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Capote Opening Activity 1. For your assigned passage, do #1 from Writing Analytically p. 109 individually (select sentences you are willing to voice): Copy 2-4 sentences from your passage. Group 1: “Introduction ” p. xiii-xiv (stop at page break on xiv)
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Capote Opening Activity 1 For your assigned passage, do #1 from Writing Analytically p. 109 individually (select sentences you are willing to voice): Copy 2-4 sentences from your passage. Group 1: “Introduction” p. xiii-xiv (stop at page break on xiv) Group 2: “Introduction” p. xiv-xv (stop at page break on xv) Group 3: “Introduction” p. xv-xvi (begin after page break on xv) Group 4: “An Editorial Note” p. xvii-xviii Group 5: Intro/Bio Info p. 5-7 Group 6: Intro/Bio Info p. 63-65 Group 7: Intro/Bio Info p. 273-274 Group 8: Intro/Bio Info p. 429-430 Group 9: “A Capote Chronology” p. 463-468 When everyone in your group is done with #1, do #2-#4 as a group.
Capote Opening Activity 2 • Read “What Punctuation Marks Say” on p. 422-423 in Writing Analytically. • You will be assigned one of the following letters: • “To Mary Louise Aswell” p. 15-16 • “To Leo Lerman” p. 18-19 • “To Leo Lerman” p. 21-22 • For your letter: A) Copy three sentences in which Capote uses a semicolon and/or a colon. B) Explain what purpose each semicolon or colon serves. C) State whether or not Capote’s usage follows the rules on p. 422-423 of Writing Analytically.
Capote Opening Activity 3 • We will be doing 5.1 on p. 111 of Writing Analytically as a class. You will need your Commonplace Book (list of two quotations per letter). • Directions for 5.1: • Spend 5-10 minutes pointing (reading quotations aloud). • Without pausing for discussion, spend 10 minutes doing a passage-based focused free-write (nonstop writing) for one of the quotations. • Volunteers take turns reading their passage-based focused free-writes. • Listeners state what they heard in the free-write: What did you hear?
Capote Opening Activity 4 In your notebook, write a response to the video clip on friendship vs. love and the following passage from a letter to Leo Lerman: Did you ever, in that wonderland wilderness of adolesence [sic] ever, quite unexpectedly, see something, a dusk sky, a wild bird, a landscape, so exquisite terror touched you at the bone? And you are afraid, terribly afraid the smallest movement, a leaf, say, turning in the wind, will shatter all? That is, I think, the way love is, or should be: one lives in beautiful terror” (Capote 21).