In groups of 1-3 please read pages144-149 and answer the 5 ?'s about the story for participation credit.
Please bring your books with you to class on Thursday.
Tuesday, September 29, 2009
9/29 Agenda
Journal writing/Brainstorming:
Using your picture that you brought with you as homework (see previous class blog entry if you're confused) - use this picture to start a story. If you'd like get into the mind of the character, or stay objective and outside the photograph. Contrast what you write with what you know is the "future" for the people photographed.
When the journal writing has come to a close, please visit our forum. Complete the assignment from last class there. Take about 10 minutes to do so.
Afterward, we will be getting a new text book.
There will be assignments posted soon regarding the new text. More instructions will come! Please check the blog again at the end of class.
Time remaining in class? Write a second draft of the 1st story draft you worked on two classes ago. Expand the story. Add detail.
Using your picture that you brought with you as homework (see previous class blog entry if you're confused) - use this picture to start a story. If you'd like get into the mind of the character, or stay objective and outside the photograph. Contrast what you write with what you know is the "future" for the people photographed.
When the journal writing has come to a close, please visit our forum. Complete the assignment from last class there. Take about 10 minutes to do so.
Afterward, we will be getting a new text book.
There will be assignments posted soon regarding the new text. More instructions will come! Please check the blog again at the end of class.
Time remaining in class? Write a second draft of the 1st story draft you worked on two classes ago. Expand the story. Add detail.
Friday, September 25, 2009
Reading Groups & Posting to our Forum
Today we are going to get together in our reading groups. Please work with the members in your reading groups. We will be using these groups for a while, so please learn to work together to complete the task or goal of the assignment. The groups will be as follows:
Group A.
Adeline A.
Monica B.
Justice D.
Nautica G.
Group B.
Alex B.
Brianna C.
Alaina H.
Khari J.
Tashae R.
Group C.
Lawrence D.
Victoria H.
Wade W.
Kennethea W.
Danielle F.
Group D.
Christopher T.
Zach G.
Whitney L.
Shayla S.
Group E.
Marissa S.
Aubrey G.
Valerie S.
Jenee S.
Jerry F.
DIRECTIONS:
1. Read the blog post below about the different types of stories.
2. Take notes on what kinds of short stories there are.
3. Please get into your reading groups.
4. Read aloud the various short stories from the packet I hand you.
5. Discuss as a group (make sure you take turns and be polite) what type of short story each is. Look at how the author uses his/her title and how the first line of the story tries to draw or hook a reader. Talk about whether or not you think the author is successful.
6. For group credit, label each short story as to its type. Put all group members' names on the paper and turn in at the end of class.
After reading all the short stories and talking about them with your group, please post an INDIVIDUAL personal response to these short stories on our forum. You can find our forum on the link page under: Our Classroom Forum. Go there, sign up as a member with your google account, and become a member of the forum. Then post your response.
HOMEWORK: FIND A PICTURE OR SNAPSHOT and bring it to next class!
Group A.
Adeline A.
Monica B.
Justice D.
Nautica G.
Group B.
Alex B.
Brianna C.
Alaina H.
Khari J.
Tashae R.
Group C.
Lawrence D.
Victoria H.
Wade W.
Kennethea W.
Danielle F.
Group D.
Christopher T.
Zach G.
Whitney L.
Shayla S.
Group E.
Marissa S.
Aubrey G.
Valerie S.
Jenee S.
Jerry F.
DIRECTIONS:
1. Read the blog post below about the different types of stories.
2. Take notes on what kinds of short stories there are.
3. Please get into your reading groups.
4. Read aloud the various short stories from the packet I hand you.
5. Discuss as a group (make sure you take turns and be polite) what type of short story each is. Look at how the author uses his/her title and how the first line of the story tries to draw or hook a reader. Talk about whether or not you think the author is successful.
6. For group credit, label each short story as to its type. Put all group members' names on the paper and turn in at the end of class.
After reading all the short stories and talking about them with your group, please post an INDIVIDUAL personal response to these short stories on our forum. You can find our forum on the link page under: Our Classroom Forum. Go there, sign up as a member with your google account, and become a member of the forum. Then post your response.
HOMEWORK: FIND A PICTURE OR SNAPSHOT and bring it to next class!
Types of Short Stories
“The best guide on how to write short stories is to read those already published by any good author, and the best way to discover your own talent, if you have any, is not to talk about the stories you find swimming about in your head, but to write them down, and keep on writing them…the only way to find out if you are a writer or not is to write.”
Types of Short Stories:
• The Traditional Story
o The goal of the traditional story is to tell a simple story.
o Usually unsophisticated or simple, the author usually draws experience from his/her own life or similar experience.
o Traditional stories may use any genre (sci-fi, fantasy, western, romance, realism, action-adventure, horror, suspense, etc.) but, again, the focus of the story is on telling a simple story, usually to entertain.
o Usually the story is written in a realistic style.
• The subjective story
o The author has found his/her voice.
o The author discovers that his own personality can play a large part in a story.
o Usually these stories use first person POV and gets into the mind of its protagonist.
o The focus then of the subjective story is development of character.
o The story can be written in a realistic style, but may also begin to move toward a more complex subjective narration.
• The objective story
o The author is able to suppress his/her own feeling and view of things for the sake of a more objective presentation of his/her story and characters.
o The author’s personality or life is not found consciously in the story.
• Experimental and symbolic story
o These stories fool around with the structure of fiction.
o They are often experimental or symbolic, pushing the boundaries of what “fiction” is.
o These stories are often less obvious, more subtle in their meaning, characters, plot, etc.
o These forms play around with fiction convention, they often break the “4th wall”, may use multiple subjective narration, tell a story backwards, break fiction convention rules, etc.
• Complex story
o The author utilizes techniques from the first four groups here: (traditional, subjective, objective, experimental), combining the best techniques from all these forms.
• Universal story
o The skilled author hits upon certain human truths.
o The universal story form is similar to the complex story, except that it transcends the form to become “classic” short fiction.
o The universal story is often found in novel; many authors at this stage find novels more to their liking.
Types of Short Stories:
• The Traditional Story
o The goal of the traditional story is to tell a simple story.
o Usually unsophisticated or simple, the author usually draws experience from his/her own life or similar experience.
o Traditional stories may use any genre (sci-fi, fantasy, western, romance, realism, action-adventure, horror, suspense, etc.) but, again, the focus of the story is on telling a simple story, usually to entertain.
o Usually the story is written in a realistic style.
• The subjective story
o The author has found his/her voice.
o The author discovers that his own personality can play a large part in a story.
o Usually these stories use first person POV and gets into the mind of its protagonist.
o The focus then of the subjective story is development of character.
o The story can be written in a realistic style, but may also begin to move toward a more complex subjective narration.
• The objective story
o The author is able to suppress his/her own feeling and view of things for the sake of a more objective presentation of his/her story and characters.
o The author’s personality or life is not found consciously in the story.
• Experimental and symbolic story
o These stories fool around with the structure of fiction.
o They are often experimental or symbolic, pushing the boundaries of what “fiction” is.
o These stories are often less obvious, more subtle in their meaning, characters, plot, etc.
o These forms play around with fiction convention, they often break the “4th wall”, may use multiple subjective narration, tell a story backwards, break fiction convention rules, etc.
• Complex story
o The author utilizes techniques from the first four groups here: (traditional, subjective, objective, experimental), combining the best techniques from all these forms.
• Universal story
o The skilled author hits upon certain human truths.
o The universal story form is similar to the complex story, except that it transcends the form to become “classic” short fiction.
o The universal story is often found in novel; many authors at this stage find novels more to their liking.
Wednesday, September 23, 2009
Working with beginnings...
Begin by reading this article on opening a short story. Take notes in your journal about important advice.
The best short stories begin in media res (in the middle of an important action). Starting a story with an action helps a writer get moving on what must happen in a story. Exposition (if needed) is added later in the story after the reader has entered into the text.
Go to the following website: the literary magazine Zoetrope. For 10-20 of the short stories (click on them to read the beginning), record in your journal the first line of each story.
When you have a list of 10-20 openings, choose one and then begin your own 200-400 word short story with that opening. See where it takes you. The first draft is due at the end of class. DO NOT PRINT this. Simply call it Working With Beginnings Draft 1. Save your work. We will continue with it next class.
HOMEWORK: Please read the handout about beginnings for next class.
TEST: Please review the WRITING PROCESS (see below) and advice about starting fiction for next class.
The best short stories begin in media res (in the middle of an important action). Starting a story with an action helps a writer get moving on what must happen in a story. Exposition (if needed) is added later in the story after the reader has entered into the text.
Go to the following website: the literary magazine Zoetrope. For 10-20 of the short stories (click on them to read the beginning), record in your journal the first line of each story.
When you have a list of 10-20 openings, choose one and then begin your own 200-400 word short story with that opening. See where it takes you. The first draft is due at the end of class. DO NOT PRINT this. Simply call it Working With Beginnings Draft 1. Save your work. We will continue with it next class.
HOMEWORK: Please read the handout about beginnings for next class.
TEST: Please review the WRITING PROCESS (see below) and advice about starting fiction for next class.
Monday, September 21, 2009
Sept. 21 - Agenda
Please begin class by writing the journal exercise. You can write right on this page, or in your journal. Your choice. You will have 10 minutes to complete this portion of the classwork.
After that, please read the tips on starting a story. You should make note of how a fiction writer can begin a story (because you're going to have to do this very, very soon.)
At the end of today's class your final version of your baseline piece is due. Please make sure you either print this version out OR email this to me as an attachment: bradley.craddock@rcsdk12.org. You have the period to complete your final draft. To see if you are ready to turn it in, check the RUBRIC below.
The previous reading assignment and questions is also due at the end of class.
Class/Homework: please read the two short stories: Death of the Right Fielder and Bigfoot Stole My Wife. Be prepared to discuss the openings of these two short stories next class.
Finally, with time remaining begin a story from your exercise on beginnings.
After that, please read the tips on starting a story. You should make note of how a fiction writer can begin a story (because you're going to have to do this very, very soon.)
At the end of today's class your final version of your baseline piece is due. Please make sure you either print this version out OR email this to me as an attachment: bradley.craddock@rcsdk12.org. You have the period to complete your final draft. To see if you are ready to turn it in, check the RUBRIC below.
The previous reading assignment and questions is also due at the end of class.
Class/Homework: please read the two short stories: Death of the Right Fielder and Bigfoot Stole My Wife. Be prepared to discuss the openings of these two short stories next class.
Finally, with time remaining begin a story from your exercise on beginnings.
Beginning a Story - Some Tips & Advice
Beginning a Story
A beginning promises more to come. It should hook our attention, allow us entrance into the world of the story. Beginnings need to be full of potential for the characters (and the reader). Some simple ways writers do this is the following (taken from The Fiction Writer's Workshop by Josip Novakovich)
Setting: setting sets the stage and raises our expectations, introduces us to location, time, and supports character, tone, mood and POV.
On the pleasant shore of the French Riviera, about half-way between Marseilles and the Italian border, stands a large, proud, rose-colored hotel. Deferential palms cool its flushed façade, and before it stretches a short dazzling beach. Lately it has become a summer resort of notable and fashionable people.
Ideas: While this can sometimes be dry or essay-like, it can also characterize a speaker, a place, an important motif or tone of a story.
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them…”
Imagistic or Strong Sensations: Imagery invites your reader to experience your narrative, giving you a good start. It also helps establish setting, usually.
1956. The air-conditioned darkness of the Avenue Theater smells of flowery pomade, sugary chocolates, cigarette smoke, and sweat.
A Need or Motive: Need is essential for all major characters. It is usually what drives the
conflict and characterization, also the plot in a story. Starting off with a motive or need is
the fastest way to learn what characters want.
On his way to the station William remembered with a fresh pang of disappointment that he was taking nothing down to the kiddies. Their first words always were as they ran to greet him, “What have you got for me, daddy?” and he had nothing.
Action: Action catches our attention.
The pass was high and wide and he jumped for it, feeling it slap flatly against his hands, as he shook his hips to throw off the halfback who was diving at him.
Scene: Usually in one sentence, combines action, setting, and character.
Card-playing was going on in the quarters of Narumov, an officer in the Guards.
Symbolic Object: Describe an object that has significance to your story, characters, plot. Usually a reader will recognize the importance of an object if mentioned in the first paragraph of a story.
An antique sleigh stood in the yard, snow after snow banked up against its eroded runners.
Sex: Sex sells. It also gets our attention.
After I became a prostitute, I had to deal with penises of every imaginable shape and size.
Character portrait: Introduces a reader to your protagonist or an important character.
The girl’s scalp looked as though it had been singed by fire—strands of thatchy red hair snaked away from her face, then settled against her skin, pasted there by sweat and sunscreen and the blown grit and dust of travel.
Character’s Thoughts: Like a portrait, this one’s internal.
If I am out of my mind, it’s all right with me, thought Moses Herzog.
Question: A direct way to motivate the reader, who often wants to know the answer to a posed question.
“Well, Peter, any sign of them yet?”
Prediction: Creating an ominous tone, a prediction foreshadows or hints at the ultimate ending of a story.
Neither of the Grimes sisters would have a happy life, and looking back it always seemed that the trouble began with their parents’ divorce.
Anecdote: an anecdote (a short story) can introduce an important idea or theme, create a symbol, or set a particular tone.
The village of Ukleyevo lay in the ravine, so that only the belfry and the chimneys of the cotton mills could be seen from the highway and the railroad station. When passers-by would ask what village it was, they were told: “that’s the one where the sexton ate up all the caviar at the funeral.”
Activity: In your journal write a variety of "opening lines."
Using the best opening, begin a short story. With the rest of class, write. See where this opening takes you. Call this Opening/Hook Exercise - Draft 1.
A beginning promises more to come. It should hook our attention, allow us entrance into the world of the story. Beginnings need to be full of potential for the characters (and the reader). Some simple ways writers do this is the following (taken from The Fiction Writer's Workshop by Josip Novakovich)
Setting: setting sets the stage and raises our expectations, introduces us to location, time, and supports character, tone, mood and POV.
On the pleasant shore of the French Riviera, about half-way between Marseilles and the Italian border, stands a large, proud, rose-colored hotel. Deferential palms cool its flushed façade, and before it stretches a short dazzling beach. Lately it has become a summer resort of notable and fashionable people.
Ideas: While this can sometimes be dry or essay-like, it can also characterize a speaker, a place, an important motif or tone of a story.
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them…”
Imagistic or Strong Sensations: Imagery invites your reader to experience your narrative, giving you a good start. It also helps establish setting, usually.
1956. The air-conditioned darkness of the Avenue Theater smells of flowery pomade, sugary chocolates, cigarette smoke, and sweat.
A Need or Motive: Need is essential for all major characters. It is usually what drives the
conflict and characterization, also the plot in a story. Starting off with a motive or need is
the fastest way to learn what characters want.
On his way to the station William remembered with a fresh pang of disappointment that he was taking nothing down to the kiddies. Their first words always were as they ran to greet him, “What have you got for me, daddy?” and he had nothing.
Action: Action catches our attention.
The pass was high and wide and he jumped for it, feeling it slap flatly against his hands, as he shook his hips to throw off the halfback who was diving at him.
Scene: Usually in one sentence, combines action, setting, and character.
Card-playing was going on in the quarters of Narumov, an officer in the Guards.
Symbolic Object: Describe an object that has significance to your story, characters, plot. Usually a reader will recognize the importance of an object if mentioned in the first paragraph of a story.
An antique sleigh stood in the yard, snow after snow banked up against its eroded runners.
Sex: Sex sells. It also gets our attention.
After I became a prostitute, I had to deal with penises of every imaginable shape and size.
Character portrait: Introduces a reader to your protagonist or an important character.
The girl’s scalp looked as though it had been singed by fire—strands of thatchy red hair snaked away from her face, then settled against her skin, pasted there by sweat and sunscreen and the blown grit and dust of travel.
Character’s Thoughts: Like a portrait, this one’s internal.
If I am out of my mind, it’s all right with me, thought Moses Herzog.
Question: A direct way to motivate the reader, who often wants to know the answer to a posed question.
“Well, Peter, any sign of them yet?”
Prediction: Creating an ominous tone, a prediction foreshadows or hints at the ultimate ending of a story.
Neither of the Grimes sisters would have a happy life, and looking back it always seemed that the trouble began with their parents’ divorce.
Anecdote: an anecdote (a short story) can introduce an important idea or theme, create a symbol, or set a particular tone.
The village of Ukleyevo lay in the ravine, so that only the belfry and the chimneys of the cotton mills could be seen from the highway and the railroad station. When passers-by would ask what village it was, they were told: “that’s the one where the sexton ate up all the caviar at the funeral.”
Activity: In your journal write a variety of "opening lines."
Using the best opening, begin a short story. With the rest of class, write. See where this opening takes you. Call this Opening/Hook Exercise - Draft 1.
Creative Writing Rubric
4 = Exemplary
3 = Accomplished
2 = Developing
1 = Beginning
Exemplary: Thoroughly developed and thought provoking characters, plot, structure, conflict, theme, and setting. Title and structure is thoughtful revealing important themes or symbolic ideas. Opening of story hooks and interests reader. Author uses vivid and artistically appropriate description, voice, POV, imagery, and compelling dialogue that reveals characterization or moves plot (if appropriate). Has few errors in spelling punctuation, syntax, and usage. Work includes evidence of several revised drafts. Uses lab and class time to full extent to complete writing projects.
Accomplished: Well developed characters, plot, conflict, theme, and setting. Title and structure is appropriate for the story. Opening of story is appropriate to hook the reader. Author uses good description and dialogue, voice, POV, imagery, etc. Has some errors in spelling, punctuation, and usage but nothing that gets in the way of the reader’s ability to discern meaning. Work includes evidence of some revision. Usually uses lab and class time but may occasionally be off-task.
Developing: Fairly well developed characters, plot and setting, conflict and theme is present but not compelling as "accomplished or exemplary writers", but piece may have gaps. title and structure is okay, but does not necessarily reveal insight. Uses some description or dialogue, but with uneven success. Has errors in spelling punctuation and usage that distracts the reader. Work may be accomplished, but story was late. Work includes some evidence of revision (drafts), but revision is largely in grammar and syntax, rather than restructuring. Uses lab and class time sometimes, but often is off topic or surfing the internet for unrelated materials.
Beginning: Development of character, plot and setting, conflict, theme, etc. is on a very basic level, although these elements are present. Story is untitled or structure lacks creativity or insight. Uses limited description and dialogue. Author has careless errors in spelling, punctuation, and usage. Work includes little or no evidence of revision. Story may be developing, but work was turned in late. Story is largely incomplete or undeveloped. Student does not use lab or class time effectively, often off task or disruptive.
3 = Accomplished
2 = Developing
1 = Beginning
Exemplary: Thoroughly developed and thought provoking characters, plot, structure, conflict, theme, and setting. Title and structure is thoughtful revealing important themes or symbolic ideas. Opening of story hooks and interests reader. Author uses vivid and artistically appropriate description, voice, POV, imagery, and compelling dialogue that reveals characterization or moves plot (if appropriate). Has few errors in spelling punctuation, syntax, and usage. Work includes evidence of several revised drafts. Uses lab and class time to full extent to complete writing projects.
Accomplished: Well developed characters, plot, conflict, theme, and setting. Title and structure is appropriate for the story. Opening of story is appropriate to hook the reader. Author uses good description and dialogue, voice, POV, imagery, etc. Has some errors in spelling, punctuation, and usage but nothing that gets in the way of the reader’s ability to discern meaning. Work includes evidence of some revision. Usually uses lab and class time but may occasionally be off-task.
Developing: Fairly well developed characters, plot and setting, conflict and theme is present but not compelling as "accomplished or exemplary writers", but piece may have gaps. title and structure is okay, but does not necessarily reveal insight. Uses some description or dialogue, but with uneven success. Has errors in spelling punctuation and usage that distracts the reader. Work may be accomplished, but story was late. Work includes some evidence of revision (drafts), but revision is largely in grammar and syntax, rather than restructuring. Uses lab and class time sometimes, but often is off topic or surfing the internet for unrelated materials.
Beginning: Development of character, plot and setting, conflict, theme, etc. is on a very basic level, although these elements are present. Story is untitled or structure lacks creativity or insight. Uses limited description and dialogue. Author has careless errors in spelling, punctuation, and usage. Work includes little or no evidence of revision. Story may be developing, but work was turned in late. Story is largely incomplete or undeveloped. Student does not use lab or class time effectively, often off task or disruptive.
Thursday, September 17, 2009
After Workshopping - Baseline Piece - Final Draft
After you have workshopped your draft(s) of your baseline exercise (you should have three drafts so far) use the lab time to finalize your "final draft" for the baseline piece. This piece will be graded, so you want to make sure it is the best it can be.
As this is a baseline exercise, we will discuss creative writing rubrics soon in class.
Your final draft will be due at the end of next class: 9/21
As this is a baseline exercise, we will discuss creative writing rubrics soon in class.
Your final draft will be due at the end of next class: 9/21
Short Stories - Fiction Homework #1
Please read the following 10 short stories and answer the ?'s below.
"Brilliant Silence" by Spencer Holst
"Pumpkins" by Francine Prose
"The Stones" by Richard Shelton
"The One Sitting There" by Joanna Wos
"Crossing Spider Creek" by Dan O'Brien
"The Lampshade Vendor" by Allen Woodman
"Roseville" by William Heyen
"Pendergast's Daughter" by Lex Williford
"Ponderosa" by Kent Thompson
"Gold Coast" by Stuart Dybek
For each short story answer these questions in standard written format (use textual support in your answers):
1. In a sentence or two summarize the plot of the story.
2. Examine the first sentence for each story. How does the first sentence attempt to draw you into the rest of the story. For example, look for how the reader is "surprising" us.
3. How does the ending support or enhance the rest of the story?
4. Explain how the title highlights or showcases an important theme, character, setting, or plot element of the story.
5. What was your opinion of the story? Did you enjoy or not enjoy the story? Describe what you did like or not like. Try to support your opinion using appropriate literary device vocabulary (for example, if you liked the metaphor or parallel structure or climax in the story...mention that).
This homework is due next class: Sept. 21.
"Brilliant Silence" by Spencer Holst
"Pumpkins" by Francine Prose
"The Stones" by Richard Shelton
"The One Sitting There" by Joanna Wos
"Crossing Spider Creek" by Dan O'Brien
"The Lampshade Vendor" by Allen Woodman
"Roseville" by William Heyen
"Pendergast's Daughter" by Lex Williford
"Ponderosa" by Kent Thompson
"Gold Coast" by Stuart Dybek
For each short story answer these questions in standard written format (use textual support in your answers):
1. In a sentence or two summarize the plot of the story.
2. Examine the first sentence for each story. How does the first sentence attempt to draw you into the rest of the story. For example, look for how the reader is "surprising" us.
3. How does the ending support or enhance the rest of the story?
4. Explain how the title highlights or showcases an important theme, character, setting, or plot element of the story.
5. What was your opinion of the story? Did you enjoy or not enjoy the story? Describe what you did like or not like. Try to support your opinion using appropriate literary device vocabulary (for example, if you liked the metaphor or parallel structure or climax in the story...mention that).
This homework is due next class: Sept. 21.
Wednesday, September 16, 2009
Workshop Directions
Workshopping a written piece is an important step in getting feedback about your writing. If a workshop group is knowledgeable, they can help a writer grow immensely in a short period of time.
Follow these steps to complete your workshop:
1. Get into your workshop group
2. Each contributing writer should take turns reading their work out loud to the rest of the group.
3. The group should listen and read silently while the writer reads his/her story
4. As the writer reads his/her story, the workshop members should highlight or mark specific words or phrases or lines that he/she liked.
5. Consider the basic questions and techniques of fiction. (plot, character, POV, setting, theme, mood, voice, poetry, imagery, dialogue, characterization, conflict, suspense, etc.) Give the writer a WRITTEN critique of their story based on these questions. Write your comments on the story copy.
6. When everyone is finished writing, open the discussion to the writer’s specific questions. Writers should help this along by asking questions that they want to know about their stories. For example: Did you understand the point of my story? Are the characters clear and well defined or developed? Does the setting of my story distract you as a reader? Etc.
7. After you have discussed the writer’s work, please return your copies to the writer.
8. After the group has finished helping the writer, please continue around the group to help critique the other writers who submitted material as well.
9. Continue this until the entire group has had a chance to participate in the workshop.
10. When everyone has had a chance, writers may talk to each other about new ideas and share other writing they have written (in their journal, portfolio, or etc.)
Follow these steps to complete your workshop:
1. Get into your workshop group
2. Each contributing writer should take turns reading their work out loud to the rest of the group.
3. The group should listen and read silently while the writer reads his/her story
4. As the writer reads his/her story, the workshop members should highlight or mark specific words or phrases or lines that he/she liked.
5. Consider the basic questions and techniques of fiction. (plot, character, POV, setting, theme, mood, voice, poetry, imagery, dialogue, characterization, conflict, suspense, etc.) Give the writer a WRITTEN critique of their story based on these questions. Write your comments on the story copy.
6. When everyone is finished writing, open the discussion to the writer’s specific questions. Writers should help this along by asking questions that they want to know about their stories. For example: Did you understand the point of my story? Are the characters clear and well defined or developed? Does the setting of my story distract you as a reader? Etc.
7. After you have discussed the writer’s work, please return your copies to the writer.
8. After the group has finished helping the writer, please continue around the group to help critique the other writers who submitted material as well.
9. Continue this until the entire group has had a chance to participate in the workshop.
10. When everyone has had a chance, writers may talk to each other about new ideas and share other writing they have written (in their journal, portfolio, or etc.)
Friday, September 11, 2009
Short Stories
Short stories have existed for the past three centuries in various forms. The newest literary fad, short stories are like little novels.
You have written short stories, but in this class, we're going to examine some that are considered the "best" short stories ever written. To start with, let's take a look at Shirley Jackson's "The Lottery".
Please read the short story: "the Lottery" by Shirley Jackson for Tuesday, September 15.
You have written short stories, but in this class, we're going to examine some that are considered the "best" short stories ever written. To start with, let's take a look at Shirley Jackson's "The Lottery".
Please read the short story: "the Lottery" by Shirley Jackson for Tuesday, September 15.
Baseline - Draft #3 (revision part 2)
Today, you will complete your second and third drafts for your original baseline piece. When you have completed your second draft (a second draft should be about 50% longer than the original -- see instructions below) please begin work on your third draft. Try to finish your third draft by the end of class.
--Make sure you label and save your draft as DRAFT THREE.
--Make sure you SAVE your second draft.
--Never throw away a draft!
Third Draft: Cut. Cut about 1/4 or 25% (or more) of your second draft. Remove tired, boring language. Juice up your verbs by making them active. Cut redundant or obvious words, phrases, sentences, paragraphs. Cut stuff that doesn't make sense, is boring, or not important to the overall story.
By the third draft you should have a story with a beginning, middle, end. Even poems have a beginning, middle, end. You want to keep this beginning, middle, end in tact somewhat, but at the end of your third draft you should have trimmed the fat.
Finally, proofread your third draft. Correct grammar and spelling errors. Make your writing concise and clear! Give your work a title, if you haven't done so yet.
Print out your third draft, attach it to your second draft and your first draft. Make sure all drafts are labeled and titled. Turn in your drafts as the "workshop" draft for this exercise. Students will see this third draft in a workshop next week.
--Make sure you label and save your draft as DRAFT THREE.
--Make sure you SAVE your second draft.
--Never throw away a draft!
Third Draft: Cut. Cut about 1/4 or 25% (or more) of your second draft. Remove tired, boring language. Juice up your verbs by making them active. Cut redundant or obvious words, phrases, sentences, paragraphs. Cut stuff that doesn't make sense, is boring, or not important to the overall story.
By the third draft you should have a story with a beginning, middle, end. Even poems have a beginning, middle, end. You want to keep this beginning, middle, end in tact somewhat, but at the end of your third draft you should have trimmed the fat.
Finally, proofread your third draft. Correct grammar and spelling errors. Make your writing concise and clear! Give your work a title, if you haven't done so yet.
Print out your third draft, attach it to your second draft and your first draft. Make sure all drafts are labeled and titled. Turn in your drafts as the "workshop" draft for this exercise. Students will see this third draft in a workshop next week.
Friday, September 4, 2009
Baseline - Draft #2 (revision part one)
In draft one, you wrote a poem, short story, scene/script, or creative non-fiction piece. Effectively, this was freewriting, generating new material, and composing (the first two steps in the writing process).
Start a 2nd draft. Please label this draft as draft 2. Do not save over your original draft.
In draft two, I’d like you to “find the story” of your poem, short story, script, or non-fiction. To find the “story” identify:
a. What the major conflict of your story is.
b. Who or What the main character of your story is (and why).
c. What the most important scene in your story is.
d. What you want to say (theme) about the human condition in your story.
e. What your setting is in your story.
At the top of your 2nd draft, write a short paragraph answering A-E. This is for you, initially and will be removed later, (but I will be checking to see if you have written this important step). Skip a line or two.
After “finding the story” of your baseline piece, add details, scenes, other characters, description, setting, dialogue, etc. to your original draft. For poems, consider staying with a similar theme, but adding a second part or POV to your first poem. This will ultimately make your draft longer. As a rule of thumb, you should double the length of your first draft. For example, if your poem was 20 lines, your second draft should be around 40. If your short story was 2 pages, double spaced, then after this exercise it should be around 4 pages, double spaced.
As you write, you may also choose to remove or delete irrelevant material. Try to make sure you have included the answers to the question: “what is your story?”
Draft #2 is due at the end of class. Keep this draft (make sure it's labeled as draft #2!) in your portfolio with a copy of draft #1. DO NOT TURN IN THIS DRAFT TO ME YET!
Start a 2nd draft. Please label this draft as draft 2. Do not save over your original draft.
In draft two, I’d like you to “find the story” of your poem, short story, script, or non-fiction. To find the “story” identify:
a. What the major conflict of your story is.
b. Who or What the main character of your story is (and why).
c. What the most important scene in your story is.
d. What you want to say (theme) about the human condition in your story.
e. What your setting is in your story.
At the top of your 2nd draft, write a short paragraph answering A-E. This is for you, initially and will be removed later, (but I will be checking to see if you have written this important step). Skip a line or two.
After “finding the story” of your baseline piece, add details, scenes, other characters, description, setting, dialogue, etc. to your original draft. For poems, consider staying with a similar theme, but adding a second part or POV to your first poem. This will ultimately make your draft longer. As a rule of thumb, you should double the length of your first draft. For example, if your poem was 20 lines, your second draft should be around 40. If your short story was 2 pages, double spaced, then after this exercise it should be around 4 pages, double spaced.
As you write, you may also choose to remove or delete irrelevant material. Try to make sure you have included the answers to the question: “what is your story?”
Draft #2 is due at the end of class. Keep this draft (make sure it's labeled as draft #2!) in your portfolio with a copy of draft #1. DO NOT TURN IN THIS DRAFT TO ME YET!
The Writing Process
All writers go through a similar writing process. The five basic steps are examined below:
1. Coming up with an idea: Generating raw material freewriting Journal exercises Reading Experience Choosing the gem among the rocks (expanding and exploring the idea) Getting stuck and moving on
2. Writing the first draft: Composing and structuring Experiment with technique Decide on a genre Decide on the best structure to tell the story
3. Revising: developing meaning, Rereading your work to look for a deeper meaning, Sharing your work in a readers’ circle/workshop, Getting feedback and response, Revision: transforming, rearranging, expanding, cutting
4. Editing: Fine cutting (cutting unnecessary words and paragraphs), Line by line editing, Reviewing word choice, Proofreading for errors
5. Publication: Preparing the manuscript for public perusal, Sending your manuscript out to publishers, The rejection letter/the acceptance letter, working with an editor/agent/publisher, Publication
Think about your own process. What do you need to do to get your writing done? Do you skip a step or move around? In your journal, jot down your own experience writing your baseline first draft. How did it go for you?
1. Coming up with an idea: Generating raw material freewriting Journal exercises Reading Experience Choosing the gem among the rocks (expanding and exploring the idea) Getting stuck and moving on
2. Writing the first draft: Composing and structuring Experiment with technique Decide on a genre Decide on the best structure to tell the story
3. Revising: developing meaning, Rereading your work to look for a deeper meaning, Sharing your work in a readers’ circle/workshop, Getting feedback and response, Revision: transforming, rearranging, expanding, cutting
4. Editing: Fine cutting (cutting unnecessary words and paragraphs), Line by line editing, Reviewing word choice, Proofreading for errors
5. Publication: Preparing the manuscript for public perusal, Sending your manuscript out to publishers, The rejection letter/the acceptance letter, working with an editor/agent/publisher, Publication
Think about your own process. What do you need to do to get your writing done? Do you skip a step or move around? In your journal, jot down your own experience writing your baseline first draft. How did it go for you?
Tuesday, September 1, 2009
Baseline Piece - Brainstorming and Composition
Write.
You choose the format, the style, the genre. Use the guidelines below. Please note the due date for DRAFT ONE.
1. Write a poem, short story, scene/script, or creative non-fiction piece.
2. You can write about anything you want, using characters, setting, theme, plot and everything else you create.
3. Length: as a guideline try to write at least 20 lines or more for a poem, 2-3 pages for a fiction or non-fiction narrative piece (double spaced), and 3-4 pages for a script (in script format--remember to skip lines between speakers or indent properly).
Use the lab time to complete or nearly complete your work. I will notify you about time left in class. If you do NOT complete your work today in class, you should take the file home (print or send yourself an attachment in email or copy the file to a jump drive) and complete it. Bring in DRAFT ONE as homework. We will be using what you write in our next class. Draft one due Friday, September 4 (beginning of class).
You choose the format, the style, the genre. Use the guidelines below. Please note the due date for DRAFT ONE.
1. Write a poem, short story, scene/script, or creative non-fiction piece.
2. You can write about anything you want, using characters, setting, theme, plot and everything else you create.
3. Length: as a guideline try to write at least 20 lines or more for a poem, 2-3 pages for a fiction or non-fiction narrative piece (double spaced), and 3-4 pages for a script (in script format--remember to skip lines between speakers or indent properly).
Use the lab time to complete or nearly complete your work. I will notify you about time left in class. If you do NOT complete your work today in class, you should take the file home (print or send yourself an attachment in email or copy the file to a jump drive) and complete it. Bring in DRAFT ONE as homework. We will be using what you write in our next class. Draft one due Friday, September 4 (beginning of class).
Enemies of the Artistic Process
Writing is difficult. But knowing who or what is keeping you from completing your writing can be helpful. Read about the various types of "enemies of the artistic process" and then complete the writing exercise below IN YOUR JOURNAL!
The Procrastinator
• Don’t put off tomorrow what can be accomplished today.
o He says:
• “You can just write tomorrow or the day after or the day after….”
• “You should write after you get all your other work done.”
• “You have too much to do right now to write.”
• “Write after your life gets back to ‘normal’.”
• “Hey, what’s that over there…coffee!”
The Victim
• Bottom line: stop making your lack of a creative life the fault of someone or something else other than yourself.
o He says:
• “My family doesn’t understand or appreciate me.”
• “My teachers are too demanding and fill my life with stress.”
• “My friends demand all my time and attention.”
• “I’m going through a tough time and can’t think to write.”
The Talker
• Don’t talk excessively about it until it’s done. Writing is, by nature, a lonely art.
o He says:
• “Hey, I’ve got a great idea for a story—want to hear it?”
The Critic
• Every artist (even a successful one) has to deal with this guy sooner or later.
o He says:
• “That’s a stupid idea.”
• “This is going nowhere.”
• “This sucks!”
• “You can’t write!”
The Judge
• For everything there is a season.
o He says:
• “You should be doing something more meaningful with your time.”
• “How dare you sit there and write when there’s stuff to be done!”
• “Your family and friends need you more than your art!”
The Perfectionist
• Nothing in this world is perfect. & To err is human.
o He says:
• “It’s not good enough.”
• “I’ll never be a writer!”
• “No one will like my story/poem!”
• “I can’t show this to anyone or they’ll think I’m stupid.”
When you write, who would you say is your biggest enemy? In your journal, write a "hate" letter to your chosen "enemy". Go ahead and "blast" them, tell your enemy that you are not going to take their "crap" anymore. Be creative!
Then believe your letter. Don't let the enemy win!
The Procrastinator
• Don’t put off tomorrow what can be accomplished today.
o He says:
• “You can just write tomorrow or the day after or the day after….”
• “You should write after you get all your other work done.”
• “You have too much to do right now to write.”
• “Write after your life gets back to ‘normal’.”
• “Hey, what’s that over there…coffee!”
The Victim
• Bottom line: stop making your lack of a creative life the fault of someone or something else other than yourself.
o He says:
• “My family doesn’t understand or appreciate me.”
• “My teachers are too demanding and fill my life with stress.”
• “My friends demand all my time and attention.”
• “I’m going through a tough time and can’t think to write.”
The Talker
• Don’t talk excessively about it until it’s done. Writing is, by nature, a lonely art.
o He says:
• “Hey, I’ve got a great idea for a story—want to hear it?”
The Critic
• Every artist (even a successful one) has to deal with this guy sooner or later.
o He says:
• “That’s a stupid idea.”
• “This is going nowhere.”
• “This sucks!”
• “You can’t write!”
The Judge
• For everything there is a season.
o He says:
• “You should be doing something more meaningful with your time.”
• “How dare you sit there and write when there’s stuff to be done!”
• “Your family and friends need you more than your art!”
The Perfectionist
• Nothing in this world is perfect. & To err is human.
o He says:
• “It’s not good enough.”
• “I’ll never be a writer!”
• “No one will like my story/poem!”
• “I can’t show this to anyone or they’ll think I’m stupid.”
When you write, who would you say is your biggest enemy? In your journal, write a "hate" letter to your chosen "enemy". Go ahead and "blast" them, tell your enemy that you are not going to take their "crap" anymore. Be creative!
Then believe your letter. Don't let the enemy win!
Craft of Writing course criteria
Course Description:
This course emphasizes understanding the characteristics and techniques in the literary genres of fiction, poetry and dramatic writing. This course will continue to build on students’ reading and writing skills begun in Grammar & Style, Writing for Publication and Self Discovery & Performance Word and Text (i.e., 9th grade). Readings of works by major writers will be read and examined as inspiration and models of fine writing. Students will keep a portfolio of their writing progress, a writing journal, and participate in writing workshops.
Course Objectives:
• To understand and explore the characteristics of effective writing
• To learn successful writing techniques for fiction, poetry, and script writing
• To explore and develop each writer’s own authentic voice
• To practice the writing process (from brainstorming through publication)
• To communicate effectively in writers’ workshops
• To read a variety of different authors as models, inspiration, and for a better understanding of what makes ‘good’ writing ‘good’
Course Requirements:
• Participate in class assignments and projects
• Read, read, read; write, write, write!
• Engage in the complete writing process
• Keep a folder for handouts/work in progress/writing exercises
• Keep a writer’s portfolio of all work in progress and completed/revised work
• Keep a journal or writing notebook for writing assignments and practices
• Adhere to standard written English language conventions and grammar
• Communicate regularly with the teacher and peers through conference and workshop
• Participate in writing contests or send writing to publishers
• Attend school events and author’s nights (extra credit available*)
• Respect and follow the rules and procedures of the school and classroom
Course Evaluation:
25% Attendance, behavior, participation, homework, readers’ circle, writing workshops
25% Portfolio (graded each term), journal
25% Writing practices, writing projects
25% Tests/quizzes
This course emphasizes understanding the characteristics and techniques in the literary genres of fiction, poetry and dramatic writing. This course will continue to build on students’ reading and writing skills begun in Grammar & Style, Writing for Publication and Self Discovery & Performance Word and Text (i.e., 9th grade). Readings of works by major writers will be read and examined as inspiration and models of fine writing. Students will keep a portfolio of their writing progress, a writing journal, and participate in writing workshops.
Course Objectives:
• To understand and explore the characteristics of effective writing
• To learn successful writing techniques for fiction, poetry, and script writing
• To explore and develop each writer’s own authentic voice
• To practice the writing process (from brainstorming through publication)
• To communicate effectively in writers’ workshops
• To read a variety of different authors as models, inspiration, and for a better understanding of what makes ‘good’ writing ‘good’
Course Requirements:
• Participate in class assignments and projects
• Read, read, read; write, write, write!
• Engage in the complete writing process
• Keep a folder for handouts/work in progress/writing exercises
• Keep a writer’s portfolio of all work in progress and completed/revised work
• Keep a journal or writing notebook for writing assignments and practices
• Adhere to standard written English language conventions and grammar
• Communicate regularly with the teacher and peers through conference and workshop
• Participate in writing contests or send writing to publishers
• Attend school events and author’s nights (extra credit available*)
• Respect and follow the rules and procedures of the school and classroom
Course Evaluation:
25% Attendance, behavior, participation, homework, readers’ circle, writing workshops
25% Portfolio (graded each term), journal
25% Writing practices, writing projects
25% Tests/quizzes
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