I am a full time high school English teacher and Writing Center coordinator at a K-12 school in Minnesota. I specialize in forming creative lesson plans, engaging students in real-world, meaningful lessons, and creating meaninful and effective assessments rather than busywork. I also have a Teachers Pay Teachers store, where I specialize in literature and writing resources.
I want to preface this by proclaiming that I have not been paid or influenced to write this blog post at all. I’m just very passionate about this right now!
Just today I returned home from a nine-day trip with my husband to the French Riviera. For this trip I paid for: 4 meals, bus driver tips, local guide tips, and tour leader tips. In total, we paid less than 350€ to visit some of the most beautiful places in Europe.
And there’s only one reason for this: EF rewards teacher travelers.
I led my first tour in 2015 to England, France, and Italy. My second was two years later, to Scotland and Ireland. The most recent was June 2019 to various parts of Italy. For all of these trips I paid for lunches and tips only, and I got to bring a free adult for every 6 student travelers.
Here are some of the main reasons to travel for EF rather than other companies (and remember, I’m not being paid or coerced to write this. I’m just very enthusiastic!)
This has been said and seems the most obvious. However, you may not know that EF sends tour leaders on a free training tour before they even lead a tour. Furthermore, you rack up reward points for each student traveler, which you can redeem later for free personal travel (with adults!). I just went on one of these trips and had enough points after three student tours to pay for myself and my husband, with some still left over. On this trip, EF leaders were abundantly enthusiastic with their gratitude and praise, rewarding us with gifts of wine and local treats, as well as free refills on local wine! Bottom line: EF wants their leaders to feel and be experienced, and they are grateful for return travelers.
This is a big factor in convincing parents to let minors travel. Compared to other companies, EF has the most reassuring and long-standing presence in countries around the world for student travelers. Their travel insurance covers all scenarios (which trust me, I’ve used several!), and they have offices in so many locations. This means that if you encounter a safety issue on tour, you have a far better likelihood of having an EF representative there in person faster than any other company.
While there are several lucky tour leaders who get to travel all over Europe full time (I’ll get to them later), there are hundreds more working out of offices in Boston, Canada, Zurich, and many other smaller offices. These people are kind and patient. They’ve been willing to answer any question I pose to them and talked me through a particularly disastrous flight cancelation back in 2015. What I love best about these EF agents is the human factor. If a a family issue comes up or there’s a safety issue abroad, they are the ones working on the phone for a refund or adjusting itineraries at no extra cost. Honestly, these folks are miracle workers.
Trustworthy and Well-Trained Tour Leaders
One thing people might not know is that each EF tour comes with a personal tour leader, extensively trained in student travel. Each tour leader is personable, courteous, instructional, and downright fun. Furthermore, some of them have been with the company with for over twenty years, which I think says more than anything I could say about them.
It’s the end of July and teachers are preparing to move back into their classrooms. A good portion of these teachers are first timers, which could mean several things. Some are bright-eyed twenty-two-year-old grads, eager to step into their first job. Some are new to the teaching field after making a career shift. And others have been teaching for years but are approaching a new grade level or subject for the first time. Teachers who are new to AP Lit often feel intense pressure to meet high standards and produce high-scoring students in their first year. Furthermore, there are countless ways to structure an AP Lit class and no standardized reading list, so many new teachers feel completely lost.
For this post I’ve teamed up with another AP Lit teacher, Ashlee Tripp, to provide two different perspectives. We asked new AP Lit teachers for some burning questions they had as they readied for the new school year, and we actually got so many that we created two blog posts to answer them all! I’ll cover half of them here, and make sure you click here to access the other half of the material on Ashlee’s blog!
Q: How many books do I teach, and which ones?
Gina: These are the top two questions I see in the AP Lit Facebook groups. I think the number of texts we teach, an achievement that used to be competed about among AP Lit teachers, is becoming arbitrary. A teacher could teach 15 books but if her students never write then what’s the point? I say, teach as many books as it takes to do it well. For the upcoming school year, I’ll be teaching six texts (two plays, two novels, a novella, and How to Read Literature Like a Professor). I did eliminate two from last year’s list to make room for short fiction units. As for which books to pick, the College Board answer would be to find books that are complex, diverse, and engaging. However, I think it’s equally important to teach books you love. Students can sense when you’re teaching a book because you have to, making them less likely to read it. I would encourage new AP Lit teachers to stick to some “safe” texts, but don’t be afraid to take risks. If there’s a new book that you think would be perfect for AP Lit but you don’t know if it’s “AP approved,” take a leap and try it out! And also, don’t forget to let us know how it went! AP Lit teachers are always looking for books to add to our must-read list.
Ashlee: I think you have 3 camps on this—those who read more than 10, those who read 5-10, and those who read 3-4, and you just have to decide which camp you would excel in as a teacher! I give a summer survey, and consistently over 80% of my kids identify themselves as readers. It just makes sense to me to push my kids to read a wide range of texts. I constantly get e-mails from graduates thanking me for making them read more because it helps them manage the reading load of college. We’ll be doing nine novels (three choice, two book club, and four whole class) and two plays this upcoming year. That’s cutting three books from last year to include even more poetry and short fiction than I have ever done! My first year teaching AP Lit, we did all whole class reading chronologically: Oedipus Rex, Beowulf, The Canterbury Tales, King Lear, Paradise Lost, Candide, Frankenstein, Crime and Punishment, Heart of Darkness, The Handmaid’s Tale, and A Thousand Splendid Suns. Last year, I let the kids choose their whole class texts; out of a list of ten, they chose eight, had one book club, and three choice books. This year, I’m still thinking about it, but there have been major curriculum changes in our lower grade levels, so I’ll be adjusting for that and the new standards. As of now, I’m thinking we’ll move thematically and do dystopian book clubs (previously summer reading) followed by a whole class read of 1984, a Shakespeare play (I’ll probably let them choose), Frankenstein, The Great Gatsby, Invisible Man, The Importance of Being Earnest, and a Contemporary option in book clubs. I may end up cutting Invisible Man in favor of something shorter depending on how the year is going, but I like to have them read a longer text if time allows. My kids have never had a year where they took the exam and didn’t have at least five of the texts we read listed for Q3 (though I don’t think it’s that big of a deal if you don’t cover the listed books).
Q: How much do my students’ scores matter?
Gina: It depends on your school and your administrator. Most administrators will look at your scores and possibly discuss them, but from a data standpoint. I think you should always look at your scores and learn from them, but never define your teaching ability or your students by their scores. Keep them tucked away in a file or file cabinet, make any necessary changes to the following year, and move on.
Ashlee: My admin looks at our AP scores, but I don’t think they matter as much as we sometimes think they do. My principal sends congratulatory texts to anyone over the national averages in July, and we get our essay exams back, but that’s about it. I think it depends on your school and your state. I use the scores to plan and set goals for the following year… last year I wanted to improve Q2 responses and multiple choice averages, and we drastically improved on each because I was more intentional on planning for those things! I also let kids talk me into doing a poetry standalone unit instead of weekly poems last year, and our Q1 responses went down by 0.2 points. Never again! LOL Just remember you can always do more poetry, and poems are short and sweet and oh so complex.
Q: How much of my time should be devoted to test prep?
Gina: The answer to this question depends on how much of your course is driven by the exam. If your test double duties as a dual enrollment or Brit Lit course, the exam may not be the best assessment for the work you do. But if you teach the AP Lit course at your school and the exam is the ultimate end goal for the course, I’d recommend at least 20% of class time be spent on test-prep activities and assessments. My class is strictly an AP class so we do multiple choice practice tests at least every quarter and timed writings each month. With the new AP Classroom resources being posted, I am hoping to do shorter multiple choice activities each week if possible. My literature units are also driven by the new AP Lit standards and many of our activities are filled with close reading and analysis activities. Some of my units, like my prose analysis unit and my test prep unit, are purely driven by the exam, but could apply to SAT and ACT preparation as well.
Ashlee: We spend April specifically on test prep, but I do go over the format of the exam and the expectations at the beginning of the year, and the kids do a mock exam in August, in December, and again in April. Otherwise, we’re just a college-level English class, and I treat it as such. If you’re teaching your kids how to think critically as they read and write, then you’re preparing them for the test the entire year.
Q: How often should students practice timed writing?
Gina: My students complete a timed writing about every two weeks. I’d actually like to do it weekly but I can’t handle the grading load. One way to incorporate more on-demand writing is to scale it down. Sometimes I just ask students to produce a thesis statement or a short outline for a text we’re studying. I give them a few minutes and we share in class. This only takes about 10 minutes in total, rather than spending an entire class period on a timed essay.
Ashlee: I do a full timed write about as often as Gina, maybe a little less. And we do tons of thesis statements, outlines, paragraphs or discussions of released prompts throughout the year. I’d rather get through more texts than spend an entire class period every week doing a full essay. That said, they read, write, and discuss at least one text every single day in class.
Q: Can I see a sample syllabus?
We got so many requests for this! I recently moved from a written syllabus to a visual one, and Ashlee has explored this as well. The links to all four examples are included below:
Ashlee – Written Syllabus Remember, these syllabi are designed for in-class use. These are not submitted to College Board and are not to be confused with the AP Audit, which is standard-driven and much more intensive!
Q: What does a typical class period look like?
Gina: My lessons vary depending on what we’re studying and what day of the week it is. Our school is on a modified block, so once a week I get them for a block period. On these days we start with a vocabulary quiz and a poem study. This takes up about half of the class period, so most of my classes are structured to last about 45 minutes. I’m not nearly as structured as Ashlee, and my lessons vary by what we are reading. Sometimes we spend almost an entire period in small and whole group discussion, other times we move from lecture to discussion to independent reading. I’m usually pretty amped up to start each lesson so I prefer to begin with bell-ringers or introductory activities and conclude lessons with independent reading.
Ashlee: I wish I was more structured! I’d love to model my class after Penny Kittle and Kelly Gallagher’s 180 Days, but that’s still goals for me. I do start with 10 minutes of reading every day, and then from there it depends on the day! I use the same strategies in AP that I use in all of my classes: learning stations, gallery walks, Socratic seminars/discussions, think pair share, silent discussions, speed dating, circles, etc. I have 50-minute classes three days a week and an 80-minute block once a week. Ideally? It would probably look something like this (though it doesn’t always): 10 min. free reading 10-15 min. text study/mini-lesson (longer on block days) 20-25 min. writing/discussing/practicing (longer on block days) 5 min. sharing/closure
Q: How do you vary your teaching patterns to avoid monotony, but encompass recurrent practice of the same skills?
Gina: I pick different summative assessments for each long fiction unit we complete. They vary between a test, Socratic Seminar, long essay, project, and more. Each one has a timed writing, but everything else varies. I have also begun pairing literature lessons with mini-lessons on certain skills or materials pertaining to the text. For example, in Frankenstein we explore Paradise Lost and foils, whereas in Things Fall Apart we study proverbs and folk tales. Honestly, every unit seems pretty different in my AP class! The things that do become a routine are our weekly vocab quizzes and poem studies. Those are ever present, no matter what unit we’re in.
Ashlee: One way is through the volume of texts we read and study, but I also try to change up how we’re interacting with a text from day to day, how we’re responding, how we’re learning… and I’m always trying new strategies and adjusting!
Q: What’s the best wine to pair with essays?
Gina: I’m not an avid wine drinker, so I’m going to defer to a fellow Facebook member for my answer. She said: Persuasive Essays: Merlot or rosé Narrative Essays: Sauvignon blanc or pinot noir Expository Essays: Chardonnay or cabernet
Ashlee: Where’s the moscato? Actually, Hemingway said to write drunk and edit sober, so I don’t tend to pair grading essays with wine. Maybe that’s why I despise grading so much!
Want to see more questions answered? Head over to Ashlee’s blog to read the rest!
Gina Kortuem has a Masters in education from Bethel University and is going into her 14th year of teaching AP English Lit. She works in a parochial K-12 school in St. Paul, MN where she teaches AP Lit, Brit Lit, Shakespearean Lit, and the sophomore English 10 classes. In addition to teaching the class she has worked as an AP Reader five times and has scored for each essay type. She teaches full time and also runs the Teachers Pay Teachers store AP Lit & More.
Ashlee Tripp is a high school English teacher in Douglas County School District, just south of Denver, CO. She has an MAT English and BA in psychology with a focus in neuroscience. She currently teaches AP Lit (seniors), College Composition I and II (juniors and seniors), and Young Adult Literature elective (juniors and seniors). This is her fourth year teaching AP Lit, but she’s been teaching for a decade, two years at the college level and eight years at the high school level. In all of her spare time she enjoys reading every genre of literature and writing for her blog. You can find her blog, Life’s a Tripp, at http://www.ashleetripp.com and purchase AP Lit and other teaching resources from her TpT store that she recently started.
You’ve probably heard of Thomas C. Foster’s How to Read Literature Like a Professor and may already use it in your classroom. Foster’s text, while not originally written for classroom use, has become a staple for many AP Lit teachers. Foster puzzles over this phenomenon in the preface of the book’s second edition, saying he is flattered by the new audience but did not anticipate the book being a tool for teachers.
Because How to Read Literature Like a Professor (henceforth called HTRLLAP for the sake of my sanity) is neither textbook or novel, AP teachers have integrated it into their classes in many different ways. I’ve been teaching it for a few years and have deduced some excellent strategies for incorporating HTRLLAP into the AP classroom. Furthermore, I’ve learned four consistent ways to effectively kill HTRLLAP’s joy and knowledge. Here are four ways that AP teachers misuse Foster’s text:
#1 Assign it as summer reading
This one is going to ruffle some feathers, but I think the worst mistake AP teachers make when using HTRLLAP is assigning it for summer reading. That being said, I totally understand the reasons behind doing it. Foster’s book is not exactly short, and a universal truth among AP Lit teachers is that we are always running out of class time. However, exporting it to summer reading introduces a new set of problems:
Some kids will not read it
Many kids will not fully grasp all of the book’s meaning
Some information may be forgotten in the summer months
Chapters blend together, making individual lessons hard to remember
SOME KIDS WILL NOT READ IT
That first one seemed so obvious I felt it needed mentioning again. Personally, I find HTRLLAP too valuable to let students rush it, skim it, or skip it altogether. Instead, I devote the first three weeks of AP Lit to studying the book, usually 3-4 chapters at a time. Each day the students take a short quiz on the reading, then we go over notes and breakout texts from each chapter (available for purchase from my Teachers Pay Teachers store, see below). By including it in the school year my students learn that the book is important. In fact, we treat it as our textbook, referencing it often enough that some students buy their own copy so they can annotate the text permanently. For these reasons and more, I cannot allow Foster’s text to be doomed to die on the summer reading list.
#2 Confine it to the page
Another common crime committed by AP Lit teachers is to simply discuss HTRLLAP as it is, when I believe teachers should model intertextuality skills and connect Foster’s lessons to their own favorite books. Foster does an amazing job of this in his book, which is one of the reasons people love reading it. He throws in allusions as well as Master Shakespeare, and clearly he has done his reading homework before writing the book. However, not many teenagers have read Lolita, “Sonny’s Blues,” or Dubliners in their spare time. To say it frankly, some of Foster’s textual references are too highbrow for teenagers.
To combat this, I move HTRLLAP beyond Foster’s text and connect it to novels and plays that I know my students have read before coming to my class. To Kill a Mockingbird, Fahrenheit 451, and Animal Farm are popular choices in my lessons. Another thing I love to do is use Foster’s lessons to analyze film and television. Some of my students were more insightful in their analysis of Breaking Bad and Inception than any other text we read throughout the year. See below for some examples of the connections to television and film I make in my notes:
One of my favorite memories was of a student running into my classroom and joyfully telling me that his family wouldn’t watch television with him anymore–because he couldn’t stop analyzing the shows. He was using Foster’s methods to make predictions and spoiling the endings of live television! I was so proud!
Foster’s appeal grows when modeled and expanded. I urge you as a teacher to model understanding of Foster’s lessons with books, plays, movies, songs, television shows, and other references from your experience. By showing them that you can make these connections with HTRLLAP, they’ll begin to make their own.
#3 Use the One-and-Done Approach
Probably the most common crime against HTRLLAP is analyzing it as the beautiful resource that it is–and then abandoning it on a shelf for the rest of the year. In my use of the text, we study it at the beginning of the year for a reason. The students are told to use each of Foster’s lessons (there is one per chapter) to guide them throughout the year. At the end of the unit, I give students smaller versions of a classroom poster I designed, showing each of Foster’s chapter lessons on one document. My students look to this poster throughout the year and use the handout to study for the AP Lit exam.
Just last year, we were discussing a detail from All the King’s Men when all of a sudden a student shouted out, “He’s going South!” The rest of the class was puzzled for a moment, until another kid lit up and responded, “He’s going to run amok!” The poster reminded them of one of Foster’s chapter lessons, and all at once the class was making predictions as a group. I almost cried.
For more details on this poster see the links at the bottom of this blog post!
#4 Skip the Writing Assignment
The final misuse of HTRLLAP is skipping Foster’s last chapter, which contains a short discussion of Katherine Mansfield’s “The Garden Party.” I understand the motive to skip it, since Mansfield’s story is 1) long, and 2) hard. However, Foster included it in his text for a reason. AP Lit students need to practice close reading paired with analytical writing.
In my classroom, I ask students to read “The Garden Party” only, without the commentary afterwards. They come in to class ready to discuss it and we spend 20 minutes drafting an on-demand essay analyzing the story. They partner up and share their insights, and then we return to HTRLLAP. Together we read the rest of Foster’s text and his insightful take on Mansfield’s short story. My students usually have a dramatic reaction to his chapter, and it is always one of despair and anger. I have yet to have any student make the connection to hell that Foster makes in his book. However, this exercise is not designed to break their spirits. It is to show how a story can be interpreted in varying ways, and how looking for patterns can yield such interesting results. I follow this lesson with our first prose timed writing of the year (I prefer the 2009 prose question based on Ann Petry’s The Street). Overall, consistently pairing HTRLLAP with writing trains students to read closely, looking for patterns and predictions like Foster trains them in his book.
If you already use How to Read Literature Like a Professor in your AP classroom, I commend you for finding such a rich resource for your students. I hope this blog has convinced you to use it purposefully in order to make the book more than just a book but a valuable resource in your AP students’ toolbox.
If you are looking to add How to Read Literature Like a Professor to your AP Lit curriculum (or your own lessons need an overhaul), I have a ready-made unit available on my Teachers Pay Teachers store. This resource has recently been modified to match the College Board’s new course description and hits several of their essential skills. I actually count this unit as a short fiction unit in my own course planning. You can purchase my How to Read Literature Like a Professor bundle here, or the typography posters alone here.
One of the most common questions asked among new and veteran AP Lit teachers alike is, “What titles should I teach?” It is not an easy question to answer, as the list of titles listed on the AP Lit exam numbers over 400 now. Plus there are other considerations, such as length, authorship, genre, diversity, difficulty, and many more. When considering a change in titles, one overlooked tool is the history of the exam itself, namely in Question 3: The Open Question.
The first way to use Question 3 is by studying the questions. For example, I noticed over in 2016 that many of the questions being used for the Open Essay were geared toward gothic novels. I switched from reading just Frankenstein to studying gothic novels in a book club unit, just in time for the the 2018 exam, which was geared perfectly for gothic novels. In fact, Frankenstein, Dracula, and The Picture of Dorian Gray were all suggested titles to study. After that, I began looking closer at the types of questions included on Q3 and making adjustments as needed. A document with all of the open questions can be downloaded for free from my Teachers Pay Teachers store here.
Another way to study the Open Question is to examine the titles included in the suggestions. Remember that students aren’t required to choose from that list, so I don’t suggest requiring them to do so. However, the list does inform AP Lit readers the types of titles that the College Board is reading…and recommending. I recently studied suggestions from the 2019 exam and there were three new titles never mentioned on an AP Lit exam before. They were:
The Brief and Wondrous Life of Oscar Wao by Junot Díaz
The Alchemist by Paulo Coelho
When the Emperor Was Divine by Julie Otsuka
Lolita by Vladimir Nabokov
Now I’ve got some titles to add to my never-ending “To-Read” list! This list also emphasizes some of the most popular and treasured titles among the College Board. The titles that have been listed more than ten times are:
The Adventures of Huckleberry Finn by Mark Twain
Antigone by Sophocles
The Awakening by Kate Chopin
Beloved by Toni Morrison
Billy Budd by Herman Melville
Catch-22 by Joseph Heller
Ceremony by Leslie Marmon Silko
The Color Purple by Alice Walker
Crime and Punishment by Fyodor Dostoevski
The Crucible by Arthur Miller
Death of a Salesman by Arthur Miller
The Glass Menagerie by Tennessee Williams
Great Expectations by Charles Dickens
The Great Gatsby by F. Scott Fitzgerald
Heart of Darkness by Joseph Conrad
Invisible Man by Ralph Ellison
Jane Eyre by Charlotte Brontë
Jude the Obscure by Thomas Hardy
King Lear by William Shakespeare
Light in August by William Faulkner
Moby Dick by Herman Melville
Native Son by Richard Wright
Othello by William Shakespeare
A Passage to India by E.M. Forster
Portrait of a Lady by Henry James
Portrait of the Artist as a Young Man by James Joyce
A Raisin in the Sun by Lorraine Hansberry
The Scarlet Letter by Nathaniel Hawthorne
Song of Solomon by Toni Morrison
A Streetcar Named Desire by Tennessee Williams
Their Eyes Were Watching God by Zora Neale Hurston
Wuthering Heights by Emily Brontë
While AP Lit teachers do not need to choose from this list, these could be looked to as reliable choices. The whole list of AP Lit titles from the Open Question can be downloaded for free from Teachers Pay Teachers here.
One last way I study the Open Question is by looking at what titles are “trending.” I use this term to describe titles that have been included on the exam in just the past 10 years. Titles such as Don Quixote, The Bluest Eye, and The Mill on the Floss were suggested for the first time in over ten years. The most suggested titles in the last ten years are:
Beloved by Toni Morrison
Great Expectations by Charles Dickens
Heart of Darkness by Joseph Conrad
Invisible Man by Ralph Ellison
King Lear by William Shakespeare
The Odyssey by Homer
Oryx and Crake by Margaret Atwood
The Poisonwood Bible by Barbara Kingsolver
Portrait of a Lady by Henry James
Their Eyes Were Watching God by Zora Neale Hurston
Wuthering Heights by Emily Brontë
Studying trending titles can be enlightening in finding popularity among more recent works. For example, Oryx and Crake was only published in 2003, and yet it’s been suggested on the exam four times already. If one were looking for a strong modern contender, that would be an excellent choice. A document listing “trending” titles is available on my TpT store as well, but is not available online anywhere else! Click here to access it!
I hope this helps explain how studying former exams, particularly the Open Question, can help you make course decisions. Please feel free to download the resources linked here. They are available for free! They are linked below for your convenience.
As you may have heard, the AP English Literature course is getting a bit of a redesign this summer, becoming effective in Fall of 2019. For the full report released by the College Board, click here. For the remix version, keep reading!
Many AP Lit teachers are already starting to panic about the new changes because frankly, changes are scary. But based on my reading and some discussion with other AP Lit teachers, I think these changes are positive overall and nothing to be scared of.
Here are the main things to know:
The biggest change is that the AP Lit essay rubric is changing to an analytical, itemized rubric similar to those used on the AP US History and AP European History exams. The actual scoring guidelines have not been released yet, but the writing prompts are more specific in what students need to write about. More information will be provided at the AP Reading this summer and will be sent out to AP Lit teachers as well.
AP English Literature seems to be embracing different forms of fiction, perhaps even moving away from the old-fashioned “literary merit” model of years past. Instead, the course description breaks the literature down into three categories:
Much of the new changes to the AP exam are supported by an abundance of new resources being supplied by College Board on their new AP Classroom webpage. The webpage is advertised below:
Because of the new emphasis on “short fiction,” AP teachers are already talking about adding more short fiction, such as excerpts from novels or short stories, and eliminating some longer works. This builds on Senior VP of CollegeBoard Trevor Packer’s tweet last summer hinting that this was the new direction of AP Lit. (I discussed this tweet and its ramifications in a blog post last year as well!)
If you are feeling overwhelmed still, that’s perfectly natural. I too had a small moment of hyperventilation when I worried I had to eliminate all novels from my curriculum and add short stories instead. However, after reading further, and talking to some level-headed AP Lit teachers, here are my personal take-aways:
These are guidelines. No changes are necessary to your AP Lit courses, except maybe tweaking your on-demand essay rubrics eventually.
CollegeBoard will be releasing more practice questions and resources to help new and struggling AP teachers starting in the fall.
CollegeBoard may start allowing analysis of shorter prose works, even short stories, on Question 3, which overall means more modern and realistic reading material and student expectations.
Because of a student trip to Italy this June, I am unable to attend the AP Lit scoring in Salt Lake City. However, I have some friends who are sending me the materials as soon as they get them, and rest assured I am setting aside some time this summer to develop TpT resources based on the new writing expectations. If you have any additional questions for me, or suggestions for future resources, please email me at firstname.lastname@example.org. Finally, I encourage you to check out the new course description (linked above) and sign up for the AP Classroom resource.