1. Bellwork Turn in your vignette covers to the basket (2/28)
Take out your anticipation guide for The House on Mango Street
Complete sections II and III of the anticipation guide

2. Seminar Format- Hour 1 (2nd Period)
We will seminar using the anticipation guide
Place 18 chairs in the inner circle, and 10 in the outer circle
Put the 10 chairs for the outer circle further away from the 18 chairs that make up the inner circle
The 18 chairs should face outward
Do not sit in any of the chairs!!!

3. Seminar Format- Hour 1 (2nd Period)
You will play musical chairs to earn a spot in the inner circle
Those who do not earn a place in the inner circle, will be placed in the outer circle, and will be required to take notes
We will play musical chairs approximately every 10 minutes
When you move to the outer circle, begin taking notes on the discussion

4. Seminar Format (7th Period)
We will seminar using the anticipation guide
Place 9 chairs in the inner circle, and 2 in the outer circle
Put the 2 chairs for the outer circle further away from the 9 chairs that make up the inner circle
Do not sit in any of the chairs!!!

5. Seminar Format- 7th Period
You will play musical chairs to earn a spot in the inner circle
Those who do not earn a place in the inner circle, will be placed in the outer circle, and will be required to take notes
We will play musical chairs approximately every 10 minutes, and the inner circle will become smaller, and the outer circle will become larger
When you move to the outer circle, begin taking notes on the discussion

6. Writing Analytically Chapter 4- Hour 2 (2nd Period)
Take out Writing Analytically Chapter 4, and any other papers that relate to the 10 on 1
I will be returning your pre-assessment on the Stalin example
Take out your OMAM writing exercise

7. OMAM
Using the instructions from the pre-assessment, complete the same steps on your OMAM writing exercise (label sentences of paragraphs with a “C” for claim and an “E” for evidence)
What are your results? Are you able to locate a claim or claims? Do you have all of the things that the pre-assessment has?
Make a list of the things that your OMAM writing exercise does not have, but needed, in order to be similar to the pre-assessment essay

8. Try This 4.4 Marking Claims, Evidence, and Complications in a Draft
Mark claims- assertions made about the evidence- with the letter C.
Claims are ideas that the evidence seems to support. An example of a claim in paragraph 4: “I don’t think, however, that the movie lets us entertain this one romanticized reading of the scene for long.”

9. Try This 4.4 Marking Claims, Evidence, and Complications in a Draft
Underline evidence.
The evidence is the pool of primary material (data)- details from the film, rather than the writer’s ideas about it. An example of evidence in paragraph 2: “The young couple sits, hand in hand, and gazes together into the night sky; yet, as the camera pans away, we see that the apartment where the two have retreated is missing its façade.”

10. Evidence, Cont.
This piece of evidence is the 1 of the 10 on 1. In effect, the whole draft goes after the range of possible implications that may be inferred from the image of the young couple sitting at the edge of an apartment that is missing one of its walls, presumably a result of war damage.

11. Try This 4.4 Marking Claims, Evidence, and Complications in a Draft
Circle complications.
Complications can be found both in the evidence a writer cites and in the claims a writer makes about it. Complicating evidence is evidence that does not fit the claims the writer has been making.
For example, in paragraph 4: “As the camera pans away, we see that this isn’t a new Westernized apartment; this is an East German flat decorated in much the same way as Alex’s home was only months before. The image is alarming; the wall here has been ripped down.” This evidence causes the writer to reconsider an earlier claim from paragraph 3 that the scene is about a couple moving “toward some shared domestic life, toward living together, toward becoming a family.”

12. Pre-Assessment 10 on 1
Notice how the writer’s doing 10 on 1 causes a main idea, a claim, to take shape
The writer would now evaluate this claim by asking themselves how well it accounts for the things they have noticed
Take a look again at the 5 analytical moves in chapter 1 and observational strategies included here

13. 5 Analytical Moves 1: Suspend judgment.
2: Define significant parts and how they are related.
3: Making the implicit explicit. Push observations to implications by asking, “So What?”
4: Look for patterns of repetition and contrast for anomalies (The Method).
5: Keep reformulating questions and explanations.

14. 10 on 1 Uses these Strategies Repeatedly:
What do you notice? + Rank. Which observations seem the most significant, and why?
What repeats, what goes with what, what is opposed to what, and so what? (The Method)
Rank by explaining which repetition, strand, or contrast (binary) you think is most significant and why. The answer to this question could become “The 1” (a tentative theory) for organizing a paper.

15. 1 on 10 (1 Claim, 10 Pieces of Evidence)
1. Start with a preexisting claim or generate a claim by using “The Method” or Notice and Focus + Ranking to find a revealing pattern or tendency in your evidence
2. As you move through the evidence, look for data that corroborates (providing the validity of a claim) your claim
3. Formulate your reasons for saying that each piece of evidence supports the overarching claim
4. Work out how the separate parts of your data connect
5. Revise and enrich the implications of your claim (the 1) on the basis of the series of examples (the 10, but it can be slightly less!) you’ve presented

16. 1 on 10***
You need a claim that you think usefully illuminates the pieces of evidence you are looking at (“The 1”)
Arrive at this claim by finding patterns in the evidence
The reason you look at a number of examples is to determine if there is sufficient evidence to make the claim
Your piece of evidence will be united by your claim
“The 1”- to call attention to and explain what otherwise might have seemed entirely disconnected piece of evidence- it’s revealing!

17. 1 on 10: 1 claim, 10 pieces of evidence (in which 10 stands arbitrarily for any number of examples)
General Claim
Example 1
Example 10
Conclusion
Example 2
Example 3..…

18. Organizing Papers Using 1 on 10***
1. Either start with a preexisting claim or generate a claim by using “The Method” or Notice and Focus + Ranking to find a revealing pattern or tendency in your evidence
2. As you move through the evidence, look for data that corroborate (validity) your claim
3. Formulate your reasons for saying that each piece of evidence supports to the overarching claim
4. Work out how the separate parts of your data connect
5. Revise and enrich your implications of your claim (the 1) on the basis of the series of examples (the 10) you’ve presented

19. 1 on 10 Potential Problem Leads to superficial thinking
Results from a mistaken assumption about the function of evidence: that it exists only to demonstrate the validity of (corroborate) a claim
This results in a list of evidence, but not a piece of developed thinking.
Why do it? It is still a logical place to begin (similar to pre-writing)

20. 10 on 1
You need a claim that you think usefully illuminates the pieces of evidence you are looking at.
You can arrive at this claim by searching for patterns of repetition in the evidence
This way, you can see if there is sufficient evidence to make the claim
The pieces of evidence will be united by the claim
You are looking for similarities, rather than differences

21. What 10 on 1 Can Accomplish
1. Locate the range of possible meanings your evidence suggests
2. Make you less inclined to cling to your first claim
3. Opens the way for you to discover the complexity of your subject
4. Slow down the rush to generalization and thus helps to ensure that when you arrive at a working thesis, it will be more specific and better able to account for your evidence

22. Organizing Papers Using 10 on 1
1. Use “The Method” or Notice and Focus + Ranking to find a revealing pattern or tendency in your evidence
2. Select a representative example
3. Do 10 on 1 to produce an in-depth analysis of your example
4. Test your results in similar cases
You must show that your example is part of a larger pattern of similar evidence and not just an isolated instance.

23. 10 on 1***
You are looking in depth at a part that you think is representative of the whole.
“The 1” stands for a single, rich, and representative example
The “10” stands for various observations that you are able to make about it
Doing a 10 on 1 will lead you to draw out as much meaning as possible from your best example
You can narrow your focus and analyze in depth

24. 10 on 1 ***
You need to let analysis of your representative example produce more thinking
This remedies the problem of doing just a 1 on 10: simply attaching a host of examples to an obvious and overly general claim, with little or no analysis
A 10 on 1 requires writers to explore evidence, not just generalize about it

25. . . . Point 1 Representative Example Point 2 Point 3 Point 4 Point 10
10 on 1- successfully develops a series of points about a single representative example. Its analysis of evidence is more in depth.
Point 1
Representative Example
Point 2
Point 3
Point 4 . . .
Point 10
Used to explore other examples
Example 2
Example 3
Conclusion

26. 10 on 1 Potential Problem
Focusing on your single best example has the advantage of economy, cutting to the heart of the subject, but it runs the risk that the example you select might not in fact be representative.
Demonstrate its representativeness overtly
This means showing your example is part of a larger pattern of similar evidence and not just an isolated incidence
To establish a pattern it is useful to do 1 on 10, as preliminary step and then select one of these for in-depth analysis

27. 10 on 1 Potential Problem
The problem of generalizing from too little and unrepresentative evidence is known as an unwarranted inductive leap
The writer leaps from one or two instances to a broad claim about an entire class or category
Just because you see an economics professor and a biology professor wearing corduroy jackets, for example, you would not want to leap to the conclusion that all professors wear corduroy jackets.
Most of the time, unwarranted leaps result from making too large a claim and avoiding examples that might contradict it

28. Bellwork- March 2nd Write down a potential claim for HOMS.
Then, explain why your claim is a claim. What is your reasoning for making that claim?

29. 1 on 10
You have already completed “The Method” and should have an idea of what repeats throughout the book
Now, utilizing the claim you wrote for bellwork, begin the process of a 1 on 10

30. HOMS Begin with a claim- and complete a 1 on 10
Formulate a prompt, for example: What is the significance of George referring to the farm with the pronoun “she” in the novel Of Mice and Men?
The wording is important because your goal of finding a big So What in the text is embedded in the construction of the question

31. Formulating a Prompt Break it into 3 parts:
1. The question reminds you to see the larger significance
2. Of your observation
3. In terms of the big issues in the novel itself
It invites an inductive analysis because it does not suggest a theme or a subject or any interpretation thereof

32. Explore
Explore your representative example by completing a passage based focus freewrite, or paraphraseX3
Both of these explorations demand that you stay close to your representative example, that you accurately contextualize and that you make explicit what is implicit in the text. These explorations help you focus on analysis, so choose the best path.

33. Organize
To organize what you have come to learn about your data through Passage Based Focus Freewrite and ParaphraseX3, begin by contextualizing and integrating only the aspects of your data that you are directly analyzing. Do not quote text as part of your context.

34. Context
Context trigger words help ground you in the moment (e.g. while, although, before, after, during, when, etc.) as you provide the who, what, when, why and how of your evidence
Meaning is always context-dependent
Analysis emerges by asking what your data means in a particular context

35. Context Example
The fact that George refers to the farm as “she” may be unremarkable outside the text, but given the context that George has a dysfunctional relationship and misogynistic view of women, it can be inferred that his relationship with the idea of the farm may also be dysfunctional.
As you work through the text (addressing more representative data), keep testing your idea with new data. Your idea should evolve or address an even bigger So What.

36. Are you Addressing a Big So What
Consider the most important events in your text as a whole
Does someone die? Does something or someone change? Does something or someone remain the same despite efforts toward change?

37. Class Brainstorm
Overarching questions/big moments in the plot, such as climax/tensions in the text- in relation to HOMS
If you can determine what your representative example reveals about some larger part of the text, you are on the right track

38. Revising
As you revise, make sure that your initial context reveals your motivation for analyzing this particular passage
The initial context provides a framework for understanding your analysis and, either implicitly or explicitly, poses an essential question that needs to be answered

39. Your Big So What at the End
This should sufficiently and insightfully answer and respond to your motivating context
The beginning and end serve as a frame for your analysis

40. Revising
Try This 4.4 Marking Claims, Evidence, and Complications in a Draft