Ordinary Things & Diction, Voice, & Tone

Please turn in your homework.

Take the next 15-20 minutes to read the poems by Ralph Fletcher: Ordinary Things.

Depending on the weather, we will be taking a little field trip today. Please bring your journals and a writing utensil with you. Please listen to instructions.

When we return from our "trip" please use the time in the lab to write 5 short poems with ordinary things as their subject. Form and structure (line, sound, tone, diction, etc.) is up to you. Write each poem in the same file. Call these drafts ORDINARY THINGS

SOME KEY POETIC TERMS YOU NEED TO KNOW:

Diction: word choice. Select words in your poem carefully to carry the most meaning. All words have a denotative meaning and a connotative meaning. Understatement, euphemism, and other rhetorical strategies may be used to affect a poem's diction. Speaking to your elderly grandparents uses a different diction than speaking to your "homies".

Voice: The agent or "speaker" speaking through the poem. Also called the "persona".

Tone: Often the attitude of your speaker or the voice. Identified in a poem by diction.

• Tone can be formal or informal depending on the diction a poet uses.
• Tone can be ironic, sarcastic, serious, pedantic, or hyperbolic depending on the voice a poet selects.
• Tone can be positive or negative or neutral. Selecting one of these tones can or should affect your diction.

Quiz: Sound & Line & Using the Lab to Write Poetry

After our quiz, please complete the following writing activities:

1. Use any DRAFT ONE poem (the sound poem or the 6-20 line poem first drafts we have done recently), and rewrite them to include any (or all) of the following (call this DRAFT TWO):

• Sound imagery: Alliteration, assonance, consonance, onamatopeia
• Meter: tetrameter, pentameter
• Metrical feet: iambic, trochaic, dactylic, anapestic
• Stanza: couplet, tercet or triplet, quatrain, sestet, octave
• Enjambment or self enclosed lines or caesura
• Syllabic verse (create a pattern with your first stanza, then stick to that pattern)
• Visual imagery: metaphor, simile, allusion, figurative language
• Cut unnecessary or repeated words that do not add to the meaning or overall effect of the poem
• Add specific words that create texture, tone, and feeling
• Hook us with your opening line
• Impress us, surprise us, or get us to think about your closing line

2. Write poetry. Choose a theme, consider a message or meaning, write a poem.

3. Done? Write more poetry. Choose another theme, create another message or meaning, write another poem.

4. Still done and the class has time left? Write another poem. And another. And another. Write until you have a portfolio filled with poem drafts. Use your time in the lab effectively and productively.

HOMEWORK: Please read about Diction, Tone, and Voice. Answer the questions on a separate piece of paper to be turned in as participation credit next class (Sept. 28):

• What does DICTION mean, according to Mary Oliver?
• What is TONE, as defined by Mary Oliver?
• What is VOICE, according to Mary Oliver?
• According to Mary Oliver, what three (3) components make up DICTION?
• What is the major style or tone contemporary poets use in their poems?
• Who created the definition for the concept of Negative Capability? 
• Try to explain negative capability in your own words.
• What are some characteristics of a lyric poem?
• What are some characteristics of a narrative poem?
• What is a prose poem? How is it both similar and different from prose?
• What is poetic diction? Give an example.
• What is a cliche? Give an example.
• What is inversion? Give an example.
• According to Mary Oliver, what 2 reasons should a beginning writer heed or understand when asked to write simple, clear, effective poetry, but is given complicated or difficult models from which to learn?
• Write a new poem. Your poem should be no longer than 6 lines. Make every word count. (You may write out your poem draft by hand in pen or pencil.)

Sound in Poetry (part two)

If you haven't done so already, please read Mary Oliver's explanation of key sound devices: alliteration, assonance, consonance, & onomatopoeia. This can be found in the article we read in class on Wednesday. Make sure you learn and know these techniques by heart!

After reading Mary Oliver's discussion about SOUND, please look at the following links (you may use your headphones). For each, try to notice sound imagery, rhythm and cadence. On the back of your index card (see above), please identify some of the sound devices you noticed working in these poems. Turn in your index card for participation credit at the end of class today.

Poems to listen to:

• Wallace Stevens: The Emperor of Ice Cream
• Mary Oliver: The Summer Day
• Mary Oliver: Wild Geese
• Edgar Allan Poe: Annabel Lee
• Edgar Allan Poe: The Raven

Writing Activity: Compose a first draft of a new poem where you use specific sound devices. Call this draft one. The assignment is SOUND. Theme, structure, length, and subject is all up to you. This assignment should be titled: Sound Poetry (draft #1).

Having trouble getting started? Try one of these brainstorms in your journal.

• Choose a letter from the alphabet. List associated words that begin with this letter. Don't try to make sense, but trust your instincts. Rearrange the list into a tongue twister. Write as many tongue twisters in your journal as you need to. Share your tongue twister with a friend.
• Choose a letter from the alphabet. List associated words that do NOT begin with this letter, but that the letter is present in the body of the word. Ex. little, brittle, shuttle all have "tt" in the word, creating consonance. Write a tongue twister by combining consonance, assonance AND alliteration.
• Make a list of rhyming words. Write a song or sappy greeting card poem with the words.
• With a partner try the following to create new words: WRITER ONE starts by whispering or saying the prefix or first part of a word. WRITER TWO finishes the word by naming the root or suffix of the proposed sound. Ex. Writer One: Shh; Writer Two: Uut. The word together: shut. Record a few of these in your notebook/journal.
• Make two columns in your journal. In one column list common nouns or adjectives: ex. house, rock, green. On the next column, write a different word that means the same thing: ex. hut, stone, beryl. Note how the different word has a different sound and therefore feeling to it.
• The _____ goes: (insert sound here). We all know a cat goes meow, but what does a pine tree sound like? How about a fence? or a goldfish? Being poetic, play around with the sound of inanimate objects and animals that are not traditionally found on a speak-n-spell. Ex. The rollerskate goes shkurrrr. Make a list of these onomatopoeia.

Once you have brainstormed a bit, select a topic or subject. Write about this subject using poetic sound devices. You may find it easier to write what you want to say first, then replace words on purpose to create alliteration, assonance, consonance, rhyme, onomatopoeia, etc. Good luck!

Some more examples to inspire you:
Other sound poems (these by Dr. Seuss...have fun):

• Tweedle Beetle Battle by Dr. Seuss
• Fox in Socks by Dr. Seuss
• Hop on Pop by Dr. Seuss
• Mr. Brown Can Moo, Can You by Dr. Seuss
• And because it's good for you: the Lorax (part one) and part two

Now you know all about onomatopoeia, assonance, consonance, alliteration, and rhyme (usually referred to as end rhyme). But there is also slant rhyme (near rhyme), internal rhyme, meter, rhythm, repetition, and caesura that creates sound imagery in a poem. Related to this are the literary terms: tone, voice, syntax, depitation, euphemism, understatement, sarcasm, and diction.

HOMEWORK: There will be a quiz on Sound techniques and on the chapter: The Line. You should know your rhythm and meter terms! Study for the quiz please. See previous posts for help.

Prosody & Cadence Groups: Working with Sound

Prosody is the study of sound and word choice in poetry.

Poems originally emerged from songs and music. Lyric poetry, for example, started as a "poem" spoken with the beautiful plucking of a 3-stringed harp called a lyre.
We hear poetry sung or spoken daily when we listen to the radio or to our favorite band.
Poems often have a distinct rhythm or pattern to their rhythm.
The rhythm of poetry includes: beat, meter, scansion

Rhythm (also called beat, metrics, versification, etc.) is the comparative speed and loudness in the flow of words spoken in poetic lines.

Words in poetry are selected, not just for content, but also sound or “musicality” of a line.
Placement in a line is also important.

Large units of words make up sentences and paragraph in prose; smaller units make up phrases or cadence groups. In poetry this is metrical feet.

Words are not read in isolation, but in small groups (cadence groups). Think about how cadence groups work in your own poetry.

Ex. When lilacs last// in the dooryard bloom’d
And the great star// early droop’d
In the western sky// in the night.

Sound in Poetry: Part One

From your homework, just a note about the difference between PROSE and POETRY.

PROSE is written or spoken language in its ordinary form, without metrical structure.

POETRY is written or spoken language that is given to the expression of feelings and ideas by the use of distinctive style, word choice, and rhythm or meter.

Poetry, then, is the careful placement of words on a page to illicit a response from its audience. It is unlike normal, everyday writing or speech in that it is ARRANGED. Poetry that does not use meter or a patterned rhythm is what we call FREE VERSE. Most contemporary poetry is written in free verse. Most poems from the 19th century or before are written in metrical verse.

Writing Activity: Write a new poem draft. Your poem should be anywhere between 6-20 lines. Choose a topic or subject and write for 15 minutes. By the end of this exercise, you should have a new poem written. This is a first draft. Don't panic if you are unhappy with your poem. Today, take 15 minutes, and write...

Print out your drafts when you are done with them and turn them into the "in box" by my desk.

Then:

SOUND in POETRY:

Please watch the following video/poems. As you watch please take notes on the index card about what you notice about the SOUND and meter in the poem.

• Robert Frost: The Sound of Trees
• Robert Frost: Nothing Gold Can Stay
• Robert Frost: Acquainted with the Night
• Edgar Allan Poe: The Bells
• Theodore Geisel: Green Eggs & Ham

Today, we are going to cover sound and rhythm in poetry. There's a lot here and many terms and literary devices you will need to know. I'd suggest you pay attention and take notes. Expect to be tested on key terms soon. Take notes on key concepts and important vocabulary in this chapter. Read the article before proceeding to the next part of your assignment.

After reading Mary Oliver's discussion about SOUND, please look at the following links (you may use your headphones). For each, try to notice sound imagery, rhythm and cadence. On the back of your index card (see above), please identify some of the sound devices you noticed working in these poems. Turn in your index card for participation credit at the end of class today.

Poems to listen to:

• Wallace Stevens: The Emperor of Ice Cream
• Mary Oliver: The Summer Day
• Mary Oliver: Wild Geese
• Edgar Allan Poe: Annabel Lee
• Edgar Allan Poe: The Raven

Completely done? What's the next assignment? Try writing a poem using a variety of sound techniques. Theme, structure, length, and subject is all up to you. This assignment should be titled: Sound Poetry (draft #1).

Poetry: Some Given Forms

Please take out your chapters on The Line from the Mary Oliver packet. During the first half of class please read the rest of this article about syllabic forms and free verse. Complete the worksheet/notes for this chapter. Hand in by end of first 1/2 of the period.

Then complete the following poem draft(s). Follow the steps closely to complete this assignment:

1. Using your first draft of your theme poem completed last class, move on to the second portion of this assignment. Complete the steps below to create a second draft. Complete your second draft today in the lab.
2. DRAFT TWO: Copy and paste your first draft above to create 3 separate versions. You will have the text currently of 4 first drafts.
3. Change the # in the heading of 3 of your drafts to indicate DRAFT TWO, parts 1, 2, and 3.
4. For draft two, part one: divide your poem into stanzas. You may choose a couplet, tercet, quatrain, or other stanza form. If your poem in draft one is already written in stanzas, remove the stanza breaks.
5. For draft two, part two: choose a syllabic rhythm for your poem. Create a pattern of syllables for your poem. For example: if you want 6 syllables per line, divide the poem into appropriate lines. You may choose a pattern: for example 6, 8, 6 syllables. It often sounds more pleasing to our ear to have an even number of syllables. This creates what is called EUPHONY. Breaking this euphony is what we call CACOPHONY.
6. For draft two, part three: try writing the poem again but either turn it into a rhyming poem, a sonnet, or use a specific meter (iambic pentameter, iambic tetrameter, trochaic trimeter, dactylic dimeter, etc.). If your first draft WAS a set pattern (such as a sonnet or villanelle) take it out of the pattern and create a free verse poem.
7. After completing the 3 different versions based on parts one, two, and three, please print your poem versions out and place in the in-box.

PUBLIC READING OPPORTUNITY:

We have been given 10-15 tickets to attend BOA's annual fundraiser Dine & Rhyme. Featured poets are Dorianne Laux and Nin Andrews. They will also be reading from The Collected Poems of Lucille Clifton, a recent BOA publication.

The event takes place this Sunday (September 23) at 3:00 at the auditorium of the Memorial Art Gallery (right next door to us).

If you are interested in joining us, please let me or Ms. Gamzon know ASAP so we can reserve you a ticket. If you go, you will get extra credit.

At this time, though, visit the two poets' websites and read some of their poetry. You may also read some of Lucille Clifton's poetry. After reading, in class (or for homework) please post a response to Laux, Andrews, and Clifton's poetry on the creative writing forum.

Poetry on a Theme (drafts 1 & 2)

After grading your pop quizzes, there were a few things that needed to be covered again. Please CORRECT your quizzes and hand them in again for 1/2 of the original credit. Look back over the past few blog posts for the answers. Please keep your quizzes and homework, since you will be tested on the same material later in the course.

IMPORTANT: there are 5 steps to the writing process: 1. Coming up with an idea (usually using a technique). I often refer to this as brainstorming, but brainstorming literally is only one technique of many, 2. Composing (writing a draft or several drafts of a work), 3. Editing (correcting your mistakes in grammar or syntax, strengthening your writing, cutting or adding details, 4. Revision (changing your work's structure, theme, POV, adding or cutting based on feedback or advice from yourself or others), 5. Publishing (getting your work in print or in front of the public).

Again, some clarification about THEME. To put it simply, a theme is a story or poem's central topic, subject, or main concept. It can usually be summed up in one or two words. Major themes in literature include: life, death, love, and other common themes (see posts below).

Once you have a theme for your story or poem, you can think about its message or moral. What do you want to communicate about the theme? That's your MESSAGE.

In order to deliver the MESSAGE, a writer chooses a PERSONA: a narrator or mask which reflects the speaker's personality.

Today, you will write a draft of an original poem (see directions below). Choose a THEME, choose a MESSAGE for your theme, and create a PERSONA to speak or tell that message.

But first, 

1. Go to this website: Poet Seers.

Complete the reading exercise handed to you in class today for 3 poems you read. Please hand this in by the end of 7th Period for participation credit.

2. Using what you've read as models to inspire your own poem, write a draft on a similar theme or in a similar style to those poems you read and liked. Save any draft as DRAFT ONE.

Your draft is also due by the end of 7th period. If you finish early, feel free to try writing a second or third poem. Each draft of a new poem you create will go in your portfolio for future use.

During 8th period, I will give you further instructions to develop a second draft of your poem(s).

The Line & Writing Poetry From a Theme

After our quiz, please work on the worksheet notes for Mary Oliver's article The LINE. By the end of 1st period, you should complete your notes and turn in your worksheet. Please keep your article safe. We will be using it next class. Please bring it with you.

During period 8 (or when you are done with your worksheet), please complete the following exercise:

Read some poems today.

1. Go to this website: Poet Seers.

2. Examine the groups of poems, divided by common theme to the right of this webpage. Choose themes you are interested in. Read some of these poems.

3. Consider the ones you like and the one's you don't like.

4. In your journal write down some of your reactions both positive and if applicable negative. Compare your style of poetry writing with those who have been published and are "famous."

5. Finally, if you have completed steps 1-4, use what you've read to inspire your own poem on a similar theme or in a similar style to those poems you liked. Save any draft as DRAFT ONE.

HOMEWORK: None. Bring your article "The Line" to class next class. 

Persona & Theme

After reviewing your homework (the 5 poems you read and identified the theme or persona of each one, see post below) it seems that a little help may be in order.

What do we mean by THEME?

A theme is the central topic, subject, or concept the author is trying to point out, not to be confused with whatever message, moral, or commentary it may send to its reader (i.e., its inferred "thesis"). Theme is usually an implied common or cross-culturally recognizable idea. In other words it's usually about the human condition. When we identify theme, we should only look for the common human concept that a story deals with. We should not summarize or explain plot or the message of the story or poem.

The major themes in original writing include love, death, and life. These are pretty broad topics. That's okay when answering what the theme of a story or poem is. Starting with a theme is often helpful to a writer. If, for example, you choose the theme of aging (growing older or growing up), usually a story idea will accompany that. Once you start to explain what you as the author feel or want to say as a message about aging, then you have a moral, or the story's message. It's a subtle difference, but notable.

Some themes in YA fiction and literature for teens includes: acceptance, courage, perseverance, cooperation, compassion, honesty, kindness, loyalty, love, death, life, fitting in, maturing, etc.

PERSONA: In literature, the persona is the narrator, or the storyteller, of a literary work created by the author. The persona is not the author, but the author’s creation--the voice or mask “through which the author speaks.” In order to figure out what the persona is, a reader needs to find clues as to the personality of the speaker. Sometimes an author speaks in a female voice or male voice. Sometimes the author speaks in a jaded, sarcastic voice--other times he or she is completely trustworthy or naive. Some personae are strong willed, while others are shy and awkward. Just because an author's personality may be shy or hesitant, doesn't mean his or her characters or narrator's voice will be the same.

When writing it's helpful to remember that WHAT you write is not you! You have permission to make up all your characters and your narrator's voice. That's why the art is called creative. You are allowed to make it all up!

The Enemies of the Artistic Process

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 you journal/notebook or type it up on your word processor! The assignment is due by the end of class today. For details, see below.

The Procrastinator
• Don’t put off tomorrow what can be accomplished today. If you always push away your impulse to create or write, you'll never be inspired. Soon, this becomes crippling

o The Procrastinator 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. You are in the driver's seat. If you want to write, you will (and you'll be good at it!)

o The Victim 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 your idea/writing until it’s done. Writing is, by nature, a lonely and introspective art. Writing is not speaking. Talking is not writing.

o The talker 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. He is an emotional vampire that sucks all the joy of creating away. Don't be too critical on yourself. Art is expressive but it is also junky and rambling sometimes, and that's okay.

o The critic says:
• “That’s a stupid idea.”
• “This is going nowhere.”
• “This sucks!”
• “You can’t write!”

The Judge
• For everything there is a season. Being too harsh with yourself is not productive. Thinking that writing is a waste of your time is also not productive.

o The Judge 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." We all make mistakes. A draft of our writing may not be what we want it to be, just like our children or parents--but it does no good to expect perfection all the time in anything. With practice comes skill. With skill comes art. Crafting is all about making new choices, but nothing is ever perfect--especially art.

o The perfectionist 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.”

ASSIGNMENT (complete in class today): When you write, which enemy of the artistic process would you say is your biggest enemy? Choose the enemy you feel causes you the most problems. In your journal or using the word processor, 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 ruthless! Tell it like it is! Be creative with your insults! Be creative with your style! Be creative with your writing!

Then believe your letter. Don't let your enemy win! Turn in your letter at the end of class for participation credit.

FOR ADVANCED STUDENTS: If you complete your letter, have taken notes and have learned all about the writing process, please move on to the following task:

Read some poems today.

1. Go to this website: Poet Seers
2. Examine the groups of poems, divided by common theme to the right of this webpage. Choose themes you are interested in. Read some of these poems.
3. Consider the ones you like and the one's you don't like.
4. In your journal write down some of your reactions both positive and if applicable negative. Compare your style of poetry writing with those who have been published and are "famous."
5. Finally, if you have completed steps 1-4, use what you've read to inspire your own poem on a similar theme or in a similar style to those poems you liked. Save any draft as DRAFT ONE.

HOMEWORK: None.You are free to write a poem, short story, scene, or non-fiction article on your own topic, if you are so inclined. All drafts should be saved to be collected in your portfolio for this marking period.

Baseline: Draft & the Writing Process

Last class you were asked to write a baseline piece. See directions below for specific details. If you have completed your homework, please print and turn in your draft now. Please make sure your draft says DRAFT #1 somewhere on the heading.

You may also turn in your signed course criteria sheet. Our curriculum night is scheduled for Sept. 19. Please let your parents know.

If you did not complete your homework, you are now falling behind in this class. It is your responsibility to get caught up. Please complete your homework on your own time and turn in as late.

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, life experience, choosing the gem among the rocks, (expanding and exploring the idea), getting stuck and moving on.

• Every time we get stuck in a piece of writing, it is helpful to go back to this step 

2. Writing the first draft: Composing and structuring, experiment with technique, decide on a genre, decide on the best structure to tell the story. write.

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.

• Often writers will revise as they write their first draft. It is a good idea at some point to focus ONLY on revision. Professional writers often revise a draft upwards of 10-20 times, if not more.

4. Editing: Fine cutting (cutting unnecessary words and paragraphs), line by line editing, reviewing word choice, proofreading for errors.

• Again, writers often edit while composing. Editing is making strong decisions as to what to include and what to cut. The craft of writing, grammar skills, and writing skills are helpful during this process.

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.

• Writers hope to reach this stage, but realize that not all pieces may find their way to publication. Until then, they circle the revising/editing/drafting/brainstorming stage. 

Please note and learn this process. We will be discussing it all year and for the rest of your life. You are responsible for learning these terms, as I will be referring to them constantly for the next few years.

When you have read and taken notes on the writing process, please read the post above and complete the assignment that goes with it.

Overcoming Writer's Block: Get a Technique!

Very few authors know exactly what they want to write when they start a new story or poem. That makes starting difficult.

Here are a few techniques to try when you've lost your muse:

• 1. Freewriting: Focus on a topic or theme and write everything you can think of or remember about your subject. Don't worry about grammar or punctuation. Just write what you can recall or remember. When stuck, go back and fill in details. Write "I don't remember" until you do. Keep your pen or fingers moving. Also called automatic writing.
• 2. Brainstorming: similar to freewriting, but less structured. Brainstorming is like throwing up on a page and seeing what you've been eating. While gross, this pretty much explains brainstorming. 
• How to do it: Write as much as you can, ignoring all rules of grammar, literary style, and so on. You don't even need a topic or theme. Just write. See where it leads you.Write anything that comes to your mind: don't discard anything! This technique is a good one to bypass your inner critic, allowing you permission to make mistakes or illogical connections.
• 3. Trance Writing: similar to automatic writing & brainstorming, trance writing (popularized by Jack Keroac and other authors interested in "stream of consciousness") write about a chosen subject, but pay attention to grammar and plot as you write. Do not edit at this time or criticize your writing. Just write. Write with some idea where you might want to go, but allow yourself to listen to your instincts. Most of us do this while we are writing anyway. Sometimes this type of writing is called "brainstorming" or "freewriting" as well. Most students use this technique during a first draft.
• 4. Listing: Choose a subject and list or bullet each detail you can think of that goes along with that idea. Afterward, use the list to create a story.
• 5. Clustering: put a subject or word on your page and draw connections to related and unrelated ideas. This is also called "mind mapping".
• 6. Cave drawing: Draw a short doodle about your ideas or subject. Use the graphics to spark an idea for a story.
• 7. Allusion or borrowing: Use a word or phrase or line or sentence from another story and write until you cannot continue. Select another line or phrase or word and continue until you get stuck again. Then repeat the process. Be careful not to plagiarize!
• 8. Cut and paste: write a page of text or as long as you can go without stopping, then stop and literally cut up paragraphs, words, sentences, etc. and rearrange them in a new order. 
• 9. Mix and match. Use any of these techniques to write a story. Mix and match the techniques that work for you.

Use any of these techniques from now on to help you when you get stuck for an idea.

Welcome Writers!

Welcome back, class of 2015. Glad to see you! I hope all of you had a productive, safe, and enjoyable summer. Well, gosh, let's get back to work!

First a few housekeeping things. You can find our course criteria sheet on my teacher website (check link to the right).

Please check this blog each class period for agendas, deadlines, educational information, advice, and a whole lot of links to enhance your education. All you have to do is read and click. The more you take advantage of this tool, the easier it will be to help you improve and craft your writing. There's  good advice here, you just have to pay attention.

If you're absent or missed something in class, please check the blog to get caught up. As stated above, each new class period includes a new post. If you have a question about an assignment and are too embarrassed to speak to me in public (or you have a question that you think you will forget to ask), feel free to use the comment section.

New on our link page is a link to our Creative Writing Forum. You will be expected to use the forum to discuss the major reading and thematic topics in this course. Electronic forums save paper. You are keeping the world green by posting responses and reflections there.

Today, after updating our passwords, logging in, and going over the finer points of the course criteria, we will get started writing. We'll start by reading Mary Oliver's advice to writers, then follow the directions for the post above this one. If you finish early, please read the selection of poems listed here. This is also homework if you don't get to it today in the lab.

Please read the following poems, then select any 5:

• Phenomenal Woman 
• My Love is a Red, Red Rose
• Where the Sidewalk Ends
• America
• The New Poetry Handbook
• Hallelujah
• Moment of Life
• Let America Be America Again

Activity:

In groups of 1-2, identify what the persona OR theme is for each poem. Write ONE complete sentence for each of the five poems you selected, identifying the theme or persona. Hand your observation in at the end of class with your name(s) on the paper.

Please complete the reading of the poems above. If you read these with a partner, stop after each one and discuss what you liked about the poem or writing (even if you just like the title or theme). Do this, even if you are working alone, but chances are you are just thinking. Note what you are thinking. Use the ol' noodle. Hand in your paper for credit by the end of class for participation credit. 

WRITING ASSIGNMENT: During the second half of our class, please complete the activity above, and proceed to the following task:

As a baseline piece, please write a story, poem, non-fiction essay, or scene. You get to choose the genre you'd like to work in, and you get to choose the theme, character, POV, narrative structure, plot elements, conflict, and so on. Length is completely up to you. Include your name and title for this piece. The assignment is BASELINE: DRAFT ONE. This assignment is NOT due today. But whatever you do NOT finish, please finish over the weekend. Come to class on MONDAY, September 10 with your Baseline Draft completed.

HOMEWORK: Complete your baseline draft #1. It should be ready to print (or already printed). Share the course criteria with your parents/guardian.