ENG 101: REACTION ESSAY INSTRUCTIONS WRITING PROMPT Students will write а fоur-pаrаgraph essay that reacts either tо Stephen King’s essay, “Reading tо Write” or to Frederick Douglass’s essay, “Learning to Read and Write.” The thesis should state an overall one-word or one-phrase reaction plus two reasons for it/ Example: King’s argument is insightful because he [something King does] and [something else King does]. Remember that the quotes I’ve provided below are all that you can use to support the thesis, so your thesis must make a claim and reasons for it that relate clearly to the material in the quotations at the bottom of these instructions. The body paragraphs (there are only two in this essay) will use PIETIE (Point, Illustrate, Explain, Transition, Illustrate, Explain) to support one of the reasons from the thesis for the one-word or one-phrase reaction. ASSIGNMENT/MLA GUIDELINES (Click link above to open) DETAILED ESSAY WRITING INSTRUCTIONS (Click link above to open) PASSAGES from which You May Quote in the Essay: RULES: These are long passages. The material you quote from them should not consist of more than 40 words. Paraphrase what you can from an idea and quote only the essential wording. There are several passages for King and for Douglass, so try not to quote from the same passage twice. You do not need to quote from all of your author's available passages. Try to quote from at least three of your author's available passages. The in-text citations after each passage are models for you. They even use the correct page numbers. "Reading to Write" by Stephen King: Passage 1: "I’m a slow reader, but I usually get through seventy or eighty books a year, mostly fiction. I don’t read in order to study the craft; I read because I like to read. It’s what I do at night, kicked back in my blue chair. Similarly, I don’t read fiction to study the art of fiction, but simply because I like stories. Yet there is a learning process going on. Every book you pick up has its own lesson or lessons, and quite often the bad books have more to teach than the good ones" (309). Passage 2: "This sort of stylistic blending is a necessary part of developing one’s own style, but it doesn’t occur in a vacuum. You have to read widely, constantly refining (and redefining) your own work as you do so. It’s hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written, but I know it’s true. If I had a nickel for every person who ever told me he/she wanted to become a writer but “didn’t have time to read,” I could buy myself a pretty good steak dinner. Can I be blunt on this subject? If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that" (310). Passage 3: "Reading is the creative center of a writer’s life. I take a book with me everywhere I go, and find there are all sorts of opportunities to dip in. The trick is to teach yourself to read in small sips as well as in long swallows. Waiting rooms were made for books — of course! But so are theater lobbies before the show, long and boring checkout lines, and everyone’s favorite, the john. You can even read while you’re driving, thanks to the audiobook revolution" (311). Passage 4: " The sort of strenuous reading and writing program I advocate — four to six hours a day, every day — will not seem strenuous if you really enjoy doing these things and have an aptitude for them; in fact, you may be following such a program already. If you feel you need permission to do all the reading and writing your little heart desires, however, consider it hereby granted by yours truly" (313). Passage 5: "The real importance of reading is that it creates an ease and intimacy with the process of writing; one comes to the country of the writer with one’s papers and identification pretty much in order. Constant reading will pull you into a place (a mind-set, if you like the phrase) where you can write eagerly and without self-consciousness. It also offers you a constantly growing knowledge of what has been done and what hasn’t, what is trite and what is fresh, what works and what just lies there dying (or dead) on the page. The more you read, the less apt you are to make a fool of yourself with your pen or word processor" (313). "Learning to Read and Write" by Frederick Douglass: Passage 1: "The plan which I adopted, and the one by which I was most successful, was that of making friends of all the little white boys whom I met in the street. As many of these as I could, I converted into teachers. With their kindly aid, obtained at different times and in different places, I finally succeeded in learning to read. When I was sent of errands, I always took my book with me, and by going one part of my errand quickly, I found time to get a lesson before my return. I used also to carry bread with me, enough of which was always in the house, and to which I was always welcome; for I was much better off in this regard than many of the poor white children in our neighborhood. This bread I used to bestow upon the hungry little urchins, who, in return, would give me that more valuable bread of knowledge" (146). Passage 2: "What I got from Sheridan was a bold denunciation of slavery, and a powerful vindication of human rights. The reading of these documents enabled me to utter my thoughts, and to meet the arguments brought forward to sustain slavery; but while they relieved me of one difficulty, they brought on another even more painful than the one of which I was relieved. The more I read, the more I was led to abhor and detest my enslavers. I could regard them in no other light than a band of successful robbers, who had left their homes, and gone to Africa, and stolen us from our homes, and in a strange land reduced us to slavery" (147). Passage 3: "The silver trump of freedom had roused my soul to eternal wakefulness. Freedom now appeared, to disappear no more forever. It was heard in every sound, and seen in every thing. It was ever present to torment me with a sense of my wretched condition. I saw nothing without seeing it, I heard nothing without hearing it, and felt nothing without feeling it. It looked from every star, it smiled in every calm, breathed in every wind, and moved in every storm" (148). Passage 4: "During this time, my copy-book was the board fence, brick wall, and pavement; my pen and ink was a lump of chalk. With these, I learned mainly how to write. I then commenced and continued copying the Italics in Webster’s Spelling Book, until I could make them all without looking on the book. By this time, my little Master Thomas had gone to school, and learned how to write, and had written over a number of copy-books. These had been brought home, and shown to some of our near neighbors, and then laid aside. My mistress used to go to class meeting at the Wilk Street meetinghouse every Monday afternoon, and leave me to take care of the house. When left thus, I used to spend the time in writing in the spaces left in Master Thomas’s copy-book, copying what he had written. I continued to do this until I could write a hand very similar to that of Master Thomas. Thus, after a long, tedious effort for years, I finally succeeded in learning how to write" (150).