The Undergraduate Writing Program

University Writing: Contemporary Essays

ENGLGS1010_002_2017_1 (aka ENGLF1010_002_2017_1)

Spring 2017
T-Th 8:40 9:55 am
Philosophy Hall, Room 408A
Instructor: Miranda K. Pennington
Contact: MKP2124@columbia.edu
Office Hours: Thursday 10:00 am 12:00 pm, and by appointment
310 Philosophy Hall

By temperament, the essayist doesnt favor the final word but prefers to remain in an
exploratory frame of mind. Essayists like to examineor to use an essayists favorite term,
considertopics from various perspectives. To consider is not necessarily to conclude; the
essayist delights in a suspension of judgment. . .So the essayists take on a topic is neither
conclusive nor exhaustive; nor is it systematic. David Brooks

For reasons that are obscure to me, those qualities we cherish in our artists we condemn in our
politicians. In our artists we look for the many-colored voice, the multiple sensibility. Zadie
Smith

For some people, the public intellectual is a dissident figure who speaks truth to power and
opposes the tyranny of mass culture: mile Zola, Theodor Adorno, Susan Sontag. For others, the
public intellectual is a consummate popularizer, able to translate ideas and research into
best-selling books or widely viewed television series: Will and Ariel Durant, Carl Sagan, Henry
Louis Gates, Jr., Simon Schama, Amanda Vickery. (What does it mean that we could plausibly
put George Orwell and Ayn Rand in both the dissident and the popularizer categories?) Still
others see the public intellectual as defiantly opposing academia, taking aim at its elitist, arcane
obfuscations. In all three models, public scholarship is valuable because it radically alters either
the public or scholarship. Sharon Marcus

Course Description
University Writing is designed to help undergraduates read and write essays in order to
participate in the academic conversations that form our intellectual community. We will give
special attention to the practices of close reading, rhetorical analysis, research, collaboration, and
revision. Students will learn that writing is a process of continual refinement of ideas and their
expression. Rather than approaching writing as an innate talent, this course will teach writing as
a unique, learned skill that can be practiced and developed. Over the course of the semester, you
will read and discuss texts from a number of fields, complete regular informal reading and
writing exercises, write several longer essays, and prepare an editorial for a public audience.
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This course is a place for uncovering questions and seeking answers, for mastering voice and
attaining clarity, for broadening your range and depth, and for finding your feet in the world of
the academic essay. Imagine a bulletin board covered in notes and observations from the writers
and thinkers whove come beforetogether we will examine the work they have done and begin
to craft the the writing you will leave for those who follow. This semester we will consider issues
of empathy, authenticity and expertisevia the works of Ta-Nehisi Coates, Sharon Marcus,
Edward Said, Elaine Scarry, Claudia Rankine, Jonathan Letham, and othersand contribute our
own voices to the important intellectual conversations already in progress.

Note: Your syllabus is a reference document to be frequently consulted. In it you will find
course policies, all major due dates, and a schedule of readings. This syllabus is also available on
the Courseworks site. To get started, log in to [http://Courseworks.columbia.edu].

Requirements
Complete four revised essays ranging from 750-3000 words, each accompanied by at
least one draft. Students must submit all four final essays in order to pass the class.
Attend and participate in all classes and required conferences.
Prepare reading and writing exercises as assigned.
Submit all of your writing assignments on Courseworks and bring a copy you can refer to
class either in hard copy or electronically
Pending accessibility, we may also develop some group GoogleDocs tools.

Assignments
at least three types
You will do of writing in this course: exercises, drafts, and final essays. These
assignments will connect with one another in a developmental sequence called a progression.

Exercises: (100-400 words) Exercises will help you develop skills and ideas as you work toward
your essay draft. Some exercises will receive written feedback from me, others are design to
prompt in-class discussions or writing activities or spur you towards your next draft.

Drafts and proposals: (750+ words) You will write one or more drafts prior to submitting a final
version of your essay for a progression. The stronger the draft at any stage of composing, the
more useful will be the feedback you receive. At the formal draft stage of every assignment, you
will be required to participate in a small group workshop, which consists of submitting your
formal draft on time, reading the work of 2-3 classmates, providing in-text notes and a written
comment at the end, and contributing to an in-class discussion of each group members draft.

For Progression 1, you will complete an Exploratory Draft, a Formal Draft, and a Final Draft.
For Progression 2, you will complete an outline, a Formal Draft, and a Final Draft.
For Progression 3, you will complete a proposal, a Formal Draft, and a Final Draft.
For Progression 4, you will only turn in a Formal Draft and a Final Draftother prewriting
activities are at your own discretion.

Final essays: (750+ words; must have a title, word count, and a works cited page) A final essay is
the most public kind of writing you will produce for this course. Your essay should aim to
persuade astute, interested readers who are unfamiliar with the texts you engage; you need to
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present them with the necessary background and context for the discussion at hand, provide your
argument and supporting evidence clearly and cohesively, and above all, persuade them as to
why your argument is significant. Final essays should adhere to MLA style.

Required Texts and CourseWorks tools

The syllabus, course description, requirements, readings, assignments, and links to resources are
available on CourseWorks: https://courseworks.columbia.edu/

Announcements: Time-sensitive announcements will be posted here and emailed to you

through your Columbia email address. I will also share less-urgent but still relevant links,
articles, upcoming events, or notes here throughout the semester.
Files & Resources: All readings are provided as PDFs or html links in the Files and
Resources section of Courseworks.
Assignments: All exercises and drafts must be turned in on the relevant Assignments
page
Wiki: I have created a Class Wiki for Progressions 2 and 3; during the semester, I will
post sample exhibits there, so if youre ever stuck, check the wiki for possible exhibits.
You are also welcome to post any articles, images, or other media that is relevant to our
progressions here!
Sign-up: This is a new tool for Courseworks (at least to me!). My standing office hours
are 10-12 on Thursdays (right after class), and you can sign up for a slot up to a week in
advance to let me know youll be coming by. Multiple people can sign up for each
15-minute office hour slotin the past, its been mutually beneficial to have more
opportunities to meet in small cohorts outside of workshopping drafts. I will also use this
tool to schedule the draft conferences for each progression.
Calendar: This collects all due dates from the assignment page
Research Guides: This is a tremendously useful tool put together by our librarian liaison,
Anice Millsitll become more useful in P2 and P3 as you begin to find your own
exhibits to incorporate into your essays.

Additional readings will be assigned from The Morningside Review, morningsidereview.org,

which is the journal of selected essays from Columbias Undergraduate Writing Program.

Optional Text:
Hacker, Diana. A Pocket Style Manual. 7 Edition. Available at the University Bookstore.
th

As a student at Columbia, you can download bibliographic software to your PC or Mac (not yet
tablets or phones) that will archive and organize your textual references and generate formatted
citations in many formats. I strongly, strongly, recommend Zotero. You can download one of
those programs from CUIT: http://library.columbia.edu/research/citation-management.html

Formatting:

All writing you submit should

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be double-spaced, using 12-point Times New Roman font on a page with one-inch
margins
include a header on the first page only. This should include your name, the course title,
my name, a word count, and the date. Include a title on the first page. Include page
numbers.
be stapled. (You may want to invest in a small stapler to keep in your bag)
be posted to Courseworks. File name: [Your Last Name]_[Title of assignment i.e. P1
Exploratory Draft].doc or .docx
follow the MLA format for citations (consult the Purdue OWL)

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Course Policies
Attendance
The discussion and workshop elements that are at the center of this course cannot be made up, so
attendance is vital.

In accordance with Columbia University regulations, there will be distinctions made between
excused absences and unexcused absences. Excused absences due to religious observance,
athletic commitments (e.g. away games), and illness will not incur a grade penalty providing that
proper documentation is submitted correctly. In the first two weeks of class, students will also
not be penalized if they have been attending a different section of University Writing and elect to
change their section. Please see the specific requirements below for how you should document
absences you wish to be excused.

Documentation for excused absences

Religious observance: By the fourth class session, send an email to your instructorcopied to
your academic advisorin which you outline all of the dates you will be absent for the semester.
Create a plan with your instructor to make up work or reschedule deadlines.

Athletic commitments: Only participation in athletic competitions will count as excused

absences; practice sessions do not. Prior to any absence, you must submit to your instructor a
completed and signed Columbia University Intercollegiate Athletics Academic Absence
Notification Form. Create a plan with your instructor to make up work or reschedule deadlines.
Here is a link to the form:
http://www.college.columbia.edu/sites/default/files/intercollegiate_athletic_academic_absence_n
otification_form.pdf

Illness: For an absence due to illness to count as excused, please provide a signed doctors note.
You should bring the note to class on the day you are able to return. If you can, email your
instructor to indicate that you will be unable to attend class. Exchange emails with a
classmate to find out what you missed.

Section changes: If you change your section of University Writing in the first two weeks of class,
you must provide your new instructor a completed and signed University Writing Attendance
Confirmation form. Please see Mr. John Stobo in the Undergraduate Writing Program office,
310 Philosophy Hall, for a copy of the form.

All other absences, including those due to late registration, are considered unexcused. Unexcused
absences will affect your grade according to the chart below. Please also note the lateness policy
in the next section to understand how latenesses count toward your total number of absences.

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Number of unexcused absences Grade Penalty

1-3 You may incur 1/3 of a letter on the final grade for
the progression per absence.
4 1/3 of a letter, course grade
5 full letter, course grade
6 2 full letters, course grade
7 F or UW, course grade

Lateness
Because lateness is disruptive to the entire class, if you arrive once class is underway or depart
before the class session has ended, you will be marked as late. Two latenesses count as one
absence in calculating your final course grade.

Conferences and Office Hours

You will have at least two 20-30 minute conferences with me during the semester (following the
exploratory draft for P1 and the outline for P2; P3 conferences will be offered, but optional).
These conferences give you the opportunity to discuss your ideas, to work through your drafts, to
prepare for presentations, or to revise your essays. You are welcome to come and see me in
office hours or by appointment to discuss any aspect of the course. While my standing office
hours are 10 am - 12 pm on Thursdays, I will also be available for evening office hours by
appointmentplan on scheduling evening appointments at least 5 weekdays in advance.

Assessment and Response

All of the writing you submit on time for this class will receive some sort of written or recorded
response from me and/or your classmates. While writing exercises and preliminary drafts will
not receive grades, they will be important for your development as a writer and thinker, and you
are expected to complete them all.

During the first three progressions, I will write marginal comments and typed end-comments to
one preliminary draft as well as your final draft. For your final progression, you will receive
end-comments on your final draft that respond to the essay as well as your development over the
course of the semester.

My comments are designed to help you assess your draft and prioritize goals for the next stage of
your writing. Just as important, my comments will offer you practical strategies designed to
further your ongoing development as a writer. If you have any questions about my comments,
please make an appointment with me to review them.

Essay Grading

A essays not only fulfill the goals of the progression, but push beyond those goals in surprising
ways. This is more likely to be possible when the writer has found something compelling to
write about and has taken great care to attend to his or her language and form. A essays reflect
excellence and artistrythey are free of typographic errors, awkward or unwieldy phrasing, and
reflect a level of thoughtful, intensive development or revision from previous drafts.

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B essays come in two basic varieties: the solid B (B-/B, B) and the striving B (B/B+, B+,
B+/A-). The solid B is a good, competent paper. The striving B may excel in certain areas, but it
is sufficiently uneven to preclude it from receiving an A. All B essays reflect superior
understanding of the progressions goals.

C essays reflect struggle in fulfilling the progressions goals. This kind of essay may show a
fair amount of work, either strong ideas or competent writing, but it does not come together well
enough to be a fully formed paper.

D essays may appear to have been hastily written, incomplete, or thrown together.

F essays fail to meet the minimum level of expectations for the progression.

Occasionally a student essay will fall in between two levels of grading, for example an A-/B+,
which indicates significant ambition hampered by flawed writing, or a B-/B, which indicates
adequate writing but underdeveloped ideas. At the end of the semester I convert each grade to a
number, weight it, and calculate the final grade accordingly.

Late and Missed Assignments, Drafts, and Final Essays

Keeping deadlines is an important aspect of this class, as it gives you the time to develop and
revise your ideas, and it gives me the time to offer you productive feedback. If you turn in work
late, I may not be able to provide you feedback. My commitment to you is returning all exercises
and drafts within one week, all final essays within two weeks.

Feedback and revision are critical components of this class. If you do not hand in a preliminary
draft at least 48 hours before the deadline of the final draft, your final essay grade will be
lowered by one whole grade (e.g. from a B to a C).

Your grade on the final essay will be lowered by 1/3 (e.g. from a B- to a C+) beginning the
minute after its deadline. The grade will continue to go down by a third every 24 hours until
the essay is submitted.

All work must be submitted to Courseworks by the deadline in order to be considered on

time. Exercises and preliminary writing may be turned in electronically, but Formal and
Final Drafts must be turned in as hard copiesstapled, 1 margins, with your name in the
header! According to the policy of the Undergraduate Writing Program, failure to submit the
final draft of any essay by the end of the semester will result in an automatic failure for the
course.

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Final Grades
Your course work for the semester will be weighted as follows:

Progression 1: Critical Response essay (1500-1800 words) . . . . . . . . . . . . . . . 15%

Identify a crucial interpretive moment in one of the essays we have read (Celebrity Culture,
Identity, Freedom, and Authority, or My President Was Black) and introduce a claim that
explores or addresses the authors motive or achievement in creating that moment. Imagine a
reader unfamiliar with the source text, use close-reading of a particular passage to articulate the
interpretive moment, and then make your claim about why the author chose to make this
rhetorical move and what effect it has upon the text as a whole.

Progression 2: Conversation Essay (1800-2100 words) . . . . . . . . . . . . . . . . . . . . . . . . . . . 25%

Find a textual or visual exhibit you would like to explore that would be a relevant centerpiece for
a discussion about empathy and compassion. Your exhibit can be a(n) essay, news article, image,
performance, or other piece of mediaavoid ads unless particularly groundbreaking or
provocative, because their purpose is usually fairly one-dimensional. Exhibits could be imagery
or works of art that encourage or solicit empathy, that put you in someone else's shoes, that push
you to consider people or experiences that would otherwise be outside your range of
understanding. Alternatively, you could identify images or media that display that lack of
empathy or compassion, that highlight a failure to consider other people. Then choose at least
two of the texts we have read for this progression (The Pain Scale, The Empathy Exams,
The Difficulty of Imagining Other People, The Condition of Black Life is One of Mourning,
or Who Gets to Be Human on the Evening News.) to identify and explain the exhibit. By
orchestrating this scholarly conversation and contributing to it, show the audience a new way to
interpret your exhibit.

Progression 3: Research Essay (2500-3000 words) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40%

In this essay, you will select a visual or textual exhibit (film, TV, visual art, literature, or
anything you can think of that is reviewed by critics and that I will sign off on) to review. The
exhibit should reflect significant influence of another source, and your analysis should
incorporate one of the seed texts (The Ecstasy of Influence or Copy Wrong) to assess how
the exhibit refers to or makes use of its inspiration. You will propose and undertake your own
independent research to investigate its context and make an argument for the exhibits
significance. The So What of your review is helping the reader understand what role the
inspiration plays and what the exhibit achieves as a result (or despite) that; your claim should
push beyond heres how this is derivative or heres how this is not derivative and into a
more meaningful assertion. Your essay must engage with one or more critics who have reviewed
your exhibit, whether you agree or disagree with their interpretation(s).

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Progression 4: Editorial Essay (750-1000). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20%

Revisit one of your earlier essays and transform it into an Op-Ed for a publication that interests
you. Often this means introducing an earlier exhibit into a new conversation, or selecting some
highlights from your research and framing a new exhibit with them. Keep in mind this may mean
changing the tone or shape of your argument, but does not mean abandoning the structure of
introducing a problem and claim. You will be required to submit this Op-Ed to a publication,
and include proof of the submission with your final draft.

Total: 100%

Participation
As in all seminars, your participation will contribute to building a vibrant learning community.
While there is no separate grade for participation, I may adjust a final grade up or down by of
a letter grade to account for exceptionally productive or disruptive participation.

Academic Integrity
University Writing will provide you with strategies for working ethically and accurately with
sources and adhering to the Columbia Undergraduate Honor Code
[http://www.college.columbia.edu/ccschonorcode]. We will discuss source use practices that
prevent plagiarism, a serious academic offense that runs counter to our academic communitys
core values of honesty and respect for others. Here is a partial list from the Columbia University
Undergraduate Guide to Academic Integrity
[https://www.college.columbia.edu/academics/academicintegrity] of some of the forms
plagiarism can take:
Verbatim copying without acknowledgement copying a whole paragraph or larger
sections; in effect, claiming that the writing is your own.
Copying select phrases without acknowledgement using your own words to pad the
selectively copied words of others.
Paraphrasing text without acknowledgement rewriting text in your own words, but
using the idea or argument as your own.
Using data gathered by another, claiming it as your own even if you submit an
analysis of the data that is yours alone.

Your Progression 3 Final Essay must be accompanied by a source packet, with quoted
material highlighted.

Final drafts that contain plagiarism will receive a zero, may result in failure of the course, and
the case will be reported to the director of the Undergraduate Writing Program and the Office of
Student Conduct and Community Standards [http://studentconduct.columbia.edu/]. That office
initiates the deans discipline process and determines whether to apply sanctions, which range
from a warning to expulsion from the university.

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The Writing Center

I encourage you to visit the Writing Center, where you can receive free individual consultations
on your writing at any stage in the writing process, including brainstorming. Writing consultants
work with all members of the Columbia community on any academic or nonacademic writing.
You can make an appointment and view drop in hours on their website:
[www.college.columbia.edu/core/uwp/writing-center]. Appointments are hard to come by, and
come in two varietiesthe appointment, and the drop-in. Appointments become available at 1
am, 6 days in advance (be sure to sign back on and cancel if you are unable to keep ittwo
no-shows gets you banned for the semester). Drop-ins are achieved by going to the Writing
Center and signing in on the first-come first-served list, and often involve waiting up to a few
hours. You can have two visits per weekone appointment and one drop-in, or two drop-ins.

If you are an international student, a first generation college student, or an English Language
Learner, you may be eligible for 6 recurring sessions a semesterdrop by the Writing Center
program coordinators desk as early in the semester as you can to see if there are available
appointments.

Other Support Services

Accommodations for Students with Disabilities

Columbia University provides students who register with the Office of Disability Services (ODS)
[http://www.health.columbia.edu/ods/news/ds-programs.html] with a range of support options
and will provide you with a letter stating the accommodations to which you are entitled, without
disclosing any other information about you. If you know or believe you have a disability of some
kind, please consult with Disability Services and your advising dean as soon as possible;
University Writing instructors need official documentation from the ODS in order to provide
accommodations, and we cannot make retroactive accommodations.

Counseling and Psychological Services

The Office of Counseling and Psychological Services (CPS)
http://www.health.columbia.edu/cps/index.html provides many kinds of support for student
wellness and academic success.

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Course Calendar

# Date P In Class

1 T 1/17 1 Progression 1: Critical Response

Intro to Texts: Celebrity Culture, Old and New
Close-reading, making inferences

Key terms, Interpretive Moments, and Claims

The Morningside Review excerpt: Eloquent Silences: Inaction as Invitation

in No Mans Land, Amber Officer-Narvasa

HW:
Introduction Letter

Ex 1.1A: One-Sheet Note-Taking

Celebrity Culture, Old and New Sharon Marcus
Identity, Freedom, Authority Edward Said

2 Th P1 Seed Text Discussion:

1/19
Celebrity Culture: Key terms, Interpretive Moments, and Claims

Identity, Freedom, Authority: Terms, Interpretive Moments, Claims

HW:
Ex 1.1B: One Sheet Note-Taking
My President Was Black Ta-Nehisi Coates
Eloquent Silences: Inaction as Invitation in No Mans Land, Amber
Officer-Narvasa
http://morningsidereview.org/essay/eloquent-silences-inaction-as-invitation-i
n-eula-bisss-no-mans-land/

3 T 1/24 P1 Seed Text Discussion

My President Was Black Key terms, Interpretive Moments, and Claims

TMR Model Text Discussion Eloquent Silences: Inaction as Invitation in

No Mans Land, Amber Officer-Narvasa: Claim detection

Motive

HW:
Ex 1.2 3 Draft Claims

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4 Th In-class claim-workshopping
1/26
Morningside Review examples
I.C.E: Selecting evidence

Summary vs Paraphrase

HW:
Ex 1.3 Exploratory Draft: Open Letter Due SUNDAY by 5 PM;
Schedule conferences for Tuesday/Wednesday
Read Writer Based Prose (see Files & Resources)

5 T 1/31 Read & Discuss P1 Craft Text: Writer-based Prose

In class exercise: From Writer- to Reader-based prose

Introductions and Conclusions

HW: Begin work on Formal Draft

6 Th 2/2 Giving Peer Feedback/Peer Edit Checklist

Revision Strategies & Comb Theory

HW:
P1 Formal Draft due SUNDAY 2/5 by 5 PM. Read classmates drafts, provide
line edits, write responses (turn in online & bring hard copies to class)

7 T 2/7 P1 Formal Draft Workshop

P2 Launch: Conversation as Talk Show

Motive
Sample Exhibits

HW:
P2 Craft Text: They Say/I Say

8 Th 2/9 2 Progression 2: The Conversation Essay

TMR Mapping: Crazy Sexy Salty, Magical Murals

Exhibit Brainstorming

HW: P1 FINAL DRAFT DUE SUNDAY 2/12 BY MIDNIGHT

2.1 A One Sheet Note Taking: The Pain Scale Eula Biss

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9 T 2/14 The Pain Scale: Key terms, Problems and Claims

HW:
2.1B One Sheet Note Taking:
Who Gets to Be Human on the Evening News Alisa Solomon
The Difficulty of Imagining Other People Elaine Scarry

10 Th Who Gets to Be Human on the Evening News: Key terms, Problems and
2/16 Claims

The Difficulty of Imagining Other People: Key terms, Problems and Claims

NOTE: Sharon Marcus event on 2/17 at 2:00 pm, room TBD!

HW:
2.1C One Sheet Note Taking:
The Condition of Black Life is One of Mourning Claudia Rankine
The Empathy Exams Leslie Jamison

Ex 2.2: Bring 3 potential exhibits to class

11 T 2/21 The Condition of Black Life is One of Mourning: Key terms, Problems and
Claims

The Empathy Exams: Key terms, Problems and Claims

Putting Sources in Conversation (Talk Show Questions and connecting the

dots)

Outline Overview

HW:
Ex 2.3 Progression 2 Outline, Introduction due before class on Thursday
Bring laptops to class

12 Th Outline and Introduction Mini-workshop

2/23
Introductions and Conclusions: Morningside Review examples

HW:
Formal Drafts due before class on Tuesday, online and in hard copy

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13 T 2/28 Exchange Formal Drafts

Schedule Conferences this week for Wednesday evening/Thursday

HW:
Read workshop groups drafts, write 2 paragraphs of feedback.

14 Th 3/2 P2 Formal Draft Workshop

Launch P3: bell hooks and Lemonade

HW:
Revise draft

Ex 3.1 Read The Ecstasy of Influence, Jonathan Letham & Copy Wrong,
Laurie Stearns and write a 1 page response

15 T 3/7 3 Progression 3: The Review Essay

Influence and Copy Wrong: From Problems to Questions

A Critics Manifesto: Goethes Criterion

HW:
P2 Final Draft Due in class on Thursday

16 Th 3/9 Turn in P2 Final Draft

Exhibits: Selecting a Reputable One

BEAM & sourcework

HW:
Ex 3.2 Generate 3 questions for the research session

Ex 3.3 Brainstorm 3 potential exhibits.

Ex 3.4 Make Research/Writing Timeline

Begin research (One Sheet Notetaking STRONGLY recommended)

Spring Break 3/13 17

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17 T 3/21 P3 Examples
Groupwork: Reverse outline, present to classmates

Meet with research groups: Death by Questions

HW:
Ex 3.5 Pick 2 Morningside Review Research Review essays; write the
comments/end notes youd give if these were your classmates.

18 Th LIBRARY SESSION: ROOM TBD

3/23
HW:
Ex 3.6 Annotated Working Bibliography due in class on Tuesday (online and
hard copy)
Bring laptops to class on Tuesday

19 T 3/28 Small groups: Assess bibliographies

Sign up for Thursday/Friday conferences

HW:
Ex 3.7 Project Proposal due in class on Thursday (online and hard copy)

20 Th Workshop Project Proposals

3/30 Pitching exercise with research groups

HW: Continue work on Formal Draft

Bring laptops to class on Tuesday

21 T 4/4 Looking at Reviews in the Wild

https://www.youtube.com/watch?v=xp4EUryS6ac
Killing Orson Welles at Midnight

HW: Continue work on Formal Draft

22 Th 4/6 Structure and Organizational Risk-taking

Stealth Opinions and Subjective Descriptions: Craft at the sentence level

HW:
P3 Formal Draft due Sunday by 5 PM. (Online only)
Email drafts to group members; Read and respond to drafts

23 T 4/11 P3 Formal Draft Workshop

HW: Schedule (optional) conference for Tuesday/Wednesday evenings

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24 Th 4 Introduction to Progression 4: The Op Ed

4/13
Expertise and the Public Intellectual

HW: Ex 4.1 Read TMR Op Ed Packet

25 T 4/18 Selecting Publications

Audience, tone, motive

In Class: Draft proposal for Op Ed: identify Problem, Claim, Evidence

HW:
Ex 4.2 Research Publications

26 Th In-class: Draft pitch letter & workshop

4/20
HW:
P3 Final Draft due Sunday 4/23 at 5 PM.
Optional UW Event: Publishing the Op Ed, 4/21, 1-2:30 (room tbd)

27 T 4/25 Debriefing and Evaluations (Bring laptops to class)

HW: Op Ed Formal Draft (to courseworks before class, bring hard copies to
class)

28 Th Op Ed Formal Draft Workshop (read and respond in class)

4/27
Wrap up!

HW:
Final Draft of Progression 4 Op Ed due Thursday, May 4 by 11:59 pm
th

Include proof of submission as separate attachment (screenshots preferred)

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