Tuesday, March 26, 2013

Martian Chronicles: Sudden Fiction Draft

After our quiz, please get into these groups:
A. Group: Thiery, Jahni, Imani M., Shayzonique, Isaiah, Khampasong
B. Group: Imani G., Carly, Nikki, Gena, Kayli, Grace, Diamond
C. Group: Ben, Branden, Frances, Ethan, Nathan, Damarys, Alexa
Please read and discuss the microfiction piece: The Settlers (pg. 72). Apply the knowledge you have about the original pioneers to this story. What is Bradbury attempting to do? Can you see any similarities with the previous 6 stories? What themes continue to surface in the "collection"?

After your discussion, please turn in the discussion notes handout for credit.

Period 8: Please write a story draft of at least 300 words. The genre, theme, POV, and length is up to you. Turn in your story at the end of class if it is finished.

HOMEWORK: Read and take note of the "Beginnings/Endings" article "Breaking Ground". Please complete The Martian Chronicles. Read the rest of the stories in the collection and be prepared for a test on the stories when you return from break. Take notes about the basic plot, theme, or characters of each story in your notebook or journal. This will help you prepare for the test. If you didn't complete your sudden fiction draft, please complete it over the break.

Monday, March 25, 2013

Microfiction Assignment

After our quiz on the Martian Chronicles, please return to the lab and read the Microfiction Handout. 
Please turn in your homework (research notes). After completing these two tasks, please work on the LAB work below:

LAB WORK: "Nobody Got Time For That!"--short fiction is all the rage in post-modern lit. A short story of 25 words or fewer is called "Hint Fiction." But what about the other #'s?

  • Dribble fiction: 25-50 words.
  • Drabble fiction: 50-100 words.
  • Micro fiction: 100-300 words.
  • Flash fiction: 300-1000 words.
  • Sudden fiction: between 1 and 5 pages of text.
During our lab time today in class please watch the following videos/websites:
LAB WRITING: Write a dribble, drabble, or micro fiction story draft. This draft is due by the end of class. If you finish early, you may either get started on your homework (see below) or try another stab at writing a micro/flash, or sudden fiction draft. Content, genre, POV, style is up to you.

HOMEWORK: Please read the following stories in The Martian Chronicles: March 2000-the Taxpayer; April 2000-The Third Expedition; June 2001-And the Moon Be Still As Bright.

Thursday, March 21, 2013

The Martian Chronicles & the 100-500 Word Short Story


Please read the following article: 100 Years of Martian Fiction.

Here's a few other authors who have written about Mars:
Authors who have written about life on Mars. And a few video clips about the red planet:
John Carter of Mars and the Mars books author: Edgar Rice Burroughs
Red Planet and its author: Robert Heinlein.
Life on Mars (David Bowie)
The Martians Discover a Telephone (Sesame Street)
Mission to Mars (Brian De Palma)
Now to the lab.

Please use the internet and these links to answer the questions on the participation/notes handout. Here's a little history to help you understand how Bradbury is using issues of his day and infusing them into his work:
Please visit Bradbury's website and take some notes about the author and Martian Chronicles.

LAB WORK: Please complete the handout/research notes today and turn in by the end of class.
Then, get started on the next writing assignment:
"Nobody Got Time For That!"--short fiction is all the rage in post-modern lit. A short story of 25 words or fewer is called "Hint Fiction." But what about the other #'s?
  • Dribble fiction: 25-50 words.
  • Drabble fiction: 50-100 words.
  • Micro fiction: 100-300 words.
  • Flash fiction: 300-1000 words.
  • Sudden fiction: between 1 and 5 pages of text.
During the second half of our lab time (or after you have completed your research) please watch the following videos/websites:
LAB WRITING: Write a dribble, drabble, or micro fiction story draft.

HOMEWORK: Please read the following stories in The Martian Chronicles: 1999: Ylla; 1999 The Summer Night; 1999 The Earth Men; (pp. 1-30); Complete your dribble, drabble, or micro fiction draft.

Monday, March 18, 2013

A Return to Fiction: Hint Fiction Exercises

With the popular and frequent use of Twitter (read about tweeting here)...writers have turned to a specialized type of short, short, short story called: HINT FICTION
 
What is it? 
Hint fiction is defined as a story of 25 words or fewer that suggests a larger, more complex story.
Where does it come from & What are some examples?
Click here and read the article & handout. Work in pairs to read the material, if you'd like. Spend the first part of class today doing so.
See? Short, short stories in 25 words or less. The perfect byte size fiction for tweeting.
  • A famous example from Ernest Hemingway: hint fiction: "For Sale: Baby shoes--never worn." 
  • From science fiction writer Damon Knight: "The last man on Earth sat alone in a room. There was a knock on the door."
  • And even poetry: from Margaret Atwood: "You fit into me like a hook into an eye. A fish-hook. An open eye."
Read about the history of the form here... (read the article please) then let's try some during today's class.
How do I start?

Step by Step Instructions:
  • 1. Read through the examples of hint fiction. It's always good to have a model. As you read, consider how you might write your own story. What might your story be about? How would it differ from the examples you are reading? Do you detect patterns forming in the work you're reading?
  • 2. Brainstorm (perhaps in your journal) a story. Include a beginning, middle, end. For example: write a three sentence story where each sentence is either the beginning, middle, or end of a story. Do a series of these, then pick your favorite ones. Since they're short, try a few. Keep writing!
  • 3. Just like a poem, create a creative title to clarify or make a point about theme or tone or character.
  • 4. Trim your story to the most essential parts. Remove all unnecessary words. This is tricky. Your story should be complete, but also hint at the larger story that does not need to be told. Be as specific with your diction as possible.
Robert Swartwood is the writer behind hint fiction. Take a look at his blog. Read some of his samples of hint fiction.

LAB ASSIGNMENT DUE TODAY: Use your time in the lab today to Write 5-10 hint fiction stories. Type them up and print them out by the end of class today.

If you finish early, you may either continue to write more hint fiction, or try the 100 word short story. The trick to this is to make a story that is EXACTLY 100 words in length. As always, having a good title and a beginning, middle, and end to your story is important!

HOMEWORK: Please begin reading The Martian Chronicles. Bring your books to next class so we can work with Bradbury.

Friday, March 15, 2013

Chapbook Project Due

Chapbook projects are due to me today. Please send a PDF of your file to my email address: bradley.craddock@rcsdk12.org. If you are setting up your chapbook online with any of the programs I suggested, please do so according to the website's instructions.

Again, it is important to proofread your work before you create a PDF.

To set up a PDF, please select the PRINT menu from your word processor. On the bottom left of the menu that pops up, select PDF. From this menu, save your work as a PDF file. After setting up a PDF you will not be able to edit your work. Attach your PDF to your email and send to me. See address above.

Tuesday, March 12, 2013

Chapbook Project

Please continue to work on completing your chapbook project. Your project is due Friday. Please follow the directions found on the handouts I gave you and make sure you prepare your work professionally. Proofread, help your partners, create the book, etc. Good luck! You can do this!

HOMEWORK: Chapbook projects are due to me next class. Please send a PDF of your file to my email address: bradley.craddock@rcsdk12.org.

Monday, March 11, 2013

The Copyright Page

The Copyright Page:

If you'd like you can copy this text and set up your own copyright page. The copyright page should follow your Title Page or cover. Most copyright page material is at least 1/2 or 3/4 down the page, depending on the information provided. The information in brackets indicates that you put your own information in.

Copyright © [year] by [your names or a 'publishing company']
All rights reserved
[Manufactured] [or printed] in the United States of America

First Edition

Cover Design: [give credit to the photographer or artist]

OPTIONAL: [Full Address]
[Email]

For more information about copyright pages and setting them up, check here.

Chapbook Instructions

Please read these instructions carefully. You will be frustrated if you do not follow procedures.

Your chapbook project is due Friday. Instead of printing out these long books, please send me a PDF version of your completed project. Send PDF's to: bradley.craddock@rcsdk12.org.

 
Chapbook Instructions:
  • 1.     Decide how many of your poems and which ones you will select for your chapbook.
  • 2.     Decide upon a title for your chapbook.
  • 3.     Decide how you're going to arrange your chapbook: one author after another, or interspersed work based on style or theme or type of poem project, etc.
  • 4.     Once you're completed this step, follow the harder steps below:
5. Create a document in your word processing program. I suggest using PAGES for the text box option. It will make your life a little easier when formatting.
6. For our purposes, setting up the booklet in portrait (the default) will be easier and read better in the online program we will be using. In portrait orientation, set up your margins as 1" all around, or 1.5" all around. (If you want a challenge, set up your chapbook with the page orientation set to landscape (8 1/2 by 11) and all the margins at one-half inch. Divide each page into 2 columns and set the gutter (the space between the columns) to one inch. (When you fold the page, this will leave a one-half-inch margin on each page.))
7. Add page numbers to each side of the pages. Depending on the program, you may find it easiest to use the header or text box function so that the page numbers do not interfere with the flow of the poems. In PAGES this can be found on the INSERT drop down menu.
8. Your first page will be your cover with the name of the title and your author names (usually a graphic or picture will also be allowed...); HINT: you may find an original photo (for example from your Journalism project) might be a good idea. A graphic taken from the internet must be paid for, unless it is in the public domain.
9. The cover is usually followed by a copyright page, then the title page, similar to the cover, but this one without a graphic. After the title page, please add a table of contents. In PAGES, you can do this automatically from the INSERT menu. You can create a place holder for page #'s, but record the poems you are going to include. Decide how you're going to organize the chapbook (one author, then another, then another, or all poets work organized thematically or stylistically. After the table of contents, insert a skipped page (leave it blank so that you start your first poem on an odd page.) You can do this easily in PAGES from the INSERT menu, the SECTION: blank.
10. Then add your poems. Each poem should have a title and the name of the author, unless you set up your book in PARTS with each part being clearly attributed to one of your authors. In PAGES, you can insert a TEXT page from the INSERT menu, SECTION: text; or create a text box in which to hold your text. Text boxes need to be stretched to fit properly.
11. When you've create a text from the section menu, you will have a bold header for the TITLE of your poem, followed by a smaller subbox for your author's name. The text of the poem should be added in normal 12 point font. DO NOT DOUBLESPACE YOUR POETRY!
12. Continue to do this until all your poems are copied into your booklet.
13. If you need to share your booklet shell, each member of your workshop group should save their own files (without a title page, table of contents, or copyright page) and save the work on a jumpdrive or flashdrive. Then choose one person to be the editor and upload or copy the files to that person's computer.
14. When you are done, PROOFREAD and correct any errors.
15. Instead of printing on our difficult printer, please make a PDF version of your chapbook (only do this when you are done. Send PDF's as attachments to: bradley.craddock@rcsdk12.org.
“In the same way that the music industry has been shaken by the Internet, the publishing world is never going to be the same. Authors are no longer at the mercy of a couple of publishers who get to decide what’s going to be printed and distributed. Today, any person who’s written a book can have it serialized on his own blog, or turned into an ebook that anybody can download and read straight on his computer. And in addition to social networks for authors (such as Smashwords), there’s social sites that allow aspiring authors to try and have books printed and sold. Authonomy is one such resource.
And now, there’s also Pandamian. This new site is closer to Smashwords than to Authonomy. It lets you create ebooks in lots of different formats, and then have them spread as best as you can. The site lets you create ePub, Mobi and PDF books that anybody can download. And people who like what you write can also keep posted on new chapters that become available by subscribing to what you do, pretty much as they would subscribe to a RSS feed. The site is in beta right now, and you can freely create an account and use Pandamian’s services to the full. You have to supply your email address, and customize your own URL (IE, rogerhollings.pandamian.com).” –Roger Hollings
Use any one of these programs to create a PDF on-line chapbook of your poetry collection (they do require you to provide your email address and sign up for a free publishing service…if you are not comfortable with this, let the student in your group who IS comfortable with this sign up for the service…if NO ONE is comfortable, let me know and I will set up the service).
  • ·      http://www.wattpad.com
  • ·      http://www.smashwords.com
  • ·      http://www.pandamian.com
When you use these services, they ask you to divide your “book” into chapters. For our purposes, this would be equivalent to a PART in a chapbook.  See #3 above. You will not need a standard Table of Contents for these websites (but it may be helpful to include a CHAPTER of contents).

YOU MAY ALSO, if you’d like, make each single poem you write a chapter. This will, however, create a very long table of contents on the website. I suggest splitting your work into chapters (chapter #1: student A, chapter #2: student B, etc.)

The category you want to log this in is POETRY (it might be considered OTHER on the webpage). Each site will give you options for your title and copyright materials. Please follow individual website guidelines for formatting (they may be different from what I’ve given you above, depending on the program you choose).

When you have created your PDF and sent it to me, please also include the internet address for your on-line book.

For project rubrics and details check out the handouts or the blog posts.

Good luck!

Wednesday, March 6, 2013

Chapbook & Revision

Please work on your chapbook and revision of between 10-20 poems you have written this year. Your chapbook is due by the end of class next Friday, March 15: the Ides of March!

Monday, March 4, 2013

Chapbook & Revision

Today, please submit your play script to the Geva Playwriting Contest, if you'd like. Information for submitting is found below:

Send your 10-minute play script to Geva. The address is as follows:

youngwriters@gevatheatre.org

You should have a TITLE PAGE with your name, address, phone #, school name, grade, and email address in the lower left or right hand corner. On your title page, please include your cast requirements (characters, and a short 1-sentence description of the character, if possible). If your play is selected, you are expected to attend a rehearsal on Saturday, May 4.

LAB: Use your time in the lab today to revise, rewrite, and improve or craft your poems. You will be asked to select between 10-20 poems of your original work for the chapbook. The chapbook will be graded based on QUALITY. That is, your grade will be determined by the effectiveness of your imagery, poetic devices, theme, creativity, and general error-free grammar and readability.

Please read about "creating a poetry chapbook." The following guidelines may help you as well:
  • Use the program PAGES to prepare your booklet. This will be made clear as to why soon. 
  • If you want your chapbook to be available as a book online, please use the program Pandamian or Wattpad (more about this option will be forthcoming).
  • Your poetry chapbook (by the end of the project) will also be available for epub readers and PDF files. This will allow you to share your book online and among your friends, family members, etc. who have access to an E-Reader device.
  • Each poem should stay on its own page (don't double-up), except for haiku, which you can put 3-4 on a page, if you'd like (or have that many). 
Follow these steps carefully to create your "shell" or galley.
1. Decide how many of your poems and which ones you will select for your chapbook.
2. Decide upon a title for your chapbook.
3. Decide how you're going to arrange your chapbook: one author after another, or interspersed work based on style or theme or type of poem project, etc.
4. Once you're completed this step, follow the harder steps below:

5. Create a document in your word processing program. I suggest using PAGES for the text box option. It will make your life a little easier when formatting.
6. For our purposes, setting up the booklet in portrait (the default) will be easier and read better in the online program we will be using. In portrait orientation, set up your margins as 1" all around, or 1.5" all around. (If you want a challenge, set up your chapbook with the page orientation set to landscape (8 1/2 by 11) and all the margins at one-half inch. Divide each page into 2 columns and set the gutter (the space between the columns) to one inch. (When you fold the page, this will leave a one-half-inch margin on each page.))
 7. Add page numbers to each side of the pages. Depending on the program, you may find it easiest to use the header or text box function so that the page numbers do not interfere with the flow of the poems. In PAGES this can be found on the INSERT drop down menu.
8. Your first page will be your cover with the name of the title and your author names (usually a graphic or picture will also be allowed...); HINT: you may find an original photo (for example from your Journalism project) might be a good idea. A graphic taken from the internet must be paid for, unless it is in the public domain.
9. The cover is usually followed by a copyright page, then the title page, similar to the cover, but this one without a graphic. After the title page, please add a table of contents. In PAGES, you can do this automatically from the INSERT menu. You can create a place holder for page #'s, but record the poems you are going to include. Decide how you're going to organize the chapbook (one author, then another, then another, or all poets work organized thematically or stylistically. After the table of contents, insert a skipped page (leave it blank so that you start your first poem on an odd page.) You can do this easily in PAGES from the INSERT menu, the SECTION: blank.
10. Then add your poems. Each poem should have a title and the name of the author, unless you set up your book in PARTS with each part being clearly attributed to one of your authors. In PAGES, you can insert a TEXT page from the INSERT menu, SECTION: text; or create a text box in which to hold your text. Text boxes need to be stretched to fit properly.
11. When you've create a text from the section menu, you will have a bold header for the TITLE of your poem, followed by a smaller subbox for your author's name. The text of the poem should be added in normal 12 point font.
12. Continue to do this until all your poems are copied into your booklet.
13. If you need to share your booklet shell, each member of your workshop group should save their own files (without a title page, table of contents, or copyright page) and save the work on a jumpdrive or flashdrive. Then choose one person to be the editor and upload or copy the files to that person's computer.
14. When you are done, PROOFREAD and correct any errors.
15. Print out your document as a proof and hand in to me to make copies for your group. Do not staple or fold these pages, please. 
Setting up your work as a PDF or EPub: information on how to do this will be forthcoming. Hang tight.

Chapbooks should be completely done and ready by Friday, March 15. If you are done earlier than that: fine.

HOMEWORK: Please read the handout poetry.

Friday, March 1, 2013

Poetry Assignments Check

This marking period we have written (or were supposed to have written) a minimum of 10 new poem drafts. If we add to the poem drafts we created this year, that # is considerably higher.

You will need your poems and revised drafts for our upcoming project: creating a poetry chapbook with your workshop members. We will discuss this project next class.

In the meantime, the following poetry assignments and the date the assignment was given are posted for your information below:
Poem #1, post on 1/28: Baseline: a poem with your own chosen theme (life, death, love, nature) and its own message.

Poem #2, post on 1/31: Write a poem. Again, your choice.

Poem #3, post on 2/1: write another poem. Your choice.

OPTIONAL poem: Black History poem draft.

Poem #4, post 2/5: The comparison poem.

Poem #5, post 2/7: The blackout poem.

Poem #6, post 2/11: The unrequited love poem prompt. (This was a handout).

Poem #7, post 2/13: Be My... poem

Poem #8, post 2/25: Animal (nature) poem

Poem #9, post 2/27: haiku

Poem #10, post 3/1: political or confessional poem
In addition, we wrote a baseline poem in September, an ordinary things draft, a sound poem, a voice poem, a tone poem, an imagery poem, etc. (see September and October 2012 for more details).
You will be able to use ANY of your original poetry you wrote this year for this course for the chapbook.

Political & Confessional Poetry

Please make sure you have completed your forum response on Patrick Phillips' poetry. Phillips combines nature poetry with confessional poetry. His work is generally very personal, but also natural. In the case of the packet, he is writing about his brother and father (personal) using nature and other natural images to present the conflict that often arises between brothers or between fathers and sons. There is conflict between sisters, or mothers and daughters, too, by the way--all of which make for some effective poetry. Just sayin'.

Politics are part of our human experience. From war to resistance, these themes reflect who we are as human beings. Let's chat today about some political poetry and confessional poetry forms.

Types of Political Poems
1. The Revolutionary Poem
•Poems which advocate (support) an overthrow of a government or a culture

2. The Patriotic Poem
•Unlike the revolutionary poem, the patriotic poem supports or advocates an aspect of a government or a culture. Reflects an attitude that recalls fundamental principles of a government or culture.
•You may find a lot of this kind of poetry written by minorities (they are supporting a particular culture). Women’s lib poetry; black, Asian, latino, etc. poetry; gay poetry, etc. Any poem celebrating a culture would fall into this category.

3. The Protest Poem
•A poem of criticism that challenges basic concepts of important human issues (censorship, freedom, democracy, pursuit of happiness, etc.)

4. The Universal Political Poem
•Everything else.
Confessional Poetry

Confessional poetry: reveals a personal secret or feeling. This is the only type of poem you can consider the author to be the speaker. Confessional poetry is the poetry of the personal or "I." This style of writing emerged in the late 1950s and early 1960s and is associated with poets such as Robert Lowell, Sylvia Plath, Anne Sexton, and W.D. Snodgrass.
• Confessional poetry is often controversial or even unsettling to read.

• The confessional poetry of the mid-twentieth century dealt with subject matter that previously had not been openly discussed in American poetry. Private experiences with and feelings about death, trauma, depression and relationships were addressed in this type of poetry, often in an autobiographical manner. Sexton in particular was interested in the psychological aspect of poetry, having started writing at the suggestion of her therapist.

• The confessional poets were not merely recording their emotions on paper; craft and construction were extremely important to their work. While their treatment of the poetic self may have been groundbreaking and shocking to some readers, these poets maintained a high level of craftsmanship through their careful attention to and use of prosody.

• The confessional poets of the 1950s and 1960s pioneered a type of writing that forever changed the landscape of American poetry. The tradition of confessional poetry has been a major influence on generations of writers.
Here are a few examples of either political or confessional poetry:
Harlem by Langston Hughes
Let America Be America by Langston Hughes
I, Too, Sing America by Langston Hughes

Homage to My Hips by Lucille Clifton
Daddy by Sylvia Plath
My First Memory by Nikki Giovanni
Diving into the Wreck by Adrienne Rich

After reading some of these samples, try writing either a political poem (choose a type and write) or write a confessional poem. It is always better to write a confessional poem about something you don't mind sharing about your personal life. Otherwise it gets awkward.

Use 7th period to write. Conduct a workshop 8th. Next week, we will only be conducting workshops and revising our work to prepare for our poetry chapbook.

HOMEWORK: If you wish to enter Geva Theater's Playwriting Contest, bring your play script files to next class (revise and correct grammar and form, etc.) Entering this contest gains you extra credit this marking period. Since you already have a script, why not send it in to the contest?

Please complete your forum response on Patrick Phillips poetry if you did not complete it during lab today.

About this course!

This course stresses understanding the characteristics & 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 previous creative writing classes. Readings and discussions of works by major writers in the field will be examined as inspiration and models of fine writing. This educational blog is designed for the use of the students at the School of the Arts in Rochester, NY.