TEACHING PHILOSOPHYDr.

Alisa Allkins
My identity as an academic and scholar is grounded in my passion for teaching. My teaching
philosophy emphasizes individual development of writing and critical thinking skills within a larger
framework of collaborative knowledge-building. In my freshman composition and intermediate
literature and writing courses, students of all skill levels are both challenged and supported, serving
as a catalyst for students entry into academic study and intellectual growth.
My syllabi encourage students to engage with diverse cultural texts in order to approach
reading and writing through critical frameworks. My composition courses use rhetorically-based
approaches to analyze multimedia texts such as books, articles, social media, commercials, music
videos, and documentary films, which help students bridge the gap between their own knowledge of
varied technologies and new concepts. Students are prompted to draw from their own experiences as
well as course readings to compose writing assignments and participate in group discussions,
allowing students to be agents rather than recipients in the production of knowledge.
Collaborative in-class writing, such as thesis statement writing exercises, allows students to
go through the process of brainstorming and formulating ideas together. Formal writing assignments
begin with low-stakes exercises, orienting students to rhetorical concepts, and build toward creating
rhetoric on their own terms. The end of the semester is dedicated to a process-based revision of an
earlier paper, which asks students to approach their own texts critically. They are asked to invent
questions for their peers and carefully consider the constructive feedback I provide throughout the
semester when revising their work. By the time we have arrived at the end of the semester, students
are adept at analyzing unfamiliar texts as well as understanding writing as a complex and critical
process.
My literature and writing courses begin similarly to my freshman composition courses, with
assignments that help transform the knowledge students already possess into academic writing. In my
Writing Women course, the first assignment prompts students to write an analysis of a female
character from a novel or film with which they are already familiar. From there, I transition to
challenging modernist novels such as Djuna Barness Nightwood or Virginia Woolfs Mrs.
Dalloway. Class discussions and informal in-class writing, such as one exercise that prompted
students to map the non-narrative plot of Nightwood, encourage students to work through difficult
concepts in a low-risk environment. Reading and comprehending modernist literature prepares
students for other academic encounters with unfamiliar and challenging genres.
My classroom environment balances a demand for creative arguments and intensive
participation with attention to individual students through structured communication outside of the
classroom. In the classroom and online courses, students participate in the production of knowledge
through focused group discussions, in which I take a step back to allow students a space to consider
textual themes and exchange ideas. Online resources such as wikis organize and reinforce course
materials. To support students ability to make bold claims in their writing, I arrange individual
meetings twice per semester where students are encouraged to approach me about any difficulties
they are facing, and are invited to workshop their ideas. This connection has given me the
opportunity to help students develop their research beyond the scope of my courses; for example, I
worked with a student to develop her paper on Buffy the Vampire Slayer into a successful proposal to
a popular culture conference.
My passion for teaching is derived from watching students accomplish their individual goals
in the classroom through the collaborative exchange of ideas.
 SET Evaluations

Course Term Q 1: Q 1: Q 2: Q 2: Q 24: Q 24: Class Interest

Mean Median Mean Median Mean Median Rating Rating

ENG 1020 Winter 4.2 4 4.2 4 4.8 5 13.1 7.1

2012
ENG 1020 Fall 4.3 4 4.2 4 4.8 5 13.3 6.6
2012
ENG 1020 Fall 3.6 3 3.9 4 4.3 5 11.8 5.9
2012
ENG 2120 Winter 4.3 4 3.8 4 4.4 5 12.5 8.4
2013
ENG 2120 Summer 4.1 5 4.3 4 4 4 12.4 7.7
2013
ENG 2570 Fall 3.9 4 4 4 4.4 5 12.3 7.3
2013
ENG 1020 Fall 3.9 4 4 4 4.4 5 12.2 6
2013
ENG 2120 Winter 4.3 5 4.2 4 4.4 5 12.8 7.2
2014
ENG 1020 S/S 4.7 5 4 4 5 5 13.7 8
(ONLINE) 2016

Q1: How would you rate this course?

Excellent (5) V. Good (4) Good (3) Fair (2) Poor (1)

Q2: How much have you learned in this course?

G. Deal (5) A lot (4) Moderate (3) Little (2) Nothing (1)

Q 24: How would you rate the instructors teaching in this course?

Excellent (5) V. Good (4) Good (3) Fair (2) Poor (1)

Mean Summative Interest Rating: Out of 10

 CLASSROOM OBSERVATION FORM

Instructor evaluated (please print): ___ALISA ALLKINS____________________

Evaluator (please print): _________LISA MARUCA________________

Course Number and Title: ENG 2210 GREAT ENGLISH NOVELS (IC)

Date of Observation: ____NOVEMBER 9, 2014_________________

Instructors Signature/Date: _____________________________________________

Evaluators Signature/Date: _____________________________________________

Directions: Below is a list of instructor behaviors that may occur within a given class or course. The evaluator
should use this form to rate the instructor in each category, supplying specific comments as needed. The instructor
will share syllabi and other instructional materials with the evaluator before the classroom observation. After the
observation, the evaluator is to share his/her ratings with the instructor.

Syllabus (Review before observing class) Yes No

Course number, title, and section number x

Meeting days, times and place, semester and year x
Course description x
Office hours/location *
Instructor email x
Gen Ed information x
Outcomes x
Required/recommended texts x
Grading policy, including Incompletes x
Course requirements, including relative weight, format x
requirements, and page number
Plagiarism Policy x
Absence/tardy policy x **
[participation]
Late papers/make-up work x
Classroom behaviors ***
Writing Center information x
Student Disabilities Services Office recommended statement x
Resources for students x
Calendar of class sessions x
Date and time of final exam, other exams or quizzes, and x
assignment due dates
Add/drop and withdrawal dates x
Other:
The schedule is very detailed.
Excellent Goo Fair Weak N/A
d
Syllabus is logical, clear, and well-designed x
Overall ranking in this category x
Comments
*This is an online class, but the instructor allows for f2f meetings by appointment, and three different ways
to connect with her online.
**The instructor might consider adding a policy that requires student to drop who miss more than a certain
number of consecutive weeks.
*** The instructor might consider adding a policy about expected online etiquette and respect for
classmates in the participation section

Overall, this is very clear and detailed, which is especially important in an online class. It was really smart
to include a syllabus quiz to ensure students read it carefully.

Organization and Clarity Excellent Good Fair Weak N/A

Begins class with materials and technology prepared *

Defines objectives for class presentation **
Links new ideas to previous classes or lessons **
Presents material appropriate to class level x
Explains important ideas simply and clearly x
Presents relevant examples x
Summarizes major points of lesson x
Overall ranking in this category x
Comments
* Ms. Allkins course content by week serves as a helpful module system that allows students to link to
each required area (eg, video lectures, discussion board, blog posts, assignments). Its important to be this
straightforward in an online course, especially one that incorporates so many different sorts of assignments.

**Clearly asserted on both Blackboard and in video lectures.

Ms. Allkins invited me to participate in her Blackboard site, so I saw the entire semester to date. This gave
me a chance to analyze her organization in much more depth than if I had just visited one day of class.
Thus I can say with certainty that the entire course is a masterpiece of organization and clarity!

Communication with and Responsiveness to Students Excellent Good Fair Weak N/A

Communicates clearly and audibly x

Demonstrates enthusiasm for subject x
Appropriate use of audio visual aids x
Encourages student participation x
Responds appropriately to student questions and x
comments
Responds to nonverbal cues x
Presents material in more than one way or uses different x
examples
Uses humor appropriately x
Overall ranking in this category x
Comments

Overall, Ms. Allkins lecture videos are friendly in tone and student-centered. There are usually two short
ten minute videos per week. The lectures she uses to start each week/unit employ voice over PowerPoint to
effectively explain assignmentsand there is always a fun Sci Fi Pick of the Week at the end. The end-
of-week lectures bring in students ideas from their blogs and discussion board posts, as well as reminding
them of upcoming deadlines and outlining the course work for the next few weeks. My only concern is that
the concluding videos are not being viewed by everyone and therefore many students are not getting the full
benefit of her wrap up of the literature discussion. I saw that 9 students watched the video from a couple
weeks ago, as opposed to 19 earlier in the semester (and 52 on the first lecture on sci-fi!). Videos may need
to include some required information or extra credit that students can get only by watching them, or there
might need to be a short quiz on their contents (as is done on the lectures at the beginning of the week). The
use of images or music may spice these up and make them more appealing. There is no one answer to this,
but brainstorming about strategies would be a good idea.

Ms. Allkins utilizes other effective communication forms such as conferences at midterm (face-to-face or
through video conferencing) and discussion board responses, where both instructor and students participate
actively. Some student discussion board responses later in the semester were getting a bit short, so it might
be useful to remind certain students of the length requirement, or to keep a running participation grade.

Knowledge Excellent Good Fair Weak N/A

Demonstrates command of subject x

Refers to new and relevant research x
Incorporates relevant research on writing and writing x
instruction (composition courses)
Translates abstract ideas and theories into appropriate x
class presentations
Encourages critical thinking/analysis x
Effectively answers student questions x
Overall ranking in this category x
Comments

Ms. Allkins lecture on close reading is a model on this topic, which many GTAs (and some faculty) find
difficult to explain. I hope to convince her to let me use this myself, both in training future GTAs and for
my own undergraduates.

Student-Centered Learning Excellent Good Fair Weak N/A

Uses group work as needed to support students mastery x

of skills, concepts, and/or texts
Defines and communicates appropriate objectives for the x
groups work
Prepares students to accomplish the group task by x
providing specific instructions or modeling
Structures group work effectively to guide students to x
accomplish tasks and reach objectives
Models peer review strategies designed to elicit concrete x
feedback on specific aspects of student work
Works with actual student texts in class (for composition x
courses)
Overall ranking in this category x
Comments

Peer review is difficult to pull off in an online course. Ms. Allkins provided instructions on the kinds of
feedback she wanted, but the students did not really follow them, or if they did, did so in a skimpy,
unhelpful way. I think more structure and more specific instructions are needed for this exercise to be truly
helpful. This could be something to demonstrate in a lecture, or good student feedback from a previous
class could be used as a model. Id also think about using a different platform that allows students to make
comments on each others texts, though requiring a platform other than Blackboard runs the risk of
confusing students needlessly.

Assignments, Comments and Grading Excellent Good Fair Weak N/A

(Review graded student papers before completing this
section.)
Describes central goals, tasks, and criteria for evaluation x
in assignment instructions
Assignments are designed to assist students in meeting x
course outcomes
Evaluation rubric (if used) reiterates assignment goals and x
criteria
Provides a range of feedback on issues of content, x
organization, style, and sentence-level issues
Comments dont just focus on errors but emphasize x
strategies for the student revision or future improvement.
Grades given seem appropriate to assignment and level of x
student performance
 Overall ranking in this category x
Comments

I looked at several assignments, not just one batch. Ms. Allkins has written excellent assignments. She has
presented some of these as GTA workshops in the past, and I notice she has used what others have shared to
make hers even better. Her close reading assignment is especially strongthis is something else I hope to
borrow in the future! Her evealution methods are also impressive. Her responses are embedded in the
Blackboard gradebook for maximum clarity. She uses plentiful and detailed in-line comments, a point-
based rubric, and overall feedback that summarizes main problems yet highlights strengths.

Final comments: Please rate the instructor as Excellent, Good, Fair or Poor, justifying the rating with
reference to the instructors major strengths and areas that need improvement.

Ms. Allkins is an exceptional instructor. I gleaned this not just from this online course, which is a
tour de force of organization, clarity and student-centered responsiveness, but though her
participation in Literature and Writing workshops in the past, where she has taken a leadership
role in mentoring other GTAs. It is clear that she takes both traditional and online forms of
pedagogy very seriously. In fact, she demonstrated this course to the Undergraduate Studies
Committee, whose members were impressed. Ms. Allkins is to be commended for taking on
this new form of teaching, and experimenting to discover which methods work best to bridge the
gulf between instructor and students in a digital setting. She not only devoted several hours to
training last winter, but she has clearly made a larger than normal commitment of time in
preparing this course, which she taught for the first time this fall. In fact, the subject matter,
British literature, is new to her as well. The unfamiliarity of both form and content make her
frequent scores of excellent above all the more impressive. Similarly, any suggestions noted
above are meant to help her in her continuous strivings toward excellence, and are not meant to
suggest deficits in her teaching.
SAMPLE COURSE DESCRIPTIONS:

English 2120, Introduction to Fiction: Literature and Writing, Summer 2013

This course is an introduction to the critical reading and analysis of fiction. In this course, we will
read a diversity of fiction genres spanning the 19th and 20th century, including American short stories,
the novel and film. The theme of the course is Writing Women, an exploration of the way that both
women and men have written women, or female characters. We will explore this topic by reading
authors such as Herman Melville, Kate Chopin, Charlotte Perkins Gilman, William Carlos Williams,
and Jeffrey Eugenides. Along with general discussions about themes, plots, and style, we will also
be asking some specific questions about how women have been written since the end of the 19 th
century. Some questions that may arise include: how do men write women? How do women write
women? Are men and women authors similar or different in their approaches to writing women?
How do these differences affect the way we think about female characters? While our discussions
will by no means be limited to these questions, this theme will guide our readings and film
screenings throughout the semester.

English 2570, Literature Written By and About Women: Literature and Writing, Fall 2013

This course is an introduction to the critical reading and analysis of literature written by and about
women. In this course, we will read a diversity of literary genres, including poetry, non-fiction, film,
television, short stories, and novels. Authors include Mary Wollstonecraft, Emily Dickinson, Kate
Chopin, and Tina Fey. Along with general discussions about themes, plots, and style, we will also be
asking some specific questions about womens literature Some questions that may arise include: what
constitutes womens writing as such? How does the experience of being a woman shape womens
writing? How do we approach womens writing from a diversity of genres? While our discussions
will by no means be limited to these questions, this theme will guide our readings and film
screenings throughout the semester.

English 2210, Great English Novels: Literature and Writing, Fall 2014

This course is an introduction to the critical reading and analysis of British fiction. This course will
be themed around the genre of British science fiction, beginning with the first sci fi classic,
Frankenstein, and finishing with the 2005 speculative fiction novel Never Let Me Go. While we read
almost 200 years of science fiction novels through the course of the semester, we will be exploring
the ways in which this genre offers a commentary on the political and social conditions of the time
period, especially the impact of technology and medical knowledge on the British imagination. Some
specific questions we might answer through the course include: How does the genre of science
fiction evolve over the course of the nineteenth, twentieth, and twenty-first centuries? What sorts of
philosophical conclusions do these various authors draw from the scientific and technological
advancements of their time? Is scientific advancement treated as a positive or negative force in the
texts? While our discussion and writings neednt be limited to these questions, we will use these
questions as beginning points for thinking about British science fiction in a critical manner.
ABRIDGED SYLLABUS

ENG 2120 Introduction to Fiction: Literature and Writing (Winter 2014)

CRN 20649 Section 007
http://allkinswinter2120.pbworks.com

Alisa Allkins, Instructor

ei4888@wayne.edu
TR 6:00-7:20 PM
1119 Old Main

Office Hours:
Tuesday and Thursday 4:30-5:30 PM
By Appointment
Office: 5057 Woodward #10404.2

General Education IC Requirement and Prerequisite for WI:

[Intermediate Composition Course RequirementsStandard English Department Description]

Course Description:
This course is an introduction to the critical reading and analysis of fiction. In this course, we
will read a diversity of fiction genres spanning the 19th and 20th century, including American short
stories, the novel and film. The theme of the course is Writing Women, an exploration of the way
that both women and men have written women, or female characters. Along with general
discussions about themes, plots, and style, we will also be asking some specific questions about how
women have been written since the end of the 19th century. Some questions that may arise include:
how do men write women? How do women write women? Are men and women authors similar or
different in their approaches to writing women? How do these differences affect the way we think
about female characters? While our discussions will by no means be limited to these questions, this
theme will guide our readings and film screenings throughout the semester.
The class will consist of a combination of lecture-based discussions, class discussions, and
small group work to facilitate students understanding of the complex themes inherent in 19 th and
20th century literature. Throughout the semester, students will be required to write a total of 8000
words (about 32 typewritten pages), including weekly responses and in-class writings responding to
the texts we read for class. Students will also be required to compose literary analysis and/or
comparative papers throughout the semester, as well as a literary criticism-based final research paper
due toward the end of the semester.
We will take several different approaches to writing throughout the course, including
informal and process-based approaches. Students should be aware that this class will be heavily
based upon class discussions, and should expect to attend every class and read every book in
preparation for class discussions.

Department of English Learning Outcomes:

[Standard Learning Outcomes for Literature IC Courses]

Learning Objectives:
To familiarize you with the elements and conventions of fiction through critical approaches
to reading fictional short stories, novels, and films.
 To advance your critical reading, research and writing skills through a series of writing
assignments and classroom discussions.

Textbook List (all required books can be found at Barnes and Noble bookstore. Additionally, it may
be helpful to note that Amazon.com offers free two-day shipping for Amazon Prime members, and
students can sign up for Amazon Prime for free for the first year).

Chopin, Kate. The Awakening. British Collection, 2013.

Hurston, Zora Neale. Their Eyes Were Watching God. New York: HarperCollins Publishers,
2006.
King, Stephen. Carrie. Anchor, 2011.
Oates, Joyce Carol, ed. The Oxford Book of American Short Stories: Second Edition. Oxford:
Oxford University Press, 2013

Films (View In-Class):

Carrie (1967). Dir. Brian De Palma.
Carrie (2013). Dir. Kimberly Peirce.

Course Requirements and Point Values:

Participation/Attendance 150 points

In-Class Quizzes/Writing (5) 5 pgs 50 points
Reading Responses (10 total) 10 pgs 100 points
Debate Participation (2) 50 points
Writing Assignment 1 (Writing Women Today) 2-3 pgs 50 points
Writing Assignment 2 (Close Reading) 3-4 pgs 125 points
Writing Assignment 3:
Literary Analysis/Compare and Contrast 5-7 pgs 175 points
Annotated Bibliography 4 pgs 100 points
Writing Assignment 4: Literary Research Paper 8-10 pgs 200 points
Total 37 pgs 1000 points

Participation: Active participation in the course is a very important element to a literature course. It
is imperative that you attend class regularly and are prepared to discuss the readings.

Quizzes and In-Class Writings: From time to time, particularly at the beginning of the semester, I
will administer in-class writing responses to the readings in order to facilitate discussion about the
readings.

Reading Responses: For each class session, I will ask you to write a 250-500 word response to the
reading. I will ask you to submit these responses in-class, printed and typed. These pieces of writing
should not be considered formal writing, but rather a way for you to respond informally to various
aspects of the course. I may ask you to read your response aloud in-class in order to facilitate class
discussion. I will assign these reading responses as needed.

Grading Scale:
[Department of English Grading Scale]
Grading Policies:
Each assignment will be distributed with an assignment sheet and grading rubric.
All assignments must be word-processed; citation and documentation must follow MLA
style.
Drafts of all papers and the final project are required for rough draft workshops. Failure to
participate in the rough draft workshop for a project (by absence or by failing to complete
your rough draft and/or participate in the peer critique of others drafts) will result in a 5%
deduction in the final grade for that project. Papers cannot be rewritten after the final
grade has been assigned.
Major papers that are submitted late will incur a penalty of one letter grade per day. Papers
will not be accepted past one week late. Minor assignments (such as in-class writing and
responses) will not be accepted late.
In cases of emergency absences, and with the permission of the instructor, students are
responsible for turning in assigned work the next class period; late penalties may apply.

Attendance:
Attendance to class is crucial for your understanding of concepts and assignments. However, I do
understand that illnesses and other emergencies occur. In accordance with English department
attendance policies, enrolled students in this class must attend one of the first two class sessions;
otherwise, they may be required to drop the class. Because this class is only twice a week, I can only
allow three excused absences for the semester. Any subsequent absence will result in 5 points off
the attendance and participation grade. Any unexcused absence (that is, an absence that Im never
informed about) will result in 5 points off the attendance grade. Please note that if you miss more
than 6 class sessions, you will receive a failing grade for the course.

Add/Drop Information:
[Standard Add/Drop Information]

Additional Expectations:
I would like everyone in the class (including myself) to follow a code of mutual respect.
Many times throughout the semester, I will ask you to work in pairs or groups on in-class
assignments and peer review workshops. Please be courteous of one another.
On a more practical note, I expect everyone to be in class on time and prepared to discuss the
readings. If you are consistently late and/or sleeping in class, you will lose points from your
attendance and participation grade.
If any extraneous activities (outside the scope of the class discussion) become a distraction,
you will be asked to leave.

A Warning About Plagiarism:

[Standard Plagiarism Description]

Wayne State Writing Center:

[Standard Writing Center Information]

Student Disabilities Services

[Standard Disabilities Information

WSU Resources for Students

[Standard List of Resources]

Course Schedule--Subject to Change

Date In Class Homework

Jan 7 No ClassSnow/Freeze Day!
Jan 9 Welcome to English 2120: Writing Women! Read The Yellow Wallpaper
Review of the Syllabus (192-207) and The Paradise of
Getting Acquainted Bachelors and the Tartarus of
What is Fiction? Maids (86-106)
Introduction to Paper One: Writing Women Work on draft, Writing Women
Today Today

Jan 14 In-Class Writing #2, The Yellow Wallpaper Read The Storm (148-153)
Discussion, The Yellow Wallpaper and
Paradise of Bachelors
Introduction to Close Reading and Paper Two

Jan 16 In-Class Writing #3, The Storm Read Hills like White Elephants
Discuss The Storm Paper One due Jan 19 11:59 PM
Large Group Practice, Close Reading. to my email (ei4888@wayne.edu)
and SafeAssign

Jan 21 In-Class Reading, Hills like White Elephants Read student examples, Paper Two
Discussion, Hills like White Elephants Begin The Awakening (Chopin) Ch
Group Work, Close Reading 1-10

Jan 23 In-Class Writing #4, The Awakening Continue The Awakening Ch 11-
Discussion, The Awakening 27
Modernism 101 Reading Response 1
Feminism 101 Rough Draft Paper Two due in-
class Jan 28

Jan 28 Discuss The Awakening Finish The Awakening

Rough Draft Workshop

Jan 30 Finish Discussing The Awakening Read Their Eyes Were Watching
In-Class Writing #5 God Foreword and Ch 1-5
Final Questions on Paper Two? Reading Response 2
Final Draft Paper Two due Feb 1
11:59 PM to my email and
SafeAssign

Feb 4 Introduction to Harlem Renaissance Their Eyes Were Watching God Ch

Discuss Their Eyes Were Watching God 6-7
Introduction to Paper Three: Literary Analysis
and Compare and Contrast
Feb 6 Discuss Their Eyes Were Watching God Read Their Eyes Were Watching
Brainstorming Paper Ideas God Ch 8-15
Writing Introductions and Thesis Statements Reading Response 3

Feb 11 Discuss Their Eyes Were Watching God Finish Their Eyes Were Watching
Writing and Organizing Body Paragraphs God
Reading Response 4
Work on Paper Three Rough Draft

Feb 13 No Class: Meetings in my office to discuss

Literary Analysis (Required)
Feb 18 No Class: Meetings in my office to discuss
Literary Analysis (Required)
Feb 20 Finish discussing Their Eyes Were Watching God Read the article Feminist
Paper Three Rough Draft Workshop Fantasies (On BB)
Reading Response 5
Paper Three Final due Feb 22
11:59 PM

Feb 25 Introduction to Paper Four: Literary Research Begin Carrie Part 1 until From
Paper and Annotated Bibliography The Shadow Exploded: (pp 60-61)
Discuss the article Feminist Fantasies Reading Response 6

Feb 27 Discuss Carrie Finish Carrie Part 1

Library Resources Review Reading Response 7
MLA Citation Review Work on Annotated Bibliography
(Rough Draft workshop Mar 4)

Mar 4 Discuss Carrie Read Carrie Part 2 until the Sue

Rough Draft Workshop for Annotated section that ends with It was
Bibliography twelve after ten
Reading Response 8

Mar 6 Discuss Carrie Finish Carrie

Reading Response 9
Annotated Bibliography due Mar 9
11:59 pm

Mar No Class! Spring Break

10-15
Mar 18 Finish discussing Carrie Work on Literary Research Paper
Draft

Mar 20 No Class: Meetings in my office to discuss

Literary Research Paper (Required)
Mar 25 No Class: Meetings in my office to discuss
Literary Research Paper (Required)
Mar 27 Rough Draft Workshop: Paper Four Paper Four Final due March 29
11:59 PM

Apr 1 Begin Carrie (1976) Reading Response 10

Apr 3 Continue Carrie (1976) Prepare for debate

Apr 8 Finish Carrie (1976) Response 11 (optional extra credit)

Debate!

Apr 10 Begin Carrie (2013) Prepare for Debate #2

 WRITING ASSIGNMENT EXAMPLE:

Writing Women Today (2-3 pages)

50 points

This first writing assignment is meant to get you thinking about (and writing about) the theme of the
course, writing women. This will be a much different paper from the others, as I am asking you to
answer specific questions about the text that you choose.

For this paper, I am asking that you choose a novel, short story, television show, graphic novel, or
film that features a prominent female character. For example, you could use Mad Men and write
about Joan, Peggy, or Betty, or you could write about Katniss in The Hunger Games. Then, I would
like you to write about how this character is portrayed within the fictional world that is created by the
novel/film/TV show. Make sure that all of these elements are included in your paper:

Introduction:
1. What work of fiction are you introducing to us?
2. Which female character are you focusing on?
3. Who wrote this character? (For instance, was the film or novel written by a woman or a man?)
4. Thesis: is the character well-written or weak?

Main Body paragraphs (2-3):

5. How is the character portrayed? (You can use some nuance hereis the character evil, but also
strong?) Use specific examples from the book or film to illustrate your point. Give us a portrait of the
character through textual examples.

Your thesis statement (or main argument) for this paper should address how you perceive the
character. Is the character well-developed? Sympathetic? Frustrating? The focus of your paper should
be the main body paragraphshelping us understand how the character is portrayed and using
specific evidence from the film/novel to support your claims.

Grading Rubric:

Development of argument through thesis statement and supporting paragraphs (20 points)

Use of textual evidence through integrating appropriate quotations and/or summaries, and
explanation (10 points)

Addresses all of the questions on the rubric (15 points)

Spelling/grammar (5 points)