Hemingway Quiz/Short Story Project Draft Due!

Today, please take the first 5 minutes of class to review your Hemingway collection and read about Hemingway at this link.

Then we will take our quiz on the collection. If you finish early, please complete your Hemingway drafts and await further instructions from Mr. Ludwig. 

Draft Three: Stream of Consciousness

1. Examine your flashbacks. Find moments where your character can include digressions, get stuck on topics, trail off, etc. You are trying to replicate or reproduce how the character’s mind works.
2. Write these flashbacks using stream of consciousness.

Draft Four: Sentence length

1. Keep your sentences short and declarative in your non-flashback section of the story. Remember dialogue sounds more realistic when you speak in short sentences or fragments.

2. In your flashback scenes, find moments where you digress and create long, complex sentences. Use em dashes to indicate digressions. Use semi colons ; to connect related clauses (but don't over use these). Use commas to make a simple sentence into a complex one. Use an ellipsis … to indicate trailing off. Use repetition of phrase to expand a comment.

Ex: “They knew who had shot their fathers, their relatives, their brothers, their friends…”;

Use conjunctions to add phrases to your independent clauses (and, or, but, etc.)

3. Try to find a rhythm in your writing. Most paragraphs start out with short sentences. This allows for a certain length of speed. Then as your sentences get longer and more complex, you can slow or speed the eye of the reader. Usually, you want important information to be delivered slowly. The use of repetition helps create a meter and rhythm for your sentence structure.

Each class for the next few weeks you will want to check Mr. Ludwig's blog for our daily agenda.

Luv Poem Prompt; Hemingway Project: Drafts #3 & #4

Please take the first 5 minutes of class today to read the handout "Love Poetry", then gather in pairs/trios/quartets to discuss the different kinds of love poetry. Which of these poem forms have you written before? Which ones are new to you? Which ones sound interesting or challenging?

During the first half of 7th period, please read Andrew Varnon's poem: "Be My Sherpa" and the handout of love poetry (with models). Then, write your own love (or anti-love) poem.

You might find it helpful for your brainstorming to:

• List objects, ideas, associative words on a page
• Find random words in a dictionary or thesaurus and write them down
• Find a random article from the internet and select a variety of words and include them on your list
• Listen to snippets of conversation and select random words from what you hear and write them down

Then use a stem prompt like:

• Be my...
• I love you like...
• You're my...
• You're not my...

Etc.

Near the end of 7th period, get into your workshop groups and share your poems. Print out any completed work and share as well, if you'd like.

Then, stay in your groups a minute during 8th period. Discuss the Hemingway stories: The Killers, In Another Country, and A Way You'll Never Be. Take notes and use your notes to study for our test on this collection when you return from break (Feb. 25). 

Then it's back to writing. During period 8, please continue the next draft of your Hemingway story:

Draft Three: Stream of Consciousness

1. Examine your flashbacks. Find moments where your character can include digressions, get stuck on topics, trail off, etc. You are trying to replicate or reproduce how the character’s mind works.
2. Write these flashbacks using stream of consciousness.

Draft Four: Sentence length

1. Keep your sentences short and declarative in your non-flashback section of the story. Remember dialogue sounds more realistic when you speak in short sentences or fragments.

2. In your flashback scenes, find moments where you digress and create long, complex sentences. Use em dashes to indicate digressions. Use semi colons ; to connect related clauses (but don't over use these). Use commas to make a simple sentence into a complex one. Use an ellipsis … to indicate trailing off. Use repetition of phrase to expand a comment.

Ex: “They knew who had shot their fathers, their relatives, their brothers, their friends…”;

Use conjunctions to add phrases to your independent clauses (and, or, but, etc.)

3. Try to find a rhythm in your writing. Most paragraphs start out with short sentences. This allows for a certain length of speed. Then as your sentences get longer and more complex, you can slow or speed the eye of the reader. Usually, you want important information to be delivered slowly. The use of repetition helps create a meter and rhythm for your sentence structure.

HOMEWORK: Complete your Hemingway draft if you did not complete it during class this week (there should be four drafts, each one making your work stronger) I'm interested in the last draft, but keep all your drafts for your portfolio.

Complete the Hemingway collection by reading: "50 Grand", and the "Short Happy Life of Francis Macomber"

Be prepared for a test on the book when we return on Tuesday, Feb. 25.

Hemingway Draft #2

Most of Hemingway’s stories have simple plots revolving around the theme of death or alienation. Two characters usually do not have the same world view (or opinion) and their conversation or relationship is strained by miscommunication (or the fact that a character cannot explain him/herself to another human being.)

In your first draft you should have chosen a situation, written a story that focused on the here and now--a single moment or a limited time period in one location as discovered through dialogue between at least two characters. You were instructed not to get into the minds of the characters yet. For further details, please refer to the assignment below this post.

By now you should have a completed draft #1. If you do not have a complete draft #1, please complete draft #1 and label it as such before you continue.

Complete? Then go on to these instructions:

Draft Two: Flashback

1. After you complete the basic story. Write a second draft including the following:

a. Find moments in the story for your character to think about his/her past. Select these moments and for each one, develop the inner dialogue or thought process of your protagonist.

b. This “flashback” should reveal personal opinions, reflect on the situation, and/or connect ideas and people with your character’s past. Your character’s past should be detailed with much verisimilitude.

c. You may cover years or many days or a great length of time for your flashbacks. You may also change scenery or setting.

2. Separate your flashbacks by italicizing them.

Complete your draft #2 today in the lab.

During 8th period, please workshop your writing. Get feedback on the writing you've been doing. Also, discuss Hemingway and the stories you have read. Use the worksheet to take notes on the stories. Get your workshop group to assist you. You will be tested on this book when we return from break.

HOMEWORK: Please read the next 3 stories: "In Another Country", "The Killers", and "A Way You'll Never Be" for next class.

Poetry/Fiction & Hemingway drafts

In David Surette's poetry, he often focuses on people he knows (usually relatives) and describes them in a character sketch. He uses common sayings that the person said, illustrating various character traits (both physical and personality), and ending with a turn (volta) or surprise.

Whether we are writing stories or poetry, our process is the same. A writer should:
1. Pick a character or subject to write about
2. Consider form/structure or genre
3. Write
4. In your poem/story consider crafting the inciting incident (the first line), the rising action, the crisis or volta (turning point) and the ending. Both poetry and fiction should leave the reader with a striking image.
5. Give your piece a title that suggests theme, tone, subject, or setting

Write a narrative piece focusing on a relative. Pick a relative. Jot down your image of this person. Think about what this person says. Think about who this person is. What words do you associate with this person. Use David Surette's poetry as models for your writing.

Please work on the poem (story) prompt for our warm up today. If you have not yet completed the assignment from last class: write a scene where you start off with dialogue (see post below for details), please complete that during 7th period.

During 8th period, we will discuss the two stories: "A Day's Wait" and "A Clean, Well Lighted Place" by Ernest Hemingway.

HOMEWORK: Please read the stories: "The Gambler, The Nun,  and the Radio" and "Fathers and Sons"

Hemingway Prompt; Workshop

This afternoon, please start with our daily writing exercise.

After 10-15 minutes (or when you complete the exercise), please either:

1. Read and complete "The Snows of Kilimanjaro" in your Hemingway collection (should have completed this as homework for today), or-- 

2. Begin writing a narrative scene where you only provide the dialogue (i.e., you do not need to describe a lot of the setting, but indicate the setting through the dialogue of your characters). For an example of what I'm talking about, take a look at the first section of the story: "The Snows of Kilianjaro". Your dialogue should be between at least two characters. You may have more than two characters in the scene. To start, if you need help, think about WHERE your characters are (pick a specific setting), WHO (who is here in this setting), and WHAT (what are the characters physically doing). Genre is completely up to you.

Try to write at least a page (double-spaced) or as much as you can during 7th period.

Avoid unnecessary distractions!

Write or read until 8th period.

During 8th period, please get together in your workshop groups and conduct the following business:

1. Discuss the story "Snows on Kilimanjaro" with your workshop group.
2. Share any writing (from previous workshops) or exercises from previous classes.

If you run out of things to analyze, or finish sharing, please go back to your "seat" and continue writing. You may write poetry, fiction, non-fiction, scripts, etc. Choose a genre and get writing!

Use your time in the lab (after your workshop) to either read the homework, or write. Write or read. Read or write. Write or read. Read or write!

Get going!

HOMEWORK: Please read the handout from David Surette's collection of poetry "The Immaculate Conception Mother's Club". Additionally, please read the following short stories in the Hemingway collection: "A Clean, Well Lighted Place" and "A Day's Wait". Read all these things and be prepared to discuss the craft of these pieces next class.

Workshop; Marking Period 4 & Procedure

This afternoon, please begin with a quick survey in the first 2 minutes of class, then begin working on the writing prompt/exercise during period 7. I will be timing this exercise (i.e., each segment will be given a time limit). It is an exercise, not high art. Try to write fluidly. Avoid distractions. Put your mind to completing the assignment. You can write either on the computer or in a journal/notebook, whatever you please.

During period 8, we will gather in our workshop groups for the marking period. You will have the option of changing groups during marking periods 5 & 6.

What to do in your workshop group:

• Today, you may share anything you wrote in 7th period, or the play scripts you wrote last week. 
• Any day, you can share and workshop any of your writing from your portfolio. After getting feedback from your workshop group, you may:
• Revise any previously written piece. Craft your writing!
• Share discussion questions or analysis of our reading. See HOMEWORK below.

When you are done with your workshop, please go back to writing. You may write anything you'd like. Use what you know to pick a direction, begin a story, poem, play, etc. Use your time in the lab to write. Write right now!

or read. Read the homework selections posted below. Please come to class Thursday ready to discuss these works: plot, characterization, theme, line, diction, poetic devices, dialogue, etc.

HOMEWORK: Please read the short story "The Snows of Kilimanjaro" and David Surette's poetry from The Immaculate Mother's Club.