♪ ♪ ♪ ♪ IF YOU'RE LOOKING FOR ADDITIONAL REGENTS EXAM INFO, THEN JUMP ON TO YOUR COMPUTER AND LOG ON TO REGENTSREVIEWNY.NET.

IT'S THE OFFICIAL WEBSITE FOR THE SERIES AND IT'S LOADED WITH TEST PREP RESOURCES THAT ARE GUARANTEED TO CURE THOSE REERNLG ENT EXAM BLUES.

EXAM BLUES VIDEO CLIPS TEST TAKING TIPS EXAM SCHEDULES AND A HOST OF LINKS TO OTHER REGIONS RESOURCES.

IT'S ALL HERE.

AND DON'T FORGET, ALL OF THE PROGRAMS IN THE SERIES WILL BE AVAILABLE FOR STREAMING ON THE SITE ONCE THE BROADCAST SCHEDULES ARE COMPLETE.

SO WHAT ARE YOU WAITING FOR?

INCREASE YOUR CHANCES FOR A BETTER SCORE TO TEST DAY.

WE JUST REVIEWED 2.0 THE NEXT GENERATION OF REGENTS EXAM PREP REGENTS REVIEW 2.0 IS MADE POSSIBLE BY NEW YORK STATE'S TEACHER CENTERS PROVIDING PROFESSIONAL DEVELOPMENT FOR TEACHERS BY TEACHERS.

NEW YORK STATE TEACHERS CENTERS.

A SOURCE FOR TEACHERS AND A PROMISE TO STUDENTS.

AND BY CONTRIBUTORS TO YOUR PBS STATION FROM VIEWERS LIKE YOU.

♪ ♪ ♪ ♪ HI AND WELCOME TO REGENTS REVIEW LIVE FOR ENGLISH LANGUAGE ARTS.

MY NAME IS HEATHER NAUGHTON, AND I'M AN ENGLISH TEACHER AT WANTAGH HIGH SCHOOL.

>> AND I'M KATHRYN SCHRECK.

I TEACH ENGLISH AT EAST HAMPTON HIGH SCHOOL.

WE'D LIKE TO BEGIN TODAY BY GIVING YOU A BRIEF OVERVIEW OF THE DIFFERENT COMPONENTS OF THE NEXT GENERATION ELA REGENTS AND WALK YOU THROUGH THE SMALL, BUT SIGNIFICANT, CHANGES MADE FROM PREVIOUS ITERATIONS OF THIS EXAM.

FIRST, LET'S REVIEW THE BASICS.

WHAT IS THE REGENTS EXAM?

THE NEW YORK STATE REGENTS EXAMS ARE SUBJECT-SPECIFIC STANDARDIZED ASSESSMENTS GIVEN TO HIGH SCHOOL STUDENTS LOOKING TO OBTAIN A REGENTS DIPLOMA.

THE EXAM IS DESIGNED TO INCORPORATE LIFELONG PRACTICES OF READERS AND WRITERS AND TO REFLECT THE CHANGING EXPECTATIONS OF WHAT IT MEANS TO BE LITERATE TODAY.

FOR THOSE OF YOU TAKING THE EXAM FOR THE FIRST TIME, HERE IS A BRIEF OVERVIEW: STUDENTS TRADITIONALLY TAKE THE EXAM IN 11TH GRADE AS A JUNIOR.

THE TEST IS OFFERED AT LEAST TWICE A YEAR-IN JANUARY AND JUNE.

YOUR SCHOOL MAY OFFER ANOTHER OPPORTUNITY IN AUGUST TO PASS.

STUDENTS MUST EARN AT LEAST A 65 ON THIS EXAM TO QUALIFY FOR A REGENTS DIPLOMA, BUT IN CERTAIN CIRCUMSTANCES YOU MAY QUALIFY FOR A PASSING SCORE WITH A SCORE OF 55.

SEE YOUR SCHOOL COUNSELOR OR ADMINISTRATOR IF YOU HAVE ANY QUESTIONS ABOUT YOUR SCORE.

YOU HAVE THREE FULL HOURS TO COMPLETE THE EXAM, BUT YOU MUST REMAIN IN THE TESTING ROOM FOR A MINIMUM OF TWO HOURS.

THERE ARE THREE PARTS TO THE EXAM.

ALL ARE DESIGNED TO ADDRESS YOUR UNDERSTANDING OF READING, WRITING, AND LANGUAGE STANDARDS.

PART 1 IS READING COMPREHENSION.

HERE YOU WILL PERFORM A CLOSE READING OF THREE TEXTS AND ANSWER TWENTY FOUR MULTIPLE-CHOICE QUESTIONS.

IN THIS SECTION YOU WILL READ ONE LITERARY TEXT, ONE POEM AND ONE NONFICTION TEXT.

YOU SHOULD SPEND ABOUT 45-60 MINUTES ON THIS TASK.

REMEMBER, YOU WILL NOT BE TOLD TO MOVE ON TO THE NEXT SECTION, SO YOU NEED TO WATCH THE CLOCK!

PART 2 IS CALLED WRITING FROM SOURCES.

YOU MAY ALSO KNOW THIS SECTION AS THE ARGUMENT ESSAY.

YOU'LL READ FOUR INFORMATIONAL TEXTS AND WRITE AN ARGUMENTATIVE ESSAY USING INFORMATION FROM THESE SOURCES.

YOU SHOULD SPEND ABOUT 60-75 MINUTES ON THIS SECTION.

IN THE FINAL TASK, PART THREE, YOU WILL BE WRITING A TEXT-ANALYSIS RESPONSE.

IN THIS SECTION, YOU WILL READ ONE LITERARY TEXT AND WRITE AN EXPOSITORY RESPONSE OF TWO OR MORE PARAGRAPHS THAT IDENTIFIES A THEME OR CENTRAL IDEA IN THE TEXT AND ANALYZES HOW THE AUTHOR USED AT LEAST ONE WRITING STRATEGY TO DEVELOP THIS THEME OR CENTRAL IDEA.

HERE, YOU SHOULD SPEND ABOUT 30- 45 MINUTES CLOSE READING AND WRITING.

YOU CAN EXPECT A BALANCE OF AUTHENTIC LITERARY AND BRING A BLUE OR BLACK PEN!

THE MULTIPLE-CHOICE SECTION MUST BE COMPLETED USING A PEN.

WE ALSO RECOMMEND THAT YOU BRING TWO DIFFERENT COLOR HIGHLIGHTERS AND PENCILS FOR YOUR ANNOTATIONS AND SCRAP WORK, BUT ALL FINAL ANSWERS MUST BE IN BLUE OR BLACK INK.

FINALLY, MAKE SURE YOU USE ALL OF THE INFORMATION AND TEXT FEATURES ON EACH PAGE.

CAREFULLY READ ALL TITLES, ATTRIBUTIONS, LINE NUMBERS, BOLD HEADINGS, IMAGES, GRAPHS, AND THE FOOTNOTES PROVIDED.

NOW, LET'S TAKE A CLOSER LOOK AT EACH TASK YOU'LL ENCOUNTER ON THE NEW YORK STATE REGENTS EXAM IN ENGLISH LANGUAGE ARTS!

LET'S TAKE AN IN-DEPTH LOOK AT THE READING COMPREHENSION, OR MULTIPLE CHOICE, SECTION OF THE ELA REGENTS.

REMEMBER THIS SECTION IS WORTH 24 POINTS OF THE POSSIBLE 56 POINTS.

CLOSE READING THE PASSAGES AND ANSWERING THE MULTIPLE CHOICE QUESTIONS SHOULD TAKE APPROXIMATELY 45 MINUTES- 1 HOUR OF YOUR 3 HOUR EXAM TIME.

THE MULTIPLE CHOICE QUESTIONS ARE DESIGNED TO ASSESS THE READING AND LANGUAGE STANDARDS, WHICH MEANS ANSWERING QUESTIONS CORRECTLY REQUIRES MORE THAN SIMPLE IDENTIFICATION OR RECALL.

OFTEN THESE QUESTIONS ARE LAYERED AND REQUIRE YOU TO DETERMINE THE CORRECT ANSWER USING MULTIPLE STEPS AND SKILLS.

FOR EXAMPLE, YOU MAY BE ASKED TO: -CONSIDER THE AUTHOR'S PURPOSE AND CRAFT -MAKE INFERENCES AND INTERPRETATIONS -IDENTIFY CENTRAL IDEAS OR THEMES -CONSIDER THE TEXT STRUCTURE AND ORGANIZATION OR THE PASSAGE -EVALUATE AND SYNTHESIZE INFORMATION -COMPARE INFORMATION -ENGAGE IN LITERARY ANALYSIS ADDITIONALLY, YOU WILL HAVE TO NAVIGATE THROUGH PLAUSIBLE, TEXT-BASED DISTRACTORS IN THE ANSWER CHOICES.

THAT MEANS SOME OF THE ANSWER CHOICES MAKE SENSE BUT ONLY ONE ANSWER WILL BE THE BEST, OR MOST ACCURATE, ANSWER.

YOU WILL HAVE TO RETURN TO THE TEXT TO TEST TO FIND THE CORRECT ANSWER.

YOU WILL BE ASSESSED O SOME OF THESE TEXTS WILL BE MORE CHALLENGING THAN OTHERS, SO REMEMBER TO SLOW DOWN AND REREAD WHEN NECESSARY.

REREADING IS THE NUMBER ONE READING COMPREHENSION STRATEGY!

LET'S LOOK AT SOME OTHER TIPS TO IMPROVE YOUR READING COMPREHENSION SUCCESS.

NUMBER ONE: READ THE QUESTION FIRST.

READING THE QUESTION FIRST ALLOWS YOU TO HAVE AN IDEA OF WHAT IS BEING ASKED OF YOU.

IF THE QUESTION REFERENCES PARTICULAR LINE NUMBERS, BE SURE TO GO BACK TO THE TEXT AND CIRCLE, HIGHLIGHT, OR UNDERLINE THOSE LINES.

HOWEVER, DO NOT BE FOOLED BY THIS: SOMETIMES THE INFORMATION YOU NEED IS BEFORE OR AFTER THE LINE NUMBERS, SO BE SURE TO READ BEFORE AND AFTER IT AS WELL.

YOU HAVE TO READ THE ENTIRE PASSAGE AND NOT JUST THE LINE NUMBER REFERENCED OR MENTIONED IN THE QUESTION.

STRATEGY NUMBER TWO: PREVIEW THE TEXT REMEMBER TO CAREFULLY READ TITLES, SUBTITLES, BOLD HEADINGS, AND THE ATTRIBUTIONS, OR SOURCES, AS THEY CAN ALL PROVIDE VALUABLE INFORMATION AND CLUES TO HELP YOU UNDERSTAND THE TEXT MORE DEEPLY.

EVER SEE THOSE TINY LITTLE NUMBERS NEXT TO A WORD?

THOSE SUPERSCRIPTS ARE FOOTNOTES.

THE FUNCTION OF A FOOTNOTE IS TO DEFINE CHALLENGING OR UNKNOWN WORDS.

IF THEY DEFINE A WORD FOR YOU, USE IT!

BE SURE TO LOOK TO THE END OF THE PASSAGE OR THE BOTTOM OF THE PAGE FOR THOSE FOOTNOTES.

IN THIS EXAMPLE, THE LITTLE NUMBER 9 RAISED ABOVE THE TEXT LINE SENT ME TO THE BOTTOM OF THE PAGE.

HERE IT DEFINES VESTIGIAL AS NO LONGER NECESSARY..AHH SO NOW UNDERSTAND THAT LIMBS CAN BE REMOVED BECAUSE THEY ARE NO LONGER NECESSARY.

THIS GIVES ME CONTEXT TO UNDERSTAND THIS PARTICULAR SENTENCE AND THE ENTIRE PASSAGE MORE.

ONE STRATEGY TO HELP YOU TO BETTER UNDERSTAND WHAT YOU READ IS TO BE AN ACTIVE READER.

WHAT DOES THAT MEAN?

ACTIVE READING MEANS KEEPING YOUR PEN OR HIGHLIGHTER MOVING AS YOU READ.

YOU MAY WANT TO UNDERLINE, CIRCLE, AND SUMMARIZE TO IMPROVE COMPREHENSION AND MAINTAIN FOCUS.

FIND A SYSTEM THAT WORKS FOR YOU-SOME TEXT-CODING EXAMPLES WOULD BE TO STAR IMPORTANT DETAILS, JOT NOTES IN THE MARGINS, AND/OR TO CIRCLE UNFAMILIAR WORDS.

SPEAKING OF UNFAMILIAR WORDS, IT IS IMPOSSIBLE TO PREDICT EVERY SINGLE VOCABULARY WORD THAT MAY APPEAR ON THE EXAM, SO DO NOT WASTE TIME ON UNNECESSARY UNFAMILIAR WORDS.

LET'S LOOK AT AN EXAMPLE TOGETHER: "THE CHEF ADDED A PINCH OF ASAFOETIDA, AND ALTHOUGH NO ONE RECOGNIZED THE SPICE, ITS STRONG, GARLICKY SMELL MADE IT CLEAR IT WOULD GIVE THE DISH A BOLD FLAVOR.

ASAFOETIDA IS A PRETTY OBSCURE WORD.

THE TEXT DOES TELL US THAT IT IS A SPICE AND NOT ONE THAT MOST PEOPLE RECOGNIZE LIKE CINNAMON.

IT MUST BE A STRONG SPICE IF IT'S GIVING THE DISH FLAVOR.

LET'S LOOK AT THE QUESTION: "BASED ON THE PASSAGE, THE CHEF CAN BEST BE CHARACTERIZED AS: B. PRECISE AND KNOWLEDGEABLE, CONFIDENT IN HIS CULINARY CHOICES.

YES, HE MUST BE KNOWLEDGEABLE IF HE IS USING A SPICE THAT NO ONE ELSE RECOGNIZED AND HE KNEW THE PRECISE AMOUNT TO USE-JUST A PINCH-TO ADD FLAVOR.

THE EXACT DEFINITION OF ASAFOETIDA DID NOT REALLY MATTER TO ANSWER THIS QUESTION CORRECTLY AND WE HAD ENOUGH CONTEXT TO UNDERSTAND THE CHEF'S CHARACTERIZATION WITHOUT IT.

LET'S TRY WITH ZEALOUS.

NEVER HEARD THE WORD?

DO NOT PANIC.

JUST USE INFORMATION IN THE SENTENCE, OR CONTEXT, TO FIGURE OUT WHAT IT COULD MEAN.

"SURPRISINGLY, RECENT RESEARCH SUPPORTS SOME OF NIGHTINGALE'S ZEALOUS CLAIMS."

WE SHOULD ASK OURSELVES WHY IT WOULD BE SURPRISING FOR RESEARCH TO SUPPORT THE CLAIMS.

THE CLAIMS MUST BE A LITTLE WEIRD, OVER-THE-TOP, OR DIFFERENT.

AND, IN FACT, "ZEALOUS' CAN MEAN SOMEONE HAS A HARD-CORE IDEA TO WHICH THEY ARE REALLY ATTACHED TO OR EAGER ABOUT.

ANOTHER STRATEGY TO UNLOCK THE MEANING OF AN UNKNOWN WORD IS TO THINK ABOUT A WORD THAT YOU DO KNOW THAT COULD REPLACE THE UNFAMILIAR WORD AND STILL MAKE SENSE.

THE TEXT STATES, "... AND ALL THE TIME THAT SHE WAS IN THE ROOM HE NEVER LOOSENED THE SILK MUFFLER HE HAD WRAPPED ROUND THE LOWER PART OF HIS FACE TO PUT THE MOUTHPIECE TO HIS LIPS."

THINK: WHAT'S A WORD THAT I KNOW THAT COULD REPLACE THE WORD MUFFLER?

I HAVE NEVER HEARD THE WORD MUFFLER, BUT THE TEXT SAYS IT'S MADE OF SILK AND IT COULD BE WRAPPED AROUND YOUR FACE.

HMM..SOUNDS KIND OF LIKE A SCARF TO ME.

THAT WORKS IN THE SENTENCE WHEN I REPLACE IT!

IF YOU CANNOT FIGURE OUT THE MEANING OF THE WORD, TRY TOT FIGURE OUT IF IT SEEMS LIKE A MORE POSITIVE OR NEGATIVE WORD, WHICH WILL HELP YOU NARROW DOWN YOUR CHOICES.

HERE, WE SEE THAT THE PRINCIPAL'S "AUSTERE" TONE MAKES STUDENTS AFRAID TO SPEAK UP.

I DON'T KNOW WHAT AUSTERE MEANS EXACTLY, BUT I DO KNOW THAT THE STUDENTS ARE AFRAID WHEN THE PRINCIPAL SPEAKS THIS WAY.

THIS WORD SEEMS TO HAVE A NEGATIVE CONNOTATION OR FEELING.

AUSTERE MEANS STERN OR STRICT, BUT EVEN WITHOUT THE DEFINITION WE KNEW THE STUDENTS WEREN'T HAPPY ABOUT IT.

FOR EACH MULTIPLE CHOICE QUESTION, YOU SHOULD TRY TO ELIMINATE THE WORST ANSWERS IMMEDIATELY.

TYPICALLY YOU CAN GET RID OF THE TWO MOST "OBVIOUSLY WRONG."

THIS WAY, IF YOU DO HAVE TO MAKE AN EDUCATED GUESS, YOU'VE NARROWED YOUR OPTIONS DOWN.

HERE ARE SOME TIPS FOR ELIMINATING THE WORST 2 ANSWERS: BE ON THE LOOKOUT FOR: ANSWERS THAT ARE "ALMOST RIGHT BUT PARTIALLY WRONG.

ANSWERS THAT USE EXTREME LANGUAGE (ALWAYS, NEVER, COMPLETELY) WHEN THE PASSAGE IS MORE BALANCED.

ANSWERS YOU SEE NO EVIDENCE FOR IN THE BODY OF THE TEXT.

AND ANSWERS THAT DON'T MATCH THE TONE OF THE PASSAGE - FOR EXAMPLE, A CHEERFUL WORD CHOICE FOR A SERIOUS PASSAGE.

NEXT, RETURN TO THE QUESTION ITSELF.

HERE WE AREN'T LOOKING AT THE ANSWER CHOICES, BUT INSTEAD WE WANT TO LOOK FOR KEY WORDS IN QUESTION THAT CLUE YOU IN TO WHAT NEEDS TO BE ANSWERED.

THIS HELPS TO MAKE SURE YOU ARE ANSWERING THE QUESTION ACTUALLY BEING ASKED.

THEN GO BACK INTO THE TEXT TO FIND EVIDENCE TO NARROW DOWN TO THE RIGHT ANSWER.

LET'S GO BACK TO OUR CHEF FROM EARLIER.

THE QUESTION ASKS ABOUT THE BEST CHARACTERIZATION OF THE CHEF.

AND SINCE THE PASSAGE STATES HIS DECISION TO ADD THE PINCH OF ASAFOETIDA, AN UNKNOWN SPICE, RESULTS IN A BOLD FLAVOR WE CAN SEE THAT HE IS BOTH KNOWLEDGEABLE AND CONFIDENT IN HIS CULINARY SKILLS.

WE SEE NO WORDS OR ACTIONS THAT SUGGEST HE'S LAZY, TIMID OR CARELESS.

ONE FINAL STRATEGY WE'D LIKE TO REVIEW IS CALLED "COVER IT UP AND THINK."

OFTENTIMES TESTS HAVE MORE THAN ONE ANSWER THAT SEEMS REASONABLE, AND THE LONGER WE LOOK AT THE CHOICES, THE MORE WE CONFUSE OUR BRAINS INTO THINKING WE WANT TO PICK A DISTRACTOR CHOICE.

INSTEAD OF LOOKING AT THE CHOICES, COVER UP THE ANSWER CHOICES WITH YOUR HAND AND THINK ABOUT HOW YOU WOULD RESPOND.

THEN, SELECT THE ANSWER THAT MOST CLOSELY MATCHES WITH YOUR ANSWER.

LET'S TRY IT WITH THIS QUESTION: "THE STATEMENT "YOU CAN GIVE ME SOME MILK AT ANY RATE, THAT'S PLAIN."

SUGGESTS THAT THE YOUNG MAN IS• I COVER UP THE ANSWERS BEFORE I LOOK, AND I THINK "HMM HE IS MORE TELLING THAN ASKING FOR MILK.

HE IS PRETTY ASSURED IN WHAT HE WANTS AND HIS TONE IS CONFIDENT, DIRECT, AND STRAIGHTFORWARD.

I NOTICE THAT ONE CHOICE, "ASSERTIVE," MEANS ABOUT THE SAME AS "CONFIDENT," SO THAT MUST BE THE CORRECT ANSWER.

REMEMBER, YOUR ABILITY TO THINK AND YOUR BRAIN IS THE BEST STRATEGY YOU CAN USE.

STRATEGIES FOR ACTIVE READING APPLY TO THE ENTIRE TEST, BUT HERE ARE A FEW TIPS THAT WILL HELP YOU TO FIND SUCCESS WITH POETRY IN PARTICULAR.

FIRST, POEMS ARE MEANT TO BE READ BY FOLLOWING THE PUNCTUATION.

YOU SHOULD ONLY FULL STOP IF YOU GET TO A PUNCTUATION MARK THAT TELLS YOU TO DO SO.

IF YOU STOP AT THE END OF EVERY LINE, YOU WILL LOSE SOME OF THE MEANING.

HERE IS THE WAY NOT TO READ POETRY WITH A PAUSE AT THE END OF EACH LINE: MY FATHER GAVE ME THESE HANDS, FINGERS/ INCH-WIDE AND MUSCULAR LIKE HIS, THE SAME/ FOLDS OF SKIN LIKE SQUINTED EYES LOOKING/ BACK AT ME WHENEVER I WASH MY HANDS/ OR HELPING MY MOTHER DRY THE DISHES EVERY NIGHT.

AND HERE IS A READING WHEN WE LET PUNCTUATION GUIDE US: MY FATHER GAVE ME THESE HANDS, FINGERS INCH-WIDE AND MUSCULAR LIKE HIS, THE SAME FOLDS OF SKIN LIKE SQUINTED EYES LOOKING BACK AT ME WHENEVER I WASH MY HANDS.

IN THE KITCHEN SINK AND REMEMBER HIM WASHING THE GARDEN DIRTED OFF OF HIS OR HELPING MY MOTHER DRY THE DISHES EVERY NIGHT.

WHEN THE PUNCTUATION GUIDES US, IT BECOMES EASIER TO UNDERSTAND THE AUTHOR'S INTENDED MEANING.

A POET OR AUTHOR INCLUDES PUNCTUATION INTENTIONALLY AND PURPOSEFULLY-REMEMBER PUNCTUATION SAVES LIVES.

IT'S THE DIFFERENCE BETWEEN: "LET'S EAT, GRANDMA!"

AND "LET'S EAT GRANDMA!"

LET'S LOOK AT A SAMPLE POEM IN THE READING COMPREHENSION SECTION OF THE EXAM.

WE RECOMMEND YOU START WITH THE TITLE TO BEGIN TO MAKE A PREDICTION ABOUT WHAT THE POEM COULD BE ABOUT.

HERE YOU SEE THE TITLE "BIG JIGSAW" DO WE THINK THIS POEM IS ABOUT AN ACTUAL PUZZLE?

COULD THE PUZZLE BE A METAPHOR THAT DEVELOPS A LARGER THEME OR IDEA?

LET'S READ THE QUESTIONS FIRST QUESTION 11: "THE OPENING STANZA CONVEYS A SENSE OF."

IN POETRY WE CALL PARAGRAPHS STANZAS, SO WHAT KIND OF FEELING OR TONE DO WE SEE IN THE FIRST CHUNK OF THIS POEM?

WHAT IS THE SPEAKER'S ATTITUDE TOWARD THE SUBJECT?

GO BACK TO THE POEM AND PUT A BRACKET AROUND THE FIRST STANZA AND MAKE A NOTE THAT YOU'RE LOOKING FOR A FEELING WORD.

QUESTION 12 STATES: "AS USED IN THE POEM, THE WORD "IDYLLIC" (LINE 10) MOST NEARLY MEANS.

I SHOULD GO BACK INTO THE TEXT TO HIGHLIGHT OR UNDERLINE LINE 10.

I SHOULD ALSO ACTIVATE THE STRATEGIES FOR DETERMINING THE MEANING OF UNKNOWN VOCABULARY WORDS WE DISCUSSED EARLIER.

WHEN I WENT BACK TO HIGHLIGHT LINE 10, I NOTICED A SUBSCRIPT NUMBER 1 -THAT INDICATES THERE IS A FOOTNOTE THAT I HAVE TO CHECK.

I GO TO THE BOTTOM OF THE PAGE TO LOOK FOR A DEFINITION.

I NOTICE THAT A JONQUIL IS A TYPE OF YELLOW DAFFODIL OR FLOWER.

WHEN I LOOK AT QUESTION 13, IT STATES THAT LINES 15 AND 16 THE PHRASE "TIME/DAWDLES, WAITING FOR ME TO CATCH UP" IMPLIES THAT THE NARRATOR IS• I GO BACK AND UNDERLINE OR HIGHLIGHT LINES 15-16.

I SHOULD ALSO MAKE A NOTE OF KEY WORDS IN THE QUESTION STEM SUCH AS IMPLIES.

THIS MEANS THE TEXT IS HINTING SOMETHING ABOUT THE NARRATOR INSTEAD OF JUST SAYING IT.

QUESTION 14 STATES, "IN THE CONTEXT OF THE POEM AS A WHOLE, THE JIGSAW PUZZLE REPRESENTS" OOH HERE I NOTICED OUR EARLIER PREDICTION WAS CONFIRMED.

THE JIGSAW PUZZLE ISN'T JUST A LITERAL PUZZLE.

IT SYMBOLIZES, OR REPRESENTS, SOMETHING MORE.

NOW AS I READ THE POEM, I CAN ANALYZE WHAT THE FIGURATIVE MEANING OF THE PUZZLE COULD POSSIBLY BE.

HERE IS AN EXAMPLE OF WHAT MY ANNOTATED POEM MAY LOOK LIKE AFTER I PREVIEWED QUESTIONS 11-14 AND ANNOTATED IN THE MARGINS.

I MADE A BRACKET AROUND THE FIRST STANZA AND A JOTTED A NOTE TO MYSELF TO LOOK FOR THE SPEAKER'S TONE I HAVE THE WORD IDYLLIC UNDERLINED, AND I HAVE LINES 15-16 UNDERLINED WITH A NOTE REMINDING ME TO CONSIDER WHAT THE AUTHOR MIGHT BE THINKING.

THE FINAL STANZA DOESN'T HAVE ANY ANNOTATIONS YET, BUT THAT DOESN'T MEAN IT ISN'T IMPORTANT.

SOMETIMES THE DEEPER MEANING OF A WORK IS REVEALED AT THE VERY END.

WHEN WE TRY TO FIGURE OUT THE SPEAKER'S TONE WE HAVE TO LOOK AT THE SPECIFIC WORDS BEING USED.

THE SPEAKER IS "HUNCHED" OVER THE PUZZLE FOR A LONG TIME.

AND GOUGED MEANS DENTED..MAYBE THE SPEAKER SPENDS A LOT OF TIME AT THAT WORKBENCH.

THE SPEAKER STATES IT'S UNSOLVABLE WHICH MUST MEAN IT'S A TRICKY PUZZLE, AND AS SOON AS HE ALMOST UNDERSTANDS IT "TURNS ME BACK."

HMM WHAT COULD THAT MEAN?

BACK TO THE START?

HOW ANNOYING!

THE SPEAKER WAS SO CLOSE.

LOOKING AT THESE WORDS, LET'S SEE IF WE CAN ELIMINATE TWO CHOICES.

THERE DOESN'T SEEM TO BE ANY DISORDER OR WEAKNESS HERE, SO NOW WE ARE LEFT WITH LONELINESS AND NO WORDS INDICATE THAT HE IS TIRED.

SO IT SEEMS LIKE THE NARRATOR MUST BE LOST IN HIS THOUGHTS.

OH THAT MAKES SENSE AS TO WHY HE'S NEEDING TO CATCH UP.

HE'S FALLING BEHIND BECAUSE HE'S GETTING LOST IN HIS THOUGHTS.

WE CAN GET RID OF OPTION 1.

THERE IS NO MENTION OF REGRETS OR MEMORIES IN THE POEM EITHER SO WE CAN GET RID OF OPTION 4 NOW WE HAVE TWO POSSIBLE ANSWERS LEFT.

THESE ARE BOTH GOOD OPTIONS THOUGH.

PUZZLES ARE ABOUT SOLVING PROBLEMS.

BUT THE SPEAKER NEVER MENTIONS ENJOYING THE ACT OF SOLVING THEM.

THIS MUST BE THE DISTRACTOR.

SO THE BEST ANSWER IN THIS CASE, IS THE LAST CHOICE STANDING.

THIS IS, IN FACT, A POEM ABOUT THE EXPERIENCE OF BEING HUMAN AND HOW A JIGSAW PUZZLE CAN REPRESENT THOSE EXPERIENCES.

SO LET'S RECAP THE IMPORTANT POINTS REGARDING THE MULTIPLE CHOICE SECTION PART 1 IS WORTH 24 POINTS OF YOUR RAW SCORE YOU SHOULD SPEND 45 MINUTES TO AN HOUR ON THIS SECTION.

YOU CAN EXPECT TO SEE A FICTION TEXT, A POETRY TEXT, AND A NONFICTION TEXT.

REMEMBER TO USE ALL THE TEXT FEATURES AND GRAPHICS INCLUDING: FOOTNOTES, LINE NUMBERS, ATTRIBUTIONS AND TITLES WHEN YOU READ.

REMEMBER YOUR STRATEGIES: READ THE QUESTIONS FIRST SO YOU KNOW WHAT TO FOCUS ON IN THE READINGS.

KEEP YOUR PEN MOVING.

AN ACTIVE READER IS A STRONG READER.

HIGHLIGHT, UNDERLINE, AND JOT NOTES ABOUT WHAT YOU UNDERLINED AND HIGHLIGHTED AND WHY!

DON'T WASTE TIME ON UNKNOWN WORDS.

USE CONTEXT OR REPLACE THE WORD WITH ONE YOU KNOW AND CAN DEFINE.

USE A PROCESS OF ELIMINATION-MEANING GET RID OF THE WORST TWO ANSWER CHOICES IMMEDIATELY.

USE THE LANGUAGE AND KEY WORDS IN THE QUESTION TO GUIDE YOUR SELECTION OF ANSWERS.

WHAT IS THE QUESTION REALLY ASKING ME TO DO OR FIND?

DO NOT GET TOO BOGGED DOWN WITH THE ANSWER CHOICES.

COVER THEM UP AND THINK!

WHAT WOULD YOU ANSWER IF THIS WERE NOT A MULTIPLE CHOICE QUESTION?

DON'T FORGET TO COMPLETELY BUBBLE IN YOUR ANSWER CHOICES IN BLUE OR BLACK INK.

THE SECOND TASK ON THE ELA REGENTS IS WRITING FROM SOURCES: THE ARGUMENT ESSAY.

IF THERE IS ONE AREA WE KNOW TEENAGE STUDENTS CAN THRIVE, IT IS IN THE ART OF ARGUMENT.

THIS TASK IS THE LENGTHIEST OF ALL PARTS OF THE REGENTS EXAM AND IS WEIGHTED HEAVILY.

WE RECOMMEND TAKING 60-75 MINUTES TO COMPLETE THIS.

IN THAT TIMEFRAME YOU WILL NEED TO ACTIVELY AND CAREFULLY READ ALL FOUR SOURCES, PLAN YOUR RESPONSE, AND WRITE YOUR ARGUMENT ON THE GIVEN TOPIC.

YOU'LL BE GIVEN A QUESTION THAT YOU WILL ANSWER IN YOUR THESIS.

FOR EXAMPLE, SHOULD CASH CURRENCY BE ELIMINATED?

YOU MAY RESPOND WITH ONE OF THE 3 POSSIBLE CLAIMS A POSITIVE CLAIM A NEGATIVE CLAIM OR A NEUTRAL/BALANCED CLAIM WHICHEVER ONE YOU CHOOSE, WE STRONGLY RECOMMEND THAT YOU TAKE A FIRM STANCE IN YOUR THESIS.

THIS IS AN ARGUMENT, AFTER ALL!!

THERE'S NO WRONG OR RIGHT ANSWER HERE - THERE'S ONLY WHAT YOU CAN PROVE USING EVIDENCE FROM THE TEXT.

JUST REMEMBER ALL OF THE EVIDENCE YOU USE TO BUILD AND SUPPORT YOUR ARGUMENT MUST COME FROM THE SOURCES PROVIDED.

WE STRONGLY RECOMMEND BUILDING YOUR ARGUMENT BASED ON WHICH SIDE OF THE ARGUMENT YOU FEEL YOU'RE ABLE TO SUPPORT WITH STRONGER EVIDENCE AND COMMENTARY.

WE CAUTION YOU AGAINST THE USE OF THE NEUTRAL, OR MIDDLE GROUND, CLAIM, AS THE "AGREE" OR "DISAGREE" CLAIM WILL USUALLY BE EASIER TO PROVE.

BEWARE THAT NEUTRAL STATEMENTS CAN SOMETIMES BE TOO WISHY-WASHY.

YOUR ARGUMENT SHOULD BE CRYSTAL CLEAR, AND THAT BEGINS WITH A CLEAR THESIS.

THE DIRECTIONS STATE THAT AFTER YOU READ AND ANALYZE ALL FOUR SOURCES, YOU MUST USE EVIDENCE FROM AT LEAST THREE OF THE SOURCES TO DEVELOP YOUR ARGUMENT.THIS IS IMPORTANT BECAUSE IF YOU USE FEWER THAN THREE SOURCES YOU WILL LOSE A SIGNIFICANT AMOUNT OF POINTS.

YOU MUST ALSO CITE YOUR SOURCES.

SOMETHING WE WILL ADDRESS IN DETAIL LATER.

YOU WILL USE ALL OF THE INFORMATION YOU HAVE GATHERED FROM ACTIVELY READING TO CONSTRUCT, DEVELOP, AND DEFEND YOUR ARGUMENT.

USE THE "BE SURE TO" GUIDELINES IN THE TEST BOOKLET TO ENSURE THAT YOU COMPLETE ALL PARTS OF THE ESSAY TASK.

LET'S LOOK AT THESE DIRECTIONS.

WE RECOMMEND THAT YOU USE THESE BULLET POINTS AS A CHECKLIST TO DOUBLE-CHECK THAT YOU HAVE DONE EVERYTHING REQUIRED OF YOU.

LET'S WALK THROUGH THE "BE SURE TO" CHECKLIST USING THE QUESTION, "SHOULD CASH CURRENCY BE ELIMINATED?""

THE FIRST INSTRUCTION STATES THAT YOU MUST ESTABLISH YOUR CLAIM REGARDING WHETHER THE CASH CURRENCY SHOULD BE ELIMINATED.

ONCE AGAIN HERE ARE YOUR OPTIONS TO RESPOND TO THE QUESTION: "SHOULD CASH CURRENCY BE ELIMINATED?"

POSITIVE CLAIM STATES: YES, CASH CURRENCY SHOULD BE ELIMINATED.

NEGATIVE CLAIM THAT ASSERTS: NO CASH CURRENCY SHOULD NOT BE ELIMINATED.

MIDDLE OF THE ROAD, BUT CLEAR, CLAIM THAT ARGUES: "CASH CURRENCY SHOULD NOT BE COMPLETELY ELIMINATED BUT WE SHOULD ENCOURAGE PEOPLE TO USE LESS CASH."

THE SECOND BULLET POINT ON THE ARGUMENT INSTRUCTIONS REMIND US TO DISTINGUISH YOUR CLAIM FROM ALTERNATE OR OPPOSING CLAIMS.

OK, BUT WHAT DOES THAT MEAN?

THAT MEANS THAT SOMEONE MIGHT HAVE AN OPINION OR ARGUMENT THAT IS DIFFERENT FROM THE ONE YOU ARE PRESENTING.

YOU HAVE TO ACKNOWLEDGE THAT HIS OR HER OPINION EXISTS AND THEN SHUT IT DOWN, OR REFUTE IT, IMMEDIATELY.

WHY WOULD WE ACKNOWLEDGE THE OTHER SIDE?

IRONICALLY, IT STRENGTHENS YOUR ARGUMENT WHEN YOU ADMIT THAT SOMEONE COULD THINK DIFFERENTLY, BUT THEN YOU PROVE WHY THEY ARE WRONG.

ONE STRATEGY FOR DECIDING HOW TO BUILD YOUR CLAIM AND YOUR COUNTERCLAIM IS TO ANNOTATE USING TWO DIFFERENT COLORED HIGHLIGHTERS.

READ EACH ARTICLE.

WHEN YOU COME ACROSS A DETAIL THAT SUPPORTS ONE SIDE OF THE TOPIC, LET'S CALL THAT "SIDE A" HIGHLIGHT IT IN ONE COLOR.

WHEN YOU COME ACROSS EVIDENCE THAT SUPPORTS THE OPPOSING VIEW (OR "SIDE B") HIGHLIGHT THAT IN A DIFFERENT COLOR.

JOT NOTES FOR SIDE A ON THE LEFT SIDE OF YOUR PAPER AND JOT NOTES FOR "SIDE B" ON THE RIGHT SIDE OF YOUR PAPER.

NOW YOU HAVE YOUR EVIDENCE SORTED BY COLOR AND BY MARGIN, AND YOU'RE ORGANIZED AND READY TO DETERMINE WHICH SIDE YOU WANT TO PICK TO BUILD A STRONGER ARGUMENT.

YOU'VE ALSO LIKELY IDENTIFIED A COUNTERCLAIM THAT YOU WILL SHUT DOWN LATER!

NEXT YOU'RE ASKED TO USE SPECIFIC, RELEVANT, AND SUFFICIENT EVIDENCE FROM AT LEAST THREE OF THE SOURCES TO SUPPORT YOUR ARGUMENT.

SPECIFIC EVIDENCE MEANS DIRECT QUOTES FROM THE SOURCES, RELEVANT MEANS THEY RELATE BACK TO YOUR OVERALL CLAIM AND SUBCLAIMS, AND ONCE AGAIN DO NOT FORGET TO PULL QUOTES FROM AT LEAST THREE OF THE FOUR SOURCES.

SPEAKING OF SOURCES, HOW WILL WE KNOW IF WE HAVE USED AT LEAST THREE?

HOW DO WE GIVE CREDIT TO WHERE WE GOT THIS INFORMATION?

THE ANSWER IS: YOU ARE GOING TO CLEARLY CITE THE SOURCES OF YOUR EVIDENCE BY SOURCE NUMBER AND LINE NUMBER.

THIS AVOIDS PLAGIARISM, BUT IT ALSO HELPS YOU TO SEE IF YOU'VE USED THREE SOURCES OR NOT.

THE SOURCE NUMBER IS LOCATED AT THE TOP OF THE PAGE AND THE LINE NUMBERS ARE FOUND IN THE MARGINS.

SIMPLY STATE BOTH THE SOURCE AND THE NUMBER OF THE LINE OR LINES WHERE YOU FOUND YOUR INFORMATION.

YOU MUST CITE PARAPHRASED OR QUOTED INFORMATION.

YOU CAN EMBED THE CITATION INTO YOUR SENTENCE.

FOR EXAMPLE, "IN SOURCE 3, LINE 10 THE AUTHOR POINTS OUT THAT THERE IS $800 BILLION DOLLARS OF CREDIT CARD DEBT."

OR YOU CAN INCLUDE CITATIONS IN PARENTHESES AFTERWARDS LIKE IN THIS EXAMPLE: "IN THE U.S., ONLY 32% OF TRANSACTIONS WERE CASH-BASED IN 2018 (SOURCE 1, GRAPHIC). "

AS YOU CAN SEE, YOU SHOULD ALSO CITE GRAPHICS.

SINCE THERE IS NO LINE NUMBER AVAILABLE IN THIS CASE, YOU SHOULD PROVIDE THE INFORMATION YOU DO HAVE, WHICH IS-SOURCE 1 AND GRAPHIC.

THE NEXT PART OF THE INSTRUCTIONS STATE TO BE SURE TO: ORGANIZE YOUR IDEAS IN A COHESIVE AND COHERENT ESSAY.

THIS IS ABOUT ORGANIZING YOUR IDEAS SO THEY MAKE SENSE AND SOMEONE ELSE CAN FOLLOW YOUR ARGUMENT.

IF AN ESSAY IS COHESIVE, ALL OF THE INFORMATION CAN BE PULLED BACK TO YOUR THESIS OR OVERALL CLAIM.

IF YOUR LACROSSE TEAM IS A COHESIVE UNIT EVERYONE WORKS TOGETHER TO MAKE PLAYS.

SIMILARLY, IF YOUR ESSAY IS COHESIVE ALL OF THE PARTS WORK TOGETHER TO MAKE SENSE AND BUILD YOUR ARGUMENT.

"COHERENT" SIMPLY MEANS WE CAN UNDERSTAND IT.

YOUR ARGUMENT MUST BE LOGICAL AND CLEAR, SO CHOOSE YOUR WORDS CAREFULLY.

LET'S TALK MORE ABOUT HOW TO ORGANIZE YOUR ESSAY IN ORDER TO MAKE IT COHESIVE AND COHERENT.

CONSIDER YOUR OVERALL ARGUMENT AS A STRUCTURE, AND YOU WANT TO HOLD UP YOUR "ROOF" OR CLAIM.

CLAIM IS ANOTHER WAY OF SAYING THE THESIS OF YOUR ARGUMENT!

WITHOUT STRONG SUB-CLAIMS AND A COUNTERCLAIM, YOUR ROOF WILL COLLAPSE.

SO WHAT HOLDS UP YOUR OVERALL BIG CLAIM OR THESIS?

SUBCLAIM 1.

SUB-CLAIM 2 AND A COUNTERCLAIM THAT YOU MUST REFUTE OR PROVE WRONG THESE THREE COLUMNS OF SMALLER CLAIMS CONNECT BACK TO AND UPHOLD YOUR BIG CLAIM.

IF YOUR CLAIM, OR THESIS, IS THE ROOF, THEN THE CONCLUSION IS THE PEDESTAL THAT REINFORCES YOUR OVERALL ARGUMENT.

EACH SUBCLAIM, OR THE COLUMNS OF THE STRUCTURE IN OUR VISUAL, NEEDS CONCRETE EVIDENCE TO MAKE IT STRONG.

THIS EVIDENCE SHOULD COME DIRECTLY FROM THE SOURCES PROVIDED TO YOU.

YOU SHOULD NOT RELY ON ANY OUTSIDE INFORMATION OR KNOWLEDGE.

ANOTHER WAY TO THINK ABOUT THESE SUBCLAIMS ARE YOUR MAJOR REASONS.

THE FIRST REASON YOU SHOULD AGREE WITH MY CLAIM IS, THE SECOND REASON YOU SHOULD AGREE WITH MY CLAIM IS, AND SOME PEOPLE MAY ARGUE A DIFFERENT POINT OF VIEW.

HOWEVER, THOSE OPPONENTS ARE WRONG BECAUSE_____.

SO LET'S LOOK AT A POSITIVE OR AN "I AGREE" OUTLINE FOR THIS TOPIC.

YES, CASH CURRENCY SHOULD BE ELIMINATED BECAUSE CASH IS OUTDATED AND FURTHERMORE, CASH IS INEFFICIENT.

OTHERS MAY ARGUE THAT CASH HAS SOME ADVANTAGES.

HOWEVER, THEY DO NOT OUTWEIGH THE PROBLEMS.

AS YOU CAN SEE, CASH CURRENCY IS NO LONGER RELEVANT AND SHOULD BE ELIMINATED.

HERE IS A NEGATIVE OR "I DISAGREE" EXAMPLE ON THE SAME TOPIC.

NO CASH CURRENCY SHOULD NOT BE ELIMINATED BECAUSE IT IS BOTH PRACTICAL AND RELIABLE.

OPPONENTS MAY ARGUE THAT DIGITAL CURRENCY IS NEEDED FOR ONLINE TRANSACTIONS.

WHILE THAT MAY BE TRUE, CASH WOULD STILL BE NEEDED IN OTHER CIRCUMSTANCES LIKE A POWER OUTAGE.

THEREFORE, CASH CURRENCY SHOULD NOT BE ELIMINATED.

HERE IS A NEUTRAL OR "I SEE BOTH SIDES" EXAMPLE.

OOH HEATHER, DON'T FORGET TO WARN THEM TO USE CAUTION WITH THIS ONE.

IF YOUR CLAIM, SUBCLAIMS AND COUNTERCLAIM AREN'T SUPER CLEAR IT COULD SEEM LIKE YOU ARE ARGUING BOTH SIDES.

A CLEAR NEUTRAL CLAIM COULD BE: CASH CURRENCY SHOULD NOT BE ENTIRELY ELIMINATED BECAUSE IT HAS THE BENEFITS OF BEING PRIVATE AND ALSO ACCESSIBLE.

SOME MAY SUGGEST REMOVING CASH COMPLETELY, BUT A MORE REASONABLE APPROACH WOULD BE TO MAKE MULTIPLE PAYMENT OPTIONS AVAILABLE TO CONSUMERS.

THEREFORE, WHILE THERE IS ROOM FOR DIGITAL CURRENCY IN OUR EVER-EXPANDING WORLD IT WOULD BE SHORT-SIGHTED TO ELIMINATE CASH ENTIRELY.

THE NEXT BULLET POINT REMINDS US TO MAINTAIN AN APPROPRIATE STYLE AND TONE, AVOIDING THE USE OF CASUAL OR CONVERSATIONAL LANGUAGE, SYMBOLS AND/OR ABBREVIATIONS, UNLESS QUOTING DIRECTLY FROM A CITED SOURCE.

IN SHORT, YOU WANT TO SOUND LIKE YOU'RE WRITING AN ACADEMIC PAPER AND NOT A TEXT MESSAGE TO YOUR BESTIES.

NO C U LATER OR I CAN'T TALK RN.

NO, I ?

?

U, HASHTAGS OR SLANG.

BE CLEAR AND DIRECT WITH YOUR LANGUAGE AND TRY TO ELEVATE YOUR VOCABULARY WHENEVER POSSIBLE.

LASTLY, DO YOUR BEST TO USE APPROPRIATE GRAMMAR AND PUNCTUATION.

REMEMBER WHAT WE SAID EARLIER ABOUT "EATING GRANDMA."

PUNCTUATION SAVES LIVES AND MAKES YOUR WRITING MORE CLEAR.

IF YOUR GRAMMAR AND PUNCTUATION ARE NOT CLEAR THEN YOUR WRITING JUST WON'T MAKE SENSE.

HERE ARE A FEW "NON-NEGOTIABLES" THAT SHOULD BE PROOFREAD ON EVERY ESSAY!

- CAPITALIZE THE FIRST WORD OF EVERY SENTENCE.

- CAPITALIZE PROPER NOUNS, LIKE NAMES AND PLACES.

- END EVERY SENTENCE WITH AN APPROPRIATE PUNCTUATION MARK.

OK, LET'S TAKE A LOOK AT HOW ALL OF THIS COMES TOGETHER BY EXAMINING A SAMPLE ESSAY.

WE ARE GOING TO ASSERT A NEGATIVE CLAIM THAT CASH CURRENCY SHOULD, IN FACT, NOT BE ELIMINATED.

OUR FIRST MAJOR POINT OR SUBCLAIM IS THAT CASH IS WIDELY USED.

OUR SECOND REASON OR SUBCLAIM IS THAT CASH PROTECTS PRIVACY.

WE ALSO ACKNOWLEDGE THAT CASH CAN HELP KEEP PEOPLE IN POVERTY, BUT THAT DOES NOT OUTWEIGH THE BENEFITS.

CLEARLY, CASH CURRENCY SHOULD STAY AROUND.

HERE IS A SAMPLE INTRODUCTION.

THIS SHOULD BE THE FIRST PARAGRAPH OF YOUR ESSAY, AND IT NEEDS TO CLEARLY STATE YOUR OVERALL CLAIM OR ARGUMENT.CASH CASH CURRENCY SHOULD NOT BE ELIMINATED BECAUSE IT IS STILL WIDELY USED, PROTECTS PRIVACY, AND SUPPORTS EVERYDAY ECONOMIC ACTIVITY.

WHILE DIGITAL PAYMENTS ARE GROWING, MANY PEOPLE STILL DEPEND ON CASH.

ELIMINATING IT COMPLETELY WOULD CREATE MORE PROBLEMS THAN BENEFITS, ESPECIALLY FOR REGULAR CONSUMERS AND CERTAIN GROUPS IN SOCIETY.

YOUR FIRST BODY PARAGRAPH IS DESIGNED TO PROVE YOUR FIRST SUB-CLAIM.

IN THIS CASE, WE ARE PROVING THAT CASH SHOULD NOT BE ELIMINATED BECAUSE IT IS STILL WIDELY USED, AND OFTEN PREFERRED, BY MANY.

OUR PARAGRAPH MAY STATE: ONE REASON CASH SHOULD REMAIN IS THAT MANY PEOPLE STILL PREFER USING IT.

ACCORDING TO SOURCE 2, 44% OF CONSUMERS SAID THEY WOULD RATHER USE CASH THAN A CENTRAL BANK DIGITAL CURRENCY (SOURCE 2, LINES 10-12).

IN ADDITION, 59% BELIEVE CASH WILL ALWAYS BE RELEVANT (SOURCE 2, LINES 10-11).

THIS SHOWS THAT EVEN WITH NEW TECHNOLOGY, PEOPLE ARE NOT READY TO FULLY GIVE UP PHYSICAL MONEY.

CASH IS FAMILIAR, SIMPLE, AND TRUSTED BY MANY.

HOWEVER, SOURCE 4 EXPLAINS THAT CASH IS STILL USED FOR MANY LEGAL TRANSACTIONS AND REMOVING IT COULD HURT ECONOMIC ACTIVITY THIS SHOWS THAT CASH IS STILL NECESSARY IN TODAY'S ECONOMY.

FINALLY, YOUR LAST PARAGRAPH SHOULD CONCLUDE BY SUMMARIZING THE MAJOR POINTS OF YOUR ARGUMENT AND REMINDING THE READER EXACTLY WHERE YOU STAND ON THIS ISSUE.

FOR EXAMPLE,IN CONCLUSION, CASH CURRENCY SHOULD NOT BE ELIMINATED.

EVEN THOUGH DIGITAL PAYMENTS ARE INCREASING, CASH IS STILL WIDELY USED, PREFERRED BY MANY PEOPLE, AND NECESSARY FOR CERTAIN TRANSACTIONS.

WHILE THERE ARE SOME DISADVANTAGES, THE NEGATIVE EFFECTS OF REMOVING CASH COMPLETELY WOULD BE GREATER.

KEEPING CASH AS AN OPTION ENSURES FAIRNESS, ACCESSIBILITY, AND STABILITY IN THE ECONOMY.

OK, WE JUST GAVE YOU A LOT TO THINK ABOUT.

LET'S TAKE A MINUTE TO REVIEW THE MAJOR COMPONENTS OF THE ARGUMENT ESSAY AND SOME TIPS TO REMEMBER.

THE ARGUMENT ESSAY IS THE MOST HEAVILY WEIGHTED WRITING TASK ON THE EXAM.

YOU SHOULD PLAN TO SPEND ABOUT 60-75 MINUTES ON THIS ESSAY, SO REMEMBER TO WATCH THE CLOCK.

DO NOT FORGET TO CAREFULLY READ ALL FOUR OF THE SOURCES PROVIDED.

OUTLINE YOUR RESPONSE, INCLUDING ALL CLAIMS AND EVIDENCE, BEFORE WRITING.

ANNOTATING THE PROS AND CONS OF THE ISSUE IN TWO DIFFERENT COLORS AND IN TWO DIFFERENT MARGINS HELPS TO KEEP YOUR THINKING VISIBLE AND CLEAR.

IT IS IMPORTANT TO CHOOSE A CLEAR AND FIRM POSITION FOR YOUR THESIS STATEMENT.

YOU MUST INCLUDE EVIDENCE FROM AT LEAST THREE SOURCES IN YOUR ESSAY.

EVERY TIME YOU INCLUDE INFORMATION FROM A SOURCE, YOU MUST CITE THAT SOURCE.

YOU MUST DISTINGUISH YOUR CLAIM FROM ANY OPPOSING CLAIM.

AS IN "I SEE YOUR POINT, BUT I DISAGREE AND HERE IS WHY•" DO NOT UNDERESTIMATE THE IMPORTANCE OF HAVING AN OUTLINE ON SCRAP PAPER THAT INCLUDES YOUR OVERALL CLAIM, SUBCLAIMS, COUNTER CLAIM, AND EVIDENCE.

ORGANIZING YOUR ESSAY IN ADVANCE GIVES YOU A CLEAR ROADMAP, SO YOU DO NOT BEGIN TO VEER OFF TRACK ONCE YOU START WRITING.

PROOFREAD YOUR WORK, AND MAKE SURE YOU USE AN ACADEMIC TONE AS WELL AS APPROPRIATE GRAMMAR AND PUNCTUATION.

THE FINAL TASK ON THE EXAM IS A TEXT ANALYSIS RESPONSE.

THIS TASK REQUIRES STUDENTS TO CLOSELY READ A TEXT AND TO DEVELOP A RESPONSE OF TWO OR MORE PARAGRAPHS.

THE RESPONSE MUST IDENTIFY A CENTRAL IDEA OR THEME IN THE TEXT AND STUDENTS MUST ANALYZE WHAT WRITING TECHNIQUES THE AUTHOR USED TO DEVELOP THE CENTRAL IDEA.

WE RECOMMEND THAT YOU TAKE APPROXIMATELY 30-45 MINUTES TO READ ONE TEXT AND COMPLETE THE 2-3 PARAGRAPH WRITING RESPONSE.

CONSIDER WHAT THE AUTHOR DID TO CREATE THE MESSAGE OR MAIN IDEA.

HERE IS A SCREEN SHOT OF THE TASK SO YOU KNOW WHAT TO EXPECT.

IT IS POSSIBLE TO GET NONFICTION OR A FICTION PASSAGE FOR PART 3, SO YOU NEED TO PREPARE FOR BOTH POSSIBILITIES.

HOW ARE THEY DIFFERENT?

THINK ABOUT THE CENTRAL IDEA OF A NONFICTION TEXT AS THE MAIN IDEA OR POINT OF THE PASSAGE.

IN A FICTIONAL TEXT THE AUTHOR OFTEN RELAYS A MESSAGE THEY WANT YOU TO UNDERSTAND ABOUT LIFE IN GENERAL OR A THEME.

SO WHAT GOES INTO DEVELOPING A TEXT ANALYSIS RESPONSE?

YOUR THESIS FOR THIS ESSAY NEEDS TO INCLUDE BOTH A CENTRAL IDEA OR THEME AND AT LEAST ONE LITERARY ELEMENT OR WRITING STRATEGY.

SO THE THESIS WILL ALWAYS SOUND SOMETHING LIKE: THE AUTHOR USES THESE LITERARY ELEMENTS OR WRITING STRATEGIES TO DEVELOP THIS CENTRAL IDEA OR THEME.

BE SURE TO "TAG" YOUR THESIS TOO.

MEANING INCLUDE THE T- TITLE,A- AUTHOR AND G- GENRE IN YOUR THESIS STATEMENT.

HERE IS A COPY OF THE INSTRUCTIONS YOU WILL SEE ON PART 3 OF THE REGENTS EXAM.

AS YOU CAN SEE, STEP ONE IS TO INTRODUCE A CENTRAL IDEA OR THEME FROM THE TEXT.

USE THE BULLETS AS A CHECK LIST TO ENSURE YOU HAVE COMPLETED ALL REQUIRED PARTS OF THE TASK.

SO WHAT IS A CENTRAL IDEA OR THEME?

TO FIGURE IT OUT WE SHOULD ASK OURSELVES: WHAT IS THE MAIN IDEA OF THE PASSAGE OR THE BIG IDEA ABOUT LIFE THAT THE AUTHOR IS TRYING TO CONVEY?

REMEMBER THIS CENTRAL IDEA OR THEME SHOULD BE MORE THAN ONE WORD OR PHRASE BUT YOU SHOULD BE ABLE TO EXPRESS IT IN ONE CLEAR AND CONCISE SENTENCE.

FURTHERMORE, IT SHOULD BE SOMETHING THAT COULD APPLY TO MULTIPLE TEXTS.

HERE ARE SOME EXAMPLES OF CENTRAL IDEAS OR THEMES: LOVE IS BLIND "YOU HAVE TO CHOOSE TO BE BRAVE "REVENGE COMES AT A PRICE "SMALL CHOICES CAN HAVE BIG CONSEQUENCES TIME HEALS ALL WOUNDS "TRADITIONS DEATH IS HARDEST ON THE LIVING PATIENCE IS A VIRTUE FAILURE IS PART OF SUCCESS NOTICE THAT ALL OF THESE STATEMENTS ARE COMPLETE SENTENCES.

THEY ARE BIG IDEAS THAT CAN APPLY TO MORE THAN ONE TEXT OR SITUATION.

MAYBE THE SMALL CHOICE TO CHEAT ON AN EXAM HAD THE BIG CONSEQUENCE OF GETTING EXPELLED FROM SCHOOL BUT ALSO MAYBE THE SMALL CHOICE TO ASK A GIRL TO THE PROM RESULTED IN YOUR FUTURE MARRIAGE!

OK NOW THAT WE KNOW SOMETHING ABOUT WHAT A THEME OR CENTRAL IDEA IS OR IS NOT, LET'S TALK ABOUT HOW AN AUTHOR USES LITERARY ELEMENTS OR WRITING STRATEGIES TO DEVELOP OR SUPPORT THE CENTRAL IDEA OR THEME.

YOU CAN USE THE ACRONYM LEWS TO HELP YOU REMEMBER THAT YOU NEED TO USE LITERARY ELEMENTS AND/OR WRITING STRATEGIES.

WRITERS USE MULTIPLE STRATEGIES TO GET THEIR POINT ACROSS, SO YOU NEED TO CHOOSE AT LEAST ONE LEWS AND EXPLAIN HOW THE AUTHOR USES THE LEWS TO DEVELOP A CENTRAL IDEA OR THEME.

YOU NEED TO PICK QUOTES TO SUPPORT YOUR CENTRAL IDEA AND THEN EXPLAIN HOW THE LEWS IN THE QUOTE SUPPORT THE CENTRAL IDEA.

THERE ARE SO MANY DIFFERENT LEWS OUT THERE, BUT WE ARE GOING TO WALK YOU THROUGH SOME OF THE MOST COMMON.

WHEN IN DOUBT, PICK ONE OF THESE LEWS.

SOME ARE MORE COMMON IN FICTION AND OTHERS ARE MORE COMMON IN NONFICTION PIECES.

CHARACTERIZATION IS THE LITERARY TERM FOR HOW WE LEARN ABOUT CHARACTERS.

WE LEARN ABOUT CHARACTERS IN THE SAME WAYS THAT WE LEARN ABOUT PEOPLE-WHAT THEY SAY, THINK, THEIR EFFECT ON OTHERS, HOW THEY ACT, AND WHAT THEY LOOK LIKE.

SOME STUDENTS FIND THE ACRONYM STEAL HELPFUL TO REMEMBER THAT CHARACTERIZATION IS ABOUT A CHARACTER'S SPEECH, THOUGHTS, EFFECT, ACTIONS, AND LOOKS.

LET'S LOOK AT THIS EXCERPT: THE NEW STUDENT STOOD IN THE DOORWAY, CLUTCHING A STACK OF PERFECTLY ORGANIZED NOTEBOOKS TO HER CHEST AS THE CLASS BUZZED AROUND HER.

THE AUTHOR TOLD US DIRECTLY THAT SHE'S A NEW STUDENT BUT WE CAN INFER BY HER ACTION OF CLUTCHING THE PERFECTLY ORGANIZED NOTEBOOKS THAT SHE MIGHT BE A LITTLE TENSE SINCE CLUTCHING MEANS TO HOLD ON TIGHTLY.

SHE IS ALSO PROBABLY A RESPONSIBLE STUDENT IF HER NOTEBOOKS ARE SO METICULOUSLY ORGANIZED.

THE PASSAGE CONTINUES WITH THE CHARACTER SPEAKING.

SHE SAYS "UM• EXCUSE ME," SHE SAID QUIETLY TO THE TEACHER, "IS IT OKAY IF I SIT IN THE BACK?"

THE WORD "UM" SHOWS SHE IS HESITANT," EXCUSE ME" IMPLIES SHE IS POLITE, AND SINCE SHE IS QUIETLY ASKING PERMISSION SHE SEEMS TO BE SHY OR SLIGHTLY UNCOMFORTABLE.

IT SEEMS LIKE HER CLASSMATES JUDGED HER WITHOUT REALLY GETTING TO KNOW HER THOUGH DOESN'T IT.

SO IF THIS WERE YOUR PASSAGE, YOU COULD DEVELOP A THESIS THAT SAID: IN "THE NEW STUDENT" A SHORT STORY, HARRIET WELSH USES CHARACTERIZATION TO SHOW THAT NEW BEGINNINGS CAN BE HARD.

ANOTHER LEWS THAT FREQUENTLY APPEARS IN LITERATURE IS IMAGERY.

IMAGERY IS: VIVID WRITING THAT APPEALS TO THE FIVE SENSES.

CAN YOU SEE IT, SMELL IT, TASTE IT, FEEL IT, OR HEAR IT BASED ON THE AUTHOR'S DESCRIPTIVE WORD CHOICE OR DICTION?

IF SO, THAT IS IMAGERY.

HERE IS A PASSAGE THAT EMPLOYS IMAGERY.

LET'S READ IT TOGETHER.

THE AIR IN THE SUN-DRENCHED ORCHARD SMELLED OF BRUISED PEACHES AND WARM EARTH, A SWEET PERFUME THAT SIGNALED THE HEIGHT OF SUMMER.

YOU CAN SMELL THOSE PEACHES AND THE EARTHINESS OF NATURE MIXED WITH A PLEASANT SWEET SCENT.

THE POSITIVE DICTION CONNECTS TO THE NARRATOR FEELING PLEASED WITH THIS SENSORY EXPERIENCE.

BRIGHT, GOLDEN LIGHT FILTERED THROUGH THE CANOPY, ILLUMINATING THE FUZZY, CRIMSON-STREAKED SKINS OF THE FRUIT HANGING HEAVILY FROM THE BRANCHES.

IN THIS SECTION YOU CAN VISUALIZE THE BRIGHT GOLDEN LIGHT FROM THE SUN AND THE VIVID COLORS.

A THESIS WE COULD USE HERE IS: IN AN EXCERPT FROM THE BOOK PEACHES, PEACHES; SCOTT BRET USES IMAGERY TO SHOW THAT WE SHOULD NEVER TAKE A SINGLE DAY OF LIFE FOR GRANTED.

ANOTHER LEWS TO NOTICE IS NARRATION AND POINT OF VIEW - WHO IS TELLING THE STORY, AND HOW AND WHY DOES THE PERSPECTIVE OF THAT NARRATOR MATTER?

LET'S LOOK A BIT MORE CLOSELY AT NARRATION OR THE ACT OF TELLING THE STORY.

THERE ARE ALL DIFFERENT KINDS OF NARRATORS.

IS THE PERSON SPEAKING RELIABLE?

ARE THEY OLD ENOUGH TO UNDERSTAND WHAT'S HAPPENING?

ARE THEY DETACHED FROM THE EVENTS?

THESE ARE ALL THINGS TO THINK ABOUT WHEN DESCRIBING A NARRATOR.

THE POINT OF VIEW OF THE NARRATOR CAN AFFECT HIS OR RELIABILITY AND THE WAY THE READER UNDERSTANDS THE INFORMATION PROVIDED TO THEM.

IF I AM A FIRST-PERSON NARRATOR.

I AM A CHARACTER INSIDE THE STORY.

I USE PRONOUNS SUCH AS I, ME, AND MY.

ONE DOWNSIDE TO THIS TYPE OF NARRATION IS THAT I MAY BE TOO CLOSE TO THE OTHER CHARACTERS TO STAY OBJECTIVE, AND YOU'RE ONLY HEARING MY RECOUNTING OF EVENTS.

I MAY BE BIASED.

A 3RD PERSON NARRATOR HAS SOME DISTANCE.

THEY ARE TELLING THE STORY FROM OUTSIDE OF IT.

THEY MAY HAVE SOME INFORMATION ABOUT SOME CHARACTERS (LIMITED) OR BE A GOD-LIKE NARRATOR WITH ALL OF THE INFORMATION ON ALL THE CHARACTERS (OMNISCIENT) NARRATION AND POINT OF VIEW ARE LEWS THAT CAN HELP DEVELOP THEMES.

FOR EXAMPLE, IN THE STORY WHO SHE WAS, SONIA ROY USES AN UNRELIABLE NARRATOR TO SHOW THAT WE NEVER REALLY KNOW THE PEOPLE CLOSE TO US.

TEXT STRUCTURE REFERS TO THE ORGANIZATIONAL PATTERNS THAT AUTHORS USE TO CONNECT IDEAS AND MOVE THE READER THROUGH THE TEXT.

STRUCTURE IS ANOTHER LEWS AUTHORS USE TO BUILD MEANING AND CENTRAL IDEAS COMMON NONFICTION TEXT STRUCTURES INCLUDE: PROBLEM/ SOLUTION CAUSE AND EFFECT COMPARE AND CONTRAST CHRONOLOGICAL AND CLAIM/COUNTERCLAIM.

HERE IS AN EXAMPLE OF HOW YOU COULD USE A TEXT STRUCTURE IN YOUR THESIS.

"THE WORLD" MAGAZINE REPORTER AMELIA AGUDO USES A CHRONOLOGICAL STRUCTURE TO SHOW THAT WE ARE ALL RESPONSIBLE FOR ENVIRONMENTAL CHANGE.

TONE=THE NARRATOR OR SPEAKER'S ATTITUDE TOWARD THE SUBJECT.

WHEN IN DOUBT, USE TONE.

THE NARRATOR IS ALWAYS USING WORDS AND THOSE WORDS ARE CLUES TO HELP YOU FIGURE OUT HOW THE NARRATOR, AUTHOR, OR SPEAKER FEELS ABOUT THE SUBJECT.

ARE THEY USING WORDS THAT SHOW A CRITICAL TONE SUCH AS JUDGMENTAL DISMISSIVE, SCRUTINIZING, SKEPTICAL, DISMISSIVE, OR ACERBIC?

OR IS THE NARRATOR OR SPEAKER CONVEYING A JOYOUS TONE, AND USING POSITIVE WORDS LIKE LUMINOUS, EFFERVESCENT, RADIANT, BLISSFUL, OR JUBILANT?

FOCUSING ON THE AUTHOR'S WORD CHOICE CAN HELP US DISCOVER TONE AND LEAD US TO THEMES AND CENTRAL IDEAS.

FOR EXAMPLE, THROUGH THE USE OF AN OMINOUS TONE, THOMAS BIRDSONG'S THE GLASS HANDSHAKE, CONVEYS THE CENTRAL IDEA THAT NO ONE IS TRULY RELIABLE.

FIGURATIVE LANGUAGE IS ANOTHER COMMON, AND IMPORTANT, DEVICE THAT WRITERS USE TO DEVELOP MEANING.

ANYTIME WE USE LANGUAGE THAT ISN'T LITERAL, WE ARE USING FIGURATIVE LANGUAGE.

TWO OF THE MOST POPULAR TYPES OF FIGURATIVE LANGUAGE ARE COMPARISONS CALLED METAPHOR AND SIMILE.

METAPHORS SAY ONE THING = A DIFFERENT THING WHILE SIMILES COMPARE HOW ONE THING IS LIKE OR AS ANOTHER THING.

WE MIGHT USE THE METAPHOR THE CLASSROOM WAS A ZOO TO EMPHASIZE HOW CRAZY AND CHAOTIC IT WAS OR WE MIGHT USE THE SIMILE THAT STUDENTS WERE ACTING LIKE ANIMALS TO CREATE A SIMILAR EFFECT.

FIGURATIVE LANGUAGE CAN HELP DEVELOP THEMES.

FOR EXAMPLE, "TO EXAMINE THE IDEA THAT LOVE IS BLIND, AUTHOR JULIET COLTO , IN A SHORT STORY CALLED "MEW'D UP IN HEAVINESS," USES METAPHORS.

CONFLICT IS ANY PROBLEM THAT EXISTS IN A TEXT.

THESE PROBLEMS CAN BE INTERNAL, OR ON THE INSIDE, LIKE I CANNOT DECIDE WHO TO ASK TO THE PROM.

OR THEY CAN BE EXTERNAL (ON THE OUTSIDE) LIKE A VERBAL ARGUMENT OR A FOOD FIGHT IN THE CAFETERIA.

COMMON CONFLICTS YOU WILL ENCOUNTER IN TEXTS ARE: CHARACTER VS.

SOCIETY CHARACTER VS.

CHARACTER CHARACTER VS.

SELF AND CHARACTER VS.

FATE- IF YOU'VE EVER SEEN DISNEY'S THE LION KING YOU SEE SIMBA DEALING WITH THIS CONFLICT UNTIL HE FINALLY ACCEPTS AND EMBRACES HIS FATE AS THE RIGHTFUL KING.

CONFLICTS AND THEIR RESOLUTION, OR LACK THEREOF, CAN CONTRIBUTE TO THEMES AND CENTRAL IDEAS.

IN THIS EXAMPLE, POET LUCIA SAGE BELIEVES THAT HOME CAN BE AN IMPORTANT SANCTUARY AND EXAMINES THIS IDEA THROUGH CONFLICT IN HER POEM "JOY, JOY, JOY."

REMEMBER IT IS NOT ENOUGH TO SIMPLY IDENTIFY A CENTRAL IDEA AND TO IDENTIFY THE WRITING STRATEGY OR LITERARY ELEMENT.

YOU MUST SELECT DETAILS THAT INCLUDE EXAMPLES OF THE WRITING STRATEGY AND EXPLAIN HOW THE EVIDENCE AND THE LEWS WORK TOGETHER TO PROVE YOUR CENTRAL IDEA OR THEME.

FOR EXAMPLE, "THOUGH EVERYONE SAW THE WARNING SIGNS IN HIS SHARP TEMPER AND CARELESS LIES, LENA CLUNG TO THE MEMORY OF HIS ONE GENTLE SMILE AND CALLED IT PROOF THAT HE WAS PERFECT FOR HER.

"LENA'S ACTIONS CHARACTERIZE HER AS IGNORING THE WARNING SIGNS THAT HER PARTNER WAS TROUBLE BECAUSE SHE WAS REMEMBERING BETTER TIMES.

FURTHERMORE, "EVEN AS HER FRIENDS WHISPERED ABOUT THE WAY HE IGNORED HER IN PUBLIC, LENA CONVINCED HERSELF THAT HIS DISTANT SILENCE WERE SIGNS OF DEPTH, NOT INDIFFERENCE."

HERE THE AUTHOR IS USING CHARACTERIZATION TO SHOW US LENA'S THOUGHTS AND FEELINGS GO AGAINST WHAT OTHERS ARE WARNING HER.

HER FRIENDS CAN CLEARLY SEE THAT HE IS IGNORING HER, BUT LENA IS BLIND TO HIS ACTIONS AND THEREBY NOT HEARING THE SOUND ADVICE FROM HER FRIENDS.

THE AUTHOR EMPLOYED CHARACTERIZATION TO ILLUMINATE THE THEME THAT LOVE IS BLIND.

OK, SO NOW WE HAVE OUR CENTRAL IDEA OR THEME, AND WE'VE PICKED LITERARY ELEMENTS OR WRITING STRATEGIES TO USE IN OUR ANALYSIS, BUT HOW DO WE ORGANIZE ALL OF THIS INFORMATION IN A COHESIVE AND COHERENT WAY?

COHESIVE MEANS CONNECTED AND ORGANIZED IN A WAY THAT MAKES SENSE AND COHERENT MEANS CLEAR AND EASY TO UNDERSTAND.

LET'S USE A WEDDING CAKE TO VISUALIZE OUR OUTLINE.

THINK OF THE TOP LAYER AS YOUR BRIEF INTRODUCTION.

IT'S THE SMALLEST LAYER, BUT IT'S AN IMPORTANT ONE.

THERE ARE THREE COMPONENTS: YOUR HOOK, YOUR TAG, AND YOUR THESIS.

HOOK YOUR READER WITH AN INTERESTING STATEMENT OR SOME BACKGROUND ON THE TOPIC.

NEXT, TAG IT BE SURE TO INCLUDE THE TITLE, AUTHOR AND GENRE.

FINALLY, CONFIDENTLY STATE YOUR THESIS STATEMENT.

BE SURE YOUR THESIS INCLUDES A CENTRAL IDEA OR THEME AND THE LEWS USED TO DEVELOP IT.

HERE IS THE TEXTUAL ANALYSIS PROMPT FROM THE AUGUST 2025 ELA REGENTS HERE IS A SAMPLE OF A LEVEL 4, OR TOP SCORING, THESIS STATEMENT.

IN THE GOOD EARTH BY PEARL S. BUCK, THE INTRICATE DETAILS OF A RISING CHINESE FAMILY'S LIFE ARE DISPLAYED, WHICH LEADS TO AN UNDERSTANDING OF THE CENTRAL IDEA THAT WHILE ONE MAY BATHE AND BASK IN THEIR NEWFOUND PROSPERITY, THEY MUST STILL HONOR THE TRADITIONS OF THEIR PAST.

PEARL S. BUCK DEMONSTRATES THIS THROUGH THE CHARACTERIZATION OF WANG LUNG IN SHOWING HOW, WHILE HE MAY HAVE ADOPTED SOME CHARACTERISTICS REFLECTIVE OF HIS RISE IN STATUS, HE ALSO REMAINED FAITHFUL TO THE CULTURAL TRADITIONS OF HIS PAST.

THERE'S A LITTLE MORE TO THE NEXT TIER OF THE CAKE.

IN THE SECOND PARAGRAPH YOU WANT TO PROVIDE AT LEAST TWO PIECES OF EVIDENCE THAT CONNECT BACK TO THE THEME OR CENTRAL IDEA AND ALSO INCLUDE EXAMPLES OF THE LEWS.

BE SURE TO EXPLAIN HOW EACH QUOTATION USES THE LEWS TO CONNECT BACK TO YOUR THESIS.

YOU MUST SUPPORT YOUR ANALYSIS BY PROVIDING EVIDENCE THIS EVIDENCE SHOULD BE QUOTED OR PARAPHRASED DIRECTLY FROM THE TEXT.

WHENEVER POSSIBLE, QUOTING IS RECOMMENDED AND PREFERRED.

THIS HELPS TO AVOID RETELLING OR SUMMARY.

IT IS NOT ENOUGH, HOWEVER, TO LIST THE CENTRAL IDEA AND THE QUOTES THAT INCLUDE LEWS.

YOU MUST CONNECT IT ALL WITH YOUR COMMENTARY.

EXPLAIN HOW AND WHY YOUR EXAMPLES SUPPORT AND DEVELOP THE THEME OR CENTRAL IDEA YOU STATED.

IN OTHER WORDS, YOU MUST SHOW THE RELATIONSHIP BETWEEN THE EXAMPLE, THE LEWS, AND THE DEVELOPMENT OF THE CENTRAL IDEA.

FOR EXAMPLE, WANG LUNG DECORATING HIS TOOLS AND DOORWAYS WITH RED PAPER EXPRESSES PART OF HIS CHARACTERIZATION.

SPECIFICALLY, AN ACTION HE TAKES.

THIS ACTION HELPS TO CHARACTERIZE HIM AS SOMEONE FAITHFUL TO HIS CULTURAL TRADITIONS.

FURTHERMORE, "WANG LUNG IS PROUD THAT HIS WIFE CAN GIVE THEIR BEST CAKES AS GIFTS TO THE GREAT HOUSE."

THIS DETAIL CONVEYS HIS THOUGHTS AND FEELINGS OF PRIDE.

THESE THOUGHTS SUPPORT THE CENTRAL IDEA BECAUSE THEY ILLUSTRATE HIS DEEP DEVOTION TO CULTURAL TRADITION.

HE IS PROUD THAT THESE GIFTS WILL GO TO THE GREAT HOUSE THAT HE REMEMBERS VISITING AS A CHILD.

IN EACH EXAMPLE, THE EVIDENCE AND THE LEWS NEED TO BE CONNECTED BACK TO YOUR THESIS BY YOUR UNIQUE AND INSIGHTFUL THINKING, WRITING, AND COMMENTARY.

YOU BUILD THE CONNECTIONS NEEDED FOR A COHESIVE AND COHERENT RESPONSE.

IN YOUR FINAL PARAGRAPH YOU SHOULD REVIEW THE THESIS INCLUDING THE CENTRAL IDEA OR THEME AND THE LEWS DISCUSSED.

THEN LEAVE YOUR READER WITH AN INSIGHT CONNECTED TO THE "BIG IDEA" AND THE BIGGER PICTURE.

FOR EXAMPLE, GIVE SOME WORDS OF WISDOM EXPLAINING WHY IT IS IMPORTANT TO BOTH HONOR YOUR PAST AND EMBRACE YOUR CURRENT SUCCESS.

SO LET'S REVIEW THE IMPORTANT POINTS REGARDING THE TEXTUAL ANALYSIS SECTION ONE MORE TIME.

THIS SECTION SHOULD TAKE 30-45 MINUTES TO COMPLETE YOU WILL NEED TO READ ONE FICTION OR NONFICTION TEXT YOU MUST IDENTIFY A CENTRAL IDEA OR THEME THAT THE TEXT EXPLORES.

YOU MUST IDENTIFY AT LEAST ONE LITERARY ELEMENT OR WRITING STRATEGY THAT THE AUTHOR USED TO DEVELOP THE CENTRAL IDEA YOUR RESPONSE NEEDS TO BE 2-3 PARAGRAPHS IN LENGTH INCLUDE THE TITLE GENRE AND AUTHOR IN YOUR THESIS STATEMENT.

A WAY TO REMEMBER THAT IS TO USE THE ACRONYM TAG.

TAG YOUR THESIS WITH THE IMPORTANT INFO.

THE CENTRAL IDEA SHOULD EXPRESS THE AUTHOR'S BIG IDEA ABOUT LIFE.

IT SHOULD BE ONE CONCISE SENTENCE AND IT SHOULD BE APPLICABLE TO MULTIPLE TEXTS.

BE SURE TO MAINTAIN APPROPRIATE STYLE, TONE, GRAMMAR AND PUNCTUATION.

DO NOT USE CONVERSATIONAL LANGUAGE, SYMBOLS OR ABBREVIATIONS UNLESS QUOTING DIRECTLY FROM A SOURCE.

BE ON THE LOOKOUT FOR LEWS COMMON TO FICTION SUCH AS IMAGERY, CHARACTERIZATION, NARRATION AND POINT OF VIEW.

TONE, FIGURATIVE LANGUAGE, CONFLICT, SETTING, AND STRUCTURE ARE OTHER LEWS THAT FREQUENTLY APPEAR IN THE READING PASSAGES.

YOU MUST IDENTIFY AT LEAST ONE LEWS AND PROVIDE AT LEAST TWO EXAMPLES OF HOW THAT LEWS HELPS DEVELOP THE CENTRAL IDEA.

USE ANY EXTRA TIME ON PART 1, 2, OR 3 TO READ OVER YOUR WORK AND PROOFREAD IT.

HUER ARE SOME ADDITIONAL RESOURCES YOU CAN REVIEW ON YOUR OWN: VOCAB LAIR DNTD COM.

THE OREGON STATE GUIDE TO ORDINARY ENGLISH LITERARY TERMS.

THANK YOU FOR JOINING US TODAY FOR REVIEW OF THE ELA REGENTED.

DON'T FORGET YOUR BLUE OR BLACK PEN AND PENCILS AND GOOD LUCK ON THE TEST.