1. THE ONE YOU WRITE WITH VOICE Put your syllabus form in the box. Get your books (leave the bag).

2. REFLECTIVE RESPONSE Write a paragraph in response to one of the following questions: With which character do you most identify? Explain. Which book “spoke to you”? Why? Which author presented the story in a more “reader-friendly” way? Explain. Choose an author. How does that author develop one character? Explain.

3. DISCUSS What is voice and how do we develop it? Why is it important, when studying and quoting the works of others, to have our own writing voice?

4. CLASSIFY VOICE (PRACTICE 1) The Sand Child makes it impossible for me to identify with any character because of the negative connotations associated with all of them. Perhaps the most intriguing one for me is Ahmed/Zahra (the obvious choice). While one doesn’t necessarily identify with her specific personal crisis, it is the search for identity that resonates in all of us – a finding of place within the larger scope of society and family. This is a recurrent motif throughout literature – a quest or journey, and much like the Ahmed/Zahra, most journeys don’t quite take us where we think they will, and some don’t end happily. The ambiguity of the character’s ending (for it is hard to classify her as a male or female) is like life – there are many possibilities, and without personal voice, many different interpretations. I find that interesting and more than a little true for all of us.

5. CLASSIFY VOICE (PRACTICE 2) The God of Small Things was perhaps one of the more meaningful books I’ve encountered in my life. It allows the reader to become attached to, whether loving or hating, the characters within. It invites the reader into the story without “giving it all away.” It allows personal response and ideal. It also provides an interesting perspective on society and how individuals operate within that society. It contrasts social order with individual choice. And it hurts. It hurts because I am from a different world, one where it is allowable, even encouraged, to step outside the norm, wander off the path, develop your own being. Watching a family rip itself apart because of tradition and selfishness, indeed, is mortifying. Almost as mortifying as watching Velutha get ripped apart by men’s shoes…the ones with the caterpillar, while time stands still.

6. TRADE PAPERS Trade papers and have a classmate describe your “voice.” Use lots of adjectives. Remind Purvis to give everyone a CPS remote…she’s getting old.

7. IMBEDDING QUOTATIONS Why is it important to know your own voice when writing a paper that uses quotations? Discuss Hjortshoj’s ideas.

8. ACADEMIC INTEGRITY SOURCE: IBO. ACADEMIC HONESTY BULLETIN.

9. PLAGIARISM “The representation of the ideas or work of another person as the candidate’s own” (IBO, 2.1). “Copying works of art, whether music, film, dance, theatre arts or visual arts, also constitutes plagiarism” (IBO, 2.3).

10. ACADEMIC HONESTY Authenticity and Intellectual Property. IBO, 2.2, “all ideas and work of other persons, regardless of their source, must be acknowledged.” Antonym: academic dishonesty

11. INTELLECTUAL PROPERTY IBO, 1.3 “Forms of intellectual and creative expression (for example, works of literature, art or music) must be respected and are normally protected by law.”

12. AUTHENTIC AUTHORSHIP IBO, 1.2 “An authentic piece of work is one that is based on the candidate’s individual and original ideas with the ideas and work of others fully acknowledged.”

13. MALPRACTICE “behaviour that results in, or may result in, the candidate or any other candidate gaining an unfair advantage in one or more assessment component” and includes plagiarism, collusion, duplication of work, etc. (IBO, 2.1).

14. EXAMPLES OF MALPRACTICE The following list is taken from IBO, 2.7: Paraphrasing without acknowledging Fabricating data Taking unauthorized material into examination room Misbehaving and disrupting an examination Exchanging or helping to exchange information about the examination (i.e. telling B-day what the test covered)

15. EXAMPLES (CONT.) Copying Referring to unauthorized material (i.e. sparknotes, bookrags, pinkmonkey) Failing to comply with instructions from test supervisor, proctor, etc. Impersonating another student Offensive material with no academic or intellectual purpose Stealing exams

16. COLLUSION “supporting malpractice by another candidate, as in allowing one’s work to be copied or submitted for assessment by another” (IBO, 2.1) This is different from collaboration in that the assessment criteria requires each student to produce an authentic and original product.

17. COLLABORATION working together when approved by teacher or assessment guidelines. This is different from collusion in that the final product is allowed to be a group effort.

18. DUPLICATION OF WORK multiple submissions “the presentation of the same work for different assessment components and/or diploma requirements” (IBO, 2.1).

19. PARAPHRASE IBO, 4.9: “Paraphrasing is the rendition of another person’s words presented in a new style and integrated grammatically into the writing.” (Emphasis added.)

20. INTELLECTUAL PROPERTY IBO, 4.8: more than just regular print and electronic sources, it “include[s] the use of footnotes or endnotes to acknowledge the source of an idea if that idea emerged as a result of discussion with, or listening to, a fellow student, a teacher or any other person.”

21. ACADEMIC INFRINGEMENT IBO, 11.1—When a student’s work does not “conform to the standard academic practice of clearly acknowledging all ideas and words that are not the candidate’s own,” but is not considered “a deliberate attempt by a candidate to gain an unfair advantage.” Although not as serious, because not intentional, as academic malpractice, this offense can still affect a candidate’s score.

22. ACADEMIC INFRINGEMENT IBO, 12.5, “No marks will be awarded for the component part (or parts) of the component,” but the student will still be able to sit for the exams and be considered for the subject certificate and the diploma. However, having lost the opportunity to gain the points from the component part may adversely affect the certificate score for the subject area.

23. INTEGRATION Three rules of integration, taken directly from Hjortshoj, p. 181: 1.The readers should always know whose language they are reading. 2.Sentences you assemble with quotations should read grammatically. 3.Your use of quotation (including splices, ellipses, and brackets) should not distort the original meaning of the quoted material.

24. MLA ASSESSMENT SUMMER READING REFLECTION

25. Essential Question: How will you analyze and apply what you’ve learned about avoiding plagiarism? Language Objective: Appropriately integrate material from one or both of the summer reading novels using MLA format.

26. TOPIC You may expand your paragraph writing or choose a new topic from those given: With which character do you most identify? Explain. Which book “spoke to you”? Why? Which author presented the story in a more “reader-friendly” way? Explain. Choose an author. How does that author develop one character? Explain.

27. ASSIGNMENT SPECIFICS 2-3 page paper Interesting title Proper MLA throughout Use of at least four direct quotations Works Cited (not included in paper length)

28. MLA REVIEW CPS quick fire challenge Write the correct answer on the “MLA Formatting Review” handout if you get it wrong. MLA refreshers available on my website.

29. HANDOUTS (YES, MORE OF THEM) “Brilliant Revision Worksheet” – use this before turning in any draft. It’ll prevent you from making silly errors. “A Few Thoughts on Style / Quoting” – information on writing ORGANIC sounding papers that use quotations well “MLA formatting papers” – last year’s feedback using examples from those papers; please review this BEFORE you begin writing ( learn from their mistakes)