Robust
Brawny
Delicate
Describing Speaker’s/Characters’ Mental Qualities (Great substitutions for smart and stupid!)
Educated
Erudite
Scholarly
Wise
Intellectual
Precocious
Capable
Competent
Apt
Rational
Reasonable
Sensible
Prudent
Observant
Clever
Ingenious
Subtle
Cunning
Crafty
Wily
Unschooled
Unlettered
Ignorant
Illiterate
Irrational
Puerile
Foolish
Fatuous
Simple
Thick-skulled
Idiotic
Imbecile
Deranged
Demented
Articulate
Eloquent
Describing Speaker’s/Character’s Moral Qualities (Great substitutions for good and bad!)
Idealistic
Temperate
Faultless
Ascetic
Guileless
Truthful
Chaste
Straightforward
Undefiled
Virtuous
Austere
Decent
Puritanical
Exemplary
Trustworthy
Notorious
Innocent
Abstentious
Righteous
Immoral
Upright
Honorable
Pure
Ribald
Winsome
Dexterous
Active
Feeble
Cadaverous
Coarse
Ungainly
Ghastly
Invidious
Astute
Gifted
Shrewd
Inventive
Unintelligent
Inane
Vacuous
Witless
Deceitful
Vile
Respectable
Vicious
Unprincipled
Vulgar
Dishonest
Foul
Wicked
Incorrigible
Reprobate
Intemperate
Unscrupulous
Recalcitrant
Corrupt
Dissembling
Depraved
Sensual
Dishonorable
Philandering
Degenerate
Infamous
Describing Speaker’s/Characters’ Spiritual Qualities (More great substitutions for good and bad!)
Religious
Reverent
Saintly
Impious
Regenerate
Holy
Irreligious
Carnal
Agnostic
Atheistic
Materialistic
Unregenerate
Profane
Sacrilegious
Blasphemous
Faithful
Diabolic
Fiendlike
Devout
Skeptical
Charitable
Pious
Angelic
Irreverent
Describing Speaker’s/Characters’ Social Qualities (Great substitutions for nice and mean!)
Civil
Courteous
Cooperative
Genial
Tactful
Gracious
Amiable
Cordial
Hospitable
Jovial
Jolly
Urbane
Convivial
Acrimonious
Quarrelsome
Antagonistic
Anti-social
Impudent
Impolite
Insolent
Discourteous
Unrefined
Rustic
Provincial
Ill-mannered
Churlish
Fawning
Obsequious
Brusque
Fractious
Crusty
Peevish
Grumpy waspish
Taciturn
Reticent
Gregarious
Amicable
Contentious
Unpolished
Sullen
Indecent
Dissolute
Base
Opportunistic
Godless
Altruistic
Affable
Congenial
Suave
Misanthropic
Ill-bred
Boorish
Sniveling
Petulant
Garrulous
Nouns for Use in Rhetorical Discussion
Analyzing Characters
Foil
Confidante
Nemesis
Doppelganger
Adversary
Analyzing Structure/Organization/Point of View
Foreshadowing
Epiphany
Parallel structure
Comparison
Juxtaposition
Contrast
Categorization
Anecdote
Perspective
Placement
Analyzing Syntax
Repetition
Subject
Phrase
Modifier
Conjunction
Semicolon
Pronoun
Abstract noun
Parenthetical
expression
Hyphen
Parallelism
Predicate
Clause
Dependent clause
Interjection
Colon
Narrator
(unknown, reliable,
etc.)
Protagonist
Antagonist
Analogy
Transition
Frame story
Person (first,
second, third)
Extended
metaphor
Sequence
Arrangement
Shifts
Definition
Classification
Proper noun
Concrete noun
Footnote
Dash
Compound nouns/
adjectives
Anaphora
Object
Infinitive
Independent
clause
Deliberate
fragment
Rhetorical
question
Common noun
Dialogue
Capitalization for
effect
Active voice
Asyndeton
Direct object
Participle
Subordinate clause
Appositive
Noun
Collective noun
Apostrophe
Inversion
Passive voice
Polysyndeton
Indirect object
Gerund
Preposition
Noun
Comma
Chiasmus
Antecedent
Tense
Identifying Genre/Purpose
Novel
Letter
Précis
Travelogue
Farce
Novella
Sermon
Synopsis
Essay
Conceit
Autobiography
Speech
Critique
Diatribe
Editorial
Memoir
Treatise
Personal narrative
Polemic
Tirade
Biography
Abstract
Journal
Commentary
Review
Assessment
Apology
Eulogy
Soliloquy
Argument
Elegy
Monologue
Verse
Parody
Portrayal
Allegory
Identifying Sound Devices
Alliteration
Assonance
Consonance
Repetition
Rhetorical Devices
Allusion
Personification
Oxymoron
Analogy
Paradox
Classical allusion
Understatement
Persona
Euphemism
Simile
Hyperbole
Synecdoche
The Language of Argument
Verbs
Attack
Challenge
Validate
Answer
Grant
Assert
Nouns
Warrant
Solution
Vested interest
Logos
Induction
Audience
Rebuttal
Refutation
Invective
Appeal to authority
Credentials
Charge
Qualify
Confirm
Agree
Disagree
Generalize
Trivialize
Claim
Counter
Affirm
Verify
Specify
Simplify
Propose
Repudiate
Argue
Resolve
Debate
Disparage
Defend
Allege
Assume
Concede
Dispute
Validity
Resolution
Conflict of interest
Counterargument
Fallacy
Purpose
Antithesis
Slippery slope
Proponent
Qualification
Hypothetical
examples
Plausibility
Bias
Enthymeme
Premise
Ad hominem
Message
Non sequitur
Anecdote
Assertion
Begging the
question
Practicality
Credibility
Pathos
Syllogism
Exigence
Precedent
Circular reasoning
Advocacy
Adherent
Justification
Proposal
Accountability
Ethos
Deduction
Speaker
Testimonial
Bandwagon
Rhetoric
Adversary
Cause/effect
Annotating Texts
ANNOTATING simply means marking the page as you read with comments and/or notes.
The principle reason you should annotate your books is to aid in understanding. When important passages occur, mark
them so that they can be easily located when it comes time to write an essay or respond to the book. Marking key ideas
will enable you to discuss the reading with more support, evidence, and/or proof than if you rely on memory.
ANNOTATING MAY INCLUDE:
Highlighting key words, phrases, or sentences
Writing questions or comments in the margins
Bracketing important ideas or passages
Connecting ideas with lines or arrows
Highlighting passages that are important to understanding the work
Circling or highlighting words that are unfamiliar
SPECIFIC ITEMS FOR ANNOTATION MIGHT INCLUDE:
Character description
Literary elements (symbolism, theme, foreshadowing, etc.)
Figurative language (similes, metaphors, personification, etc.)
Plot elements (setting, mood, conflict, etc.)
Diction (effective or unusual word choice)
Vocabulary words
HOW TO ANNOTATE A TEXT:
HIGHLIGHTING/UNDERLINING-This stands out from the page and allows you to scan a page quickly for information. Be careful not
to mark too much—if everything is marked, then nothing becomes important!
BRACKETS [ ]-If several lines seem important, place a bracket around the passage, then highlight or underline only key phrases
within the bracketed area. This will draw attention to the passage without cluttering it with too many highlighted or underlined
sentences.
ASTERISKS *-This indicates something unusual, special, or important. Multiple asterisks indicate a stronger degree of importance.
MARGINAL NOTES- Making notes in the margin allows you to: ask questions, label literary elements, summarize critical elements,
explain ideas, make a comment, and/or identify characters.
MODERN LANGUAGE ASSOCIATION (MLA) IN-TEXT CITATIONS
Standard format: double quotation mark/quoted material/double quotation mark/left parenthesis/page
number/right parenthesis/period
For example, when Jem and Scout are building their snowman, they “[cannot] wait for Atticus to come
home for dinner” (71).
If the quote ends with a question mark or an exclamation point, put it inside the last quotation mark and
put a period after the page citation.
For example, while discussing the group of men who want to hang Tom Robinson before the trial
begins, Atticus says, “Every mob in every little Southern town is always made up of people you know—
doesn’t say much for them, does it?” (160).
Use brackets when you alter words from the original quotation.
Actual text: Atticus “went to the court reporter and said something, nodded to Mr. Gilmer, and then
went to Tom Robinson and whispered something to him” (214).
Your quote: For example, before leaving the courtroom Atticus “[goes] to the court reporter and [says]
something, [nods] to Mr. Gilmer, and then [goes] to Tom Robinson and [whispers] something to him”
(214).
Reminders:
1. Never put periods or commas immediately before the closing quotation mark.
2. Never write pg./p./pp., etc. inside the parentheses. The only thing that can appear inside the
parentheses is Arabic numbers.
3. Never put only the first quotation mark at the end of a line or the last quotation mark at the beginning
of a line by itself.
4. Use a variety of transition words and sentence structures.
Integrating Quotations: Making a QUOTATION SANDWICH
“Because quotations do not speak for themselves, you need to build a “frame” around them in which you do the
speaking for them. Quotations inserted into the text without such a frame may be called” [drive-by quotations], likening
them to a drive-by shooting—their just blasted into the writing without warning or explanation, and they rarely hit their
intended target.
Example of a “Drive-by” Quotation
Ann Putnam is one character who believes that supernatural forces are at work in Salem. “Why it’s sure she did, Mr.
Collins saw her goin’ over Ingersoll’s barn, and come down light as a bird, he says!” Goody Putnam clearly believes that
supernatural forces are possible. Another example of a character who believes in the supernatural causes of the girls’
sickness is Giles Corey…
“To adequately frame a quotation, you need to insert it into what we like to call a ‘quotation sandwich,’ with the
statement introducing it serving as the top slice of bread that the explanation following it as the bottom slice [see
underlined portions of the example below]. The introduction of lead-in should explain who is speaking and set up what
the quotation says; the follow-up statements should explain why the quotation illustrates the character’s claim”
Example of a Quotation Sandwich
Ann Putnam’s belief that the afflicted girls’ strange behavior can be attributed to witchcraft is clearly evident when,
seeking to understand her own daughter’s condition, she visits Betty’s sickroom. Eagerly countering Parris’s claim
that betty “never flew,” Goody Putnam insists that “Mr Collins” witnessed the girl “goin’ over Ingersoll’s barn.” She
further demonstrates her certainty that supernatural forces are at work by describing the incident as a “marvel” and
by suggesting that the girls’ sickness is a result of the “Devil’s touch.” These assertions on the part of Goody Putnam
illustrate not only her belief in supernatural forces but also her desire for these supernatural occurrences to be the
explanation for Betty’s and her own daughter’s sickness.
Verbs for Introducing Summaries and Quotations
Verbs for Making a Claim
Verbs for Expressing
Agreement
Acknowledge, admire,
agree, celebrate the fact
that, corroborate, do not
deny, endorse, extol, praise,
reaffirm, support, verify
Argue, assert, believe, claim,
emphasize, insist, observe,
remind us, report, suggest
Verbs for Questioning or
Disagreeing
Complain, complicate,
contend, contradict, deny,
deplore the tendency to,
disavow, question, refute,
reject, renounce, repudiate
Verbs for Making
Recommendations
Advocate, call for, demand,
encourage, exhort, implore,
plead, recommend, urge, warn
Graff, Gerald and Cathy Birkenstein. “They Say/I Say” The Moves that Count in Academic Writing. New York: W.W. Norton & Company, 2006.
Transitions and Paragraph Hooks
Time
Place
Idea
Extending
elaboration by
comparing
Extending
elaboration by
contrasting
Extending elaboration
by emphasizing/
clarifying
After,
afterward,
at first, as
before, finally,
immediately,
later,
next, now,
previously,
soon, then
Above, ahead,
among,
beyond, down,
elsewhere,
farther,
here, in front
of, in the
background,
near, nearby,
next to, there
First, second,
third,
similarly, as, in
the same way,
for instance,
likewise,
however
As, at the
same time, by
comparison,
equally, in the
same manner,
likewise,
similarly
Although, and
yet, as, as
though, at the
same time, but,
in contrast,
conversely,
even so, unlike,
even though,
however,
in spite of,
neither,
nevertheless,
on the one
hand, on the
other hand,
provided
that, though,
unfortunately,
whereas, yet
Especially, for instance,
in fact, indeed, that is,
in other words
Extending
elaboration
by adding
another
example
Moreover,
most
important,
now, so,
additionally,
again, also,
especially, in
addition, in
fact, last, again,
also, besides,
equally,
important,
furthermore,
similarly, in
contrast
Transition list from Crafting Expository Argument by Michael Degen
Transitions for the Purpose of Argumentation
Purpose
Agreeing
Disagreeing
•
•
•
Making a concession to a different point of view
•
•
•
Anticipating and refuting counterargument
•
•
Example
I can support X’s position on… because…
In defense of X’s claim that … it is clear that…
I challenge the validity of X’s assertion
because… cannot be verified by…
I counter X’s argument for/against… because…
I sympathize with X’s premise regarding…, but I
propose that…
Advocates of … are correct when they insist
that… however, I dispute the idea that…
X’s rhetoric will appeal to many voters
concerned with…, but statistics actually show
that…
Opponents of… will try to convince you that…,
but I contend that…
Transitions for the Purposes of Argumentation modeled on examples in They Say, I Say (Graff and Birkenstein)
AVOIDING COMMON WRITING ERRORS
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
Write in active, not passive, voice (e.g., The information confused the student instead of The Student was confused by the
information).
Punctuate compound sentences correctly to avoid comma splices and run-ons.
Avoid contractions. Then you will never confuse the contraction it’s (meaning it is or it has) with the possessive pronoun its
(e.g., The dog wagged its tail).
Avoid announcing your intentions (This report will examine; In this paper I will argue).
Develop your paragraphs. One or two sentences cannot form a developed paragraph.
Vary your sentence pattern by combining sentences to create a balance of complex, simple, and compound patterns.
Avoid opening your paper with a “dictionary definition” and ending your paragraphs with a “concluding” sentence.
Avoid the excessive use of the expletives there is; there are; there would have been.
Avoid redundant rhetoric (separate out; focus in on; exact same).
Eliminate empty phrases: in today’s society (in today’s anything); hopefully; in my opinion; due to the fact
Replace the words he/she or him/her with a plural subject if appropriate: Students realize they must develop solid study
habits replaces A student realizes he/she must develop solid study habits.
Avoid the use of this, that, which, and similar pronouns to cover more than one specific antecedent (the noun or pronoun
that the pronoun refers to).
Avoid faulty predication or faulty pronoun reference: This is when; The reason is because; In the book it says..
Avoid shifting voice: The speech students learned that you had to prepare carefully to hold an audience’s attention.
Distinguish subjective from objective forms of pronoun case; he/him; she/her; they/them; we/us; etc.
Refer to a usage glossary to avoid using who’s for whose; affect for effect; loose for lose; to for too; presently for currently;
etc.
Place quotation marks outside commas and periods; generally place them inside semicolons.
Adhere to the “I 0 percent rule” when writing introductions and conclusions. That is, your introduction as well as your
conclusion should each measure around I 0 percent of the length of the entire paper.
Underline or italicize only that portion of a title you borrow from another author.
20. Avoid the use of the verb feel when you think or believe (e.g., The character feels like he needs to get revenge). The
character believes that is acceptable usage.
21. Refer to an author’s full name only when is it initially used; thereafter, use last name only and. With few exceptions, never
with a title such as Dr. or Ms. (Doctor Johnson replaces Samuel Johnson, a notable exception.)
22. Indent four lines or more of quoted material without the use of quotation marks because indention in itself is
the “signpost” ‘to your reader that you have borrowed the information. Use a single quotation mark, however, to indicate a
speaker within the indented citation.
23. Introduce long quotations with a colon and always offer some analysis or commentary (not summary) before or after the
introduction of a quotation.
24. Underline or italicize those works that are long enough to be published separately. They include television sitcoms, movies,
epic poems, and music albums.
25. Space ellipses correctly, space/period/space/period/space/period ( . . . )
26. Use brackets to reflect a change in capitalization if different from the text you are quoting: John Kennedy’s philosophy was
to ‘[a]sk what you can do for your country.’
27. Stay in literary or historical present tense when “in the text”: As Shakespeare characterizes him, Hamlet is (not was) a
tragic figure.
28. Spell out all numbers ten (O-IO) and below. Always spell any number if it is the first word of the sentence.
29. Distinguish the narrator’s or speaker’s voice from the author’s when you analyze literary works (for poetry, the speaker’s
voice replaces the narrator’s).
30. Avoid using a quotation as a thesis statement or topic sentence.
31. Avoid using an ellipsis to indicate an omission from the beginning of a quotation.
32. Reserve the term quote as a verb, the term quotation as a noun (She wants to quote one portion of the quotation).
Revision Involves Changes…
Adding
•
•
•
•
•
•
•
•
completely new thoughts
the other side of an issue
explanation of thoughts and ideas
examples, illustrations
a specific audience
a clarifying metaphor or analogy
specific details
vivid, fresh adjectives and adverbs
Deleting
•
•
•
•
•
irrelevant passages, no matter how fond you are of them
broad descriptions and vague generalizations which prevent in-depth discussion of a sharply focused topic
weak beginnings
pointless details
lifeless, taking-up-space words and phrases
Substituting
• one purpose for another (e.g. a primarily informative piece changes to a primarily entertaining one)
• one tone for another
• one point of view for another
• one form of discourse for another (e.g., expressive prose changes to poetry)
• words with greater precision
• strong verbs, colorful expressions
Rearranging
•
•
•
•
major points in least-to-most-significant order
a striking sentence or idea to be used in the introduction or conclusion
paragraphs into a chronological sequence
items in a series
AP Language and Composition Multiple Choice Stems
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
The speaker’s primary purpose in the passage is to
The phrase, “ ” functions primarily as
The attitude of the entire passage (or parts of the passage) is one of
The author uses this (a certain image) for the purpose of
The main rhetorical strategy of the ___ paragraph is for the purpose of
The word “ ” in context of line ___ is best interpreted to mean
By lines ___, it can be interpreted to mean
The reason for the shift in tone is due to
The phrase “ ” in line ___ refers to which of the following
The word/phrase “ ” in line ___ refers to which of the following
In relation to the passage as a whole, the statement in the first sentence presents
In lines ___, “ ” the speaker employs which of the following rhetorical strategies
Which of the following best summarizes the main topic of the passage
In the sentence beginning “ ” the speaker employs all of the following EXCEPT
The style of the passage as a whole is most accurately characterized as
The principle contrast employed by the author in the passage (paragraph) is between
The primary rhetorical function of lines --- “ ” is to
The speaker’s reference to “ ” serves primarily to
The tone of the passage shifts from one of ___ to one of ___
The second sentence lines ___ is unified by metaphorical references pertaining to (frame of reference)
It can be inferred by the description of ___that which of the following qualities are valued by the speaker
The antecedent for “it” in the clause “ ” is
The type of argument employed by the speaker is most similar to which of the following
The speaker describes ___ in an order best described as from the (loudest to softest)
The pattern of exposition exemplified in the passage is best described as
The point of view indicated in the phrase “ ” in line ___ is that of
The atmosphere established in the ___ sentence in line ___ is that of
The ___ sentence in line ___ remains coherent chiefly because of its use of
a.
b.
c.
d.
Parallel syntactic structure
Colloquial and idiomatic diction
A series of prepositional phrases
Periodic sentence structure
e.
Retrospective point of view
29. The function of the three clauses introduced by “that” in lines ___ is to
30. The sentence “ ” in lines ___ contains which of the following
31. Which of the following best describes the function of the third paragraph in relation to the two paragraphs that
precede it
32. The passage is an appeal for a
33. The primary rhetorical function of lines ___ is to
34. In the passage, the speaker makes all of the following assumptions about his/her readers EXCEPT
35. The diction in the passage is best described as
36. One prominent stylistic characteristic of the ___ paragraph is the use of
Explanation of Common Grading Marks
AWK—awkward; rewrite your sentence
WC—word choice; you should find a better word than the one you’ve used. The word may be too general or you may
have used a word that doesn’t have precisely the same meaning as a synonym.
WW—wrong word
SP—misspelled word
WHAT?—Seriously? I can’t believe I’m reading this in a junior-level, AP paper. Your reasoning is flawed, you’ve misread
the text, or I just can’t make sense of what you’re trying to say.
?—I can’t read what you wrote.
FRAG—sentence fragment
CS—comma splice (putting a comma where you don’t need one)
RO—run-on sentence
PV—passive voice; remember to use active whenever possible
So?—So what? Further explanation is needed.
Elab—Elaborate on this point, or extend your commentary.
^-- insert (could be anything, a word, a punctuation mark, etc.
ℓ-- remove (could be anything)
#--space
AP English Language and Composition
Terms that have appeared on AP exams (1991-2007)
Abstraction
Allegory
Alliteration
Allusions
Ambivalence
Analogy
Anecdote
Antecedent
Anticlimax
Antithesis
Apostrophe
Appeals to authority
Argument
Aside
Assertion
Assumption
Audience
Author’s purpose
Bias
Characterization
Circumlocution
Claim
Cliché
Colloquialism
Commentary
Comparison
Concrete diction
Contrast
Counterbalance
Counterexample
Deduction
Details
Diatribe
Diction
Digression
Double entendre
Dramatic monologue
Endnote
Epithet
Euphemism
Evidence
Exaggeration
Exposition
Fable
Fallacious claim
Figures
F speech
Footnote
Generalization
Humor
Hyperbole
Hypothesis
Hypothetical example
Image
Imagery
Imperative mood
Indifference
Inference
Invective
Irony
Juxtaposition
Linguistic paradox
Logical fallacy
Lyrical
Melodrama
Metaphor
Metaphorical language
Mocking humor
Motif
Narrative development
Narrative style
Negation
Nostalgia
Objectivity
Onomatopoeia
Overstatement
Oxymoron
Paradox
Parallelism
Periodic sentence
Parody
Pun
Qualifying statement
Personification
Rebutting an objection
Refutation
Reminiscence
Resolution
Rationale
Reference
Repetition
Repudiation
Rhetoric
Rhetorical questions
Sarcasm
Satire
Self-deprecating humor
Sentence structure
Shift
Simile
Slang
Speaker
Speaker’s attitude
Speaker’s purpose
Structure
Style
Subordinate clause
Syllogism
Symbol
Symmetry
Synonym
Syntax
Thesis
Tone
Transition
Understatement
Unity
Verbal irony
List compiled by Edie Parrot
Handout courtesy of Ronessa
McDonald
Recommended Resources for
AP English 11 and 12 Students
These resources are listed using MLA documentation and are thus in alphabetical order by author and not organized by order of
recommendation.
Casson, Allan. Advanced Placement: English Literature and Composition Preparation Guide. Cliffs: Lincoln, 1993.
Murphy, Barbara and Estelle Rankin. 5 Steps to a 5: AP English Language. McGraw-Hill: New York, 2002.
Murphy, Barbara and Estelle Rankin. 5 Steps to a 5: AP English Literature. McGraw-Hill: New York, 2002.
Swovelin, Barbara V. Advanced Placement: English Language and Composition Preparation Guide. Cliffs: Lincoln, 1993.
Students will also find it useful to obtain their own copy of each of the following:
Major novels taught in class,
A dictionary of allusions,
An encyclopedia of literature,
A current MLA handbook, and
A handbook of literary terms
Note: Many of these items can often be obtained from used bookstores!
Resources for this Handbook
This handbook was composed using many personal, departmental, and outside resources. The following resources were also used in the development of this handbook.
Crest, Catherine Bartlett. Teacher’s Guide—AP English Literature and Composition. College Board, 1999.
McIntire, Debra. Introduction Materials: Summer Institute for Advanced Placement Literature and Composition, 2002.
Potts, Mary Jo. Teacher’s Guide—AP English Language and Composition. College Board, 1998.
Schaffer, Jane. Teaching the Multi-paragraph Essay. Jane Schaffer Publications, 1995.
Student Handbook: Advanced Placement English Program. Yukon High School, 2001.
The AP Vertical Teams Guide for English, 2nd ed. College Board, 2002.
The Yellow Pages. Westwood High School AP English teachers, Austin, TX.
Winter, Peggy. AP Handbook.