I understood the problems plaguing poor communities of color, including issues associated with crime and rising incarceration rates, to be a function of poverty and lack of access to quality education- the continuing legacy of slavery and Jim Crow.
During the event of Jim Crow Laws in 1877 to 1950s, the problems have occurred that crime was functional to be the high associations for a lack of access to quality within increased incarceration levels.
In the era of colorblindness, it is no longer socially permissible to use race, explicitly, as a justification for discrimination, exclusion, and social contempt.
I rely on its exhibition in the era of colorblindness, it was justified for discrimination as in result for insolence must be punished. We shouldn't harm each other.
Jarvious Cotton's great-grandfather could not vote as a slave. His great-grandfather was beaten to death by the Ku Klux Klan for attempting to vote. His grandfather was prevented from voting by Klan intimidation. His father was barred from voting by poll taxes and literacy tests.
Cotton's fate of his grandfather's death at the hands of Klan was a tragedy, but he believes his father was trying to prevent form voting by poll taxes and literal expectations.
Some writers explicitly identify and summarize a view they are responding to at the outset of their text and then return to it frequently as their text unfolds. Some refer only obliquely to a view that is motivating them, assuming that readers will be able to reconstruct that view on their own.
In such terms I expected, summary and identifications can respond to our text, and some case, readers can be able to review a different topic on their own statement.
Without such deep, attentive listening, any critique you make will be superficial and decidedly uncritical. It will be a critique that says more about you than about the writer or idea you're supposedly responding to.
Critique was pronounced that is official, but it is unclear that you will be said to respond to your writer without listening deeply.
Sometimes it is difficult to figure out the views that writers are responding to, not because these writers do not identify those views, but because their language and the concepts they are dealing with are particularly challenging.
These views can be important, but difficult, however, to those who responds the language, the concepts of the text adheres their consideration.
Another challenge in reading for the conversation is that writers sometimes build their arguments by responding to a lack of discussion.
With the lack of discussion, readers cannot understand to build arguments that can never read through conversation.
If you read the passage this way, however, you would be mistaken. Draut is not questioning whether a college degree has become the "ticket to middle-class security", but whether most Americans can obtain that ticket, whether college is within the financial reach of most American families.
In one big mistake to read the passage in the wrong way, it will be denied. The author is questioning about whether most Americans obtain the ticket rather than ticket to middle-class security in a word.
Readers need to be alert for any changes in voice that a writer might make, since instead of using explicit road-mapping phrases like "although many believe", authors may summarize the view that they want to engage with and indicate only subtly that it is not their own.
According to my opinion, "although many believe" is too clear for any observations for road-mapping phrase.
In other words, imagine an ongoing, multisided conversation in which all participants are trying to persuade others to agree or at least to take their positions seriously.
I imagine the multisided statement is to persuade the agreement and make an offer for ongoing request that they're up for. It can be a serious claim what I have known.
The results were often striking. The discussions that followed tended to be far livelier and to draw in a greater number of students. We were still asking students to look for the main argument, but we were now asking them to see that argument as a response to some other argument that provoked it, gave it a reason for being, and helped all of us see why we should care about it.
It is unclear that why did the provocation of this argument responds to any students, but the results are often impacted in undisclosed measures.
For a long time we didn't worry much about these halting discussions, justifying them to ourselves as the predictable result of assigning difficult, challenging readings.
At the same time, a challenge can be resourceful and important to justify the result to our stratagem.
The discussion that resulted was often halting, as our students struggled to get a handle on the argument, but eventually, after some awkward silences, the class would come up with something we could all agree was an accurate summary of the author's main thesis.
As I assure the discussion, this thesis can be often essential for a summary, according to a author's central thesis task.
Thinking of a title as metacommentary can actually help you develop sharper titles, ones that, like Postman's, give readers a hint of what your argument will be.
It could've been a importance for making argument and tough decision for your development of metacommentary skills.
It is almost as if such writers have generated a thesis and did not know what to do with it. When these students learn to use metacommentary, they will get more out of their ideas and write longer, more substantial texts.
It's almost impossible to believe how we generate those writings, but metacommentary will be long enough to describe.
Ideally, such metacommentary should help you recognize some implications of your ideas that you didn't initially realize were there.
I suspect with such metacommentary will be helpful can be recognized for some implications that you're full up.
The best writers can provoke reactions in readers that they didn't intend, and even good readers can get lost in a complicated argument or fail to see how one point connects with another.
If the readers forgot to argue the points of connection where to see in good reading statement, it will be provoked for reactive failure. Failure makes small mistakes have happened.
In the main text, you say something; in the metatext, you guide your readers in interpreting and processing what you have said.
A metatext is essential set of practice whereas the drama unfolding the stage onto the suggestions.
It requires repetition to help readers shift gears with you and follow your train of thought.
Requirements for helping readers to following train of thought can be an important way to analyze repetition.
Such terms help you create the flow we spoke of earlier, enabling readers to move effortlessly through your text.
It's important to allow readers to move the text and create the flow we spoke in the such effortless ways.
The following is a list of common transitions categorized by function: addition, elaboration, example, cause and effect, comparison, contrast, concession, and conclusion.
Following lists of transitions categorized by functions can be possible to write. These importance can be simple.
For readers to follow your train of thought, you need not only to connect your sentences and paragraphs, but also to mark the kind of connection that you're making.
Making a mark for kind of connection, and also connecting sentences and paragraphs can be important to write where we're doing.
All these moves require that you always look back and, in crafting any one sentence, think hard about those that precede it.
Looking back in one sentence and thinking hard about preceding it can be important.
This chapter addresses the issue of how to connect all the parts of your writing.
This problem can be solved to address how to practice connecting multiple parts of their writing.
Each sentence for Alex existed in a sort of tunnel isolated from every other sentence on the page.
I believe that some examples of sentences can be existed in sort of context in isolated tunnel of the page.
Each sentence essentially starts a new thought rather than building on or extending the idea of the previous sentence.
Essential sentences can be basically start on the context than building or extending the thought.
Once you've decided to introduce a differing or opposing view into your writing, your work has only just begun, since you still need to represent and explain that view with fairness and generosity.
Representing and explaining the view for writing skills can be fair and generous to learn about, not different or opposing, but important.
If you categorically reject all labels, you give up an important resource and even mislead readers by presenting yourself and others as having no connection to anyone else.
If I refused to label the categories, it will end up important resources lying to readers that have no connection to someone else anyway. So would I rather be a reader or anti-reader?
If you categorically reject all labels, you give up an important resource and even mislead readers by presenting yourself and others as having no connection to anyone else.
If I refused to label the categories, it will end up important resources lying to readers that have no connection to someone else anyway. So would I rather be a reader or anti-reader?
Some people believe that labels confine individuals to boxes, stereotyping them and overlooking what makes each of us unique. And, indeed, labels can be misused in ways that ignore individuality and promote stereotypes.
Labels can be misused inappropriately, but in the other way, it ignores individuals and promote stereotypes when the labels are unique.
In other words, a naysayer can be labeled, and you can add precision and impact to your writing by identifying what those labels are.
Labels are identified to those that can add precision within the impact of naysayer who can write things according to our plan.
We are urging you to tell readers what others might say against you, but our point is that doing so will actually enhance your credibility, not undermine it.
While I'm not undermining the credibility, I can enhance it that I'm telling the readers what to say.
This little story contains an important lesson for all writers, experienced and inexperienced alike. It suggests that even though most of us are upset at the idea of someone criticizing our work, such criticisms can actually work to our advantage.
Suggestions for its lesson experiences are difficult to our advantage for criticism.
When writers fail to use voice-marking devices like the ones discussed in this chapter, these summaries of others' views tend to become confused with their own ideas and vice versa.
When the writers failed to use the voice-marking devices, it would be confused. It was a small mistake, not a big deal.
To alert readers about whose perspective you are describing at any given moment, you don't always have to use overt voice markers like "X argues" followed by a summary of the argument.
Instead, I must describe the X summary to give ideas whose perspective moment of the argument that they're given.
"We are all middle-class."
This means the distinct division between the poor and the rich is proportional.
Paying attention to these voice markers is an essential aspect of reading comprehension.
The dialog shows the voice markers were essential and comprehensive to these notes written in summary.
Hence, even before Mantsios has declared his own position in the second paragraph, readers can get a pretty solid sense of where he probably stands.
The idea that Mantsios claims that the second paragraph is important.
This chapter takes up the problem of moving from what they say to what you say without confusing readers about who is saying what.
The more the readers are smarter, the easier the pages will be stronger.
When you tackle the summary itself, think about what else is essential beyond the central claim of the argument
Meanwhile, if I tackle my summary themselves, I would think about what it's important about the argument.
The authors you summarized at the college level seldom would "say" or "discuss" things.
Explanations and discussions are important college level seldom would be no more than a mob, however, the author determines about the summarization within their balances of empathy.
A hallmark of good actors.
It is said I suspect the knowledge over implements of conviction is in real life that may detest.
Despite our previous comments that well-crafted summaries generally strike a balance between heeding what someone else has said and your own independent interests, the satiric mode can at times be a very effective way of critique.
It is considered that beliefs are in balance of heeding someone and own independent aspects within the satiric mode.
This advice to summarize authors in light of your own agenda may seem to be painfully obvious.
If it is wrought to be in passion for summarization, it would be a fresh start to demonstrate in light ow my own work.
Summarizing another text requires you to represent fairly what it says; it also requires that your own response exert a quiet influence.
Requirements of the summarizations are important that represents the contexts that they're looking.
There are many writing situations in which, due to matters of proportion, a one- or two-sentence summary is precisely what you want.
A choice that matters which sentence summaries are precisely are due to proportion of writing situation.
If, as a writer, you cannot or will not suspend your own beliefs in this way, you are likely to produce summaries that are so clearly biased that they undermine your credibility with readers.
The bias of credibility will be undermined while producing summaries that were writing.
Writers who make strong claims need to map their claims relative to those of other people.
Writers are interested in finding relations for strong claims.
Even as you tacklethe same purpose, what may be motivating for one group may be off-putting to another. Calibrating your message to your audience andpurpose is both difficult and necessary.
It is very complicated and has lots to think about writing.
Attitudes: What attitudes do audiences bring to your writing? Arethey hostile? Excited? Wary? Are they interested in your subject orindifferent to it?
Attitudes are helpful to decide the tome of writing.
Needs: What does your audience need from your piece of writing?Essentially, what is the writing being used for?
Why are you writing?
persona, thecharacter we perceive through the writing
A person that we imagine the writer is.
in some cases, it won’t really matter if we can identify thespecific genre, as long as we know how it’s working and what we’retrying to accomplish as we engage our audience
The same thing knowing your audience.
To know what kindof essay is being written requires deeper knowledge of why we’rewriting and who we’re writing to.
It is important to know your subject and audience.
Reading like a writer changes the question from what to how, as in,“How does this say what it says?”Reading like a writer involves asking questions of the piece ofwriting in order to understand what it’s trying to do and how it’s tryingto do it.
Reading like a writer is like not just getting a story in my head but thinking about the authors point of you and getting into the author's head.
Usually, we spend most of our time reading for meaning, taking inand assessing the ideas presented in a piece of writing.
Usually when I read, it was just a story in my head.
reading like a writer.
What does this mean?
the dynamic world of ideas must be done not asisolated individuals but as social beings deeply connected to others
Ideas are useful to share.
A few things that add warmth to the passage are Coryell’suse of everyday colloquial language
Colloquial means it is informal, but in ordinary conversation.
Ultimately,then, creativity and originality lie not in the avoidance of establishedforms but in the imaginative use of them.
Everybody creates creative work based on people's work. Nothing is really new.
It is plagiarism, however, if the words used tofill in the blanks of such formulas are borrowed from others withoutproper acknowledgment. In sum, then, while it is not plagiarism torecycle conventionally used formulas, it is a serious academicoffense to take the substantive content from others’ texts withoutciting the authors and giving them proper credit.
Using a template is not plagiarism as long as the details are added my own words and proper credit has been given.
naysayer
A person who criticize, objects to, or opposes something.
manuscript
A text not yet published. When I am starting to write something, it helps to use template.
caricature
A picture of exaggeration. Audiences don't like when I insult the other side of the argument.
scapegoat
A person who blamed for wrongdoing, mistakes, or fault for others.
disparage
Regard or represent as being a little worth and insulting.
nobody is likely to disagree with it
If no one disagrees, then I am stating the obvious. That is boring.
the phantom “they say”here is the common belief
The common belief is arguing against everybody.
Alexander avoids two common temptations: to either burychallenges to her argument, or to acknowledge them but in mocking,dismissive ways.
The page says that I don't have to argue against famous person. It can be anyone including myself.
Alexander avoids two common temptations: to either burychallenges to her argument, or to acknowledge them but in mocking,dismissive ways.
The page says that I don't have to argue against famous person. It can be anyone including myself.
views he treats not as objections to his already-formedarguments but as the motivating source of those arguments
It is not necessarily disagreeing, but it is building upon argument.
element of contrastwithout which it won’t make sense
Contrast makes easier to see including topic for argument.
summarizing what others say andthen using it to set up what they want to say
Giving a basis for opinion.
stating our own ideas but in listeningclosely to others
It's important to listen and acknowledge others.
critical thinking and writing go deeper than anyset of linguistic formulas
The templates will help practice, but not automatically making a good writer.
Instead of focusing solely on abstract principles of writing, then,this book offers model templates that help you put those principlesdirectly into practice.
For practice, I am using templates to create muscle memory.
key premises is that these basic moves are socommon that they can be represented in templates
Template is a tool for easily replicating writing.
The same applies to writing.
Writing is like muscle memory.