Rhetorical Contexts & the Writing Process

ENGL 105: Writing at the Research University, with Paul Blom

Section 004, Fall 2025

T, Th; 9:30am-10:45am

Phillips Hall, Room 222

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Thurs. Aug. 21, 2025

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Log into our Canvas course site and then to go Modules>In-Class Activities.

Click the link to open today’s lesson plan slides (these slides).

You’ll need to have access to our daily lesson plan slides during every class session.

Open your materials for today; keep Canvas open also.

If you run into issues accessing our Canvas course site and/or our lesson plan for today, please let me know asap.

If you haven’t posted your introduction to the class (Canvas>Discussions), post that while we’re waiting to begin (even though we covered these in class this past Tuesday).

Sit with your group members! (Names listed on the next slide).

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Student Working Groups

Make sure you sit with your group members at the start of every class:

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Announcements

• Remind Paul to begin recording (Zoom recording available after class).
• I will record every class session and post them on Canvas at Modules>Class Recordings.
• If you didn’t receive my test announcement sent during class on Tues. Aug. 19, please let me know ASAP via paulblom@live.unc.edu.
• Anyone still experiencing issues with THWG? (You have to actually purchase the book soon, so you don’t lose access.)
• Once enrolled, an email should be sent with instructions and a link. The e-mail will be sent from a “digital delivery” address. This can end up in a spam folder, so that is the first thing to check. If there are still issues, students can contact digitaldelivery@unc.edu. They should give their section number [we’re ENGL105, Section 004] and ask for a Tarheel Writing Guide purchasing e-mail. All of this is spelled out in a document at: http://go.unc.edu/thwg-access.
• You can download the app directly to your device, or you can access your bookshelf at vitalsource.com.
• Connect Carolina: Remember to verify your enrollment in my class and affirm your agreement with the Honor Code. Instructions for verifying enrollment can be found here.
• You’ve all been added as “authors” to our course website. (You should have received an email invitation from Wordpress that you need to accept.) See also “Instructions for Posting to the Course Website” (Canvas>Files>Course Website Resources).
• As you read and work, please feel free to contribute to the following Google Doc, “Suggested Readings or Other Content” [LINK REDACTED] (Link also at Canvas>Modules>In-Class Activities).
• Optional Canvas discussion boards for discussion and for questions about college and/or about writing (Canvas>Discussions).
• Warning: Canvas tends to time out as you compose; I suggest always composing offline and then copying/pasting your work into Canvas. (This applies to any kind of important/serious composition. Compose offline, proofread it, then copy/paste it to submit it.)

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Today’s Class

Last Class:

• Syllabus overview and class intro

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Today’s Class:

• Rhetorical contexts; the writing process; citation basics

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TODAY’S LEARNING OBJECTIVES - By the end of this class session, you will be able to:

• Define “rhetorical context” and its component parts
• Explain how the parts of a rhetorical context interact with each other and influence a composition
• Identify and break down various rhetorical contexts to understand your project and begin working
• Identify and define the major steps of the writing process
• Explain why writing as a process is beneficial
• Create your own timeline for your writing projects
• Explain the function/purpose of a bibliographic citation vs. an in-text/parenthetical citation (across disciplines and citation styles)
• Identify the major components to include in a full bibliographic citation for any outside source (across disciplines and citation styles)

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Preparing for Today

Everyone should have already:

• Completed (and checked off) all tasks listed at Canvas>Modules>Start Here!
• Download and read the course syllabus (Canvas>Files).
• Skimmed over your classmates’ introductions (Canvas>Discussions>Class Introductions)
• Looked over the assignment prompt for the course blog post (Canvas>Files>Course Website Resources) and made a note of when your reflection post is due.
• Completed the following readings:
• “Shitty First Drafts” by Anne Lamott (also available at Canvas>Files>Readings)
• UNC Writing Center, “College Writing”
• THWG, “Introduction”
• THWG, Chapter 1-1: “Understanding Rhetorical Situations and Genres”
• THWG, Chapter 1-2: “The Writing Process”

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Some New Introductions

• If you weren’t here this past Tuesday 8/19, be sure to look at the lesson plan and video recording from that day’s session (Canvas>Modules).
• Tell us your preferred name, pronouns, year at UNC, (intended) major, where you’re from, and some fun/boring fact about yourself:

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• STUDENT NAMES REDACTED TO SHARE THIS DOCUMENT PUBLICLY.

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Student Work Release Form

• Course website (to showcase your final projects, public-facing)
• Your rights to educational privacy
• When you publish your projects to the course website, you can publish each as public, password-protected (only visible to your classmates and me), or private (only visible to me).
• Student Work Release Form (Canvas>Files>Course Website Resources)
• Complete the form electronically and then submit it via Canvas>Assignments by 11:59pm on Mon. Aug. 25 or complete a hard copy and turn it in to me when you come to class on Tues. Aug. 26.

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Citation Basics

Bibliographic citations vs. parenthetical or in-text citations: Here’s what happens when they don’t match.

Each group has been randomly assigned a secondary source. All I've provided is the url to visit the source. Visit the source and collect the following information, which is the kind of info you'd need to provide a complete bibliographic citation for that source. Write it below your group name in the next few slides below (slides 9-12):

• What kind of source is this? What genre?
• Title of the work:
• Author of the work:
• Title of the larger publication/entity in which this work is published (if applicable):
• Date of publication:
• Volume and issue number (if applicable):
• Publisher:
• Url or doi:
• Inclusive page numbers of the work (if applicable):

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Group 1: The Tarheel Thinkers (TTT)

• Source link: https://www.jstor.org/stable/1344100
• What kind of source is this? What genre? Academic journal article (peer-reviewed in an online journal)
• Title of the work: “Trauma, Absence, Loss”
• Author of the work: Dominick LaCapra
• Title of the larger publication/entity in which this work is published (if applicable): Critical Inquiry
• Date of publication: Summer 1999
• Volume and issue number (if applicable): vol. 25, no. 4
• Publisher: The University of Chicago Press
• Url or doi: http://www.jstor.org/stable/1344100
• Inclusive page numbers of the work (if applicable): pp. 696-727

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Group 2: On the Move

• Source link: https://doi-org.libproxy.lib.unc.edu/10.1515/9780822390572-003
• What kind of source is this? What genre? Academic book chapter in a book with a single author (chapter in a scholarly monograph)
• Title of the work: “Imagined Immunities: The Epidemiology of Belonging”
• Author of the work: Priscilla Wald
• Title of the larger publication/entity in which this work is published (if applicable): Contagious: Cultures, Carriers, and the Outbreak Narrative
• Date of publication: 2020
• Volume and issue number (if applicable): n/a
• Publisher: Duke University Press
• Url or doi: https://doi.org/10.1515/9780822390572-003
• Inclusive page numbers of the work (if applicable): pp. 29-67

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Group 3: The Brunch Club

• Source link: https://www.cdc.gov/traumatic-brain-injury/about/moderate-severe-tbi.html
• What kind of source is this? What genre? Webpage on a government website
• Title of the Work: “About Moderate and Severe TBI”
• Author of the work: N/A
• Title of the larger publication/entity in which this work is published (if applicable): Traumatic Brain Injury & Concussion
• Date of publication: May 16, 2024
• Volume and issue number (if applicable): N/A
• Publisher: CDC
• Url or doi: https://www.cdc.gov/traumatic-brain-injury/about/moderate-severe-tbi.html
• Inclusive page numbers of the work (if applicable): N/A

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Group 4: Ruof Puorg

• Source link: https://www.dailytarheel.com/article/2024/02/opinion-more-media-literacy
• What kind of source is this? What genre? Article in an online newspaper
• Title of the work: “Don’t just read this headline”
• Author of the work: Brigit Pierce
• Title of the larger publication/entity in which this work is published (if applicable): The Daily Tar Heel
• Date of publication: January 31, 2024
• Volume and issue number (if applicable): N/A
• Publisher: The Daily Tar Heel
• Url or doi: https://www.dailytarheel.com/article/2024/02/opinion-more-media-literacy
• Inclusive page numbers of the work (if applicable): N/A

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In-Class Exercise: Rhetorical Contexts

ENGL 105: Writing at the Research University

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Thurs. Aug. 21, 2025

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There are many different types of writers.

Imagine:

You are an advertising copywriter for an extreme sports equipment company. That’s your ROLE.

You have to write a commercial script. That’s your GENRE.

What’s your PURPOSE?

Who is your AUDIENCE?

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You are an advertising copywriter for an extreme sports equipment company. That’s your ROLE.

You have to write a commercial script. That’s your GENRE.

Imagine:

Who is your primary AUDIENCE?

Who ELSE might be a potential AUDIENCE?

What COMMUNITIES does this involve?

What are the VALUES or EXPECTATIONS for the commercial you write?

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One hypothetical rhetorical situation:

• Author roles
• Genres
• Purposes
• Audiences
• Communities
• Values / Expectations

An advertising copywriter for an extreme sports equipment company must write a commercial script to convince affluent people in their teens, 20s, and 30s to purchase their company’s equipment.

This involves potential users of this equipment (affluent people in their teens, 20s, and 30s) as well as other people who might purchase this equipment as a gift. This also involves the extreme sports community, the company itself, the field of advertising, and the general public.

This commercial should have engaging visuals, clear and accessible language, and should adhere to the principle of “truth in advertising.”

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There are many different types of writers.

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Briefly consider a few different jobs or occupations.

Someone give me an idea:

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AUTHOR ROLES: Investigative journalist

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One person might write many different documents or compositions.

Consider the job or profession we chose.

Briefly consider a few different types of documents or pieces of writing that person might compose.

Someone give me one to add to our slides:

GENRES: Newspaper article about a scandal

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A document is designed for a primary audience.

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But documents might have a secondary or even tertiary audience.

Look at the chosen job/occupation and the specific type of document or composition that person has to compose.

What is the main/primary audience for whom this document is written? Let me add this to our lesson plan slides.

There might also be a secondary (or even tertiary) audience, if applicable.

Let’s add those to our slides:

AUDIENCES: Readers of the newspaper, esp. those interested in scandals; the general public

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Every composition has a goal or purpose.

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Think about words like:

• to educate
• to inform
• to convince
• to persuade, etc.

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(Your purpose probably includes your audience.)

Every composition has a goal or purpose.

Look at the specific occupation, the specific composition, and that composition’s primary audience.

Think about the writer:

• What’s their goal or purpose with this piece of writing?
• What is the writer trying to do?
• What effect is the writer trying to have on their audience?

Let’s add the purpose(s) to our slides:

OUR PURSPOSES: To inform our audience of the truth of the scandal; to grab readers’ attention

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• A writer
• A document
• Their audience
• Their purpose

This is one of many rhetorical situations or rhetorical contexts (THWG Ch. 1-1).

Look at the four elements you came up with.

Let’s combine them to form a sentence, a hypothetical RHETORICAL CONTEXT:

• An investigative journalist has to write a newspaper column about a scandal to inform readers of their newspaper—especially those interested in scandals—as well as the general public about the truth of the scandal and will need to grad readers’ attention.

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• A writer
• A document
• Their audience
• Their purpose
• Discourse communities

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“It concerns/ involves…[list of discourse communities].”

But a rhetorical context also involves discourse communities (people composing, people consuming, people being discussed, people affected, people invested in the composition).

Look at the rhetorical situation in front of you. At the end of the sentence, let’s add a second sentence that begins with “This concerns…” or “This involves…”

Let’s finish the sentence with a brief list of communities somehow invested in this composition.

• An investigative journalist has to write a newspaper column about a scandal to inform readers of their newspaper—especially those interested in scandals—as well as the general public about the truth of the scandal and will need to grad readers’ attention.
• This involves publishers of the newspaper, the newspaper staff, and those involved in the scandal itself, along with the readers, the field of journalism, and the field of media studies.

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• A writer
• A document
• Their audience
• Their purpose
• Discourse communities
• Values / Expectations

Every rhetorical situation carries with it an implicit set of values or expectations.

For example, an article in a medical journal is expected to care about medical practice and is expected to use precise language, honest analysis, and accurate citations.

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• A writer
• A document
• Their audience
• Their purpose
• Discourse communities
• Values / Expectations

Every rhetorical situation carries with it an implicit set of values or expectations.

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Meanwhile a public speech about health care is also expected to care about medical practice but is expected to use more accessible language, be engaging, and isn’t necessarily expected to contain specific citations.

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Your rhetorical context influences the stylistic choices you make (among other things).

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• A writer
• A document
• Their audience
• Their purpose
• Discourse communities
• Values / Expectations

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“This [genre] should…[list of values and expectations].”

Every rhetorical situation carries with it an implicit set of values or expectations.

Look at the rhetorical situation in front of you. It should now be two sentences.

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After the second sentence, let’s begin a third sentence that begins with something like, “This [the genre] should…” Let’s finish the sentence with a brief list of the values or expectations that align with this rhetorical situation.

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• OUR COMPLETE RHETORICAL CONTEXT: An investigative journalist has to write a newspaper column about a scandal to inform readers of their newspaper—especially those interested in scandals—as well as the general public about the truth of the scandal and will need to grad readers’ attention.
• This involves publishers of the newspaper, the newspaper staff, and those involved in the scandal itself, along with the readers, the field of journalism and media studies.
• The article should be new and original, truthful and transparent, objective, detailed, and accessible.

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We now have a complete rhetorical situation that involves all vital aspects.

Here’s another example:

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“A graduate student instructor must compose a lesson plan to guide his undergraduate writing students through the day’s work.

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This involves the field of rhet/comp, the UNC community, his specific students, and the UNC Writing Program.

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This lesson plan should have a logical organization, clear and accessible language, and should value students’ educational growth.”

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Consider what we’ve created as a class.

Look at the rhetorical situation on our slides. It should now be three sentences long.

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• OUR COMPLETE RHETORICAL CONTEXT: An investigative journalist has to write a newspaper column about a scandal to inform readers of their newspaper—especially those interested in scandals—as well as the general public about the truth of the scandal and will need to grad readers’ attention.
• This involves publishers of the newspaper, the newspaper staff, and those involved in the scandal itself, along with the readers, the field of journalism and media studies.
• The article should be new and original, truthful and transparent, objective, detailed, and accessible.

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Think about the strengths and weaknesses of our statement:

• How realistic is it?
• Does it make sense?
• Is it clearly stated?
• How could it be improved?
• Or what are its strengths?

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Let’s discuss.

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Hypothetical problem:�

You are a global health researcher on multi-drug resistant tuberculosis (MDR-TB). That’s your ROLE.

In your research, you realize that experts are already aware of the best methods for preventing and treating MDR-TB, but those methods lack the proper funding. That’s the real root of the problem.

You could publish another scholarly journal article, but that’s not going to tell other experts anything new or help solve the problem.

You realize you need to convince lawmakers and policymakers to increase funding. That’s your main PURPOSE.

But how do you do that?

What do lawmakers care about? Votes.

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Hypothetical problem:�

You are a global health researcher on multi-drug resistant tuberculosis (MDR-TB). That’s your ROLE.

ORIGINAL PURPOSE: To convince lawmakers and policymakers to increase funding for the prevention and treatment of MDR-TB.

But how do you do that?

What do lawmakers care about? Votes.

Who votes? The general public.

So who is your new AUDIENCE?

What’s your new PURPOSE?

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Hypothetical problem:�

You are a global health researcher on multi-drug resistant tuberculosis (MDR-TB). That’s your ROLE.

Who votes? The general public.

NEW PURPOSE: To convince the general public (non-experts) that funding for the prevention and treatment of MDR-TB should be increased (so they will pressure lawmakers to do so and so lawmakers will increase that funding).

AUDIENCES:

• Primary: The general public
• Secondary: Lawmakers and policymakers

But the general public doesn’t read scholarly journals. How do you convince them?

What GENRE should you use?

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Hypothetical problem:�

You are a global health researcher on multi-drug resistant tuberculosis (MDR-TB). That’s your ROLE.

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You now have a SECOND ROLE as a documentary filmmaker.

GENRE: Documentary Film

COMMUNITIES:

• The general public
• Policymakers and lawmakers
• Filmmakers
• People diagnosed with or in danger of MDR-TB
• Medical research and practice
• Film and media studies

VALUES/EXPECTATIONS:

• Clear and engaging language
• Engaging visuals and audio
• Interweaving scholarly information with evocative narratives
• Accurate but accessible analysis and reporting

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The complete rhetorical situation:

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Sample Rhetorical Charts: Group 1 - TTT

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Sample Rhetorical Charts: Group 1 - TTT

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Sample Rhetorical Charts: Group 2 – On the Move

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Sample Rhetorical Charts: Group 2 – On the Move

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Sample Rhetorical Charts: Group 3 – The Brunch Club

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Sample Rhetorical Charts: Group 3 – The Brunch Club

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Sample Rhetorical Charts: Group 4 – Ruof Puorg

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Sample Rhetorical Charts: Group 4 – Ruof Puorg

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Insert your answers into the blank spaces. Your answers will appear highlighted in yellow.

Rhetorical Context/Situation: Tips

• Do you know your full rhetorical situation? Take a moment to break it down into its parts, so you really understand the context.
• Do you only know some pieces or aspects of the rhetorical situation? Use what you know to figure out all of the other individual elements. Then use that to determine your overall context.
• Before you begin composing, always make sure you understand the assignment and rhetorical situation fully.
• If you can’t articulate all of the elements of your rhetorical context to yourself, you’re not ready to move forward. Always take the time to do this before moving forward.
• If you’re reading someone else’s text/media, consider what their rhetorical situation is. This makes you a more critical reader/consumer of media.

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This is a composition!

It was composed with care and intent! Let’s fill in the elements of its rhetorical context:

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• Genre: Directional arrow
• Author: Store manager/employee
• Audience: Store customers and employees
• Purpose: To direct customers and employees to walk in a particular direction (to aid in social distancing)

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This is a composition!

It was composed with care and intent! Let’s fill in the elements of its rhetorical context:

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• Genre: Informational poster/flyer
• Author: A manager or employee at LHI Care (or a graphic designer hired by LHI Care)
• Audience: UNC students, staff, and faculty; general public
• Purpose: To inform members of the UNC community about free COVID testing (and to implicitly convince them to go get tested)

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The Writing Process (THWG Ch. 1-2)

• Work together in your group to answer the following questions. Each group has been assigned one specific step of the writing process. Remember to choose a “reporter” for your group (someone who will teach us about your aspect of the writing process).
• Insert your answers into the next slides (slides 45-48).
• What are the key points or main take-aways from the THWG regarding this step of the writing process? Consider key strategies, tips, and/or resources one could use during this step of the writing process? Consider also “Shitty First Drafts” by Anne Lamott (also available at Canvas>Files>Readings)
• What are your favorite approaches/strategies you've used for this step of the writing process? (Or ones you'd like to start trying?)
• List any other comments/tips/challenges you'd like to include regarding this step of the writing process (from the THWG, “Shitty First Drafts,” other sources, or your own experience).

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Group 1 - The Tarheel Thinkers (TTT): Generating Ideas/Invention

• Understand the assignment/task; ask questions; remember rhetorical context
• Timed writing/freewriting/brainstorm
• Zero drafts (no stakes)
• Constant drafting/brainstorming
• Preliminary research/Google/Wikipedia
• Discuss the topic
• Visual/tactile experience

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Group 2 - On the Move: Planning your Draft

• What questions do I have? What do I need to answer or explain?
• Preliminary reseach/targeted research
• Organize notes and research info
• Listing everything to include
• Outlining
• Try to collect all sources and plan a structure (research and writing is recursive)
• Clustering to organize ideas and sources (how to organize?)

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Group 3 - The Brunch Club: Making a Draft

• Start with thesis/hypothesis/research question (tentative)
• Follow the path of least resistance (start by writing the easiest sections first)
• Throw it all down (write fearlessly; edit carefully)
• Overwrite (write “too” much”)
• “Write” by speaking (talk-to-text)
• “Shitty first draft”/“zero draft”: no one will see this first draft; don’t worry about sounding pretty

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Group 4 - Ruof Puorg: Reviewing your Writing

• Start globally and eventually zoom into local issues
• Revision, then editing, then proofreading
• Revision: large-scale changes (content, thesis, organization)
• Editing: smaller-scale changes (focus on one section or paragraph at a time; paragraph structure, syntax)
• Proofreading: local changes and mechanics (focus on a single sentence, phrase, or word; diction, punctuation, grammar, citations, spelling, typos, etc.)
• Get outside feedback (as allowed)

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The Writing Process

• Your process might differ a bit from someone else’s.
• Your process might adjust based on the specifics of your project and timeline.
• Throughout the process, you might have to go back and do more research, or adjust your argument, or adjust your organization.
• Remember to collaborate as allowed throughout the process!
• See also the two handouts on the writing process at Canvas>Files>Helpful Handouts and Resources.

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Project Timelines

Fall semester:

09/12 Receive assignment

09/16 Confirm understanding of assignment

09/18 Preliminary research

09/25 Choose topic

09/27 Research

10/04 Write RQ or thesis

10/06 Research

10/20 Compose body while continuing research

11/10 Finish body

11/12 Finish intro

11/14 Finish conclusion

11/16 First round of revision

11/21 Final round of revision

11/28 Final edit

11/30 Final proofread

12/01 Submit paper

12/02 Paper due

Spring semester:

2/09 Receive assignment

2/13 Confirm understanding of assignment

2/15 Preliminary research

2/22 Choose topic

2/24 Research

3/02 Write RQ or thesis

3/04 Research

3/18 Compose body while continuing research

4/08 Finish body

4/10 Finish intro

4/12 Finish conclusion

4/14 First round of revision

4/19 Final round of revision

4/25 Final edit

4/27 Final proofread

4/28 Submit paper

4/29 Paper due

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To break a large project into smaller steps, work backwards to set yourself minor deadlines or benchmarks; this is a really rough hypothetical example:

Homework

Next class, Tues. Aug. 26:

• Begin Unit 1: Writing in the Natural Sciences; choose UP1 topics in class

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Homework due by 11:59pm Mon. Aug. 25:

• Next blog post: STUDENT NAME REDACTED (reflection on week 1, due Mon. Aug. 25 by 11:59pm)
• Catch up on reading/submitting any documents/chapters/assignments you missed.
• If you haven’t completed and checked off all of the tasks on Canvas under the Start Here module, complete them this weekend. (Everyone should double-check that you’ve completed and checked off all tasks.)
• If you haven’t already: download, save, and read the entire course syllabus (Canvas>Files).
• Take a look at the Course Schedule in our Course Syllabus (Canvas>Files) and make note of upcoming readings, deadlines, etc. Plan ahead accordingly for when things look like they will be busy. Consider reading/working ahead as needed.
• Download and read the assignment prompt for the course blog post (Canvas>Files>Course Website Resources). Make note of when your reflection post is due. You’ve all been added as “authors” to the course website. Confirm that you have access to post to the website immediately so that you don’t run into submission issues when it’s time for you to post:
• Go to wordpress.com. Log in using your UNC email address; you might have to first register a free Wordpress account using your UNC email address. (You MUST use your UNC email address, not your personal email address, etc.) See also “Instructions for Posting to the Course Website” and the instructional video on the same topic at Canvas>Files>Course Website Resources.
• Homework continues on the next slide.

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Homework continued

Next class, Tues. Aug. 26:

• Begin Unit 1: Writing in the Natural Sciences; choose UP1 topics in class

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Homework due by 11:59pm Mon. Aug. 25:

• See “Student Work Release Form” (Canvas>Files>Course Website Resources), complete it electronically and then submit it via Canvas>Assignments by 11:59pm on Mon. Aug. 25 or complete a hard copy and turn it in to me when you come to class on Tues. Aug. 26.
• Complete the UNC Libraries Plagiarism Tutorial and Quiz. When you take the quiz, provide your UNC email address; you will then receive an email when you have passed the quiz. Forward that email to me by 11:59pm on Mon Aug. 25. (I need the forwarded email with your name for my records. A screenshot of your completed tutorial is NOT sufficient.)
• Submit via Canvas>Assignments your headshot/profile pic and student-author bio for the course website; bio should be 3-5 sentences in the third-person. (If you don’t want to post your image online, let me know in your submission.)
• Example: Originally from LaGrange, GA, Paul is a ninth-year doctoral student studying English Literature. He recently completed serving as the Fiction Editor for the Carolina Quarterly literary magazine and currently serves as the Co-Director for UNC’s Literature, Medicine, and Culture Colloquium (LMCC). In his free time, he enjoys woodworking, running, and playing soccer. He hopes to eventually become a college or university professor.
• Read the following page from the UNC Writing Center, “Understanding Assignments,” and come to class prepared to discuss.
• Complete the following reading in the Tar Heel Writing Guide (THWG) before our next class session and come to class prepared to discuss: Ch. 2-1: “Writing in the Natural Sciences.”
• Read the two-page overview (the first two pages) of the Unit 1 Assignment Prompt (Canvas>Files>Unit 1), plus the opening instructions for Feeder 1.1. (You may find it helpful to at least skim the rest of the Unit 1 Assignment Prompt as well.) Brainstorm some potential topics for UP1. You will need to commit to a UP1 topic in class on Tues. Aug. 26.
• Read/revisit the two handouts on the writing process (Canvas>Files>Helpful Handouts and Resources).

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Looking Ahead

• Take a look at the Course Schedule in our Course Syllabus (Canvas>Files) and make note of upcoming readings, deadlines, etc. Plan ahead accordingly for when things look like they will be busy. Consider reading/working ahead as needed.
• On Thurs. Aug. 28, we will hold class in the Undergraduate Library, Room 124, during which an instructional librarian will teach you how to use the UNC Libraries database resources. Start thinking of any specific questions or advice you might solicit.
• You may want to go ahead and download and read “Instructions for Formatting Assignments in ENGL 105” (Canvas>Files>Helpful Handouts and Resources), which explains how to format final drafts of your graded assignments, etc.
• The rough draft of Feeder 1.1 is due for homework by 11:59pm on Mon. Sept. 1 (Canvas>Discussions).
• The final draft of Feeder 1.1 is due for grade by 11:59pm on Wed. Sept. 3 (Canvas>Assignments).

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Any final questions?

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After Class

• If you have other questions or concerns that arise after class, please feel free to email me (paulblom@live.unc.edu), visit me (in Greenlaw 509) during my office hours (Tues, Thurs, 12:30pm-2:00pm est), or schedule a time to meet with me virtually [ZOOM LINK REDACTED FOR PUBLIC SHARING] outside of office hours. (Download Zoom at https://unc.zoom.us/.)
• A few hours after this class session has ended, I will post the recording of this class session to Canvas at Modules>Class Recordings. You may want to revisit the recording, especially if you missed the class. Each recording will be accompanied by a real-time automatically-generated transcript as well as automatically-generated closed captions. You can stream these online or download these to your own devices.
• These recordings are captured through Zoom and are only available to watch/download for 30 days after the recording date.
• These recordings are solely for the purpose of reviewing class material and should not be shared with people outside of our class. (See also our course syllabus: Course Policies>Technology>Recordings of Class Sessions.)
• See also “Using Lecture Recordings: A Guide for Students” (Canvas>Modules>Class Recordings).

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