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How to Keep the Kitchen Clean and in Order
How to Get to School on Time

How to Study a History Lesson
How to Find a Book in a Library
How to Care for the Sick

How to Prepare for Hallowe'en

How to Go to Manila

How to Manage an Incubator

How to Harvest Wheat

How to Revive a Half-drowned Person

How to Train a Dog

How to Cook a Roast

How to Make Mincemeat

How to Make a Layer Cake

How to Lay out a Tennis Court
How to Study an Arithmetic Lesson
How to Make a Baseball Diamond
How to Be Happy on a Rainy Day
How to Have Fun in a Garret

How to Prepare for Christmas

Each of you should select one of these or some other subject, think it over carefully, and tell all you know of it, standing before the class as you do This work may go on for several days if you desire. There is no hurry; take your time.

So.

CRITICISM OF THE ORAL COMPOSITIONS 3. After each of the speakers has finished, you should offer him your judgment upon what he has said; that is, you should tell him what you liked about his composition and what you did not like, and why. Each of you should try to profit by the criticism made upon the others; that is, you should

try to do well in the same ways that they have done well, and try to avoid falling into their mistakes.

In criticizing, discuss questions like the following: a. Did the speaker tell you all that you would want to know if you were going to do the thing he talked about?

b. Did he make his speech in good order, or did he, at some time while he was talking, go back and tell something he should have told before?

c. Did he enliven his speech by telling some of his personal experiences in doing the thing, or something he had read about doing the thing, or something he had been told about doing the thing? d. Was he at all times right in what he said, or are you inclined to differ with him about some of the things he said?

e. Did he stand out boldly before the room, or did he lean on a desk or in some other way appear ill at ease?

f. Did he speak loud enough to be heard all over the room?

g. Did he pronounce his words distinctly, and not too rapidly?

h. Did he run most of his sentences together by saying and-uh, but-uh, so-uh, then-uh, and why-uh?

i. Did he use any English that you know to be poor?

WRITTEN COMPOSITIONS

4. After every one has spoken, it is time to write. Take the subject that you chose for oral composition, or, if you prefer, some other, and write upon it as fully as time permits. If you are at a loss to know how to spell some word, go to the dictionary.

The full English period may be used for writing. Before beginning, however, read the next section.

FORM OF A MANUSCRIPT

5. In order that every one who reads your compositions may do so with ease, you should observe the following rules:

a. Write your name and the number of your room in the upper left-hand corner of the page. If you write more than one page, do not repeat the name; number the pages in the upper right-hand corner. b. A little lower than your name-on the first line if you use ruled paper write the title. Do not

repeat the title on successive pages.

c. Draw a line under the title.

d. In order to make the title stand out even more distinctly, leave a blank space between it and the first line of the composition.

e. Leave a margin of about one inch at the left and the right of each page, and at the bottom.

f. Indent the first line of each paragraph. g. Write on only one side of the sheet.

h. Make your penmanship as good as possible. Somewhat fuller instructions about margins are necessary. It is best to use unruled paper and to become accustomed to managing margins without drawing guide lines. Inspect the diagram on page 7.

The outer lines represent the edges of your paper. The inner lines represent the margins; they are not to be drawn, but are only to be imagined. Whatever size of paper you use, you should have about the proportion of margins indicated by the lines.

CRITICISM OF THE WRITTEN COMPOSITIONS

6. Exchange compositions, and read critically in order to help one another as much as possible. Consider the following questions;

a. Did the writer follow the rules for the form of

manuscript given in the preceding section? b. Did he tell all you would like to know about the subject, did he tell it in good order, and was he right in all he said?

c. Do you discover any mistakes in the English? After you have studied one another's compositions in this manner, you are ready for conferences; you are to tell one another what is good in the compositions, and what might be improved. This is to be done in class time, with perfect freedom for talking. Be careful, however, not to waste time, and do not find fault merely for the purpose of finding fault; your purpose should be to help each one in the class to write better next time.

THE SENTENCE

7. In the compositions you have just read, there were probably some mistakes in the writing and the punctuating of sentences. For example, young people, and sometimes older ones, do not seem to know when they reach the end of a sentence; and in place of using a period or a question mark or an exclamation point at such a place and beginning the next sentence with a capital letter, they place only a comma there, or no point at all, and begin the next word with a small letter. You have had your attention called to this matter before. In order to help you to avoid this fault, it is necessary to give you a careful study of the sentence -- to let you know clearly what a sentence is, what kinds of

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