Please get your last book from the library with a poet whose last name begins with M-Z. During the holiday break, please complete your reading of this collection. Choose 1 poem that you like the most and consider performing this out loud in class.
Have a happy holiday! Get some rest and (when appropriate) try to find time to write!
The second half of our class we will move next door to perform some more slam poetry.
Thursday, December 17, 2009
Tuesday, December 15, 2009
Slam! Today...
Complete and prepare your slam poem (the one you did for homework). During the second period of this class we will saunter over to the other room to hear some of these out loud. In preparation, read your poem out loud to yourself. Make decisions about rate of speech, rhythm, and vocal quality (like volume or where you stress one word over another). As always, make decisions about your performance BEFORE you begin to speak out loud.
Homework: Please complete your poetry book. Bring this book with you next class.
Homework: Please complete your poetry book. Bring this book with you next class.
Friday, December 11, 2009
Poetry Activities #2
Using the text of the poet you chose for your second poetry chapbook, do the following JOURNAL/brainstorming exercises with your poet's book:
1. Jot down the best 3 titles of the poems in the collection
2. Read 3-5 poems and list what you think the poet's theme or main idea is in the poem.
3. Spend about 5-20 minutes reading (silently). When an idea pops into your mind stop and write a poem using that idea. If more time remains for this portion of the class, when you complete a poem, go back to reading.
POET AS AGENT FOR SOCIAL CHANGE
"Men die everyday for what they miss in poetry..." William Carlos Williams
1. The poet is the voice of reason
2. The poet is the spokesperson for the downtrodden, outsider, or oppressed
3. The poet is the eye of the world
4. The poet brings order to chaos
HOMEWORK: Complete your chosen text by next class. Write a slam poem (a poem meant to be performed/read out loud).
1. Jot down the best 3 titles of the poems in the collection
2. Read 3-5 poems and list what you think the poet's theme or main idea is in the poem.
3. Spend about 5-20 minutes reading (silently). When an idea pops into your mind stop and write a poem using that idea. If more time remains for this portion of the class, when you complete a poem, go back to reading.
POET AS AGENT FOR SOCIAL CHANGE
"Men die everyday for what they miss in poetry..." William Carlos Williams
1. The poet is the voice of reason
2. The poet is the spokesperson for the downtrodden, outsider, or oppressed
3. The poet is the eye of the world
4. The poet brings order to chaos
HOMEWORK: Complete your chosen text by next class. Write a slam poem (a poem meant to be performed/read out loud).
Monday, December 7, 2009
Poetry
Please complete your elemental poem by the end of 3rd period today.
If you finish, please move on to this next exercise:
Poetry: Steal a line...
Take your poetry book and steal a line from any of the poems in the chapbook. You may place this line anywhere in your poem. You may also change the line slightly to keep tense and POV consistent. Somewhere in your title or as an epigram, indicate and name the poet who inspired your poem.
4th period we will return to the library. We will be looking for poets whose names end with E - .
If you finish, please move on to this next exercise:
Poetry: Steal a line...
Take your poetry book and steal a line from any of the poems in the chapbook. You may place this line anywhere in your poem. You may also change the line slightly to keep tense and POV consistent. Somewhere in your title or as an epigram, indicate and name the poet who inspired your poem.
4th period we will return to the library. We will be looking for poets whose names end with E - .
Thursday, December 3, 2009
Poetry Activities
Today spend 10 minutes reading the poetry book you selected. As you read, in your journal, jot down 10 words (1 word per minute) from the poems you are reading. Choose the word(s) that you find the most intriguing or interesting. Try to avoid simple abstract or vague words or common ones. Go for the interesting ones.
When the bell chimes, spend two minutes jotting down the titles of the poems you have been reading. We'll use this later.
Get into groups of two. Alternatively, select a poem from your book and read this to your partner. The partner should listen. After reading discuss what you remember or imagined during the reading. Take only a minute or two to discuss this with the reader. Then the listener/describer will read a poem from his/her book and repeat the process. Do this 3 times. When the bell chimes. Stop and move on to the next portion of our exercise.
Choose a new poem from your collection. Then you and your partner follow these steps:
1. Read the poem silently once.
2. Alternate readers so that your partner reads the same poem a second and third time, this time out loud.
3. Take a moment to discuss the poem with your partner.
4. List and define any words that you or your partner may not know or only “think” you know. Write these words and their definition in your own journals. Use the internet dictionary to help you, or a physical dictionary.
5. Separately, list the words in the poem that alone stress the importance of the poem’s meaning.
6. Compare your list with your partner’s list. Which words are the same? Which are different? Write both your lists in your own journals.
7. Separately, which single word summarizes the poem for you?
8. Compare your word with your partner’s word. Write both your words in your own journals.
9. Separately, Examine the poem and describe an image that encompasses the entire poem – describe this image. (in other words, if this poem were a photograph, what would the photograph be of?)
Last, but not least, with the remaining class time, finish your elemental poem draft (hand in to the dropbox when completed). If you finish early, look over your word lists in your journal and write a poem inspired by some of the ideas and poems and words you read in class.
When the bell chimes, spend two minutes jotting down the titles of the poems you have been reading. We'll use this later.
Get into groups of two. Alternatively, select a poem from your book and read this to your partner. The partner should listen. After reading discuss what you remember or imagined during the reading. Take only a minute or two to discuss this with the reader. Then the listener/describer will read a poem from his/her book and repeat the process. Do this 3 times. When the bell chimes. Stop and move on to the next portion of our exercise.
Choose a new poem from your collection. Then you and your partner follow these steps:
1. Read the poem silently once.
2. Alternate readers so that your partner reads the same poem a second and third time, this time out loud.
3. Take a moment to discuss the poem with your partner.
4. List and define any words that you or your partner may not know or only “think” you know. Write these words and their definition in your own journals. Use the internet dictionary to help you, or a physical dictionary.
5. Separately, list the words in the poem that alone stress the importance of the poem’s meaning.
6. Compare your list with your partner’s list. Which words are the same? Which are different? Write both your lists in your own journals.
7. Separately, which single word summarizes the poem for you?
8. Compare your word with your partner’s word. Write both your words in your own journals.
9. Separately, Examine the poem and describe an image that encompasses the entire poem – describe this image. (in other words, if this poem were a photograph, what would the photograph be of?)
Last, but not least, with the remaining class time, finish your elemental poem draft (hand in to the dropbox when completed). If you finish early, look over your word lists in your journal and write a poem inspired by some of the ideas and poems and words you read in class.
Tuesday, December 1, 2009
Journal Due!
Your journal is due today. While I am grading it, please read and complete the blog post below: The Elemental Poem.
During the second half of class, we will be going down to the library to choose a poetry book. Look through the poetry selection from authors, last name A-D. We will be reading several poetry books in the next few weeks.
Before you check out the book, please read a few poems to make sure you like or can appreciate the poet's style. During the rest of class downstairs, after you have selected a poet, please sit (alone) and read. Try to complete the poetry book by next class.
During the second half of class, we will be going down to the library to choose a poetry book. Look through the poetry selection from authors, last name A-D. We will be reading several poetry books in the next few weeks.
Before you check out the book, please read a few poems to make sure you like or can appreciate the poet's style. During the rest of class downstairs, after you have selected a poet, please sit (alone) and read. Try to complete the poetry book by next class.
Elemental Poem activity
The ancient world was much simpler in some aspects than the modern world. In the ancient world, people recognized only four basic elements: earth, air, fire, and water—and these elements were considered not only the building blocks of the material world, but also the elements of our character or psyches. Someone who was known to be passionate was thought to be possessed of fire and to be subjects to the laws of fire. These earthly elements also had their correspondence in the heavens, and each astrological sign was—and still is—associated with earth (Capricorn, Taurus, Virgo), air (Gemini, Aquarius, Libra), fire (Leo, Sagittarius, Scorpio), or water (Pisces, Cancer, Aries).
– From Everyday Creative Writing; Smith & Greenberg
Try revisiting this "simpler" world by focusing on and using the ancient elements to organize a poem.
Brainstorm:
Identify yourself with one of the elements. How are you like Fire or Air or Water or Earth? Write down as many qualities of yourself as possible.
Then make a list of places where you would least expect to find each of the elements. Example:
Fire
• In the refrigerator
• On the palm of my hand
• In a laundry basket
Next:
Make a list of verbs that you would least associate with each element. Example:
• The water sneezed
• The fire slept
• The wind stood in line at the bank
Combine these brainstorming activities to write a draft of a creative poem.
Example: From Charles Jensen’s poem Housefires and Homefries
My mother sets little fires in my
Shoes. They smolder like samovars.
It’s her way of saying
stay home and wait for the glacier,
my father, man of men. His golf bag is full
of snow. His shirts have ice cuffs
and frozen collars. My parents stare
at each other until their eyes turn
to earth and ash and when one speaks
the other blows air into paper bags
and bags float like syllables spoken under water.
– From Everyday Creative Writing; Smith & Greenberg
Try revisiting this "simpler" world by focusing on and using the ancient elements to organize a poem.
Brainstorm:
Identify yourself with one of the elements. How are you like Fire or Air or Water or Earth? Write down as many qualities of yourself as possible.
Then make a list of places where you would least expect to find each of the elements. Example:
Fire
• In the refrigerator
• On the palm of my hand
• In a laundry basket
Next:
Make a list of verbs that you would least associate with each element. Example:
• The water sneezed
• The fire slept
• The wind stood in line at the bank
Combine these brainstorming activities to write a draft of a creative poem.
Example: From Charles Jensen’s poem Housefires and Homefries
My mother sets little fires in my
Shoes. They smolder like samovars.
It’s her way of saying
stay home and wait for the glacier,
my father, man of men. His golf bag is full
of snow. His shirts have ice cuffs
and frozen collars. My parents stare
at each other until their eyes turn
to earth and ash and when one speaks
the other blows air into paper bags
and bags float like syllables spoken under water.
Tuesday, November 24, 2009
Creative Writing Rubric
Here's a glimpse of our creative writing rubric.
4 = Exemplary (A+)
3 = Accomplished (B - A)
2 = Promising (C+ - B-)
1 = Beginning (D - C)
0 = Missing
4 = Work is exemplary with no errors in formatting; grammar and punctuation is effective and accurate; sentence structure is artistic, relevant and creative--the piece flows and is thought provoking. Literary elements abound and are used artistically to create a desired effect. Work shows careful attention to detail and demonstrates artful skill. Work exceeds assigned task--author goes above and beyond requirements to create an artistic, creative piece. Work is original, thoughtful, and very creative (Student thinks outside the box.) Uses lab time effectively and efficiently, completing excellent work on time and moving on to other projects ahead of schedule. Keeps focus on writing and class assignments/projects.
3 = Writing is presentable, few or minor errors in formatting; few errors in grammar and punctuation occur, but the work is understandable and easily understood; sentence structure is varied and attempts to create an artistic style, although there may be gaps. Literary elements are used occasionally to some effect, but piece may not be as strong as exemplary models. Work shows attention to detail but not as much as exemplary models. Work achieves assigned task. Work is creative overall, but may have some gaps. Uses lab time to accomplish required tasks. Often keeps focus on writing and class assignments/projects.
2 = Writing is presentable, although some errors in formatting occur; while common errors in grammar and punctuation occur, the work is not unintelligible or overly difficult to understand. Sentence structure is appropriate, but not necessarily effective. Literary elements are unconsciously used or used but with little effect. Work shows some attention to detail, but work has some gaps. Work attempts to complete assigned task, but may fall short. Work is somewhat creative, but may be typical for age or level. Uses lab time somewhat. Sometimes keeps focus on writing and class assignments/projects.
1 = Writing is not presentable (not typed) or work is not formatted correctly. Many errors in grammar and punctuation occur that makes reading or comprehension difficult. Little understanding of sentence structure occurs. Work lacks literary devices (work is too abstract, cliche, undeveloped, etc.) Very little attention to detail, work seems hastily or quickly composed. Work is incomplete or fails to accomplish required task. Work lacks sensitivity to the creative impulse, relies too heavily on abstract and standard or ordinary thought, plot, characters, themes, settings, etc. Work implies skill level below grade level. Often needs to be prodded to work in the lab or is distracting to others. Rarelyi keeps focus on writing and class assignments/projects.
4 = Exemplary (A+)
3 = Accomplished (B - A)
2 = Promising (C+ - B-)
1 = Beginning (D - C)
0 = Missing
4 = Work is exemplary with no errors in formatting; grammar and punctuation is effective and accurate; sentence structure is artistic, relevant and creative--the piece flows and is thought provoking. Literary elements abound and are used artistically to create a desired effect. Work shows careful attention to detail and demonstrates artful skill. Work exceeds assigned task--author goes above and beyond requirements to create an artistic, creative piece. Work is original, thoughtful, and very creative (Student thinks outside the box.) Uses lab time effectively and efficiently, completing excellent work on time and moving on to other projects ahead of schedule. Keeps focus on writing and class assignments/projects.
3 = Writing is presentable, few or minor errors in formatting; few errors in grammar and punctuation occur, but the work is understandable and easily understood; sentence structure is varied and attempts to create an artistic style, although there may be gaps. Literary elements are used occasionally to some effect, but piece may not be as strong as exemplary models. Work shows attention to detail but not as much as exemplary models. Work achieves assigned task. Work is creative overall, but may have some gaps. Uses lab time to accomplish required tasks. Often keeps focus on writing and class assignments/projects.
2 = Writing is presentable, although some errors in formatting occur; while common errors in grammar and punctuation occur, the work is not unintelligible or overly difficult to understand. Sentence structure is appropriate, but not necessarily effective. Literary elements are unconsciously used or used but with little effect. Work shows some attention to detail, but work has some gaps. Work attempts to complete assigned task, but may fall short. Work is somewhat creative, but may be typical for age or level. Uses lab time somewhat. Sometimes keeps focus on writing and class assignments/projects.
1 = Writing is not presentable (not typed) or work is not formatted correctly. Many errors in grammar and punctuation occur that makes reading or comprehension difficult. Little understanding of sentence structure occurs. Work lacks literary devices (work is too abstract, cliche, undeveloped, etc.) Very little attention to detail, work seems hastily or quickly composed. Work is incomplete or fails to accomplish required task. Work lacks sensitivity to the creative impulse, relies too heavily on abstract and standard or ordinary thought, plot, characters, themes, settings, etc. Work implies skill level below grade level. Often needs to be prodded to work in the lab or is distracting to others. Rarelyi keeps focus on writing and class assignments/projects.
Monday, November 23, 2009
Horror Story draft due! Love That Dog
Today during 3rd period, please finish your horror story drafts. They are due by the end of 3rd period. Please print these out or send the file to the DROP BOX (not the workshop box) with your name clearly stated in the file name. Points will be taken off if you do not indicate your name on the file or you put your file in the wrong box.
Your draft should have the following:
A title.
Your name on the heading with the name of the assignment: "horror story draft"
At the first bell, please log out and retire to room a240 to continue reading "Love That Dog."
In preparation, please read these poems:
"The Tyger" by William Blake
"Love That Boy" by Walter Dean Myers
"The Pasture" by Robert Frost
Your draft should have the following:
A title.
Your name on the heading with the name of the assignment: "horror story draft"
At the first bell, please log out and retire to room a240 to continue reading "Love That Dog."
In preparation, please read these poems:
"The Tyger" by William Blake
"Love That Boy" by Walter Dean Myers
"The Pasture" by Robert Frost
Friday, November 20, 2009
Horror/Speech, Odds & Ends
During the first few minutes of class those of you who have not yet given your speeches will be asked to perform them. This is the last day we are delivering speeches, so please participate in order to get a passing grade. After the speeches, please continue to work on your horror stories.
If you are done with these things (and work has been turned in), you are free to work on personal projects or surf the internet for inspiration.
Here's a few links for AFTER you complete your horror stories:
On line games.
Online webcomics
Youtube videos
4th period: let's meet in room a240 for poetry stuff.
If you are done with these things (and work has been turned in), you are free to work on personal projects or surf the internet for inspiration.
Here's a few links for AFTER you complete your horror stories:
On line games.
Online webcomics
Youtube videos
4th period: let's meet in room a240 for poetry stuff.
Wednesday, November 18, 2009
Coffeehouse Response!
Congratulations, Freshmen!
You have successfully completed a public performance. I hope you enjoyed the coffee house and will participate in future ones.
Part of our goal this year is for you to get to know your strengths and weaknesses by completing a myriad of assignments, projects, and performances. Self reflection is an important component to learning. As such, please post a comment on:
How you felt you did last night as a performance. If you had to do it over again, what would you do differently? What did you learn about public speaking by performing your writing last night? What suprised you about the performance? Who's performance did you particularly enjoy? Did you notice anything different between the Freshman performances and the other Creative Writing performances? What did your parents say or think about the performance?
(You may post your comment on this blog entry, if you'd like)
Done before 4th period? Please continue working on your horror stories. Aim to complete these drafts by Tuesday, Nov. 24.
4th period we will deliver more speeches in room a240. Those students who have not yet delivered their speeches, please prepare to peform them today.
You have successfully completed a public performance. I hope you enjoyed the coffee house and will participate in future ones.
Part of our goal this year is for you to get to know your strengths and weaknesses by completing a myriad of assignments, projects, and performances. Self reflection is an important component to learning. As such, please post a comment on:
How you felt you did last night as a performance. If you had to do it over again, what would you do differently? What did you learn about public speaking by performing your writing last night? What suprised you about the performance? Who's performance did you particularly enjoy? Did you notice anything different between the Freshman performances and the other Creative Writing performances? What did your parents say or think about the performance?
(You may post your comment on this blog entry, if you'd like)
Done before 4th period? Please continue working on your horror stories. Aim to complete these drafts by Tuesday, Nov. 24.
4th period we will deliver more speeches in room a240. Those students who have not yet delivered their speeches, please prepare to peform them today.
Monday, November 16, 2009
Coffeehouse Rehearsal
Today, quickly print out a copy of the piece of writing you will be performing at the Coffeehouse tomorrow. To prepare, please mark your script with places you will stress, indicate pauses, indicate rate of speech or pacing, look for places to include gesture or vocal variety. Identify the emotion or tone of the piece. If this shifts, make note of this as well.
On stage, I will call you up in the order you will present tomorrow (alphabetical). On stage, please speak your name and the title of the piece. Then take a moment to collect yourself and perform.
Homework: None. Prepare for the Coffehouse: 6:45 Tuesday, Ensemble Theatre.
On stage, I will call you up in the order you will present tomorrow (alphabetical). On stage, please speak your name and the title of the piece. Then take a moment to collect yourself and perform.
Homework: None. Prepare for the Coffehouse: 6:45 Tuesday, Ensemble Theatre.
Thursday, November 12, 2009
Coffeehouse Readings!
Today, please continue to write your horror stories during 3rd period. At some point today, if you can, please select a piece of your writing to read at the coffeehouse performance. 4th period, move to room a240 to deliver your speeches.
Q: What should I pick?
A: The performance is to show you off to the public. We like to celebrate the fact that you created something out of nothing, wrote down your ideas, and are furthering your education. As such, please pick a piece of work that you are PROUD of. Look over your work that you have done from September until now and pick a piece that you feel best represents you and your talent.
Q: Do I have to perform a poem?
A: No. Listening to 26 students peform the same type of poem is maddening. You can choose: Your Hitman Story, Your Questionnaire story, any of your Sudden Fiction short stories, your wordspill poem, your Pablo Neruda poem, your Elk's Club speech, your horror story (if finished), your Run, Lola, Run story, or any other assignment we asked you to write. You can even perform a piece of writing we did NOT ask you to write, provided that you are proud of it and want to perform it.
A helpful hint: please select only one piece to perform as a requirement. This should be your top choice. Then select 1-3 other pieces that you MIGHT want to perform. During our open-mic section, you are free to read an additional piece.
Q: So, I just go and read, is that it?
A: No. All performances need rehearsing. To help you prepare for the event, we will spend Monday (and possibly Tuesday) rehearsing for next Tuesday night (Nov. 17). To help prepare, make some decisions about your piece. What moods happen in the story, what rate of speaking is most appropriate, which words will you stress, where will you pause, when can you make direct eye-contact, etc.? Decide and then rehearse.
Q: What time do I have to be there?
A: 6:45. It is sometimes helpful to get to a performance a few minutes before you have to perform so that you can get yourself ready. The Ensemble Theatre will be open at 6:30 for you to prepare.
Q: How long is the performance? Can I leave after I read?
A: The performance lasts about an hour and a half (depending on how many readers read during the open-mic portion of the evening). Please plan on staying for the entire performance. It is rude to leave after you've read. Refreshments are served after the performance. Please join us for those.
Q: What should I pick?
A: The performance is to show you off to the public. We like to celebrate the fact that you created something out of nothing, wrote down your ideas, and are furthering your education. As such, please pick a piece of work that you are PROUD of. Look over your work that you have done from September until now and pick a piece that you feel best represents you and your talent.
Q: Do I have to perform a poem?
A: No. Listening to 26 students peform the same type of poem is maddening. You can choose: Your Hitman Story, Your Questionnaire story, any of your Sudden Fiction short stories, your wordspill poem, your Pablo Neruda poem, your Elk's Club speech, your horror story (if finished), your Run, Lola, Run story, or any other assignment we asked you to write. You can even perform a piece of writing we did NOT ask you to write, provided that you are proud of it and want to perform it.
A helpful hint: please select only one piece to perform as a requirement. This should be your top choice. Then select 1-3 other pieces that you MIGHT want to perform. During our open-mic section, you are free to read an additional piece.
Q: So, I just go and read, is that it?
A: No. All performances need rehearsing. To help you prepare for the event, we will spend Monday (and possibly Tuesday) rehearsing for next Tuesday night (Nov. 17). To help prepare, make some decisions about your piece. What moods happen in the story, what rate of speaking is most appropriate, which words will you stress, where will you pause, when can you make direct eye-contact, etc.? Decide and then rehearse.
Q: What time do I have to be there?
A: 6:45. It is sometimes helpful to get to a performance a few minutes before you have to perform so that you can get yourself ready. The Ensemble Theatre will be open at 6:30 for you to prepare.
Q: How long is the performance? Can I leave after I read?
A: The performance lasts about an hour and a half (depending on how many readers read during the open-mic portion of the evening). Please plan on staying for the entire performance. It is rude to leave after you've read. Refreshments are served after the performance. Please join us for those.
Monday, November 9, 2009
Horror Writing/Speech Giving
3rd period, please use your storyboard and journal notes to create a "horror" short story.
Some tips to help you:
1. All good stories (horror or otherwise--it doesn't matter which genre) are based on interesting, well-drawn characters doing something "important" (at least in their eyes). Make sure you have an idea as to who your character IS--before you write. Give your character a name, an occupation, a goal or motivation, etc. Review the articles I gave you in class to help flesh out your character before you rip up the flesh of your character.
2. Horror stories are much more about what we DON'T see. Do not reveal the surprise or twist ending until...well, the ending. The most common error young horror writers make is that they reveal the "shocker" or "monster" too early. Leave clues and details. Let your reader know your characters are in for a dangerous ride, before the climactic battle between monster and protagonist. Save this for the last paragraph or two of your short story (or chapter, if you are writing a horror novel).
3. Remember to use imagery. To use imagery you will need to use some of these techniques: similes, metaphors, symbols, description of smells and touch, description of heat and temperature (or lack thereof).
4. Create a "unity of effect" as Edgar Allan Poe says. All your details should word together toward a mood-setting goal. After all, mood is created by details--and details in ANY story (horror or otherwise) is very important.
5. Have fun. A story that YOU, as the writer, get into--the more enjoyable for the audience/reader.
4th period, we will be delivering speeches. Please log off from your station at the first ring. By the second bell, you should be in room A240 and ready to deliver your speech. Have your cards ready.
Some tips to help you:
1. All good stories (horror or otherwise--it doesn't matter which genre) are based on interesting, well-drawn characters doing something "important" (at least in their eyes). Make sure you have an idea as to who your character IS--before you write. Give your character a name, an occupation, a goal or motivation, etc. Review the articles I gave you in class to help flesh out your character before you rip up the flesh of your character.
2. Horror stories are much more about what we DON'T see. Do not reveal the surprise or twist ending until...well, the ending. The most common error young horror writers make is that they reveal the "shocker" or "monster" too early. Leave clues and details. Let your reader know your characters are in for a dangerous ride, before the climactic battle between monster and protagonist. Save this for the last paragraph or two of your short story (or chapter, if you are writing a horror novel).
3. Remember to use imagery. To use imagery you will need to use some of these techniques: similes, metaphors, symbols, description of smells and touch, description of heat and temperature (or lack thereof).
4. Create a "unity of effect" as Edgar Allan Poe says. All your details should word together toward a mood-setting goal. After all, mood is created by details--and details in ANY story (horror or otherwise) is very important.
5. Have fun. A story that YOU, as the writer, get into--the more enjoyable for the audience/reader.
4th period, we will be delivering speeches. Please log off from your station at the first ring. By the second bell, you should be in room A240 and ready to deliver your speech. Have your cards ready.
Thursday, November 5, 2009
Horror Writing/Rehearsal - Speech
Well written characters are essential in fiction and particularly horror writing. In the article "Such Horrible People" the author gives good advice about writing about a well designed character. Whether we borrow from life, use a picture file, or create a character sketch, the author is responsible for designing interesting characters. You should have your protagonist first, before you worry about plot. Plot is simply the sequence of events. Some horror writers suggest that you work backwards from your "horrible idea".
Please follow directions in class to prepare for your horror writing story.
At the end of 3rd period, we will "rehearse" your speeches. This time, while working with your partner, slow down, make decisions and choices about how to perform your speech. Memorize single lines so that you can make eye contact during your delivery. Decide on a gesture and think about body position when delivering your speech.
4th period - move to room 240. We will begin delivering speeches.
Homework: Please read the article: "Darkening the Mood." Apply this advice to your horror story. Please finish your reading of Thief of Always and Nightmares and Dreamscapes.
Please follow directions in class to prepare for your horror writing story.
At the end of 3rd period, we will "rehearse" your speeches. This time, while working with your partner, slow down, make decisions and choices about how to perform your speech. Memorize single lines so that you can make eye contact during your delivery. Decide on a gesture and think about body position when delivering your speech.
4th period - move to room 240. We will begin delivering speeches.
Homework: Please read the article: "Darkening the Mood." Apply this advice to your horror story. Please finish your reading of Thief of Always and Nightmares and Dreamscapes.
Monday, November 2, 2009
Speech Rehearsal - Horror Writing
During period 3 (20 minutes): please gather in groups of 2 or 3. Using your prepared speech cards, peform your speech for your "audience". Get the feedback from your peer(s) on performance skills: are you speaking too fast, is the speech understandable, does the speech hook the listener, can the speaker make appropriate eye contact, what body position, gesture or facial expressions might best convey meaning, etc.
After "rehearsal" we are going to brainstorm some ideas for a horror story. With your group of 1 or 2, spend about 5 minutes coming up with things that scare or worry you as a human being. Make a list in your journal.
After you have a list, pick one fear that you would like to focus on in a story.
Await further instructions in class.
Homework: Please read the articles we don't finish in class. Please finish reading The Thief of Always or Stephen King's Nightmares and Dreamscapes. You should completely finish by the end of this week.
After "rehearsal" we are going to brainstorm some ideas for a horror story. With your group of 1 or 2, spend about 5 minutes coming up with things that scare or worry you as a human being. Make a list in your journal.
After you have a list, pick one fear that you would like to focus on in a story.
Await further instructions in class.
Homework: Please read the articles we don't finish in class. Please finish reading The Thief of Always or Stephen King's Nightmares and Dreamscapes. You should completely finish by the end of this week.
Tuesday, October 27, 2009
Oh, the Horror!
Please complete your reading of either Clive Barker's The Thief of Always or Stephen King's Nightmares and Dreamscapes. Next week (after Geva and the Clean House), we will be writing our own horror stories. There will be a test on each book next week as well. For Stephen King, you do not have to read ALL the stories, but should read about 200-300 pages of it. You, of course, may read all of it, if you'd like.
Homework: Please read the handout from last class: "No Shield of Disbelief." Take notes in your journal about key writing advice you find useful in the article.
Homework: Please read the handout from last class: "No Shield of Disbelief." Take notes in your journal about key writing advice you find useful in the article.
Geva Workshop/Preparing Speech Cards
Today we will be participating in a workshop with our guest speakers from Geva. Please make sure that you completely fill out and turn in the field trip permission form for our trip on Thursday. You will be missing periods 5-8, so please make sure you make up that work and let your teachers know you will be missing.
Please dress appropriately for the weather (we will be walking to Geva) and the theatre.
Please bring a bagged lunch (as you will miss your lunch period).
During 4th period, we are going to prepare our speeches. Print out your speech (your computer should print now--we've had them fixed) - print out a copy of your speech. You may wish to increase the size of the font so that you can easily read the speech. 14 point font should be fine.
With your script, I encourage you to highlight or find the key sentences--the sentences that are most important. What MUST your audience hear?
Now, using the index cards provided and a pair of scissors, cut up your speech into parts. Physically. Use the scissors to cut paragraphs or your key sentences, then glue or tape the speech to the cards. Keep your cards safe (as you will rehearse your speech from these) -- you will turn these in at the end of your performance.
Please dress appropriately for the weather (we will be walking to Geva) and the theatre.
Please bring a bagged lunch (as you will miss your lunch period).
During 4th period, we are going to prepare our speeches. Print out your speech (your computer should print now--we've had them fixed) - print out a copy of your speech. You may wish to increase the size of the font so that you can easily read the speech. 14 point font should be fine.
With your script, I encourage you to highlight or find the key sentences--the sentences that are most important. What MUST your audience hear?
Now, using the index cards provided and a pair of scissors, cut up your speech into parts. Physically. Use the scissors to cut paragraphs or your key sentences, then glue or tape the speech to the cards. Keep your cards safe (as you will rehearse your speech from these) -- you will turn these in at the end of your performance.
Friday, October 23, 2009
Journal Entries: Nightmares & Dreamscapes
Take a look here for Stephen King's official website. You can find information about the author there.
Some tips about writing by Stephen King.
Journal ideas:
1. Write a story about revenge.
2. Write about the end of the world.
3. Write about a creepy student (or teacher)
4. Write a vampire story (but don't rely on cliches) - try to write an ORIGINAL vampire story
Some tips about writing by Stephen King.
Journal ideas:
1. Write a story about revenge.
2. Write about the end of the world.
3. Write about a creepy student (or teacher)
4. Write a vampire story (but don't rely on cliches) - try to write an ORIGINAL vampire story
Journal Entries: The Thief of Always
Click here for information Clive Barker has provided on the Thief of Always.
Motifs (a motif is a recurring or repeated object, image, or idea in a story):
Questions: Rictus says “No questions boy…questions rot the mind.” Questions (pg. 6, 8, etc.) are a recurring motif in the novel. Try to notice as many “questions” or “question-like” items or events in the book. Remember that this book is a mystery. Without questioning, one can never find the answer to a mystery. What might the author be trying to tell us as people?
Personification: Giving inanimate or non-living objects human qualities. Barker uses the poetic technique of personification throughout the book. As you read, try to notice when he uses it. Consider why he might want to describe inanimate objects with living traits.
Similes: A comparison between two things using the words “like” or “as”. Similes are used like adjectives, to describe an abstract idea in a more concrete or solid way. Keep a record of the number of times Barker uses similes in his novel. Why does he use so much comparison?
Time: Follow references to time throughout the novel. Notice when characters talk about time. How might all this talk about time create a lesson or meaning for us as readers?
Names: many of the names in this book hold clues as to their true nature or significance. What might the names: Rictus, Carna, Millsap (the town), Griffin, Swick, Mr. Hood, Jive, Marr mean?
Animals: Look for the types of animals mentioned or met in the novel. What might be the connection between them?
Transformation: A character that changes in a story is called “dynamic”. What kinds of changes occur to Harvey and the other characters in the book? Are these all physical or mental changes? Why is change important as a theme, do you think?
Journal exercises.
Chapter One - three:
1. Pg. 2; Pick a month. Personify it. Explain why the month is monstrous or marvelous, etc.
2. Pg. 3; Write about your own route to school. What would a detective following your route to school and your day find. Describe where you go and what you do routinely.
3. Pg. 5; Describe what you would like to do with your time or life.
4. Pg. 8; make a list of questions that you would like answered. Start realistically, then begin asking questions a small child might ask or ask questions that seem odd or far-fetched and creative.
5. Pg. 22; What would be a fine thing to build in your life?
6. Pg. 22; Use infinitives to string a series of seemingly random thoughts together as in the first paragraph on page 22 (chapter 3). An infinitive is made by adding TO + VERB. Notice how Barker creates a rhythmic passage using semi-colons and infinitives.
7. Pg. 23; Describe a person’s face using a simile.
8. Pg. 25; Mrs. Griffin says, “Nothing’s perfect…because time passes…and the beetle and the worm find their way into everything sooner or later.” Consider the meaning of this statement. In your journal, list your own reasons why nothing is perfect.
Motifs (a motif is a recurring or repeated object, image, or idea in a story):
Questions: Rictus says “No questions boy…questions rot the mind.” Questions (pg. 6, 8, etc.) are a recurring motif in the novel. Try to notice as many “questions” or “question-like” items or events in the book. Remember that this book is a mystery. Without questioning, one can never find the answer to a mystery. What might the author be trying to tell us as people?
Personification: Giving inanimate or non-living objects human qualities. Barker uses the poetic technique of personification throughout the book. As you read, try to notice when he uses it. Consider why he might want to describe inanimate objects with living traits.
Similes: A comparison between two things using the words “like” or “as”. Similes are used like adjectives, to describe an abstract idea in a more concrete or solid way. Keep a record of the number of times Barker uses similes in his novel. Why does he use so much comparison?
Time: Follow references to time throughout the novel. Notice when characters talk about time. How might all this talk about time create a lesson or meaning for us as readers?
Names: many of the names in this book hold clues as to their true nature or significance. What might the names: Rictus, Carna, Millsap (the town), Griffin, Swick, Mr. Hood, Jive, Marr mean?
Animals: Look for the types of animals mentioned or met in the novel. What might be the connection between them?
Transformation: A character that changes in a story is called “dynamic”. What kinds of changes occur to Harvey and the other characters in the book? Are these all physical or mental changes? Why is change important as a theme, do you think?
Journal exercises.
Chapter One - three:
1. Pg. 2; Pick a month. Personify it. Explain why the month is monstrous or marvelous, etc.
2. Pg. 3; Write about your own route to school. What would a detective following your route to school and your day find. Describe where you go and what you do routinely.
3. Pg. 5; Describe what you would like to do with your time or life.
4. Pg. 8; make a list of questions that you would like answered. Start realistically, then begin asking questions a small child might ask or ask questions that seem odd or far-fetched and creative.
5. Pg. 22; What would be a fine thing to build in your life?
6. Pg. 22; Use infinitives to string a series of seemingly random thoughts together as in the first paragraph on page 22 (chapter 3). An infinitive is made by adding TO + VERB. Notice how Barker creates a rhythmic passage using semi-colons and infinitives.
7. Pg. 23; Describe a person’s face using a simile.
8. Pg. 25; Mrs. Griffin says, “Nothing’s perfect…because time passes…and the beetle and the worm find their way into everything sooner or later.” Consider the meaning of this statement. In your journal, list your own reasons why nothing is perfect.
Wednesday, October 21, 2009
Oh, the horror!
Today, during 3rd period we are going to be working on our speech writing. Please read and examine the previous post for details. Work toward completing your speech (due Friday as a draft).
When writing speeches, it is sometimes helpful to create an outline first. All speeches have a goal or thesis that should be stated clearly (just like well written essays). This statement should be clearly stated in an introduction.
The purpose of an introduction is to hook your listener. Look at the speech tips for advice.
After a catchy introduction, we move on to the body of the speech. In the body of a speech you should provide information in clear, concise details. Major or important points should be stated clearly and concisely, with follow up details afterwards to help the listener picture or understand the point.
Finally, a conclusion should get the audience to think about the relevance of your topic. In summing up, make a conclusion about your topic. Answer: why should we care? or Why is this important?
During 4th period we will be getting either Stephen King's book or Clive Barker's. We will be dividing into "reading" groups to begin our dark journey. Information about horror writing is forthcoming.
When writing speeches, it is sometimes helpful to create an outline first. All speeches have a goal or thesis that should be stated clearly (just like well written essays). This statement should be clearly stated in an introduction.
The purpose of an introduction is to hook your listener. Look at the speech tips for advice.
After a catchy introduction, we move on to the body of the speech. In the body of a speech you should provide information in clear, concise details. Major or important points should be stated clearly and concisely, with follow up details afterwards to help the listener picture or understand the point.
Finally, a conclusion should get the audience to think about the relevance of your topic. In summing up, make a conclusion about your topic. Answer: why should we care? or Why is this important?
During 4th period we will be getting either Stephen King's book or Clive Barker's. We will be dividing into "reading" groups to begin our dark journey. Information about horror writing is forthcoming.
Monday, October 19, 2009
10/19 Agenda - Elk's Club Speech
Please finish writing your sketches. These are due.
If you have already completed your sketch, please write a 2-3 page speech (double spaced) concerning one of the following themes:
Elements of Raising A Well-Adjusted and Highly Motivated Child Today
(What are some of the family elements that must exist while raising a well-adjusted and highly motivated child today?)
Youth Wish List for Changes for the World
If you could lead the world for a day, what three (3) changes that impact youth would you make and why?
The Importance of a University degree
What is the importance of a university degree?
Impact of African-American Inventors in Medicine
African-American inventors in medicine: what impact did the invention have on our lives in the 19th and 20th centuries? Research one of these and explain its significance.
Offering of Advice for Elders from Generation Y
If you could give three (3) pieces of advice to the elder generation, what would that advice be and why would that advice be important?
Check here for tips on writing and delivering speeches!
End of Sudden Fiction: We will be getting a new book on Wednesday. Please complete the rest of Sudden Fiction on your own.
If you have already completed your sketch, please write a 2-3 page speech (double spaced) concerning one of the following themes:
Elements of Raising A Well-Adjusted and Highly Motivated Child Today
(What are some of the family elements that must exist while raising a well-adjusted and highly motivated child today?)
Youth Wish List for Changes for the World
If you could lead the world for a day, what three (3) changes that impact youth would you make and why?
The Importance of a University degree
What is the importance of a university degree?
Impact of African-American Inventors in Medicine
African-American inventors in medicine: what impact did the invention have on our lives in the 19th and 20th centuries? Research one of these and explain its significance.
Offering of Advice for Elders from Generation Y
If you could give three (3) pieces of advice to the elder generation, what would that advice be and why would that advice be important?
Check here for tips on writing and delivering speeches!
End of Sudden Fiction: We will be getting a new book on Wednesday. Please complete the rest of Sudden Fiction on your own.
Thursday, October 15, 2009
End of the Marking Period!
Today, write a sketch. Your sketch should be no more than 3 pages in length. Look here for the format of sketches.
Also, when you have completed your sketch please complete any assignments that you have not yet completed. This will likely be either homework, journal work, or the short stories: Hitman and the Questionnaire exercises.
4th period, please prepare one of your pieces of writing to read/perform in room a240.
HOMEWORK: Please finish reading Sudden Fiction. We will be getting a new book next week.
Also, when you have completed your sketch please complete any assignments that you have not yet completed. This will likely be either homework, journal work, or the short stories: Hitman and the Questionnaire exercises.
4th period, please prepare one of your pieces of writing to read/perform in room a240.
HOMEWORK: Please finish reading Sudden Fiction. We will be getting a new book next week.
Tuesday, October 13, 2009
Journal Due! & Agenda 10/13
Today I will be collecting and grading your journals.
For those of you who have not yet completed your Questionnaire short story (or your Hitman story drafts) please complete these assignments during period 3.
For those of you who have completed your work so far, please take a look at the sketch writing entry from last Thursday. Please watch a few samples of sketch writing and try your own hand at creating a 1-2 page comic sketch.
4th period (?) If we can print, please select either your Hitman, Questionnaire, poem draft, or some other short story to "perform" for the class. We will be sharing these works in room a240. Please pick something you have not yet performed in class.
For those of you who have not yet completed your Questionnaire short story (or your Hitman story drafts) please complete these assignments during period 3.
For those of you who have completed your work so far, please take a look at the sketch writing entry from last Thursday. Please watch a few samples of sketch writing and try your own hand at creating a 1-2 page comic sketch.
4th period (?) If we can print, please select either your Hitman, Questionnaire, poem draft, or some other short story to "perform" for the class. We will be sharing these works in room a240. Please pick something you have not yet performed in class.
Thursday, October 8, 2009
Sketch Writing Tips
Sketch Writing Advice: (by Brian Luff)
1) Choose a setting. Avoid common set-ups like doctor's surgeries or "Man Goes Into a Shop". Think original. Only set the sketch in one location.
2) Don't make the sketch too long. Two minutes is a good length to start with.
3) If you're trying to sell your material to TV, don't put in anything too expensive like a helicopter. Most TV shows are on a tight budget.
4) Three characters is more than enough for a 2 minute sketch. Don't write for a cast of thousands.
5) Work out loud. Say the lines as you write them. You need to hear what the material sounds like.
6) Think about what is happening visually as well as the words. Describe the physical action in detail. What are the characters wearing? What do they look like. What are their names? (Don't just call your characters FIRST MAN, SECOND MAN. It will help to bring them to life in your mind).
Types of Sketches
To help you get going, here's a few tried and tested comedy formats for sketches.
1) Escalation: Funny idea starts small and gets bigger and bigger, ending in chaos of ridiculous proportions.
2) Lists: Sketches in which the bulk of the dialogue is a long list of funny items. The best example of this is "Cheese Shop" in Monty Python. (You can find all the Python sketches at www.planetcomedy.force9.co.uk/bookstore.html.)
3) Mad Man, Sane Man: This format speaks for itself, but don't go for obvious settings.
4) Dangerous Situations: For example, sketch set on flight deck of aircraft.
5) Funny Words: Sketches which use the sound of language itself to be funny. For example, use of the words "blobby" or "wobble" (See, Mr. Bean).
6) Old and New: Getting a laugh from putting something modern in an historical setting (Or, vice versa) Example: Sir Walter Raleigh using a cigarette lighter.
7) Big and Small. Getting humour from large differences in scale. For example, a mouse trying to make love to an elephant.
Look here for samples of fine sketch writing:
The Whitest Kids U Know
Kids in the Hall
Saturday Night Live
Mad TV
SCTV
1) Choose a setting. Avoid common set-ups like doctor's surgeries or "Man Goes Into a Shop". Think original. Only set the sketch in one location.
2) Don't make the sketch too long. Two minutes is a good length to start with.
3) If you're trying to sell your material to TV, don't put in anything too expensive like a helicopter. Most TV shows are on a tight budget.
4) Three characters is more than enough for a 2 minute sketch. Don't write for a cast of thousands.
5) Work out loud. Say the lines as you write them. You need to hear what the material sounds like.
6) Think about what is happening visually as well as the words. Describe the physical action in detail. What are the characters wearing? What do they look like. What are their names? (Don't just call your characters FIRST MAN, SECOND MAN. It will help to bring them to life in your mind).
Types of Sketches
To help you get going, here's a few tried and tested comedy formats for sketches.
1) Escalation: Funny idea starts small and gets bigger and bigger, ending in chaos of ridiculous proportions.
2) Lists: Sketches in which the bulk of the dialogue is a long list of funny items. The best example of this is "Cheese Shop" in Monty Python. (You can find all the Python sketches at www.planetcomedy.force9.co.uk/bookstore.html.)
3) Mad Man, Sane Man: This format speaks for itself, but don't go for obvious settings.
4) Dangerous Situations: For example, sketch set on flight deck of aircraft.
5) Funny Words: Sketches which use the sound of language itself to be funny. For example, use of the words "blobby" or "wobble" (See, Mr. Bean).
6) Old and New: Getting a laugh from putting something modern in an historical setting (Or, vice versa) Example: Sir Walter Raleigh using a cigarette lighter.
7) Big and Small. Getting humour from large differences in scale. For example, a mouse trying to make love to an elephant.
Look here for samples of fine sketch writing:
The Whitest Kids U Know
Kids in the Hall
Saturday Night Live
Mad TV
SCTV
What's Due Now?
Next week the marking period ends. On Tuesday your journals will be due.
What goes into a journal?
Glad you asked: all your pre-writing, notes from class, ideas for stories/poems/plays, cartoons, articles, quotes, historical facts, figures, lists, homework assignment reminders, brainstorming exercises, journal exercises from class, character descriptions, writing, writing, and more writing. Pretty much everything that inspires you to write.
How is it graded?
Glad you asked again. I count pages and then compare your grades with other students. I place numeric cut-offs that usually look like this for a 6 week marking period (note this sometimes changes): 30+ pages = A+ 25-29 pages = A, 20-24 = B+, 15-19 = B, 11-14 = C+, 9-10 = C, less than 9 = D, not turned in = F. These #'s are full pages, not half-pages in general. I usually round up for your benefit.
Today: finish your HIT MAN story and begin working or try to complete your Questionnaire exercise (see below). Send these items to our dropbox with your name on the file. Ex. John Smith - Hit Man story.docx
HOMEWORK: Please read pages: 112-143. In your journal try one of the following prompts, taken from the stories in this selection:
1. Write about someone coming home after a long absence away.
2. Make a metaphor about an aspect of life literal (as in Dinner Time)
3. Write a story that takes an aspect of life and make a metaphor of it (as in the Anatomy of Desire)
What goes into a journal?
Glad you asked: all your pre-writing, notes from class, ideas for stories/poems/plays, cartoons, articles, quotes, historical facts, figures, lists, homework assignment reminders, brainstorming exercises, journal exercises from class, character descriptions, writing, writing, and more writing. Pretty much everything that inspires you to write.
How is it graded?
Glad you asked again. I count pages and then compare your grades with other students. I place numeric cut-offs that usually look like this for a 6 week marking period (note this sometimes changes): 30+ pages = A+ 25-29 pages = A, 20-24 = B+, 15-19 = B, 11-14 = C+, 9-10 = C, less than 9 = D, not turned in = F. These #'s are full pages, not half-pages in general. I usually round up for your benefit.
Today: finish your HIT MAN story and begin working or try to complete your Questionnaire exercise (see below). Send these items to our dropbox with your name on the file. Ex. John Smith - Hit Man story.docx
HOMEWORK: Please read pages: 112-143. In your journal try one of the following prompts, taken from the stories in this selection:
1. Write about someone coming home after a long absence away.
2. Make a metaphor about an aspect of life literal (as in Dinner Time)
3. Write a story that takes an aspect of life and make a metaphor of it (as in the Anatomy of Desire)
Questionnaire for Rudolph Gordon Exercise
After reading "Questionnaire for Rudolph Gordon" you may have noticed that the story and development of character is hinted at through the use of interrogative sentences (in other words: Questions!)
Now you try. Using either a fictional or non-fictional character (for example you could use your own made-up character or a real person like Abraham Lincoln, Bette Davis, John Beckham... etc.) ask a series of probing interrogative questions. Include questions about important events, reactions, personality traits, history, etc. that help TELL a story about the character.
Try to get 100 questions (but at least 21). The image above is a sample from a previous SOTA student. You can read her example as well for a model.
When you're finished, please save your story as "Questionnaire" and send it to my DROPBOX -- make sure your name is on it.
Tuesday, October 6, 2009
The Hit Man (& Others)
After our journal writing time, let's take a look at a short story from your Sudden Fiction collection entitled "Hit Man". T.C. Boyle tells the entire story of his character from early childhood to death. Stories that cover the entire life of a character are often called "EPIC".
1. From your journal, create a character and name this person. His/her name will be your title.
2. Jot down a list of important and non important details or events from this character's life in your journal. Include "early years", important life events (like marriage or buying a first house), non-important life events (like going to the dentist or buying soap), and characteristics or important quirks for your character (like allergies, poor eye sight, personality flaws, etc.), finally, include actions the character does (like baking a cake or playing softball, etc.)
3. Include how the character dies or where the person is at the end of their life (you do not actually have to have your character die)
4. From this longer list, pick about 10 or so items from your list and order them from "Early years" to "Death or the end of useful life"
5. Then for each item, give the section an interesting/intriguing title. Write a sentence or up to a few paragraphs for each section detailing what happens.
Call this the "Hit Man" story on your heading. Save. DO NOT PRINT.
HOMEWORK: Please read the stories on page: 83-105 in Sudden Fiction. Pick the top three you liked from this selection and in a paragraph explain what you liked about each story. This will be considered participation credit and is due next class.
1. From your journal, create a character and name this person. His/her name will be your title.
2. Jot down a list of important and non important details or events from this character's life in your journal. Include "early years", important life events (like marriage or buying a first house), non-important life events (like going to the dentist or buying soap), and characteristics or important quirks for your character (like allergies, poor eye sight, personality flaws, etc.), finally, include actions the character does (like baking a cake or playing softball, etc.)
3. Include how the character dies or where the person is at the end of their life (you do not actually have to have your character die)
4. From this longer list, pick about 10 or so items from your list and order them from "Early years" to "Death or the end of useful life"
5. Then for each item, give the section an interesting/intriguing title. Write a sentence or up to a few paragraphs for each section detailing what happens.
Call this the "Hit Man" story on your heading. Save. DO NOT PRINT.
HOMEWORK: Please read the stories on page: 83-105 in Sudden Fiction. Pick the top three you liked from this selection and in a paragraph explain what you liked about each story. This will be considered participation credit and is due next class.
Friday, October 2, 2009
Short Story Due - Writing Day
Please complete your short story started on 9/30. This is due today. Please put the assignment in our drop box with your name on it and Sudden Fiction story.
After you write, if you are done early, please complete any assignment/reading/writing project you are working on with Ms. Gamzon. Alternatively, you can spend your time freewriting in your journal or typing up poetry/short stories, etc. that you have not had time to type.
As a last resort play "free rice" and learn some vocabularly.This option should only be used if you have completed all other work.
After you write, if you are done early, please complete any assignment/reading/writing project you are working on with Ms. Gamzon. Alternatively, you can spend your time freewriting in your journal or typing up poetry/short stories, etc. that you have not had time to type.
As a last resort play "free rice" and learn some vocabularly.This option should only be used if you have completed all other work.
Wednesday, September 30, 2009
9/30 Agenda
Together as a class let's read and discuss Raymond Carver's "Popular Mechanics"
To help understand this story, let's take a look on the internet for King Solomon and the Baby. Read that story. Then let's read Carver's version.
Afterward, please complete the short story exercise from last class. Directions are posted on the 9/28 entry.
When you have completed a draft of this new story, please read the following short stories in Sudden Fiction:
70-78.
A draft of your short story should be completed by the end of class 10/2.
To help understand this story, let's take a look on the internet for King Solomon and the Baby. Read that story. Then let's read Carver's version.
Afterward, please complete the short story exercise from last class. Directions are posted on the 9/28 entry.
When you have completed a draft of this new story, please read the following short stories in Sudden Fiction:
70-78.
A draft of your short story should be completed by the end of class 10/2.
Monday, September 28, 2009
9/28 Grade Report/Sudden Fiction/Stream of Consciousness
During 3rd period we will return to the ensemble theatre to perform and practice our performance skills. 4th period, we will return to the lab.
For class/homework, please read the next five stories in the Sudden Fiction collection.
"The Merry Chase" by Gordon Lish
"Yours" by Mary Robison
"A Walled Garden" by Peter Taylor
"Heart Attack" by Max Apple
"Thank You, M'am" by Langston Hughes
Stream of Consciousness: There is a type of writing that uses what is called stream of consciousness (also called interior monologue). In a nutshell this is trying to write the way the human brain works--without stopping, with digressions, and change of thought. It is characterized by a flow of thought. It can be very effective as illustrated in the short story "The Merry Chase."
After reading these stories, complete any of the following:
--Write about something stolen
--Write about sickness (or loss)
--Write a story that uses the technique of stream of consciousness
--Write a story that uses anaphora.
--Write a story about the interaction or relationship between a child and an older person (adult).
Today, you will be given grade reports. Please take these home and get them signed by your parents. Those of you missing work can turn in missing work up to Friday, Oct. 2. After that, you will receive no credit from these assignments.
For class/homework, please read the next five stories in the Sudden Fiction collection.
"The Merry Chase" by Gordon Lish
"Yours" by Mary Robison
"A Walled Garden" by Peter Taylor
"Heart Attack" by Max Apple
"Thank You, M'am" by Langston Hughes
Stream of Consciousness: There is a type of writing that uses what is called stream of consciousness (also called interior monologue). In a nutshell this is trying to write the way the human brain works--without stopping, with digressions, and change of thought. It is characterized by a flow of thought. It can be very effective as illustrated in the short story "The Merry Chase."
After reading these stories, complete any of the following:
--Write about something stolen
--Write about sickness (or loss)
--Write a story that uses the technique of stream of consciousness
--Write a story that uses anaphora.
--Write a story about the interaction or relationship between a child and an older person (adult).
Today, you will be given grade reports. Please take these home and get them signed by your parents. Those of you missing work can turn in missing work up to Friday, Oct. 2. After that, you will receive no credit from these assignments.
Thursday, September 24, 2009
Performance Activity
Today we will be performing in the ensemble theatre. Please prepare some writing piece that you would like to work with. You can alternatively use your journal as your performance source.
Please bring your journals with you to the ensemble theatre anyway.
You will need a pen or pencil as well.
Please bring your journals with you to the ensemble theatre anyway.
You will need a pen or pencil as well.
Tuesday, September 22, 2009
9/22 Agenda
Today, please begin class by writing in your journal. Complete the handout journal exercise in your...journal. You will have 10 minutes to complete this portion of the class.
Today, during 4th period, we will be moving to room a240 to continue hearing performances. Please bring a copy of your original interview story or your homework (the 200-400 word story). Alternatively, you may bring your newly written poem if you have it finished and would like to work with it.
When journaling is done, please look at the entry below regarding the poetry word collection exercise.
HOMEWORK:
Please read pgs. 36-49. Be prepared to discuss these stories next class (and any of the short stories we have already read pg. 5-49)).
Today, during 4th period, we will be moving to room a240 to continue hearing performances. Please bring a copy of your original interview story or your homework (the 200-400 word story). Alternatively, you may bring your newly written poem if you have it finished and would like to work with it.
When journaling is done, please look at the entry below regarding the poetry word collection exercise.
HOMEWORK:
Please read pgs. 36-49. Be prepared to discuss these stories next class (and any of the short stories we have already read pg. 5-49)).
Word Bank - Poetry Exercise
Creating a word bank for poetry
Go to the following website:
http://www.loc.gov/poetry/180
Read poems #1-5. As you read, choose 3 words from EACH poem and make a list. (The best way to do this is either in your journal – where you will get credit; or you may keep a word document open and minimized on the bottom of your screen to collect the words).
Choose interesting or “powerful” words—words that draw YOUR attention; the best 3 single words in the poem. Avoid phrases.
Once you have a list with 15 words, use your word bank to create a poem of your own.
• You DO NOT have to use all 15 words in your poem.
• Your poem should make sense. Try to avoid sentence fragments. (Consider your character, setting, theme, conflict, etc. to help write a story...yes, even poetry has a story.)
• You may include as many OTHER words as you’d like.
Go to the following website:
http://www.loc.gov/poetry/180
Read poems #1-5. As you read, choose 3 words from EACH poem and make a list. (The best way to do this is either in your journal – where you will get credit; or you may keep a word document open and minimized on the bottom of your screen to collect the words).
Choose interesting or “powerful” words—words that draw YOUR attention; the best 3 single words in the poem. Avoid phrases.
Once you have a list with 15 words, use your word bank to create a poem of your own.
• You DO NOT have to use all 15 words in your poem.
• Your poem should make sense. Try to avoid sentence fragments. (Consider your character, setting, theme, conflict, etc. to help write a story...yes, even poetry has a story.)
• You may include as many OTHER words as you’d like.
Friday, September 18, 2009
Sudden Fiction Homework
Please read the following stories in Sudden Fiction:
"Sunday in the Park" by Bel Kaufman
"Five Ives" by Roy Blount, Jr.
"Song on the Royal Street" by Richard Blessing
"Pygmalion" by John Updike
From this group, choose one short story to base a 200 word to 400 (about a page or two) word short, short story on. You can select a similar theme, write about a similar character, use a similar style or setting, or include an event that happened in the story as an opening for your own story: ex. start a story with a child throwing sand on your main character (from: Sunday in the Park)
Type or write out your story by hand. Be prepared to share this story with the class on Tuesday, September 22.
"Sunday in the Park" by Bel Kaufman
"Five Ives" by Roy Blount, Jr.
"Song on the Royal Street" by Richard Blessing
"Pygmalion" by John Updike
From this group, choose one short story to base a 200 word to 400 (about a page or two) word short, short story on. You can select a similar theme, write about a similar character, use a similar style or setting, or include an event that happened in the story as an opening for your own story: ex. start a story with a child throwing sand on your main character (from: Sunday in the Park)
Type or write out your story by hand. Be prepared to share this story with the class on Tuesday, September 22.
Reading Groups - Exercise
Today, please prepare your short story (this is due). Join 1 other partner group (your original partner should be with you in your group.) This will mean you have 4 students (unless someone's absent) in your group.
Each student should take time to read their short story aloud to the group. This is practice reading your words out loud as well as fun to share your original writing with others.
For the second part of our class today we will be moving to room a240. A few volunteers will read their stories to the class as examples of performance.
In any case, please turn in your homework from Sudden Fiction and the short story by the end of class.
Each student should take time to read their short story aloud to the group. This is practice reading your words out loud as well as fun to share your original writing with others.
For the second part of our class today we will be moving to room a240. A few volunteers will read their stories to the class as examples of performance.
In any case, please turn in your homework from Sudden Fiction and the short story by the end of class.
Sunday, September 13, 2009
Short Story History and a Few Examples
Students often ask: "How long should my story be?" instead of realizing that any story needs to have a beginning, middle, and end. This sort of open ended question really has no answer. How long should a story be? Well, traditionally, short stories are shorter than novels. That's a good place to begin.
Short stories are shorter than novels, and are usually not as complex or involved. Short stories were originally meant to be read in one sitting. As our culture has sped ahead, and we don't have much free time, short stories have become as short as a sentence or two and as long as the traditional short stories, fewer than 20,000 words. A short novel is about 50,000 words. Most publishers want novels that are anywhere from 75,000 to 100,000 words or more.
Usually a short story focuses on only one event or incident. It usually has a single plot, a single setting, a small number of characters, and covers a short period of time. Most writing students start off writing short stories because they are manageable. But the form is tricky and hard to perfect. Many authors spend their whole lives learning the craft of writing short fiction.
Longer short stories usually contain elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event that introduces the conflict); rising action (development of the conflict), crisis (the decisive moment for the protagonist and her commitment to a course of action); climax (the point of highest tension and the point the protagonist faces her antagonist); resolution (the point when the conflict is resolved); and a sense of enlightenment, epiphany, or moral.
Short stories may or may not follow this pattern. Some do not follow patterns at all. Modern short stories only occasionally have an exposition. An abrupt beginning, with the story starting in the middle of the action (in media res) is more standard or typical.
Usually all short stories have a turning point and climax, but endings may be sudden or what is called "open"--leaving the story incomplete. As with all art forms, short stories will vary by author.
Read a few short short stories here. Discuss with your neighbor which stories are best and try to figure out why.
Short stories are shorter than novels, and are usually not as complex or involved. Short stories were originally meant to be read in one sitting. As our culture has sped ahead, and we don't have much free time, short stories have become as short as a sentence or two and as long as the traditional short stories, fewer than 20,000 words. A short novel is about 50,000 words. Most publishers want novels that are anywhere from 75,000 to 100,000 words or more.
Usually a short story focuses on only one event or incident. It usually has a single plot, a single setting, a small number of characters, and covers a short period of time. Most writing students start off writing short stories because they are manageable. But the form is tricky and hard to perfect. Many authors spend their whole lives learning the craft of writing short fiction.
Longer short stories usually contain elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event that introduces the conflict); rising action (development of the conflict), crisis (the decisive moment for the protagonist and her commitment to a course of action); climax (the point of highest tension and the point the protagonist faces her antagonist); resolution (the point when the conflict is resolved); and a sense of enlightenment, epiphany, or moral.
Short stories may or may not follow this pattern. Some do not follow patterns at all. Modern short stories only occasionally have an exposition. An abrupt beginning, with the story starting in the middle of the action (in media res) is more standard or typical.
Usually all short stories have a turning point and climax, but endings may be sudden or what is called "open"--leaving the story incomplete. As with all art forms, short stories will vary by author.
Read a few short short stories here. Discuss with your neighbor which stories are best and try to figure out why.
Writing Your Short Story
Today, continue to write your short story started last class. As a reminder, use the notes you took on your "partner" for the interview exercise, come up with a fictionalized character based on your partner and write a short story of your own inclination.
After discussing the short story "Mother" by Grace Paley, please continue writing your story. Your first draft should be completed and ready to hand in at the end of today's class. It is okay if you need the extra time to hand in your story next class. Please take the story home, if you need more time, and finish it there, or send the work to yourself through an attachment on email. In any case, finish your story for next class. Due to problems printing, you may send an attachment of your FINISHED word document file to my address: bradley.craddock@rcsdk12.org when you have completed it. Please always remember to spellcheck and proofread your work before handing it in.
If you get done early, start working on your homework.
HOMEWORK: Due to the # of books available for our students, please complete last class's homework for next class. The instructions again, are as follows:
For homework, please read the following stories in the collection:
"Can-Can" by Arturo Vivante (pp. 5-6)
"Even Greenland" by Barry Hannah (pp. 7-9)
"The King of Jazz" by Donald Barthelme (pp. 10-13)
"Reunion" by John Cheever (pp. 14-16)
"Twirler" by Jane Martin (pp. 17-19)
For each of these short stories (to turn in as homework, Wednesday, Sept. 16) please write a very short synopsis of the story. Try to keep your synopsis/summary to 1 or 2 sentences. Then add one sentence as to how you reacted to the story as a reader. Did you like it, not like it, feel indifferent, etc. and why?
If you have already completed this homework, please turn it in for credit.
After discussing the short story "Mother" by Grace Paley, please continue writing your story. Your first draft should be completed and ready to hand in at the end of today's class. It is okay if you need the extra time to hand in your story next class. Please take the story home, if you need more time, and finish it there, or send the work to yourself through an attachment on email. In any case, finish your story for next class. Due to problems printing, you may send an attachment of your FINISHED word document file to my address: bradley.craddock@rcsdk12.org when you have completed it. Please always remember to spellcheck and proofread your work before handing it in.
If you get done early, start working on your homework.
HOMEWORK: Due to the # of books available for our students, please complete last class's homework for next class. The instructions again, are as follows:
For homework, please read the following stories in the collection:
"Can-Can" by Arturo Vivante (pp. 5-6)
"Even Greenland" by Barry Hannah (pp. 7-9)
"The King of Jazz" by Donald Barthelme (pp. 10-13)
"Reunion" by John Cheever (pp. 14-16)
"Twirler" by Jane Martin (pp. 17-19)
For each of these short stories (to turn in as homework, Wednesday, Sept. 16) please write a very short synopsis of the story. Try to keep your synopsis/summary to 1 or 2 sentences. Then add one sentence as to how you reacted to the story as a reader. Did you like it, not like it, feel indifferent, etc. and why?
If you have already completed this homework, please turn it in for credit.
Thursday, September 10, 2009
Sudden Fiction
Today, after watching Obama's speech, we will be getting our first Creative Writing book from our library, SUDDEN FICTION.
When we return to the room we will be doing a little class reading. Please read silently the short, short story by Robert Coover "A Sudden Story" on the fourth page in. We will read "Mother" by Grace Paley together in class.
For homework, please read the following stories in the collection:
"Can-Can" by Arturo Vivante (pp. 5-6)
"Even Greenland" by Barry Hannah (pp. 7-9)
"The King of Jazz" by Donald Barthelme (pp. 10-13)
"Reunion" by John Cheever (pp. 14-16)
"Twirler" by Jane Martin (pp. 17-19)
For each of these short stories (to turn in as homework, Monday, Sept. 14) please write a very short synopsis of the story. Try to keep your synopsis/summary to 1 or 2 sentences. Then add one sentence as to how you reacted to the story as a reader. Did you like it, not like it, feel indifferent, etc. and why?
Finally, after reading "Mother", we will begin coming up with an idea for a story based on our previous interview exercise. More directions to come.
When we return to the room we will be doing a little class reading. Please read silently the short, short story by Robert Coover "A Sudden Story" on the fourth page in. We will read "Mother" by Grace Paley together in class.
For homework, please read the following stories in the collection:
"Can-Can" by Arturo Vivante (pp. 5-6)
"Even Greenland" by Barry Hannah (pp. 7-9)
"The King of Jazz" by Donald Barthelme (pp. 10-13)
"Reunion" by John Cheever (pp. 14-16)
"Twirler" by Jane Martin (pp. 17-19)
For each of these short stories (to turn in as homework, Monday, Sept. 14) please write a very short synopsis of the story. Try to keep your synopsis/summary to 1 or 2 sentences. Then add one sentence as to how you reacted to the story as a reader. Did you like it, not like it, feel indifferent, etc. and why?
Finally, after reading "Mother", we will begin coming up with an idea for a story based on our previous interview exercise. More directions to come.
Wednesday, September 9, 2009
Obama's Speech - Video
Speech writing is not easy. A speech writer needs to know what his/her goal is. Luckily, most speeches come in only a few types. Some speeches are used to inspire or inform, others are used to persuade, introduce, or entertain. As you watch Obama's speech, consider what you think his goal is in giving this speech.
When writing a speech, a speech writer uses what is called Rhetorical technique or Rhetoric.
Rhetoric is broken down into three distinct tactics to persuade or inspire a listener or reader.
1. Logos (logic): this is the logical, sense argument inherent in the speech. Logic appeals to our rational mind. It makes us think and in thinking, we understand how one thing causes another. Listen for facts or statistics, listen for examples, listen for the word "think" or "consider". When you hear these type of words, that's the speech writer telling you that he/she is using logos. Good speech writers are subtle.
2. Pathos (heart/passion): this is the heart-felt argument in the speech. Pathos appeals to our feelings. It makes us sympathize or consider the argument for how it can affect us as listeners or readers. Listen for personal accounts, personal challenges, listen for words like "imagine" or "feel". Listen for the speaker to sympathize with his/her audience. Listen for testimony (opinions from famous role models). Often a speaker will use second person POV to help create pathos.
3. Ethos (confidence/strength of character): this is the speaker's skill and confidence that what he or she is saying is important, relevant, or necessary for a listener or reader. A good speaker sounds like he or she KNOWS what the issue is all about, that the subject is well researched and the speaker is knowledgeable. Also, watch the speaker's eyes, his posture, the way he stresses his words, the way he delivers the speech. Is there anaphora in the speech (a repetition of a phrase or statement)? This builds pace and stresses the important parts of an argument.
These three rhetorical techniques, by the way, are also used in essay writing. Next time you write an English paper or Social Studies paper, try using rhetoric to create your essay.
In groups of 1, 2, or 3, watch Pres. Obama's speech to Students (given Tuesday, 9/8). Identify his use of rhetoric. Give an example of Obama using PATHOS, ETHOS, and LOGOS.
Later in this course, we are going to come back to this subject. You will write speeches and learn how to deliver text effectively, using rhetorical devices.
When writing a speech, a speech writer uses what is called Rhetorical technique or Rhetoric.
Rhetoric is broken down into three distinct tactics to persuade or inspire a listener or reader.
1. Logos (logic): this is the logical, sense argument inherent in the speech. Logic appeals to our rational mind. It makes us think and in thinking, we understand how one thing causes another. Listen for facts or statistics, listen for examples, listen for the word "think" or "consider". When you hear these type of words, that's the speech writer telling you that he/she is using logos. Good speech writers are subtle.
2. Pathos (heart/passion): this is the heart-felt argument in the speech. Pathos appeals to our feelings. It makes us sympathize or consider the argument for how it can affect us as listeners or readers. Listen for personal accounts, personal challenges, listen for words like "imagine" or "feel". Listen for the speaker to sympathize with his/her audience. Listen for testimony (opinions from famous role models). Often a speaker will use second person POV to help create pathos.
3. Ethos (confidence/strength of character): this is the speaker's skill and confidence that what he or she is saying is important, relevant, or necessary for a listener or reader. A good speaker sounds like he or she KNOWS what the issue is all about, that the subject is well researched and the speaker is knowledgeable. Also, watch the speaker's eyes, his posture, the way he stresses his words, the way he delivers the speech. Is there anaphora in the speech (a repetition of a phrase or statement)? This builds pace and stresses the important parts of an argument.
These three rhetorical techniques, by the way, are also used in essay writing. Next time you write an English paper or Social Studies paper, try using rhetoric to create your essay.
In groups of 1, 2, or 3, watch Pres. Obama's speech to Students (given Tuesday, 9/8). Identify his use of rhetoric. Give an example of Obama using PATHOS, ETHOS, and LOGOS.
Later in this course, we are going to come back to this subject. You will write speeches and learn how to deliver text effectively, using rhetorical devices.
Tuesday, September 8, 2009
Pres. Obama's speech to students
Please go to the link for Pres. Obama's speech. Read the speech. As you do, notice what words Mr. Obama uses to "motivate" his audience. Why do you think he's talking to students? Consider his speech as creative writing. What is creative about it? Do you think it is well written?
Introductions (cont.) & Character exercise
Today we are continuing our introductions from the interview you conducted last Thursday. Please prepare your notes to introduce your partner (and vice versa).
After we complete the introductions, follow the steps below to begin a baseline writing assignment.
Character exercise:
Most writers design and build their characters from people they know. Interviewing interesting people is a great help in coming up with realistic characters. However, remember in fiction, the name of the character should be "disguised" so as not to bring unwanted attention to that single person. Writers usually begin with what they know, but then branch out and add details that have nothing to do with the original model. In this exercise, it is perfectly okay to change details, add false information, and, otherwise, fictionalize your character completely.
1. Take your notes from your interview. Read them over.
2. Choose those traits or parts of the interview that were most interesting. Begin there.
3. Use those interesting parts to design a character (your protagonist).
4. Put this character in a specific setting (a specific house, a specific room, a hospital ward, under the elms in Durand Park, on the precipice of a cliff, etc.) The more specific and detailed your setting, the easier your character can react to its environment.
5. Give your protagonist character something to do.
6. Give your protagonist character something to desire or want.
7. Write a story.
Your story can follow any genre (sci-fi, fantasy, horror, western, romance, realistic, action, comedy, etc.) Want to write about teenage vampires? Go ahead! Choose a genre or topic that you are interested in. This helps a writer write a story successfully.
Your story should be relatively short (2-5 pages, double spaced). You can always add to it later. When you have completed your first draft, please title your story, put your standard heading on the top left (or right) and proofread your work for spelling/grammar errors. When satisfied that this is your 'best' work, please print and turn in.
Deadline: Ongoing (or Sept. 14 at the latest)
After we complete the introductions, follow the steps below to begin a baseline writing assignment.
Character exercise:
Most writers design and build their characters from people they know. Interviewing interesting people is a great help in coming up with realistic characters. However, remember in fiction, the name of the character should be "disguised" so as not to bring unwanted attention to that single person. Writers usually begin with what they know, but then branch out and add details that have nothing to do with the original model. In this exercise, it is perfectly okay to change details, add false information, and, otherwise, fictionalize your character completely.
1. Take your notes from your interview. Read them over.
2. Choose those traits or parts of the interview that were most interesting. Begin there.
3. Use those interesting parts to design a character (your protagonist).
4. Put this character in a specific setting (a specific house, a specific room, a hospital ward, under the elms in Durand Park, on the precipice of a cliff, etc.) The more specific and detailed your setting, the easier your character can react to its environment.
5. Give your protagonist character something to do.
6. Give your protagonist character something to desire or want.
7. Write a story.
Your story can follow any genre (sci-fi, fantasy, horror, western, romance, realistic, action, comedy, etc.) Want to write about teenage vampires? Go ahead! Choose a genre or topic that you are interested in. This helps a writer write a story successfully.
Your story should be relatively short (2-5 pages, double spaced). You can always add to it later. When you have completed your first draft, please title your story, put your standard heading on the top left (or right) and proofread your work for spelling/grammar errors. When satisfied that this is your 'best' work, please print and turn in.
Deadline: Ongoing (or Sept. 14 at the latest)
Thursday, September 3, 2009
Introductory Speech (Exercise)
Conversation is one of the most obvious processes of communication. Today you are going to "interview" a class member, then introduce this person to the rest of the class. The notes you take will also be used to create a "fictional" character based on a real person.
1. Please follow my verbal directions to choose a partner for this exercise.
2. Once you have a partner, take 10-15 minutes to ask the following questions and record what your partner says.
Please note: You do not have to write down everything your partner says. Part of communication is listening to what is being said, then remembering and retelling. Use your notes and ask follow-up questions to develop your partner's answers. (see below)
3. After you have completed the set of questions, allow your partner to conduct an interview of you as well. Again, take 10-15 minutes to complete this portion of the exercise.
4. During the second period, you and your partner will present each other to the class in a short introductory speech.
5. Keep your notes for the next writing assignment (more details to follow).
Sample Questions to ask:
A. How were you shaped by your environment or cultural background as you grew up?
B. Name a friend, relative, or childhood friend or hero figure that had an impact (positive or negative) on your life. Describe how this person influenced you.
C. Describe a personal experience that had a major impact on your life and/or creating the person that you are today.
D. What activities or hobbies or interests bring pleasure and meaning to your life?
E. Name a goal that you have set for yourself. How are you going to achieve that goal?
F. What value or philosophical belief do you hold dear? Why do you hold this belief or value so highly? How does it affect your life?
G. Any other question you wish to ask within the time limit of this exercise.
Your short introductory speech should reveal the nature or character of the person you interviewed. When asked, please introduce your partner to the rest of the class. You may use your notes to help guide you, but try not to simply read off of your notes. Try to remember what your partner told you, then report this to us.
This assignment is worth participation credit.
1. Please follow my verbal directions to choose a partner for this exercise.
2. Once you have a partner, take 10-15 minutes to ask the following questions and record what your partner says.
Please note: You do not have to write down everything your partner says. Part of communication is listening to what is being said, then remembering and retelling. Use your notes and ask follow-up questions to develop your partner's answers. (see below)
3. After you have completed the set of questions, allow your partner to conduct an interview of you as well. Again, take 10-15 minutes to complete this portion of the exercise.
4. During the second period, you and your partner will present each other to the class in a short introductory speech.
5. Keep your notes for the next writing assignment (more details to follow).
Sample Questions to ask:
A. How were you shaped by your environment or cultural background as you grew up?
B. Name a friend, relative, or childhood friend or hero figure that had an impact (positive or negative) on your life. Describe how this person influenced you.
C. Describe a personal experience that had a major impact on your life and/or creating the person that you are today.
D. What activities or hobbies or interests bring pleasure and meaning to your life?
E. Name a goal that you have set for yourself. How are you going to achieve that goal?
F. What value or philosophical belief do you hold dear? Why do you hold this belief or value so highly? How does it affect your life?
G. Any other question you wish to ask within the time limit of this exercise.
Your short introductory speech should reveal the nature or character of the person you interviewed. When asked, please introduce your partner to the rest of the class. You may use your notes to help guide you, but try not to simply read off of your notes. Try to remember what your partner told you, then report this to us.
This assignment is worth participation credit.
Tuesday, September 1, 2009
Course Criteria and Syllabus
Course Description:
This introductory creative writing course will introduce students to such topics as performance poetry, speech communication, oral interpretation, and writing for a public forum. Through the course, the students will gain an understanding of the field of communication, improve communication and listening skills, build self-esteem and self-confidence writing and speaking in public. Students will compose their own speeches, plays, films, stories, presentations and poetry to be shared in class or read aloud in public venues like the Coffee House Readings. This course is paired with Reading and Writing for Self Discovery.
Course Objectives:
• Students will examine and engage in the communication process
• Students will prepare and perform “readings” or “performances” in a public event (Poetry Slam, Coffeehouse Readings, Reader’s Theatre, Speech and Debate, etc.)
• Students will be required to participate in class assignments, homework and/or projects
• Curricular material for this course meets the New York State Standards in English/Language Arts
Course Evaluation:
25% Participation, homework, behavior, attendance
25% Writing projects
25% Tests, quizzes
25% Portfolio, journal
Long Range Curriculum:
1st term: the communication process, introduction to performance, speech writing, oral interpretation
2nd term: interpersonal communication and performance poetry
3rd term: performance poetry (cont.), debate, theatre and mass communication; final assessment
This introductory creative writing course will introduce students to such topics as performance poetry, speech communication, oral interpretation, and writing for a public forum. Through the course, the students will gain an understanding of the field of communication, improve communication and listening skills, build self-esteem and self-confidence writing and speaking in public. Students will compose their own speeches, plays, films, stories, presentations and poetry to be shared in class or read aloud in public venues like the Coffee House Readings. This course is paired with Reading and Writing for Self Discovery.
Course Objectives:
• Students will examine and engage in the communication process
• Students will prepare and perform “readings” or “performances” in a public event (Poetry Slam, Coffeehouse Readings, Reader’s Theatre, Speech and Debate, etc.)
• Students will be required to participate in class assignments, homework and/or projects
• Curricular material for this course meets the New York State Standards in English/Language Arts
Course Evaluation:
25% Participation, homework, behavior, attendance
25% Writing projects
25% Tests, quizzes
25% Portfolio, journal
Long Range Curriculum:
1st term: the communication process, introduction to performance, speech writing, oral interpretation
2nd term: interpersonal communication and performance poetry
3rd term: performance poetry (cont.), debate, theatre and mass communication; final assessment
Monday, July 13, 2009
Summer Wipe Out!
To all the followers of this blog, I am reconfiguring the site for the new incoming students. Its look and most of the links will be removed. All material from 2008-2009 will be archived. Thanks for your support.
Monday, June 8, 2009
Final Exam - Portfolio
There are two (2) parts to your final portfolio.
A. A 4-6 page, double-spaced, typed self evaluation essay
B. A variety of your best work chosen from all your CW classes
Your final portfolio will count for both 9th grade creative writing classes and will be reviewed by Mr. Craddock & Ms. Gamzon. It will constitute 25% of your final grade.
Part A. Self Evaluation Essay
Part B. Portfolio
Select work that you created this year in Ms. Gamzon or Mr. Craddock’s classes. All work should be copies of original work. No journals will be accepted. Follow the guideline below.
Table of contents. Your table of contents should order your portfolio into the following parts:
a. Poetry
b. Fiction
c. Non-fiction
d. Scripts
e. Special projects
Poetry. Choose 5-7 of your best poems. Select work that shows your understanding and growth in the field of poetry. Each poem’s title should be listed on the table of contents.
Fiction. Choose 3-4 of your best fiction pieces. Select work that shows your understanding and growth in the field of fiction. Each fiction piece’s title should be listed on the table of contents.
Non-fiction. Choose 1-2 of your best non-fiction pieces. Select work that shows your understanding and growth in the field of non-fiction. Each non-fiction piece’s title should be listed on the table of contents.
Scripts: Choose 1-2 of your best scripts. Select work that shows your understanding and growth in the field of script writing. Each script’s title should be listed on the table of contents.
Special Projects: Choose 2-3 of your special projects (newsletter, slideshow*, brochure, literary magazine, web design, blog, etc.) which show your growth and creative ability. Each project should be listed on the table of contents. If you have been working on a project not assigned in class, you may include this work in your special projects. (Example: I am working on a novel, and I haven’t told my teachers or I have written a musical, etc.) Please do NOT print your special project, unless you already have an extra copy. Instead, please talk about these projects in your reflection.
Self Reflection Non Fiction - Creative Essay:
During the entire freshman year, we have thrown quite a bit of information, projects, and assignments your way. We did not do this to be cruel, but to see how you react to pressure, deadlines, writing & reading skills, and so that you had the opportunity to grow as a writer and a student. It is true that the most important qualification for writers is that they write. Apart from this, reading is also the most important way to improve your writing at this stage. These introductory courses are designed to get you to know yourself as a student and writer a little better. Part of this is the need to self-reflect. Examine the writing rubrics and the material in your portfolio. Reflect on your work this year.
Reflective piece: 4-6 pages, double-spaced. Write about how you’ve grown as a writer this year, what has been easy/hard for you, what areas you feel you need more work in; reflect on your progress as a writer, a reader, and as a student. Write about each selected piece you have chosen to include in your portfolio (per genre): why did you include these pieces in your portfolio? How does the piece show your growth and development as a writer in this particular genre? What did you learn about yourself concerning writing from this assignment or project? Discuss the writing process you used to create the work, where you got your ideas, what you learned about the form or genre of the work as you wrote and revised it, what you learned about yourself as a writer, etc. Discuss special projects and reading that had an impact on you. What did you learn about writing and about yourself through these assignments this year?
Rubric
_____ Table of Contents 10 points
_____ Reflective Essay (4-6 pages) 30 points
_____ Poetry (5-7 poems) 10 points
_____ Fiction (3-4 short stories) 10 points
_____ Non Fiction (1-2 creative essays) 10 points
_____ Special Projects (1-2 special projects) 10 points
_____ Grammar (Work is clean, copy-edited, free of errors) 10 points
Penalty: (-1/2 point for each grammar error. Up to -10 points)
_____ Portfolio turned in complete and on time 10 points
Penalties:
• Late portfolios (-10 points per day late)
• Handwritten work (-1 for each handwritten page)
• Grammar errors (see above)
The final portfolio is due Friday, June 12 along with your journal.
A. A 4-6 page, double-spaced, typed self evaluation essay
B. A variety of your best work chosen from all your CW classes
Your final portfolio will count for both 9th grade creative writing classes and will be reviewed by Mr. Craddock & Ms. Gamzon. It will constitute 25% of your final grade.
Part A. Self Evaluation Essay
Part B. Portfolio
Select work that you created this year in Ms. Gamzon or Mr. Craddock’s classes. All work should be copies of original work. No journals will be accepted. Follow the guideline below.
Table of contents. Your table of contents should order your portfolio into the following parts:
a. Poetry
b. Fiction
c. Non-fiction
d. Scripts
e. Special projects
Poetry. Choose 5-7 of your best poems. Select work that shows your understanding and growth in the field of poetry. Each poem’s title should be listed on the table of contents.
Fiction. Choose 3-4 of your best fiction pieces. Select work that shows your understanding and growth in the field of fiction. Each fiction piece’s title should be listed on the table of contents.
Non-fiction. Choose 1-2 of your best non-fiction pieces. Select work that shows your understanding and growth in the field of non-fiction. Each non-fiction piece’s title should be listed on the table of contents.
Scripts: Choose 1-2 of your best scripts. Select work that shows your understanding and growth in the field of script writing. Each script’s title should be listed on the table of contents.
Special Projects: Choose 2-3 of your special projects (newsletter, slideshow*, brochure, literary magazine, web design, blog, etc.) which show your growth and creative ability. Each project should be listed on the table of contents. If you have been working on a project not assigned in class, you may include this work in your special projects. (Example: I am working on a novel, and I haven’t told my teachers or I have written a musical, etc.) Please do NOT print your special project, unless you already have an extra copy. Instead, please talk about these projects in your reflection.
Self Reflection Non Fiction - Creative Essay:
During the entire freshman year, we have thrown quite a bit of information, projects, and assignments your way. We did not do this to be cruel, but to see how you react to pressure, deadlines, writing & reading skills, and so that you had the opportunity to grow as a writer and a student. It is true that the most important qualification for writers is that they write. Apart from this, reading is also the most important way to improve your writing at this stage. These introductory courses are designed to get you to know yourself as a student and writer a little better. Part of this is the need to self-reflect. Examine the writing rubrics and the material in your portfolio. Reflect on your work this year.
Reflective piece: 4-6 pages, double-spaced. Write about how you’ve grown as a writer this year, what has been easy/hard for you, what areas you feel you need more work in; reflect on your progress as a writer, a reader, and as a student. Write about each selected piece you have chosen to include in your portfolio (per genre): why did you include these pieces in your portfolio? How does the piece show your growth and development as a writer in this particular genre? What did you learn about yourself concerning writing from this assignment or project? Discuss the writing process you used to create the work, where you got your ideas, what you learned about the form or genre of the work as you wrote and revised it, what you learned about yourself as a writer, etc. Discuss special projects and reading that had an impact on you. What did you learn about writing and about yourself through these assignments this year?
Rubric
_____ Table of Contents 10 points
_____ Reflective Essay (4-6 pages) 30 points
_____ Poetry (5-7 poems) 10 points
_____ Fiction (3-4 short stories) 10 points
_____ Non Fiction (1-2 creative essays) 10 points
_____ Special Projects (1-2 special projects) 10 points
_____ Grammar (Work is clean, copy-edited, free of errors) 10 points
Penalty: (-1/2 point for each grammar error. Up to -10 points)
_____ Portfolio turned in complete and on time 10 points
Penalties:
• Late portfolios (-10 points per day late)
• Handwritten work (-1 for each handwritten page)
• Grammar errors (see above)
The final portfolio is due Friday, June 12 along with your journal.
End of Year Projects
Take 3 minutes to review the quest archetype.
After your Hobbit quiz, please complete your fantasy story. The draft of this is due at the end of class. Those of you not completing the assignment have homework to finish the draft by Wednesday.
I will be collecting your journals Friday. Please prepare them.
When you are finished with your fantasy story, please begin working on the FINAL PORTFOLIO. This assignment will count as a final exam for both classes.
After your Hobbit quiz, please complete your fantasy story. The draft of this is due at the end of class. Those of you not completing the assignment have homework to finish the draft by Wednesday.
I will be collecting your journals Friday. Please prepare them.
When you are finished with your fantasy story, please begin working on the FINAL PORTFOLIO. This assignment will count as a final exam for both classes.
Tuesday, June 2, 2009
Fantasy Project - Beginning Your Draft
Today, write.
Write. Write your fantasy story.
Start by describing your setting. Then introduce your character in his/her normal duties. Then introduce the inciting incident. After you introduce your inciting incident that draws your protagonist into the story, continue to write the story. You should include 3 episodes (the last episode should reach your story's climax). Order your events/episodes so that they build on one another and that the events illustrate some aspect of your protagonist. Of course, use dialogue and description where appropriate in your story.
Try to use the quest archetype in your story.
Homework: Read up to chapter 15 in the Hobbit. There will be a test on chapters 10-15 next class.
Write. Write your fantasy story.
Start by describing your setting. Then introduce your character in his/her normal duties. Then introduce the inciting incident. After you introduce your inciting incident that draws your protagonist into the story, continue to write the story. You should include 3 episodes (the last episode should reach your story's climax). Order your events/episodes so that they build on one another and that the events illustrate some aspect of your protagonist. Of course, use dialogue and description where appropriate in your story.
Try to use the quest archetype in your story.
Homework: Read up to chapter 15 in the Hobbit. There will be a test on chapters 10-15 next class.
Friday, May 29, 2009
Fantasy Draft
Choose from your character list and event list. Pick only the events that help distinguish your character.
Begin your first page of your story. Describe the setting, introduce your protagonist, and create your inciting incident.
4th period - be prepared to take the quiz on chpt. 7-9 and bring your Hobbit books to room a240.
Begin your first page of your story. Describe the setting, introduce your protagonist, and create your inciting incident.
4th period - be prepared to take the quiz on chpt. 7-9 and bring your Hobbit books to room a240.
Wednesday, May 27, 2009
Fantasy Project - Character & Events
In any writing, character is key. It is the most essential element of writing, even in poetry, plays, or fiction writing.
For fantasy, the protagonist generally falls under one of the following types:
1. The quiet, but deadly warrior (ex. Conan, Elric of Melniborne)
2. The innocent who is swept up in the plot unexpectedly (ex. Bilbo, Frodo, Harry Potter)
3. The determined youngster out to prove him/herself (ex. Frodo, Harry Potter)
4. The outcast (ex. Harry Potter, Shrek)
The hero/heroine always has a goal. There is usually something in the character's personality that becomes a helpful tool, for example: bravery, stick-to-it-ness, chutzpah, innocence, determination, etc. It is usually a positive, but dormant trait that the events of the story help bring into focus.
What's in a Name?
Fantasy names can be a little odd. They are often determined by the type of mythology that the author uses as a background. Bilbo, for example, recalls the type of Norse names common in Anglo Saxon literature; however, he is an innocent, foolish sort of character so the ending of his name suggests a softness or feminine quality to it. Harry Potter, by contrast, is undoubtedly English. Conan just sounds "tough."
XsnickerX
So, create a protagonist for your story. Write notes in your journal. Choose one of the types of characters and describe, flesh out, motivate your character. Use the link to the side to help create a name. Then move on to part 2.
Part 2:
Events.
Stuff happens in stories. Events. Problems. Things that keep the reader interested. This means that, like in the quest, the hero/heroine is going to be challenged. Usually the type of challenge to the character(s) reflects their personality and the type of "strengths" they have. For example: Bilbo is a simple, unassuming fellow who doesn't like to travel or move, constantly complaining about needing a bath or a good meal. But in the inside, Bilbo longs for adventure. He is resourceful, lucky, adventurous, and quite brave. The events that he finds himself in help illustrate and bring out this "hidden" talent or personality trait.
Make a list of POSSIBLE events or problems that your new character can face. Use some of your world design or map to come up with both physical challenges as well as mental or spiritual ones. Make a huge list in your journal of possible events that will help bring out your character's inner-personlity.
4th period we will be moving next door to take our quiz and continue reading the Hobbit. Please bring your books and journals with you.
For fantasy, the protagonist generally falls under one of the following types:
1. The quiet, but deadly warrior (ex. Conan, Elric of Melniborne)
2. The innocent who is swept up in the plot unexpectedly (ex. Bilbo, Frodo, Harry Potter)
3. The determined youngster out to prove him/herself (ex. Frodo, Harry Potter)
4. The outcast (ex. Harry Potter, Shrek)
The hero/heroine always has a goal. There is usually something in the character's personality that becomes a helpful tool, for example: bravery, stick-to-it-ness, chutzpah, innocence, determination, etc. It is usually a positive, but dormant trait that the events of the story help bring into focus.
What's in a Name?
Fantasy names can be a little odd. They are often determined by the type of mythology that the author uses as a background. Bilbo, for example, recalls the type of Norse names common in Anglo Saxon literature; however, he is an innocent, foolish sort of character so the ending of his name suggests a softness or feminine quality to it. Harry Potter, by contrast, is undoubtedly English. Conan just sounds "tough."
XsnickerX
So, create a protagonist for your story. Write notes in your journal. Choose one of the types of characters and describe, flesh out, motivate your character. Use the link to the side to help create a name. Then move on to part 2.
Part 2:
Events.
Stuff happens in stories. Events. Problems. Things that keep the reader interested. This means that, like in the quest, the hero/heroine is going to be challenged. Usually the type of challenge to the character(s) reflects their personality and the type of "strengths" they have. For example: Bilbo is a simple, unassuming fellow who doesn't like to travel or move, constantly complaining about needing a bath or a good meal. But in the inside, Bilbo longs for adventure. He is resourceful, lucky, adventurous, and quite brave. The events that he finds himself in help illustrate and bring out this "hidden" talent or personality trait.
Make a list of POSSIBLE events or problems that your new character can face. Use some of your world design or map to come up with both physical challenges as well as mental or spiritual ones. Make a huge list in your journal of possible events that will help bring out your character's inner-personlity.
4th period we will be moving next door to take our quiz and continue reading the Hobbit. Please bring your books and journals with you.
Friday, May 22, 2009
J.R.R. Tolkien & the Imaginary World project - part 1
Please see the links on the link page about J.R.R. Tolkien. Please visit this website and browse around. Take a few notes about Tolkien.
When you've had enough of that, please begin creating your own world. You may use Greek, Roman, Norse, Asian, African, European, Aboriginal, etc. mythology as a background setting, if you'd like--or create a new mythology of your own creation. Usually, the first step in creating a world is drawing continents or a specific area, naming lands or showing borders, etc. Make sure to put a few interesting landmarks on your map for potential use in a story.
1. Create a map of your imaginary world. (See Tolkien's examples in the book)
2. Brainstorm what the people, geography, culture in your setting is like and other details about the imaginary place. (For examples see Tolkien)
All of this material can be completed in your journal.
When you've had enough of that, please begin creating your own world. You may use Greek, Roman, Norse, Asian, African, European, Aboriginal, etc. mythology as a background setting, if you'd like--or create a new mythology of your own creation. Usually, the first step in creating a world is drawing continents or a specific area, naming lands or showing borders, etc. Make sure to put a few interesting landmarks on your map for potential use in a story.
1. Create a map of your imaginary world. (See Tolkien's examples in the book)
2. Brainstorm what the people, geography, culture in your setting is like and other details about the imaginary place. (For examples see Tolkien)
All of this material can be completed in your journal.
Wednesday, May 20, 2009
Fantasy Genres
Fantasy fiction is a wide genre suited to the fantasist reader. It has what fantasists like best: a strange or exciting world in which to lose themselves in, often an epic story with a lof of action, weird occurances, strange characters, and the best part: it's not OUR reality. Laws and physics do not work the same as in realist fiction.
Fantasy can be describes as fiction with elements of magic, unknown monsters, creatures, strange beings, and make-believe worlds. While many consider knights in armor, mystical elves, and burly dwarves swinging axes (thanks to the role playing industry) to be the staples of fantasy, there are other aspects to is as well. Here's an overview of the fantasy genres in fiction.
"High or Epic Fantasy Genre
The high or epic fantasy genre is probably the most recognized by the general public. In high or epic fantasy, knights go on quests, fair maidens need rescuing, and the general theme is usually Good vs. Evil. This fantasy genre is set in a pseudo-medieval world of kings and queens. It often has powerful wizards, bands of adventurers, and multiple quests to undertake. The stories scopes are large and vast, and often spread out over several books in a series.
Sword and Sorcery Fantasy Genre
The sword and sorcery fantasy genre is akin to Dungeons & Dragons games put in type. With similar characteristics of high or epic fantasy, sword and sorcery has a much smaller scope. One band of adventurers is going on one quest. There is often a lot of action involved.
Alternate History Fantasy Genre
This fantasy genre takes a snippet of real-life history and warps it to include fantasy elements. For example, an alternate history fantasy novel may be about WWII and how the goblins played a hand in defeating the Nazis.
One popular sub-genre of alternate history is steampunk. Set in Victorian or Edwardian era, steampunk fantasy incorporates steam-powered technology in often suprising or fantasic ways.
Urban or Contemporary Fantasy Genre
Urban or contemporary fantasy differ only in that urban fantasy is set in a city and is sometimes darker in nature than contemporary. Harry Potter is an example of contemporary fantasy. These fantasy genres combine magical beings or spells with modern socity.
Dark Fantasy
The dark fantasy genre is, by definition, dark. It often overlaps both the urban fantasy genre and horror. Vampires, demons rising from the underworld, and Lovecraftian stories are dark fantasy. What makes a story dark fantasy rather than straight horror is often the medieval type setting, or more emphasis on paranormal themes over simply scaring the pants off the reader.
Other Fantasy Genres
There are other fantasy genres besides the ones listed above. Elfpunk is a sub-genre in which fantasy creatures such as elves, dwarves, and fairies enter into, or are a part of, ultra-modern 'punk' society. Erotic fantasy has a strong overshadow of sex, while romantic fantasy is more subtle in the love plots. Mythic fantasy uses classic myths or legends to introduce the fantasy elements. There are science fantasy crossovers from classic science fiction, and even comic fantasy."
Fantasy can be describes as fiction with elements of magic, unknown monsters, creatures, strange beings, and make-believe worlds. While many consider knights in armor, mystical elves, and burly dwarves swinging axes (thanks to the role playing industry) to be the staples of fantasy, there are other aspects to is as well. Here's an overview of the fantasy genres in fiction.
"High or Epic Fantasy Genre
The high or epic fantasy genre is probably the most recognized by the general public. In high or epic fantasy, knights go on quests, fair maidens need rescuing, and the general theme is usually Good vs. Evil. This fantasy genre is set in a pseudo-medieval world of kings and queens. It often has powerful wizards, bands of adventurers, and multiple quests to undertake. The stories scopes are large and vast, and often spread out over several books in a series.
Sword and Sorcery Fantasy Genre
The sword and sorcery fantasy genre is akin to Dungeons & Dragons games put in type. With similar characteristics of high or epic fantasy, sword and sorcery has a much smaller scope. One band of adventurers is going on one quest. There is often a lot of action involved.
Alternate History Fantasy Genre
This fantasy genre takes a snippet of real-life history and warps it to include fantasy elements. For example, an alternate history fantasy novel may be about WWII and how the goblins played a hand in defeating the Nazis.
One popular sub-genre of alternate history is steampunk. Set in Victorian or Edwardian era, steampunk fantasy incorporates steam-powered technology in often suprising or fantasic ways.
Urban or Contemporary Fantasy Genre
Urban or contemporary fantasy differ only in that urban fantasy is set in a city and is sometimes darker in nature than contemporary. Harry Potter is an example of contemporary fantasy. These fantasy genres combine magical beings or spells with modern socity.
Dark Fantasy
The dark fantasy genre is, by definition, dark. It often overlaps both the urban fantasy genre and horror. Vampires, demons rising from the underworld, and Lovecraftian stories are dark fantasy. What makes a story dark fantasy rather than straight horror is often the medieval type setting, or more emphasis on paranormal themes over simply scaring the pants off the reader.
Other Fantasy Genres
There are other fantasy genres besides the ones listed above. Elfpunk is a sub-genre in which fantasy creatures such as elves, dwarves, and fairies enter into, or are a part of, ultra-modern 'punk' society. Erotic fantasy has a strong overshadow of sex, while romantic fantasy is more subtle in the love plots. Mythic fantasy uses classic myths or legends to introduce the fantasy elements. There are science fantasy crossovers from classic science fiction, and even comic fantasy."
Quest Archetype
The quest is traditionally a journey about the self.
1. The story starts at Protagonist’s home
2. Protagonist is pushed or spurred into action
3. The decision to ACT leads to the first major event
This first event is called a Motivating Incident
The main character has both:
Intent= to find the goal
motivation=reason for wanting to achieve it
4. The protagonist rarely travels alone; helpful characters aid the protagonist
5. Usually the quest includes a series of incidents (actions) that help to develop the protagonist
The author must ask: what difficulties would make the most interesting and challenging obstacles for the protagonist.
6. The final act of the story includes a revelation, epiphany, discovery or realization about the main character’s life or personal situation.
7. Often, additional complications arise as a result of the protagonist obtaining his goal.
8. The protagonist usually returns home, making a complete circle. He returns changed, developed.
How to do it:
1. The quest should be about a search for a person, place or thing (noun).
2. Your plot should move around a lot, visiting many people and places. Movement should result from a cause to an effect pattern.
3. Character should return to the location where he started having changed in some way. (We call a changed character DYNAMIC)
4. First act includes motivating or inciting incident; clearly understand the intent and motivation of your main character.
5. Include a companion and a helpful character
6. The protagonist should come to a realization about himself through his quest
1. The story starts at Protagonist’s home
2. Protagonist is pushed or spurred into action
3. The decision to ACT leads to the first major event
This first event is called a Motivating Incident
The main character has both:
Intent= to find the goal
motivation=reason for wanting to achieve it
4. The protagonist rarely travels alone; helpful characters aid the protagonist
5. Usually the quest includes a series of incidents (actions) that help to develop the protagonist
The author must ask: what difficulties would make the most interesting and challenging obstacles for the protagonist.
6. The final act of the story includes a revelation, epiphany, discovery or realization about the main character’s life or personal situation.
7. Often, additional complications arise as a result of the protagonist obtaining his goal.
8. The protagonist usually returns home, making a complete circle. He returns changed, developed.
How to do it:
1. The quest should be about a search for a person, place or thing (noun).
2. Your plot should move around a lot, visiting many people and places. Movement should result from a cause to an effect pattern.
3. Character should return to the location where he started having changed in some way. (We call a changed character DYNAMIC)
4. First act includes motivating or inciting incident; clearly understand the intent and motivation of your main character.
5. Include a companion and a helpful character
6. The protagonist should come to a realization about himself through his quest
Tuesday, May 19, 2009
3rd Annual Rochester Grand Slam Off
Monday, May 25 the Countywide teen poetry slam finals will be held from 2:00 to 7:00. The event will include teen poets representing SOTA, Wilson, Monroe, West Irondequoit, and Writers & Books. Admission is free (with suggested donation) and refreshments will be served. The event will be located at 142 Atlantic Ave.
Come support our school and performance poetry!
Extra credit available for those who attend.
Come support our school and performance poetry!
Extra credit available for those who attend.
Tuesday, May 12, 2009
More Play Exercises
Friday my substitute did not give you the correct materials for a play exercise. As a result, you had two periods to complete marking period work. Today, we will complete that play exercise. Open a new word document and put your name on this page. Please await instructions.
4th period we will move to A240 to read together.
4th period we will move to A240 to read together.
Wednesday, May 6, 2009
Plays
We are going to be working with playwriting today. Please come up to the front of the room and gather around Mr. Craddock for instructions.
Monday, May 4, 2009
Coffee House - May 18
Our last coffee house of the year will be held on May 18 at 7:00 (usually lasts an hour or an hour and 1/2.) This coffee house performance we will be saying "goodbye" and good luck to our senior Creative Writing majors. Please join us for coffee, cookies, and original poetry/fiction.
Freshmen who attend and read or perform their original work to the audience will get extra credit in Ms. Gamzon and Mr. Craddock's classes. We would love to see you there!
Freshmen who attend and read or perform their original work to the audience will get extra credit in Ms. Gamzon and Mr. Craddock's classes. We would love to see you there!
Poetry collection G-L instructions
Poetry Collection (G-L)
1. Select one collection of poetry from a poet whose last name begins with G-L.
2. Read this collection.
3. As you read, I am not only asking you to notice the poems you enjoy and the poems that don’t “thrill” you, but to begin looking for basic craft elements, literary devices, and the use of opening lines and closing lines.
4. In your journal write down phrases or lines of poems you like. Create a wordspill list, if you’d like. Gather words like ripe fruit and put them in your journal “basket”.
5. After you have read the collection, choose the poem you liked the most from the collection. Answer the following ?’s about the poem: HINT: your answer should be about 1-2 pages double spaced, well thought out and specific! Use supporting details and evidence from the poem and collection.
a. Who is speaking in the poem? How can you tell?
b. What is the speaker speaking about? How can you tell? What is happening in the poem?
c. Why is the speaker speaking at this particularly moment? What hints does the poet give you that leads your thinking in that direction?
d. Where is the poem set? Why does the poet use this setting? What significance or meaning does the place have in regards to the action or conflict of the poem?
e. Who is the speaker speaking to? What clues does the poet give you?
f. Examine style. What poetic devices can you find in the poem?
6. Use your “basket” of words to create a poem draft.
Your original poem (#6) is due today as well as the 1-2 page double spaced well thought out answer to #5 above.
1. Select one collection of poetry from a poet whose last name begins with G-L.
2. Read this collection.
3. As you read, I am not only asking you to notice the poems you enjoy and the poems that don’t “thrill” you, but to begin looking for basic craft elements, literary devices, and the use of opening lines and closing lines.
4. In your journal write down phrases or lines of poems you like. Create a wordspill list, if you’d like. Gather words like ripe fruit and put them in your journal “basket”.
5. After you have read the collection, choose the poem you liked the most from the collection. Answer the following ?’s about the poem: HINT: your answer should be about 1-2 pages double spaced, well thought out and specific! Use supporting details and evidence from the poem and collection.
a. Who is speaking in the poem? How can you tell?
b. What is the speaker speaking about? How can you tell? What is happening in the poem?
c. Why is the speaker speaking at this particularly moment? What hints does the poet give you that leads your thinking in that direction?
d. Where is the poem set? Why does the poet use this setting? What significance or meaning does the place have in regards to the action or conflict of the poem?
e. Who is the speaker speaking to? What clues does the poet give you?
f. Examine style. What poetic devices can you find in the poem?
6. Use your “basket” of words to create a poem draft.
Your original poem (#6) is due today as well as the 1-2 page double spaced well thought out answer to #5 above.
Poetry Chapbook Collection (G-L)
Today, work on completing the poetry chapbook collection project. Your completed analysis of one of the chapbook poems is due at the end of class. Please complete it.
Your journals are due on Wednesday. Please make a note of this.
Your journals are due on Wednesday. Please make a note of this.
Tuesday, April 28, 2009
Poetry Chapbook Collection (Poets A-G)
Last class we completed the following:
1. Select one collection of poetry from a poet whose last name begins with A-G.
2. Read this collection.
3. As you read, I am asking you to simply notice the poems you enjoy and the poems that don’t “thrill” you.
4. Make a list in your journal of poems you like and poems you don’t like. Put poems that don’t move you at all in the “not like” pile.
5. After you have read the collection, examine your “LIKE” list.
6. Consider what the poet is doing in poems you DO like. Is it a phrase or line that excites you, an image, a juxtaposition of words? Is it the topic or theme? Is it the setting or character or the voice of the character that pulls you into the “experience” of the poem? Or is it something else? Perhaps a shared experience or an insight that the poet recalls through his/her words.
7. Explain in a “Dear poet” letter what you liked about the poet’s work. Try to explain clearly. Use examples or make reference to the text to help you explain yourself.
8. Turn in this “Dear Poet” letter as your “exam” for this collection.
3rd period, please complete the "Dear Poet" letter and turn in. 4th period, be prepared to select one poem you enjoyed the most from your collection to share with the class. You will be expected to read the poem out loud to the class for participation credit.
Reminder: Your journal will be due next week. Make sure you are writing in it!
1. Select one collection of poetry from a poet whose last name begins with A-G.
2. Read this collection.
3. As you read, I am asking you to simply notice the poems you enjoy and the poems that don’t “thrill” you.
4. Make a list in your journal of poems you like and poems you don’t like. Put poems that don’t move you at all in the “not like” pile.
5. After you have read the collection, examine your “LIKE” list.
6. Consider what the poet is doing in poems you DO like. Is it a phrase or line that excites you, an image, a juxtaposition of words? Is it the topic or theme? Is it the setting or character or the voice of the character that pulls you into the “experience” of the poem? Or is it something else? Perhaps a shared experience or an insight that the poet recalls through his/her words.
7. Explain in a “Dear poet” letter what you liked about the poet’s work. Try to explain clearly. Use examples or make reference to the text to help you explain yourself.
8. Turn in this “Dear Poet” letter as your “exam” for this collection.
3rd period, please complete the "Dear Poet" letter and turn in. 4th period, be prepared to select one poem you enjoyed the most from your collection to share with the class. You will be expected to read the poem out loud to the class for participation credit.
Reminder: Your journal will be due next week. Make sure you are writing in it!
Wednesday, April 15, 2009
First Part Last Quiz
We are taking the quiz on our novel. At the end of the quiz, please use the time in lab to do one of the following:
--Write
--Read
--Look up poetry
--Finish late work
3rd period we will complete "Love That Dog" in room a240. When you hear the bell, please log off of your computers and move quickly to the other room so that you have no homework.
--Write
--Read
--Look up poetry
--Finish late work
3rd period we will complete "Love That Dog" in room a240. When you hear the bell, please log off of your computers and move quickly to the other room so that you have no homework.
Monday, April 13, 2009
The First Part Last - Discussion
Get into the following groups:
Group 1: Addie, Monica, Alex, Brianna, Justice, Jerry, Marissa
Group 2: Zach, Nautica, Victoria, Alaina, Khari, Whitney, Wade
Group 3: Tashae, Shayla, Valerie, Aubrey, Lawrence, Jenee, Kennethea
Today, spend some time discussing the book. What parts did you like, not like? What would you have done differently if you were the author? What did you think about the characters, the theme, the plot, the setting? Would this story work in a different genre or style or point of view? Defend your answers.
Also, discuss the bildungsroman form and the self discovery archetype. How does Bobby become an adult through this book?
When you are finished discussing with your group, finish writing your Penfield Poetry poems. Turn in your poetry drafts by the end of class today.
4th period, we will meet to continue reading "Love that Dog" next door in room a240.
There will be a quiz on this novel next class. You should know the bildungsroman archetype as it applies to the plot; you should be familiar with major characters and events in the novel as well.
Group 1: Addie, Monica, Alex, Brianna, Justice, Jerry, Marissa
Group 2: Zach, Nautica, Victoria, Alaina, Khari, Whitney, Wade
Group 3: Tashae, Shayla, Valerie, Aubrey, Lawrence, Jenee, Kennethea
Today, spend some time discussing the book. What parts did you like, not like? What would you have done differently if you were the author? What did you think about the characters, the theme, the plot, the setting? Would this story work in a different genre or style or point of view? Defend your answers.
Also, discuss the bildungsroman form and the self discovery archetype. How does Bobby become an adult through this book?
When you are finished discussing with your group, finish writing your Penfield Poetry poems. Turn in your poetry drafts by the end of class today.
4th period, we will meet to continue reading "Love that Dog" next door in room a240.
There will be a quiz on this novel next class. You should know the bildungsroman archetype as it applies to the plot; you should be familiar with major characters and events in the novel as well.
Wednesday, April 8, 2009
Poetry Continued
Again, check out the prompts from the previous class and create a new draft of a poem. Turn this poem in as well today.
Please read The First Part Last over the break. You should finish it by next week when we return to class. There will be a quiz on the book.
During 4th period, we will be taking a look at another text and discussing poetry. Log out at the end of 3rd period, move to room a240.
Please read The First Part Last over the break. You should finish it by next week when we return to class. There will be a quiz on the book.
During 4th period, we will be taking a look at another text and discussing poetry. Log out at the end of 3rd period, move to room a240.
Monday, April 6, 2009
Poetry Exercises
Today, write a poem draft. The Penfield poetry contest is coming up. You may wish to use your new poem in this contest.
1. David Lehman wrote a poem called “The Difference Between Pepsi and Coke.” Pick a similarly everyday pair – butter and margarine, hotdogs and hamburgers, peanut butter & jelly, etc. Write a poem about the pair.
2. In the poem “Words”, Dana Gioia writes: “The world does not need words. It articulates itself/ in sunlight, leaves, and shadows.” Think of other things that don’t speak, and write a poem about how these things express themselves. How does an apple, or a spoon, or a house communicate, etc?
3. Write a poem where every line of the poem begins with the same word or the same letter.
4. Think of a time you tried to explain something but just couldn’t put what you wanted to say into words. Try to put your feelings into words, this time in a poem. You may wish to start the poem with the line: “What I wanted to say was…”
5. Write a poem about disliking a chore or job that you have to do. Imagine yourself as an older person still having to do this chore or job.
6. Write a poem in which you ask a question of an older person. The first part of the poem should focus on describing the question. Remember to use a few metaphors or figurative language. In the second part of the poem write about the answer the older person gives you.
7. Write an ode: a poem praising or celebrating an object, event, or person. Feel free to use hyperbole (exaggeration) and metaphors in your poem.
8. Take one of your older poems and rewrite it. Add a refrain, metaphor, simile, use alliteration, or other poetic devices.
1. David Lehman wrote a poem called “The Difference Between Pepsi and Coke.” Pick a similarly everyday pair – butter and margarine, hotdogs and hamburgers, peanut butter & jelly, etc. Write a poem about the pair.
2. In the poem “Words”, Dana Gioia writes: “The world does not need words. It articulates itself/ in sunlight, leaves, and shadows.” Think of other things that don’t speak, and write a poem about how these things express themselves. How does an apple, or a spoon, or a house communicate, etc?
3. Write a poem where every line of the poem begins with the same word or the same letter.
4. Think of a time you tried to explain something but just couldn’t put what you wanted to say into words. Try to put your feelings into words, this time in a poem. You may wish to start the poem with the line: “What I wanted to say was…”
5. Write a poem about disliking a chore or job that you have to do. Imagine yourself as an older person still having to do this chore or job.
6. Write a poem in which you ask a question of an older person. The first part of the poem should focus on describing the question. Remember to use a few metaphors or figurative language. In the second part of the poem write about the answer the older person gives you.
7. Write an ode: a poem praising or celebrating an object, event, or person. Feel free to use hyperbole (exaggeration) and metaphors in your poem.
8. Take one of your older poems and rewrite it. Add a refrain, metaphor, simile, use alliteration, or other poetic devices.
Thursday, April 2, 2009
Work Due - Really, this time!
Yes. Due. Today. Your bildungsroman draft. Those of you who do not finish at the end of 3rd period, must complete the work over the weekend on your own time. We're moving on.
Also, please turn in "The Lesson" homework. You were to read "The Lesson" by Toni Cade Bambara and identify the elements that make it a bildungsroman story.
4th period we will be completing "Effect of Gamma Rays...Marigolds" and possibly picking up another coming of age short novel: First Part Last by Angela Johnson. You may begin reading this book. Attempt to finish it by the end of next week. More information to follow.
Also, please turn in "The Lesson" homework. You were to read "The Lesson" by Toni Cade Bambara and identify the elements that make it a bildungsroman story.
4th period we will be completing "Effect of Gamma Rays...Marigolds" and possibly picking up another coming of age short novel: First Part Last by Angela Johnson. You may begin reading this book. Attempt to finish it by the end of next week. More information to follow.
Tuesday, March 31, 2009
Bildungsroman draft due
Please complete the Bildungsroman draft (2-3 pages) today.
As a sample model of a Bildungsroman, please read the short story "The Lesson" by Toni Cade Bambara (from Gorilla, My Love). To turn in for homework: please indicate and explain how this story follows the Bildungsroman archetypical plot. Use specific references to the story. This is due next class.
4th period we will complete our reading of Effect of Gamma Rays...Marigolds.
As a sample model of a Bildungsroman, please read the short story "The Lesson" by Toni Cade Bambara (from Gorilla, My Love). To turn in for homework: please indicate and explain how this story follows the Bildungsroman archetypical plot. Use specific references to the story. This is due next class.
4th period we will complete our reading of Effect of Gamma Rays...Marigolds.
Friday, March 27, 2009
The Effect of Gamma Rays on Man-in-the-moon Marigolds
The best laid plans of mice and men often go astray -- Robert Burns (by the way, he also coined the phrase that Salinger uses for his title: A Catcher in the Rye)
Yes. Plans go astray. Where is Gorilla, My Love? Who knows. We are missing this book from our library. So, we are reading the Effect of Gamma Rays...Marigolds. Yep. It's a bildungsroman, too.
I'll copy a story or two for you from the collection: Gorilla, My Love for next class. Peace out!
Yes. Plans go astray. Where is Gorilla, My Love? Who knows. We are missing this book from our library. So, we are reading the Effect of Gamma Rays...Marigolds. Yep. It's a bildungsroman, too.
I'll copy a story or two for you from the collection: Gorilla, My Love for next class. Peace out!
Wednesday, March 25, 2009
Gorilla My Love - & the Bildungsroman
Ah. Short stories. Today I'd like you to write a quick short story (2-3 pages only) using the archetype of the bildungsroman. See below for the bildungsroman pattern.
At the end of 3rd period, we are going to check out Toni Cade Bambara's short story collection: Gorilla My Love. We will begin reading this 4th period in room a240.
At the end of 3rd period, we are going to check out Toni Cade Bambara's short story collection: Gorilla My Love. We will begin reading this 4th period in room a240.
Sunday, March 15, 2009
Roald Dahl's advice to writers
Please visit Roald Dahl's website and under Roald Dahl listen to his interview about writing. After which, please post a comment below about how you (as a young writer) may be able to use or respond to this advice. Please leave your name after your response. This material will be used on the test next class.
Roald Dahl and the Bildungsroman
Many writers of young adult fiction use a certain archetypical pattern for their plots. Archetype, or "original pattern", is a model from which other characters or stories are based. Archetype is as old as human storytelling and continues throughout contemporary literature (just that you don't always notice it as archetype).
When an author uses archetype, he is patterning his character(s) or plot after other types of that kind. For example: character archetype might include: 1. The hero 2. the protective mother 3. the prostitute with a heart of gold 4. the trickster or 5. the evil or cruel master. Plot archetype might include: 1. the Rags to Riches plot 2. the Quest 3. Transformation or 4. traditional love story: boy meets girl, boy loses girl, boy gets girl back.
There are many, many more. And yes, archetype used too often, can create stereotype.
Plots, too, can be archetypical. One such archetypical plot is: The Bildungsroman.
The Bildungsroman is a type of story that focuses on the psychological, moral, and social formation of the protagonist (usually a young person) as he or she grows to adulthood.
This type of story was made popular during the period of the German Enlightenment, or during the seventeenth century through the eighteenth (usually ending at the Napoleonic Wars or early nineteenth century). It is still with us today, as most children's literature writers use the pattern somewhere within their stories.
The pattern is as follows:
1. The protagonist grows from child to adult.
Note: this does not always mean growing to legal or mature age--it refers mostly to the psychological state of the child (whose world centers around him/herself) to that of the mature adult (whose world centers around others). Of course, not everyone reaches this state of being just by growing older.
2. The protagonist must have a reason to embark upon his or her "journey of self discovery." A loss or discontent must, at an early stage, jar him or her away from their home or family setting. In literature, we usually call this the INCITING INCIDENT. It is the event that gets the plot moving along.
3. The process of maturation is long, arduous and usually gradual, involving repeated clashes between the hero's needs and desires and the views and judgments enforced by an unbending social order. Note: this is similar to Sigmund Freud's concept of the pleasure principle versus the reality principle- meaning that a character wants what is desired immediately or will give the greatest satisfaction, but must deal with the concept that "you don't always get what you want." Wise words for any growing or maturing person today.
4. Eventually, the spirit and values of the social order become manifest in the protagonist, who is ultimately accommodated into the society. In other words, the character grows up to become a model character -- one accepted into a specific culture or society.
5. The novel or story ends with the protagonist's self discovery or awareness of his/her growth and understanding his/her new place or role in society. In other words, there is a realization by the character that he/she has grown up.
An example of the bildungsroman archetype would be:
Holden in A Catcher in the Rye
Harry Potter in the Harry Potter and the ... series
clare in Shadow Baby
Leo in Stargirl
David in Montana 1948
Harvey in The Thief of Always
Jim in Treasure Island
Huckleberry Finn in Huckleberry Finn
Ponyboy in the Outsiders
and, of course Charlie Bucket in Charlie and the Chocolate Factory
There are, of course, thousands of other characters you may be familiar with in books and movies you have read or seen. In your journal make a list of other books you have read that may have been bildungsroman novels.
When an author uses archetype, he is patterning his character(s) or plot after other types of that kind. For example: character archetype might include: 1. The hero 2. the protective mother 3. the prostitute with a heart of gold 4. the trickster or 5. the evil or cruel master. Plot archetype might include: 1. the Rags to Riches plot 2. the Quest 3. Transformation or 4. traditional love story: boy meets girl, boy loses girl, boy gets girl back.
There are many, many more. And yes, archetype used too often, can create stereotype.
Plots, too, can be archetypical. One such archetypical plot is: The Bildungsroman.
The Bildungsroman is a type of story that focuses on the psychological, moral, and social formation of the protagonist (usually a young person) as he or she grows to adulthood.
This type of story was made popular during the period of the German Enlightenment, or during the seventeenth century through the eighteenth (usually ending at the Napoleonic Wars or early nineteenth century). It is still with us today, as most children's literature writers use the pattern somewhere within their stories.
The pattern is as follows:
1. The protagonist grows from child to adult.
Note: this does not always mean growing to legal or mature age--it refers mostly to the psychological state of the child (whose world centers around him/herself) to that of the mature adult (whose world centers around others). Of course, not everyone reaches this state of being just by growing older.
2. The protagonist must have a reason to embark upon his or her "journey of self discovery." A loss or discontent must, at an early stage, jar him or her away from their home or family setting. In literature, we usually call this the INCITING INCIDENT. It is the event that gets the plot moving along.
3. The process of maturation is long, arduous and usually gradual, involving repeated clashes between the hero's needs and desires and the views and judgments enforced by an unbending social order. Note: this is similar to Sigmund Freud's concept of the pleasure principle versus the reality principle- meaning that a character wants what is desired immediately or will give the greatest satisfaction, but must deal with the concept that "you don't always get what you want." Wise words for any growing or maturing person today.
4. Eventually, the spirit and values of the social order become manifest in the protagonist, who is ultimately accommodated into the society. In other words, the character grows up to become a model character -- one accepted into a specific culture or society.
5. The novel or story ends with the protagonist's self discovery or awareness of his/her growth and understanding his/her new place or role in society. In other words, there is a realization by the character that he/she has grown up.
An example of the bildungsroman archetype would be:
Holden in A Catcher in the Rye
Harry Potter in the Harry Potter and the ... series
clare in Shadow Baby
Leo in Stargirl
David in Montana 1948
Harvey in The Thief of Always
Jim in Treasure Island
Huckleberry Finn in Huckleberry Finn
Ponyboy in the Outsiders
and, of course Charlie Bucket in Charlie and the Chocolate Factory
There are, of course, thousands of other characters you may be familiar with in books and movies you have read or seen. In your journal make a list of other books you have read that may have been bildungsroman novels.
Thursday, March 12, 2009
Children's Book - The Witches/James & the Giant Peach
Complete your children's book today. If you finish early or need a break, please continue or finish reading The Witches or James and the Giant Peach. There will be a quiz on one of these books next week, so finish over the weekend, if you have not yet done so.
Information on Roald Dahl can be found on the link page. Please take a look!
Information on Roald Dahl can be found on the link page. Please take a look!
Friday, March 6, 2009
Rhyming Dictionary
A good tool for you to use for this project (and beyond!)
Click on the link page and have fun!
Click on the link page and have fun!
Dr. Seuss - Book Project & Roald Dahl
Complete your Dr. Seuss-style poem.
From the START menu, choose the program: Microsoft Publisher. Choose WORD DOCUMENT, and a blank or other template. It will ask you to import a file. Choose the file you wrote.
From the INSERT menu, you will need to insert a # of pages. Cut your poem into parts. Decide how much text is appropriate (make at least 6 or so pages - including a title and end page. Some of you may have more.) Every facing page should have a picture (or you can set your text under a graphic on the same page.) Refer to Dr. Seuss or other children's picture books for an example of this.
Design graphics (either your own using the drawing program, or JPG's from the internet or clipart) that match your text. You will be graded on your layout and design as much as your text.
This weekend, please complete The Witches or James and the Giant Peach. As you read, consider what Roald Dahl is doing to keep the writing fun for himself and his audience. In other words, examine the writing style and learn from him.
From the START menu, choose the program: Microsoft Publisher. Choose WORD DOCUMENT, and a blank or other template. It will ask you to import a file. Choose the file you wrote.
From the INSERT menu, you will need to insert a # of pages. Cut your poem into parts. Decide how much text is appropriate (make at least 6 or so pages - including a title and end page. Some of you may have more.) Every facing page should have a picture (or you can set your text under a graphic on the same page.) Refer to Dr. Seuss or other children's picture books for an example of this.
Design graphics (either your own using the drawing program, or JPG's from the internet or clipart) that match your text. You will be graded on your layout and design as much as your text.
This weekend, please complete The Witches or James and the Giant Peach. As you read, consider what Roald Dahl is doing to keep the writing fun for himself and his audience. In other words, examine the writing style and learn from him.
Wednesday, March 4, 2009
Dr. Seuss Project
Please compose a Dr. Seuss style poem.
After this, go to google images and search for appropriate backgrounds. Save these to your file. More information will follow.
If you finish early, use your time to read: The Witches or James and the Giant Peach.
After this, go to google images and search for appropriate backgrounds. Save these to your file. More information will follow.
If you finish early, use your time to read: The Witches or James and the Giant Peach.
Monday, March 2, 2009
Dr. Seuss
Research Dr. Seuss. In your journal, research Dr. Seuss and find out:
1. When and where was he born (and with what name)? When did he die?
2. What was his childhood like?
3. What important events occurred in his life?
4. What brought him to write children's books?
5. Make a list of some of Dr. Seuss's works (books, films, etc.)
Check out the link nearby. Play. Enjoy. But remember to complete the steps below.
After answering these questions, go to:
1. Youtube.com and watch a bunch of his videos. Type in Dr. Seuss and you'll get plenty to watch. Have fun. Notice what kind of "reader" or "viewer" his films are written for.
2. Amazon.com. Go to Amazon.com and look up Dr. Seuss. If you can, look inside at some of his books.
3. Try your hand at writing a "Dr. Seuss" style "poem/story". Create a character and a situation, setting, and, of course, use rhyme. Create and type up the "script" for the short book - don't worry at this moment about the drawings.
1. When and where was he born (and with what name)? When did he die?
2. What was his childhood like?
3. What important events occurred in his life?
4. What brought him to write children's books?
5. Make a list of some of Dr. Seuss's works (books, films, etc.)
Check out the link nearby. Play. Enjoy. But remember to complete the steps below.
After answering these questions, go to:
1. Youtube.com and watch a bunch of his videos. Type in Dr. Seuss and you'll get plenty to watch. Have fun. Notice what kind of "reader" or "viewer" his films are written for.
2. Amazon.com. Go to Amazon.com and look up Dr. Seuss. If you can, look inside at some of his books.
3. Try your hand at writing a "Dr. Seuss" style "poem/story". Create a character and a situation, setting, and, of course, use rhyme. Create and type up the "script" for the short book - don't worry at this moment about the drawings.
Thursday, February 26, 2009
Children's Literature - Elementary Reading & Pschology
Much of children's literature is designed to teach children: 1. The alphabet 2. New words or concepts 3. Social mores or traditions and 4. of course to teach them or "edumacate" them about the world we live in (or wish we lived in) :)
Children's books are often written for elementary readers. That means that smart and talented authors target children (and thier parents) as their potential audience. Techniques of elementary reading (since the focus is on new words, letters, and concepts) include several of the following tropes (or patterns):
1. Young protagonists
2. Colorful pictures that help match vocabulary to image
3. A lesson
4. Short paragraphs (sometimes a picture book has only pictures) Sentence construction and syntax is simple or paired down.
"Children's" literature, therefore, is NOT meant to be read by adolescents, since adolescents often find it difficult to appreciate simplicity or wild imagination, searching primarily to fit into a common crowd and resenting being treated like young "children."
As you go about completing the library research project on Children's Literature, consider HOW you approach a children's book. If you are open, this can be a lot of fun. If you are close minded (this often happens in a group setting since you don't want your peers to know you actually enjoy kids stuff) you may find yourself overly critical.
At the end of class, please respond to this entry about the books you read and your experience reading. As a writer, what have you learned about children's books?
PLEASE POST A COMMENT BELOW - Please include your real NAME to get full credit!
Children's books are often written for elementary readers. That means that smart and talented authors target children (and thier parents) as their potential audience. Techniques of elementary reading (since the focus is on new words, letters, and concepts) include several of the following tropes (or patterns):
1. Young protagonists
2. Colorful pictures that help match vocabulary to image
3. A lesson
4. Short paragraphs (sometimes a picture book has only pictures) Sentence construction and syntax is simple or paired down.
"Children's" literature, therefore, is NOT meant to be read by adolescents, since adolescents often find it difficult to appreciate simplicity or wild imagination, searching primarily to fit into a common crowd and resenting being treated like young "children."
As you go about completing the library research project on Children's Literature, consider HOW you approach a children's book. If you are open, this can be a lot of fun. If you are close minded (this often happens in a group setting since you don't want your peers to know you actually enjoy kids stuff) you may find yourself overly critical.
At the end of class, please respond to this entry about the books you read and your experience reading. As a writer, what have you learned about children's books?
PLEASE POST A COMMENT BELOW - Please include your real NAME to get full credit!
Monday, February 23, 2009
Building Character!
Character Building
1. How would you describe your characters' personality? Is she a risk taker or risk adverse? An optimist or a pessimist? Shy or outgoing? Brave or cowardly? Confident or insecure? Write examples from her behavior that let you know this.
2. What would others label your character? A princess, a geek, a joiner, a leader, a bully, a loser, a success? Write what others see that makes them choose the label.
3. What secret is your character keeping from someone? How does this dictate the behavior of the character around that person?
4. What does your character love? What does your character dislike?
5. Who are your character's family? Where do they live? What do they do?
6. Who are your character's friends? Where do they live? How do they connect with each other?
7. What is in your character's closet or purse or backpack or school locker or desk or car? Describe the contents and what the character thinks of them.
8. Have your character address a letter to a beloved friend. Have the character write about the circumstances in his or her life that led to the letter writing and why it feels good to let the recipient know about these things.
9. Have your character address a letter to a despised enemy. Have the character write about the circumstances in his or her life that led to the letter writing and why it feels good to let the recipient know about these things.
10. Write your characters' journal entries during a difficult time. Let them talk freely about the others in their lives and what their thoughts and next steps will be.
1. How would you describe your characters' personality? Is she a risk taker or risk adverse? An optimist or a pessimist? Shy or outgoing? Brave or cowardly? Confident or insecure? Write examples from her behavior that let you know this.
2. What would others label your character? A princess, a geek, a joiner, a leader, a bully, a loser, a success? Write what others see that makes them choose the label.
3. What secret is your character keeping from someone? How does this dictate the behavior of the character around that person?
4. What does your character love? What does your character dislike?
5. Who are your character's family? Where do they live? What do they do?
6. Who are your character's friends? Where do they live? How do they connect with each other?
7. What is in your character's closet or purse or backpack or school locker or desk or car? Describe the contents and what the character thinks of them.
8. Have your character address a letter to a beloved friend. Have the character write about the circumstances in his or her life that led to the letter writing and why it feels good to let the recipient know about these things.
9. Have your character address a letter to a despised enemy. Have the character write about the circumstances in his or her life that led to the letter writing and why it feels good to let the recipient know about these things.
10. Write your characters' journal entries during a difficult time. Let them talk freely about the others in their lives and what their thoughts and next steps will be.
Stargirl & the Importance of Character
Your book report on Stargirl is due at the end of class today. Please make sure you have completed it (printed it out) by 4th period.
In fiction, the most important element is considered: Character
Finding a fictional character
Readers want characters who are recognizable; most similar to themselves.
Where to find a fictional character:
• From your own personality (autobiographical)
• From your own family, friends, acquaintances, peers, neighborhood (biographical)
• From psychology textbooks
• From astrology charts and columns
• From mythology or legends
• From the Bible
• From other stories you read, or novels you read
• From other media
• From your imagination
Most writers fuse autobiographical with biographical sources to create a fusion of character “traits” or what is essentially “characterization.”
Characterization: How do I show character in a story?
• Summarize history or background, or describe physical or mental traits (character/self-portrait)
Why use it? It develops character quickly all at once, allowing the writer to move on to the plot, setting, conflict, etc.
Beware:
this sort of thing leads to telling, not showing
you are essentially asking the reader to wait to continue or go further with the plot, conflict, dialogue, or other elements that move a story along
It can slow the pace of your story down
• Repeat an action or habit (including what they say or dialogue)
Why use it? Allows reader to understand what a character normally does in a given situation; particularly useful if your character will soon do something “out of character.” Helps develop theme & dialogue moves plot
Beware:
The habit or action should be essential to the motivation of the character, a plot point, or reveal setting, symbol, or conflict
• Describe appearance
Why use it? When you describe appearance, you suggest characterization to your reader through recognizable symbols
Beware:
As “action/habit” above
• Describe a scene
Why use it? Moves the plot, conflict, etc. along quickly; sets your character in motion without needing to summarize or generalize.
• Combination of all methods
Most writers use a combination of these methods to develop and create their characters.
In fiction, the most important element is considered: Character
Finding a fictional character
Readers want characters who are recognizable; most similar to themselves.
Where to find a fictional character:
• From your own personality (autobiographical)
• From your own family, friends, acquaintances, peers, neighborhood (biographical)
• From psychology textbooks
• From astrology charts and columns
• From mythology or legends
• From the Bible
• From other stories you read, or novels you read
• From other media
• From your imagination
Most writers fuse autobiographical with biographical sources to create a fusion of character “traits” or what is essentially “characterization.”
Characterization: How do I show character in a story?
• Summarize history or background, or describe physical or mental traits (character/self-portrait)
Why use it? It develops character quickly all at once, allowing the writer to move on to the plot, setting, conflict, etc.
Beware:
this sort of thing leads to telling, not showing
you are essentially asking the reader to wait to continue or go further with the plot, conflict, dialogue, or other elements that move a story along
It can slow the pace of your story down
• Repeat an action or habit (including what they say or dialogue)
Why use it? Allows reader to understand what a character normally does in a given situation; particularly useful if your character will soon do something “out of character.” Helps develop theme & dialogue moves plot
Beware:
The habit or action should be essential to the motivation of the character, a plot point, or reveal setting, symbol, or conflict
• Describe appearance
Why use it? When you describe appearance, you suggest characterization to your reader through recognizable symbols
Beware:
As “action/habit” above
• Describe a scene
Why use it? Moves the plot, conflict, etc. along quickly; sets your character in motion without needing to summarize or generalize.
• Combination of all methods
Most writers use a combination of these methods to develop and create their characters.
Friday, February 13, 2009
Stargirl/Catcher - continued - Character!
Complete Stargirl over break, if you have not yet done so.
To turn in, please write a review of the book from the perspective of a writer. You will want to answer these questions in essay format somewhere in your book review:
1. What aspect or element caught your attention about the writing style?
2. What character did you like best? Why? Which did you least like? Do you think you were meant to dislike this character? Which character do you think was the author's favorite? Why?
3. What plot event in the book do you think was the most important? Why?
4. What did you learn about writing from reading (or rereading) Stargirl?
5. If this is the first time you read the book, what surprised you most about it?
5B. If this is the second or third time reading the book, what did you notice or view differently from a second read?
6. What audience is this book meant for? Which type of reader would likely enjoy Stargirl? Why?
7. How difficult is this book to read? For what audience would this book be an elementary reading level? For what audience would this book be a surface read? For what audience would this be an analytical read? Which reading level was it for you?
8. Compare this book to other books or films that you know. Where does the book stand for you in personal choice or preference? (ie. is this book better than most books of this type, less interesting, etc.?)
9. If you were going to write a similar book, what would you do differently?
10. Would you recommend this book to a friend or an enemy? Why?
Book report due after break. Have a safe and relaxing break!
To turn in, please write a review of the book from the perspective of a writer. You will want to answer these questions in essay format somewhere in your book review:
1. What aspect or element caught your attention about the writing style?
2. What character did you like best? Why? Which did you least like? Do you think you were meant to dislike this character? Which character do you think was the author's favorite? Why?
3. What plot event in the book do you think was the most important? Why?
4. What did you learn about writing from reading (or rereading) Stargirl?
5. If this is the first time you read the book, what surprised you most about it?
5B. If this is the second or third time reading the book, what did you notice or view differently from a second read?
6. What audience is this book meant for? Which type of reader would likely enjoy Stargirl? Why?
7. How difficult is this book to read? For what audience would this book be an elementary reading level? For what audience would this book be a surface read? For what audience would this be an analytical read? Which reading level was it for you?
8. Compare this book to other books or films that you know. Where does the book stand for you in personal choice or preference? (ie. is this book better than most books of this type, less interesting, etc.?)
9. If you were going to write a similar book, what would you do differently?
10. Would you recommend this book to a friend or an enemy? Why?
Book report due after break. Have a safe and relaxing break!
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