Please Sign Up for one using the "comment" function:
Scene Groups:
Emory University
Begins with graduation. Ends
with sister catching cap.
_____________________
_____________________
_____________________
_____________________
_____________________
On the Road
Begins with McCandless clipping
ID. Ends with car flood.
____________________
_____________________
_____________________
_____________________
_____________________
Beach
Begins with "I'm afraid of water."
Ends with beginning of campfire scene.
____________________
_____________________
_____________________
_____________________
_____________________
South Dakota
Begins with "I just figured
he'd be with gypsies."
Ends with the fade out.
____________________
_____________________
_____________________
_____________________
_____________________
City/Shelter Scene
Begins with jumping off train.
Ends at Chapter 5: Manhood.
____________________
_____________________
_____________________
_____________________
_____________________
Magic Bus: Week 7
Begins with title "Magic Bus: Week 7"/McCandless carrying game.
End with Holy Moses, WA sign.
____________________
_____________________
_____________________
_____________________
_____________________
Mountains
Begins with standing on mountain.
Ends with "It's OK to Waste Fries" sign.
____________________
_____________________
_____________________
_____________________
_____________________
Magic Bus: Week 9
Begins with title "Magic Bus: Week 9"/Eagle soaring.
Ends with McCandless arriving at river.
____________________
_____________________
_____________________
_____________________
_____________________
Wednesday, January 26, 2011
January 27
Discuss/Share Poems
Go over "Into the Wild" Assignment (in more detail)
Sign Up for Scene Groups
Watch "When the Levee's Broke."
In groups: Chose a scene and discuss how that scene contributes to Spike Lee's thesis.
Consider the following:
• use of visuals (people, places, objects, etc.)
• use of audio (narration, quotes, music, etc.)
• pace and tone
• types of emotional appeals meant to persuade the viewer
• the way the character interacts with his environment
-Homework:
From Walden; or, Life in the Woods, by Henry David Thoreau, pp. 9-25 (Journal)
Monday, January 24, 2011
January 25
In class: Opening Journal: What aspects of Patricia Smith's writing resonated with your own experiences of the environment and of place? Smith's writing is loaded with sensory details that fleshes out New Orleans as a place--making the disaster that occurred there all the more tragic. Think about key experiences you've had of tragedy and environment. Write a snapshot of that experience.
Alternative: Write a snapshot of an environmental experiences, using the level of sensory detail Smith employs as a model.
________________________________________________
Blood Dazzler Discussion:
Thinking about visual rhetoric:
(Overarching Question: What are the implications of how we represent a place?)
-Detroit--"Ruin Porn"
-With a partner: Chose one image from one of the following galleries:
Respond to the following questions:
-What is being framed?
-What is the photographer's thesis?
(Consider: Do you see the Hurricane Katrina photographs as similar to the Time Magazine Detroit photos? Different? Would it make a difference that the photographers come from New Orleans? What does that mean for Patricia Smith as an outsider? What gives someone license to write or photograph a place?)
(Consider: Do you see the Hurricane Katrina photographs as similar to the Time Magazine Detroit photos? Different? Would it make a difference that the photographers come from New Orleans? What does that mean for Patricia Smith as an outsider? What gives someone license to write or photograph a place?)
_______________________________________________
Blood Dazzler Discussion:
-Break into small groups, pick and discuss a favorite poem from the readings so far to share with the class.
-Discuss: What is a poem? What can a poem do? What formal qualities define a poem? How would you replicate what Smith does?
-Discuss: What is a poem? What can a poem do? What formal qualities define a poem? How would you replicate what Smith does?
_______________________________________________
Homework:
-Imitate one of Patricia Smith's poems integrating your own experience of place, disaster, home, or loss
-Blood Dazzler, by Patricia Smith, second half. (Journal)
Wednesday, January 19, 2011
Photo Project
Photo-a-Day Project:
-Begins February 1
-Begins February 1
-Ends February 28
DUE THE SECOND WEEK IN MARCH
DUE THE SECOND WEEK IN MARCH
*No more than two photos should be inside of your home.
*At least twelve of the pictures should be taken outside.
Use this as an opportunity to connect with your surroundings. Think about how you would like to visually represent your experience. At the end of the project you will present one matted photo for the class and submit your 28 photos to me either on a cd or printed off in an album.
Example Photos (taken by Richard Button for a "photo a day" project):
*At least twelve of the pictures should be taken outside.
Use this as an opportunity to connect with your surroundings. Think about how you would like to visually represent your experience. At the end of the project you will present one matted photo for the class and submit your 28 photos to me either on a cd or printed off in an album.
Example Photos (taken by Richard Button for a "photo a day" project):
What a College Level Essay Should Do
What a College Level Essay Should Do:
From The University of Purdue OWL website:
First Paragraph/Introduction:
The introduction is the broad beginning of the paper that answers three important questions:
1. What is this?
2. Why am I reading it?
3. What do you want me to do?
You should answer these questions by doing the following:
1. Set the context – provide general information about the main idea, explaining the situation so the reader can make sense of the topic and the claims you make and support
(The context for an ad analysis paper might include details like
-the source of the advertisement [ie the magazine where you found it]
-the magazine’s target audience,
-Background on the product/company
-A basic visual description of the ad)
2. State why the main idea is important – tell the reader why s/he should care and keep reading. Your goal is to create a compelling, clear, and convincing essay people will want to read and act upon
3. State your thesis/claim – compose a sentence or two stating the position you will support
If your paper is long, you may want to forecast how you will support your thesis by outlining the structure of your paper, the sources you will consider, and the opposition to your position. Your forecast could read something like this:
First, I will define key terms for my argument, and then I will provide some background of the situation. Next I will outline the important positions of the argument and explain why I support one of these positions. Lastly, I will consider opposing positions and discuss why these positions are outdated. I will conclude with some ideas for taking action and possible directions for future research.
This is a very general example, but by adding some details on your specific topic, this forecast will effectively outline the structure of your paper so your readers can more easily follow your ideas.
Body Paragraphs
Body Paragraphs: Moving from General to Specific Information
Your paper should be organized in a manner that moves from general to specific information. Every time you begin a new subject, think of an inverted pyramid - the broadest range of information sits at the top, and as the paragraph or paper progresses, the author becomes more and more focused on the argument ending with specific, detailed evidence supporting a claim. Lastly, the author explains how and why the information she has just provided connects to and supports her thesis (a brief wrap up or warrant).
The four elements of a good paragraph (TTEB)
A good paragraph should contain at least the following four elements: Transition, Topic sentence, specific Evidence and analysis, and a Brief wrap-up sentence (also known as a warrant) – TTEB!
1. A Transition sentence leading in from a previous paragraph to assure smooth reading. This acts as a hand off from one idea to the next.
2. A Topic sentence that tells the reader what you will be discussing in the paragraph.
3. Specific Evidence and analysis that supports one of your claims and that provides a deeper level of detail than your topic sentence.
4. A Brief wrap-up sentence that tells the reader how and why this information supports the paper’s thesis. The brief wrap-up is also known as the warrant. The warrant is important to your argument because it connects your reasoning and support to your thesis, and it shows that the information in the paragraph is related to your thesis and helps defend it.
Conclusions
Conclusions wrap up what you have been discussing in your paper. After moving from general to specific information in the introduction and body paragraphs, your conclusion should begin pulling back into more general information that restates the main points of your argument. Conclusions may also call for action or overview future possible research. The following outline may help you conclude your paper:
In a general way,
• restate your topic and why it is important,
• restate your thesis/claim,
• address opposing viewpoints and explain why readers should align with your position,
• call for action or overview future research possibilities.
Remember that once you accomplish these tasks, unless otherwise directed by your instructor, you are finished. Done. Complete. Don't try to bring in new points or end with a whiz bang(!) conclusion or try to solve world hunger in the final sentence of your conclusion. Simplicity is best for a clear, convincing message.
The preacher's maxim is one of the most effective formulas to follow for argument papers:
1. Tell what you're going to tell them (introduction).
2. Tell them (body).
3. Tell them what you told them (conclusion).
From The University of Purdue OWL website:
First Paragraph/Introduction:
The introduction is the broad beginning of the paper that answers three important questions:
1. What is this?
2. Why am I reading it?
3. What do you want me to do?
You should answer these questions by doing the following:
1. Set the context – provide general information about the main idea, explaining the situation so the reader can make sense of the topic and the claims you make and support
(The context for an ad analysis paper might include details like
-the source of the advertisement [ie the magazine where you found it]
-the magazine’s target audience,
-Background on the product/company
-A basic visual description of the ad)
2. State why the main idea is important – tell the reader why s/he should care and keep reading. Your goal is to create a compelling, clear, and convincing essay people will want to read and act upon
3. State your thesis/claim – compose a sentence or two stating the position you will support
If your paper is long, you may want to forecast how you will support your thesis by outlining the structure of your paper, the sources you will consider, and the opposition to your position. Your forecast could read something like this:
First, I will define key terms for my argument, and then I will provide some background of the situation. Next I will outline the important positions of the argument and explain why I support one of these positions. Lastly, I will consider opposing positions and discuss why these positions are outdated. I will conclude with some ideas for taking action and possible directions for future research.
This is a very general example, but by adding some details on your specific topic, this forecast will effectively outline the structure of your paper so your readers can more easily follow your ideas.
Body Paragraphs
Body Paragraphs: Moving from General to Specific Information
Your paper should be organized in a manner that moves from general to specific information. Every time you begin a new subject, think of an inverted pyramid - the broadest range of information sits at the top, and as the paragraph or paper progresses, the author becomes more and more focused on the argument ending with specific, detailed evidence supporting a claim. Lastly, the author explains how and why the information she has just provided connects to and supports her thesis (a brief wrap up or warrant).
The four elements of a good paragraph (TTEB)
A good paragraph should contain at least the following four elements: Transition, Topic sentence, specific Evidence and analysis, and a Brief wrap-up sentence (also known as a warrant) – TTEB!
1. A Transition sentence leading in from a previous paragraph to assure smooth reading. This acts as a hand off from one idea to the next.
2. A Topic sentence that tells the reader what you will be discussing in the paragraph.
3. Specific Evidence and analysis that supports one of your claims and that provides a deeper level of detail than your topic sentence.
4. A Brief wrap-up sentence that tells the reader how and why this information supports the paper’s thesis. The brief wrap-up is also known as the warrant. The warrant is important to your argument because it connects your reasoning and support to your thesis, and it shows that the information in the paragraph is related to your thesis and helps defend it.
Conclusions
Conclusions wrap up what you have been discussing in your paper. After moving from general to specific information in the introduction and body paragraphs, your conclusion should begin pulling back into more general information that restates the main points of your argument. Conclusions may also call for action or overview future possible research. The following outline may help you conclude your paper:
In a general way,
• restate your topic and why it is important,
• restate your thesis/claim,
• address opposing viewpoints and explain why readers should align with your position,
• call for action or overview future research possibilities.
Remember that once you accomplish these tasks, unless otherwise directed by your instructor, you are finished. Done. Complete. Don't try to bring in new points or end with a whiz bang(!) conclusion or try to solve world hunger in the final sentence of your conclusion. Simplicity is best for a clear, convincing message.
The preacher's maxim is one of the most effective formulas to follow for argument papers:
1. Tell what you're going to tell them (introduction).
2. Tell them (body).
3. Tell them what you told them (conclusion).
Visual Analysis Assignment
Assignment 1:
Visual Analysis: Into the Wild
DUE TUESDAY FEBRUARY 22
“[Chris McCanless] discovered what Muir and Thoreau already knew: An extended stay in the wilderness inevitably directs one’s attention outward as much as inward, and it is impossible to live off the land without discovering both a subtle understanding of, and a strong emotional bond with, the land and all it holds.”-Author John Krakauer
“I ended up reading [Into the Wild] cover to cover twice in a row..then got up the next day and began pursuing the rights to [direct the movie]…I felt like I’d stumbled upon a story that had everything that I was looking for, everything I thought was worth telling, not the least of which was the American landscape…and a person using it to find their own authenticity.”
-director Sean Penn
Both author John Krakauer and filmmaker Sean Penn see the American wilderness as being a major character, if not the major character in Chris McCandless’s story. Taking into account the different ways we’ve seen the American landscape portrayed in readings and visuals—I want you to examine the director decisions made in the film Into the Wild in terms of their portrayal of “place.” You will be assigned a scene in the film to analyze and expected to pay close attention to how places is depicted in your scene and what that depiction suggests about the filmmaker’s intent. You final analysis should be approximately three to five pages. It should include both what you see as the director’s “claim,” and your own thesis about how the director conveys his message. You will use evidence from your scene to support your thesis.
Planning/Prewriting
Once you’ve been assigned your scene in the film, pay close attention to the details of that scene and the way the landscape has been depicted in the scene. How does the director portray place? How does this representation contribute to the film’s overall thesis?
Jot down notes while we watch the film.
Consider the following:
• use of visuals (people, places, objects, etc.)
• use of audio (narration, quotes, music, etc.)
• pace and tone
• types of emotional appeals meant to persuade the viewer
• the way the character interacts with his environment
• where your scene falls in the film and how the setting contributes to the film’s overall narrative
Overarching questions to keep in mind: What is being framed? What is the director choosing to show? What is the director choosing not to show?
Evaluation Criteria for the Essay
The visual analysis should
• orient the reader by identifying the scene’s place in the movie, the director’s “claim,” and your thesis in the introduction
• refer to very specific visual and audio details as evidence
• organize each paragraphs around strategies used by the director to portray “place” in your scene
• avoid errors that distract the reader's attention
• address the ethical dimensions of the film’s depiction of place and its impact on the movie’s plot
• be specific, analytical, and comply with the standards of “what a college level analytical essay should do”
THIS IS NOT A PLOT SUMMARY OF THE FILM.
January 20
Opening class journal: How did reading "The Clan of the One Breasted Woman" change your perspective on Terry Tempest Williams? How did you notice the tone of the piece changing to fit the content? What effect did this have on you as a reader?
OR
What was your reaction to Eula Biss? How did you feel about her representation of the floods/Iowa? Was she fair? If you are from Iowa, how would you have represented the same event/environment?
What is being framed? What is the director choosing to show? (Each group responsible for one category, record your responses on a sheet of paper to be turned in for participation credit)
•Use of visuals (people, places, objects, etc.)
•Use of audio (narration, quotes, music, etc.)
•Pace and tone
•Types of emotional appeals meant to persuade the viewer
•The way the character interacts with his/[her] environment
Homework: Blood Dazzler, by Patricia Smith, first half, Place,” by WS Merwin, p. 716, “The Summer Day,” by Mary Oliver, p. 737
Monday, January 17, 2011
January 18
-Blog for 10 minutes about Terry Tempest Williams--respond to one of the following questions:
1-On page 746, Terry Tempest Williams describes her family's relationship to the land--how would you describe the role of geography in your family? What role does the place(s) you're from play in your family's history?
2-On page 747, Terry Tempest Williams details the ritual of bird watching with her grandmother and how it shaped her understanding of the land. What rituals shape your experience of "place"? Hiking? Camping? Fishing? Gardening? Hunting? Farming? Describe those experiences in as much detail as possible and reflect on how they've changed your perception of environment.
3-Describe an experience of environmental loss.
Land/Art Earthart Activity:
Robert Smithson: "Spiral Jetty"
-Photograph: Robert Smithson's landart/Earthart sculpture Spiral Jetty--which extends 1,500 feet into the Great Salt Lake.
Questions to ponder: How does Smithson's "Spiral Jetty" invite viewers to interact with it? How does it reflect both the environment of the Great Salt Lake and environmental damage to the Great Salt Lake?
Patrick Dougherty: "Restless by Nature"
Questions to ponder: How does Dougherty's process reflect his intent? What does the impermanence of his materials mean to his art? What does his art say about environment and community?
Tyree Guyton: "The Heidleberg project"
Photographs:
Artist Tyree Guyton represented and revitalized his Detroit neighborhood through his work at the Heidelberg Project.
Questions to ponder: What's hopeful about his artwork? What's painful about it? How does it represent his perception of place?
http://www.studio360.org/episodes/2008/01/11/segments/91625
In Groups: Chose one of the artworks we talked about in class. Discuss: What do you think the artists intent was? How would you support your conclusions in a visual analysis paper? (Post response to comment section of the blog, make sure to include the name of everyone in your group to receive credit)
Homework: From Refuge, “Epilogue,” pp. 732-759, Eula Biss essay: "No Man's Land": http://www.believermag.com/issues/200802/?read=article_biss
Wednesday, January 12, 2011
January 13
"Most great stories of adventure, from The Hobbit to Seven Pillars of Wisdom, come furnished with a map. That's because every story of adventure is in part the story of landscape, of the interralationship between human beings (or Hobbits, as the case may be) and topography. Every adventure story is conceivable only with reference to a particular set of geographical features that in each case sets the course, literally, of the tale."-Michael Chabon (http://www.studio360.org/episodes/2009/10/09/segments/142239)
Opening Activity: Sketch a map of a place you've lived or traveled to. It can be your dorm room, your hometown, your childhood neighborhood, your family's vacation route, or any place that your remember well. Add as many details and memories into your depiction as possible.
This American Life: Episode 110: Mapping
http://www.thisamericanlife.org/radio-archives/episode/110/Mapping
"Maps have meaning because they filter out all the chaos in the world...and this is the age of maps...something like 99.9 percent of all maps have been made in this century. Every map is the world seen through a different lens."-Ira Glass
http://www.thisamericanlife.org/radio-archives/episode/110/Mapping
"Maps have meaning because they filter out all the chaos in the world...and this is the age of maps...something like 99.9 percent of all maps have been made in this century. Every map is the world seen through a different lens."-Ira Glass
Writing Activity: (To go with memory map--taken from Tell it Slant: Writing and Shaping Creative Nonfiction ) Write down every element of a place you can remember, quickly, with as much detail as possible. What odd details do you remember (e.g the gargoyle-shaed knot in the wood, a gray rug with a dark stain the shape of Brazil)? Now fill in the emotional tone of each detail: Did the wallpaper make you feel safe or frightened? What were your favorite things to look at in this place? Your least favorite? Why? What felt like yours and what felt like someone else's? (Record in Journal)
Homework:
-From Refuge by Terry Tempest Williams, pp. 739-752.
Reading Journals Instructions
• Write down the title and author’s name.
• Quotes from your reading. Copy out any quotes you would otherwise highlight or underline — anything you think captures some essential point in the text. You don’t have to do this as you read, if you prefer to read with a highlighter or a pen—copy them out when you’re done, in that case. Make sure you get the page number(s).
• A personal response to your reading. 200 or more words (about two-thirds of a page, double spaced) capturing your impression of what you’ve read. Why is it important (or not important)? What is the author saying, and how is he/she saying it? How do you respond to the piece as a reader, and what connections to you see to other texts you have read?
• Questions raised by the text. Challenge your reading material! Think of a set of questions the material leaves unanswered, or that undermine the conclusions reached. These questions might eventually form the basis of a research project or larger critique.
• Any other notes, thoughts, arguments, or feelings about what you’ve read.
Source: Adapted from Lifehack, “How to Keep an Academic Reading Journal”
For more advice on academic reading, see Lifehack, “How to Read Like a Scholar.”
• Quotes from your reading. Copy out any quotes you would otherwise highlight or underline — anything you think captures some essential point in the text. You don’t have to do this as you read, if you prefer to read with a highlighter or a pen—copy them out when you’re done, in that case. Make sure you get the page number(s).
• A personal response to your reading. 200 or more words (about two-thirds of a page, double spaced) capturing your impression of what you’ve read. Why is it important (or not important)? What is the author saying, and how is he/she saying it? How do you respond to the piece as a reader, and what connections to you see to other texts you have read?
• Questions raised by the text. Challenge your reading material! Think of a set of questions the material leaves unanswered, or that undermine the conclusions reached. These questions might eventually form the basis of a research project or larger critique.
• Any other notes, thoughts, arguments, or feelings about what you’ve read.
Source: Adapted from Lifehack, “How to Keep an Academic Reading Journal”
For more advice on academic reading, see Lifehack, “How to Read Like a Scholar.”
Monday, January 10, 2011
Email Etiquette
(I encountered this on a blog and thought you might find it helpful--not only for my class but for most of your courses at Iowa State. Keep in mind I will not respond to e-mails that are impolite, e-mails that contain questions that can be answered by looking at the syllabus or the class blog, or e-mails that contain incorrect grammar or sloppy editing.)
How to E-mail a Professor
by Michael Leddy
(http://mleddy.blogspot.com/2005/01/how-to-e-mail-professor.html)
I've read enough e-mails to know that many college students could benefit from some guidelines for writing an e-mail to a professor. Here they are:
Write from your college or university e-mail account. That immediately lets your professor see that your e-mail is legitimate and not spam. The cryptic or cutesy or salacious personal e-mail address that might be okay when you send an e-mail to a friend is not appropriate when you're writing to a professor.
Include the course number in your subject line. "Question about 3009 assignment" is clear and sounds genuine, while "a question" looks like spam. "Question about English assignment" or "question about assignment," without identifying the class you're in, may leave your professor with the chore of figuring that out. For someone teaching large lecture classes, that might mean reading through hundreds of names on rosters. But even for a professor with smaller classes, it's a drag to get an e-mail that merely says "I'm in your English class and need the assignment." All your English professor's classes are English classes; she or he still needs to know which one is yours.
Consider, in light of this advice, the following examples:
An e-mail from "qtpie2005" with the subject line "question."
An e-mail from a university account with the subject line "question about English 2011 essay."
Which one looks legitimate? Which one looks like spam?
Think about what you're saying. Most students are not accustomed to writing to their professors. Here are some ways to do it well:
Choose an appropriate greeting. "Hi/Hello Professor [Blank]" is always appropriate. Substitute "Dear" and you've ended up writing a letter; leave out "Hi" and your tone is too brusque.
Avoid rote apologies for missing class. Most professors are tired of hearing those standard apologies and acts of contrition. If you missed class because of some especially serious or sad circumstances, it might be better to mention that in person than in an e-mail.
Ask politely. "Could you e-mail me the page numbers for the next reading? Thanks!" is a lot better than "I need the assignment."
Proofread what you've written. You want your e-mail to show you in the best possible light.
Sign with your full name, course number, and meeting time.
Maggie Simpson
English 3703, MWF 10:00
Signing is an obvious courtesy, and it eliminates the need for stilted self-identification ("I am a student in your such-and-such class").
One don't, and one last do:
Don't send unexpected attachments. It's bad form. Attaching an essay with a request that your professor look it over is very bad form. Arrange to meet your professor during office hours or by appointment instead. It's especially bad form to send an e-mail that says "I won't be in class today," with a paper or some other coursework attached. Think about it: Your professor is supposed to print out your essay because you're not coming to class?
When you get a reply, say thanks. Just hit Reply and say "Thanks," or a little bit more if that's appropriate. The old subject line (which will now have a "Re:" in front) will make the context clear. I don't think that you need to include a greeting with a short reply, at least not if you refer to your professor in your reply. And you don't need to identify yourself by course number and meeting time again.
Many e-mail messages end up never reaching their intended recipients, for reasons of human and technological error, so it's always appropriate to acknowledge that someone's message got through. It's also plain courtesy to say thanks. (Your professor will remember it too.)
How to E-mail a Professor
by Michael Leddy
(http://mleddy.blogspot.com/2005/01/how-to-e-mail-professor.html)
I've read enough e-mails to know that many college students could benefit from some guidelines for writing an e-mail to a professor. Here they are:
Write from your college or university e-mail account. That immediately lets your professor see that your e-mail is legitimate and not spam. The cryptic or cutesy or salacious personal e-mail address that might be okay when you send an e-mail to a friend is not appropriate when you're writing to a professor.
Include the course number in your subject line. "Question about 3009 assignment" is clear and sounds genuine, while "a question" looks like spam. "Question about English assignment" or "question about assignment," without identifying the class you're in, may leave your professor with the chore of figuring that out. For someone teaching large lecture classes, that might mean reading through hundreds of names on rosters. But even for a professor with smaller classes, it's a drag to get an e-mail that merely says "I'm in your English class and need the assignment." All your English professor's classes are English classes; she or he still needs to know which one is yours.
Consider, in light of this advice, the following examples:
An e-mail from "qtpie2005" with the subject line "question."
An e-mail from a university account with the subject line "question about English 2011 essay."
Which one looks legitimate? Which one looks like spam?
Think about what you're saying. Most students are not accustomed to writing to their professors. Here are some ways to do it well:
Choose an appropriate greeting. "Hi/Hello Professor [Blank]" is always appropriate. Substitute "Dear" and you've ended up writing a letter; leave out "Hi" and your tone is too brusque.
Avoid rote apologies for missing class. Most professors are tired of hearing those standard apologies and acts of contrition. If you missed class because of some especially serious or sad circumstances, it might be better to mention that in person than in an e-mail.
Ask politely. "Could you e-mail me the page numbers for the next reading? Thanks!" is a lot better than "I need the assignment."
Proofread what you've written. You want your e-mail to show you in the best possible light.
Sign with your full name, course number, and meeting time.
Maggie Simpson
English 3703, MWF 10:00
Signing is an obvious courtesy, and it eliminates the need for stilted self-identification ("I am a student in your such-and-such class").
One don't, and one last do:
Don't send unexpected attachments. It's bad form. Attaching an essay with a request that your professor look it over is very bad form. Arrange to meet your professor during office hours or by appointment instead. It's especially bad form to send an e-mail that says "I won't be in class today," with a paper or some other coursework attached. Think about it: Your professor is supposed to print out your essay because you're not coming to class?
When you get a reply, say thanks. Just hit Reply and say "Thanks," or a little bit more if that's appropriate. The old subject line (which will now have a "Re:" in front) will make the context clear. I don't think that you need to include a greeting with a short reply, at least not if you refer to your professor in your reply. And you don't need to identify yourself by course number and meeting time again.
Many e-mail messages end up never reaching their intended recipients, for reasons of human and technological error, so it's always appropriate to acknowledge that someone's message got through. It's also plain courtesy to say thanks. (Your professor will remember it too.)
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