Category: Writing

Look back over the excerpt on “Narrative Point of View” provided. Then, explain what category of narration you think best describes the narrator in “The Birth-Mark.” Provide evidence from the text to support your position.
Length
200-400 words.
NARRATION AND POINT OF VIEW
When we read fiction, our sense of who is telling us the story is as important as what happens. Unlike drama, in which events are acted out in front of us, fiction is always mediated or represented to us by someone else, a narrator. Often a reader is very aware of the voice of a narrator telling the story, as if the words are being spoken aloud. Commonly, stories also reveal a distinct angle of vision or perspective from which the characters, events, and other aspects are viewed. Just as the verbal quality of narration is called the voice, the visual angle is called the focus. Focus acts much as a camera does, choosing the direction of our gaze, the framework in which we see things. Both voice and focus are generally considered together in the term point of view. To understand how a story is narrated, you need to recognize both voice and focus. These in turn shape what we know and care about as the plot unfolds, and they determine how close we feel to each character. A story is said to be from a character’s point of view, or a character is said to be a focal or focalizing character, if for the most part the action centers on that character, as if we see with that character’s eyes or we watch that character closely. But the effects of narration certainly involve more than attaching a video camera to a character’s head or tracking wherever the character moves. What about the spoken and unspoken words? In some stories, the narrator is a character, and we may feel as if we are overhearing his or her thoughts, whereas in other stories the narrator takes a very distant or critical view of the characters. At times a narrator seems more like a disembodied, unidentified voice. Prose fiction has many ways to convey speech and thought, so it is important to consider voice as well as focus when we try to understand the narration of a story. Besides focus and voice, point of view encompasses more general matters of value. A story’s narrator may explicitly endorse or subtly support whatever a certain character values, knows, or seeks, even when the character is absent or silent or unaware. Other narrators may treat characters and their interests with far more detachment. At the same time, the style and tone of the narrator’s voice—from echoing the characters’ feelings to mocking their pretentious speech or thoughts to stating their actions in formal diction—may convey clues that a character or a narrator’s perspective is limited. Such discrepancies or gaps between vision and voice, intentions and understandings, or expectations and outcomes generate irony. Sometimes the point of view shifts over the course of a narrative. Or the style of narration itself may even change dramatically from one section to another. Bram Stoker’s novel Dracula (1897), for example, is variously narrated through characters’ journals and letters, as well as newspaper articles. The point of view varies according to the narrator’s position in the story and the grammatical person (for example, first or third) the narrative voice assumes.
Types of Narration
Third-Person Narration
A third-person narrator tells an unidentified listener or reader what happened, referring to all characters using the pronouns he, she, or they. Third-person narration is virtually always external, meaning that the narrator is not a character in the story and does not participate in its action. Even so, different types of third-person narration—omniscient, limited, and objective—provide the reader with various amounts and kinds of information about the characters. An omniscient or unlimited narrator has access to the thoughts, perceptions, and experiences of more than one character (often of several), though such narrators usually focus selectively on a few important characters. A limited narrator is an external, third-person narrator who tells the story from a distinct point of view, usually that of a single character, revealing that character’s thoughts and relating the action from his or her perspective. This focal character is also known as a central consciousness. Sometimes a limited narrator will reveal the thoughts and feelings of a small number of the characters in order to enhance the story told about the central consciousness. (Jane Austen’s novel Emma [1815] includes a few episodes from Mr. Knightley’s point of view to show what he thinks about Emma Woodhouse, the focal character, and her relationships.) Finally, an objective narrator does not explicitly report the characters’ thoughts and feelings but may obliquely suggest them through the characters’ speech and actions. Stories with objective narrators consist mostly of dialogue interspersed with minimal description.
First-Person Narration
Instead of using third-person narration, an author might choose to tell a story from the point of view of a first-person narrator. Most common is first-person singular narration, in which the narrator uses the pronoun I. The narrator may be a major or minor character within the story and therefore is an internal narrator. Notice that the first-person narrator may be telling a story mainly about someone else or about his or her own experience. Sometimes the first-person narrator addresses an auditor, a listener within the fiction whose possible reaction is part of the story. One kind of narrator that is especially effective at producing irony is the unreliable narrator. First-person narrators may unintentionally reveal their flaws as they try to impress. Or narrators may make claims that other characters or the audience know to be false or distorted. Some fictions are narrated by villains, insane people, fools, liars, or hypocrites. When we resist a narrator’s point of view and judge his or her flaws or misperceptions, we call that narrator unreliable. This does not mean that you should dismiss everything such a narrator says, but you should be on the alert for ironies. Less common is the first-person plural, where the narrator uses the pronoun we. The plural may be used effectively to express the shared perspective of a community, particularly one that is isolated, unusually close-knit, or highly regulated. Elizabeth Gaskell’s classic short novel Cranford (1853) is a good example. The narrator is a young woman who visits a community of genteel widows and spinsters in the English village of Cranford and describes their customs. At one point, a visitor arrives, Lady Glenmire, and all of Cranford society is in awe of her aristocratic rank and title. At an evening party, “We were all very silent at first. We were thinking what we could talk about, that should be high enough to interest My Lady. There had been a rise in the price of sugar, which, as preserving-time was near, was a piece of intelligence to all our housekeeping hearts, and would have been the natural topic if Lady Glenmire had not been by. But we were not sure if the Peerage ate preserves” (that is, whether aristocrats ate fruit jam). The high price of sugar doesn’t seem “high enough” in another sense for a high-ranked guest to talk about. The narrator of Cranford does refer to herself as “I” and sometimes addresses the reader as “you.” The narrative perspective and voice is rather similar in Kazu Ishiguro’s Never Let Me Go (2005), a novel that also portrays an isolated group that follows regulated customs. At a boarding school, a student, Polly, suddenly questions one of the rules: “We all went silent. Miss Lucy [the teacher] didn’t often get cross, but when she did, you certainly knew about it, and we thought for a second Polly was for it [would be punished]. But then we saw Miss Lucy wasn’t angry, just deep in thought. I remember feeling furious at Polly for so stupidly breaking the unwritten rule, but at the same time, being terribly excited about what answer Miss Lucy might give” (emphasis added). Ishiguro’s narrator, like Gaskell’s, resorts to different narrative perspectives and voices to represent the experience of both a community and an individual in it.
Second-Person Narration
Like narrators who refer to themselves as “we” throughout a work of fiction, second-person narrators who consistently speak to you are unusual. This technique has the effect of turning the reader into a character in the story. Jay McInerney, for example, in his novel Bright Lights, Big City (1984) employs the second-person voice, creating an effect similar to conversational anecdotes. But second-person narratives can instead sound much like instructional manuals or “how-to” books or like parents or other elders speaking to children.
Questions about Narration and Point of View
Does the narrator speak in the first, second, or third person?
Is the story narrated in the past or present tense? Does the verb tense affect your reading of it in any way?
Does the narrator use a distinctive vocabulary, style, and tone, or is the language more standard and neutral?
Is the narrator identified as a character, and if so, how much does he or she participate in the action?
Does the narrator ever seem to speak to the reader directly (addressing “you”) or explicitly state opinions or values?
Do you know what every character is thinking, or only some characters, or none?
Does the narrative voice or focus shift during the story or remain consistent?
Do the narrator, the characters, and the reader all perceive matters in the same way, or are there differences in levels of understanding?
Because our responses to a work of fiction are largely guided by the designs and values implied in a certain way of telling the story, questions about narration and point of view can often lead to good essay topics. You might start by considering any other choices the implied author might have made and how these would change your reading of the story. As you read the stories in this chapter, imagine different voices and visions, different narrative techniques, in order to assess the specific effects of the particular types of narration and point of view. How would each story’s meaning and effects change if its narrative voice or focus were different? Can you show the reader of your essay how the specific narration and point of view of a story contribute to its significant effects?

1) Tell us why you are interested in the position and describe your relevant knowledge and experiences. 2) Describe how you learn and adjust when an experience does not turn out as expected. Describe a situation, your actions, and the outcome. 3) How do you work with people who have different perspectives than your own? Describe a situation, your actions, and the outcome. 4) Describe how you have worked with another person to achieve a goal. Describe a situation, your actions, and the outcome. 5) Imagine that you are on the sales floor and you see a guest who appears to need assistance. How do you proceed? PSA I APPLIED FOR A POSITION AT TARGET AND I NEED HELP WITH THIS INTERVIEW QUESTIONS THANK YOU.

Based on the information in the article “Volunteering Is Its Own Reward.” wr ite a response to the following:
W rite a letter to your principal in which you argue who would benefit most from a volunteering program at school: student participants or members of the community they could serve.
W rite a well-organized letter that responds to this prompt. U se specific evidence from the article to support your answer.

explain the relationship between visualizing and connecting as reading strategies. How are they similar? How are they different? Give one example of how you might use either strategy or both in your classroom.

1. What kinds of breakfast meat come with a Breakfast Sampler?
A. 2 bacon strips, 2 pork sausage links, 2 ham slices
B. 3 bacon strips, 2 pork sausage links
C. 6 ham slices
2. Where is the whipped butter garnish for Chicken & Waffles placed?
A. Chicken & Waffles are not served with butter
B. On top of the waffle
C. Directly on the plate next to the waffle
D. In a 2 oz. soufflé cup
3. All cuts and sores on hands must be cleaned, bandaged, and covered with:
A. Clean gloves or finger cots
B. Clean gauze
C. Antibiotic ointment
4. Unobtrusive manicuring is:
A. Ensuring a table is completely cleaned before a guest arrives
B. Allowing syrup and sugar to be replenished before a guest sits
C. Not interfering or distracting guests while manicuring
5. How often should sanitizer solution be changed, regardless of concentration or cleanliness?
A. Every 2 hours
B. Every 4 hours
C. Daily
6. What is the correct size scoop for whipped butter used for garnishing pancakes?
A. Soup spoon
B. #30 scoop
C. #70 scoop
D. #100 scoop
7. What is the garnish for Protein Power Pancakes?
A. Powdered sugar & whipped topping
B. #100 scoop of whipped butter
C. Protein Power Pancakes do not have a garnish
D. #100 scoop of whipped butter & powdered sugar
8. Include this information when entering a carry-out phone order into the POS:
A. Description of the caller’s vehicle
B. Silverware and condiment needs
C. Name, “To-Go” order designation, phone number, pick-up time
9. Which of the following menu items is not served with a steak knife?
A. T-Bone Steak & Eggs
B. Country Fried Steak & Eggs
C. Smokehouse Combo
D. Philly Cheese Steak Stacker
10. What accompanies all entrée salads?
A. Nothing
B. Crackers
C. Garlic bread
11. Immediately after writing down a carry-out phone order, it is important to:
A. Read the full order back to the guest, including any modifications
B. Let the Expediter know a carry-out order has been placed
C. Provide the price for each item
12. An “X” over a table on the Zone Chart indicates the table is:
A. Occupied
B. Reserved
C. Dirty and not ready for guests
13. What are the side choices for the Philly Cheese Steak Stacker?
A. Onion rings
B. Fresh Fruit
C. French Fries
D. 2 Buttermilk Pancakes
E. All of the above
14. If a guest asks a question about allergens:
A. Review product ingredients from the package with the guest to minimize concerns
B. Tell the guests most products are allergen-free
C. Refer all questions to the Manager on Duty
15. In what direction should you cut while using a knife?
A. Away from your body, especially your fingers
B. Towards your body, so you have better control of the knife
C. From the top of the food to the cutting board
16. True or False? All hamburgers (except the Jr. Cheeseburger) are garnished with a steak knife.
A. True
B. False
17. BLAST stands for:
A. Believe – Listen – Apologize – Solve – Thank
B. Be Calm – Listen – Apologize – Solve – Thank
C. Believe – Listen – Acknowledge – Solve – Thank
18. Which of the following is not served with the Appetizer Sampler?
A. Chicken strips
B. Mozzarella sticks
C. French fries
D. Onion rings
19. Always wash your hands for at least _________.
A. 1 Minute
B. 20 Seconds
C. 30 Seconds
20. What is the garnish for New York Cheesecake pancakes?
A. Rosette of whipped topping
B. Level #70 scoop of whipped topping
C. Powdered sugar and a rosette of whipped topping
21. If a guest begins suffering any symptoms found on the Food Allergens Poster:
A. Notify the Manager on Duty as soon as possible
B. Call 911
C. Encourage the guest to see a doctor
22. Check back on a guest who has been placed on hold every:
A. 1-2 minutes
B. 15-30 seconds
C. 45-60 seconds
23. If a guest mentions any concerns as they leave:
A. Tell them you hope their next visit is better
B. Offer them a gift card immediately to diffuse the situation
C. Address their concerns using the BLAST methods
24. If glass breaks in the sink, drain all the water from the sink and remove the glass using ____________________.
A. Metal spoon
B. Tongs
C. Rubber gloves
25. Manicuring a table is:
A. Refilling sugar and syrup supplies as needed while the guests are seated
B. Removing any table clutter before a guest is seated
C. Clearing a table of items that the guest has finished using while the guest is still seated
26. A wait list includes the guest’s:
A. Name, number in party, and table preference
B. Name, number in party, table preference, and any special events
C. Name, number in party, table preference, and any special needs
27. What is the difference between over-easy and over-medium eggs?
A. The yolk must be firm for over-medium eggs
B. The yolk can be broken for over-medium eggs
C. The whites around the yolk are firm for over-medium eggs and soft for over-easy
28. What is the easiest way to convey IHOP’s warm and friendly service over the telephone?
A. Avoid eye contact with guests in the restaurant as you are talking on the telephone
B. Smile as you talk through the phone
C. Read only from the approved phone script
29. Length of facial hair cannot exceed:
A. Facial hair is never permitted
B. 1/2 inch
C. 1 inch
30. When a Team Member has finished manicuring, they should:
A. Refill drinks
B. Print and drop the check
C. Wash their hands
31. Provide a warm greeting to each guest within:
A. 15 seconds
B. 1 minute
C. 30 seconds
32. Ultimately, the safety of everybody in the restaurant is the responsibility of:
A. Manager on Duty
B. All Managers and Team Members
C. Back-of-House Team Members
33. While guests are waiting to be seated, they should be provided with:
A. Small snacks
B. Menus
C. Games for children in the party
34. Before handling food, utensils, or food contact equipment, you must:
A. Thoroughly wash your hands and fingernails
B. Inspect your uniform
C. Shadow your trainer for five hours
35. At the end of the guest’s visit:
A. Provide a sincere “Thank you” and invite them back for another visit
B. Encourage them to leave quickly so the table can be turned
C. Encourage them to give you the highest score on the guest satisfaction survey
36. When the phone-ahead guest arrives and the carry-out order is ready:
A. Repeat the full order and total amount due
B. Assume all condiments made it into the to-go-containers
C. Bag all items quickly without repeating the order to the guest
37. When placing a guest on hold:
A. Quickly transfer the call to the manager’s office
B. Answer the phone with “IHOP, please hold!” Resume the call when you are able
C. Ask permission to place the caller on hold. This will allow the guest to ask a quick question
38. How many pins or buttons may be worn at one time?
A. There is no maximum amount
B. No more than 2
C. No more than 5
39. When a guest calls to place a carry-out order, ask for these two pieces of information:
A. Appetizer and drink order
B. Name and phone number
C. Arrival time and name
40. The best way to determine a table that will meet guest needs is to:
A. Ask appropriate questions (inside or outside, booth or table, special needs, etc.)
B. Assume where a guest may want to sit based on the size of their party
C. Ask the guest to point to the table they would prefer

Why is ensemble acting, which emphasizes the collaborative interaction of a group of actors, and not the work of an individual actor used less in the movies?
a.
It requires the provision of rehearsal time that is usually denied to screen actors.
b.
Film directors generally prefer individual acting moments over ensemble ones.
c.
Actors generally do not want to share the screen with other actors.
d.
Ensemble acting can reduce the emotional impact of a specific plot situation.
e.
Ensemble acting does not lead to verisimilitude on the screen.

Use what you know about the vocabulary words from The Miracle of Spring to help you answer each question.
Who is presiding over the trial?
What does Beaver ask his first witness?
What is one problem King Bartholomew created when he attempted to stop spring?
How does King Bartholomew show contempt of court?
In what way does King Bartholomew have to restrain himself?