I recently attended an AP Workshop in Milwaukee, where I had some space to reflect on the goals of my teaching in my AP Literature and Composition classes. I was happy to hear from the expert leader of my session that, when it comes to the written responses on the AP exam, meaning is everything. It doesn’t matter if AP Lit students can identify a gigantic laundry list of terms in a literary work. No matter how specialized their technical knowledge may be, students will generate worthless writing if they do not display the ability to practice insight. To score well on the writing portion of the exam, students need to be able to get seriously in touch with meaning. They need to answer: how does this text shift the world, comment upon humanity, and make new realizations move within us?

Students need to do more than summarize, more than dissect. They need to unveil the heart of a work. They need to be profound.

Once realizing this, the AP teacher can feel a bit in over her head.  How on earth do you teach a teenager to be profound? Most kids are not wise beyond their years, and are not well-equipped to tackle the questions of the ages without some sort of guidance. When I do a sample interpretation, students often say, “How the heck did you get THAT out of THIS?” Earlier in my career, I’d actually say, “I don’t know,” because I couldn’t verbalize it effectively. But after five years of teaching AP and wondering about where insight comes from, I think I’m starting to put it together. I’m now convinced that insight is somewhat teachable! In this post, I’m going to share a few methods that I’ve found helpful in this pursuit.

RECOGNIZING BIG IDEAS

Some people call these “themes,” but I call them big ideas–abstract thematic concepts which are socially, universally important in some way. You know, things like “love,” “wartime ethics,” or “fragility.” I like starting the year by having my students make a giant list of these ideas, so that we can be on the lookout for them as they pop up in the literature. Here’s a list that one of my AP groups generated:

Students are good at this once they gain some momentum. Big ideas are a simple way of categorizing literature with the stem “This story is about…” Recognizing the presence of big ideas is the first step to becoming an insightful analyzer of text, and it bears constant revisiting throughout the year.

MAKING A MASTERFUL THESIS

Students often start writing before they know what they’re talking about. While I am normally a big fan of writing as a method of exploration and brainstorming, the timed scenario of the AP essay is not the arena in which to apply this strategy. AP analysis writing must be focused, purposeful, and show the promise of insight. While the master writer can do this instinctively, beginning writers are overwhelmed by these lofty expectations. I lead my students through this by assuring them that a strong thesis will support a strong paper. I also supply them with a formula that I derived from analyzing skillful literary analysis writing. The formula is helpful, because it guarantees that the core argument of the paper will transcend summary. Here it is. (Click on the image to enlarge it!)

This formula works for the open response as well as the prose and poetry questions. I’ll expand a little here on each element.

AUTHOR and TITLE should be included, for context. Of course, if these are mentioned earlier in the introduction, they may be left off.

The FOCUS ELEMENT is perhaps the most variable element of the thesis. In the open response essay, it is a broad “something” that is notable in the chosen novel. It might be a character, a motif, a plot device, a stylistic choice, or many other things. In the prose or poetry essays, the focus elements will be specifically qualified literary devices/moves–maybe “elevated diction,” “natural imagery,” or “a haunted tone.” The focus element narrows and specializes the essay, allowing for a unique interpretation that avoids the obvious and overbroad.

AUTHOR ACTION VERBS describe precisely what the author is doing with the FOCUS ELEMENT. Examples: questions, criticizes, demonstrates, alludes to…

The THEMATIC STATEMENT is a statement that the author makes about one of those BIG IDEAS through the story, and specifically through the use of the FOCUS ELEMENT.

As students become more proficient, they can riff on this formula. In the examples you can see on the chalkboard above, students can already see that the order of the elements is not strict, but they should all be present. This method has been successful for me in helping my students have something to say. Selecting the big idea first is the way in. (Often, the big idea or focus element is already provided by the prompt, and students can build from there.) I work with them on making sure that the focus element and thematic statement work together in a logical way.

THE 3×3: ANOTHER WAY OF APPROACHING BIG IDEAS

At my recent workshop, the presenter shared another big idea strategy that I can’t wait to use. He called it a “3×3.” This strategy asks students, after reading a piece, to generate three sentences of three words each that sum up the meaning of the work. Rules: No repetition, no character names, each sentence should contain subject + verb + object, and the sentences should feature big ideas as the subject or object as often as possible. It’s a simple activity that pushes big thinking.

Example for Oedipus Rex:

SUBJECT	VERB	OBJECT
Healing	requires	action.
Truth	destroys	security.
Sacrifice	accompanies	fate.

It’s nifty how any of those could turn into the thematic statement element for a thesis statement!

The more strategies we can equip our students with when it comes to working with the great ideas of the world, the better and more confident writers they will become. Do you have another idea to recommend? Please mention it in the comments!