Thursday, June 11, 2015

Portfolio: Final

Today is the first deadline for the completed portfolio. It should be turned in today. If you need Monday to complete your work, please do so, but also please realize that you may be at an assembly. Make sure you can turn in your completed work by Monday end of day. No late work will be accepted.

HOMEWORK: Good luck on your finals!

Tuesday, June 9, 2015

Portfolio: Final Exam

Please continue to prepare your final portfolio.

Friday, June 5, 2015

Final Exam/Portfolio Assessment

Please complete the following today in the lab:
  • Look through your portfolio. Remove any hand-written and homework assignments from it.
  • Gather your fiction together, gather your poetry together, and gather your script drafts together.
  • Print out any poem, script, or short story you wrote, but did not yet include in your portfolio.
Once you have done those three things:
  • If you have it, take out and re-read your letter to "The Enemies of the Writing Process." How'd you do against your old enemy? Procrastinators: do not avoid this next step!
  • Reflect on your progress as a writer this year. In a 3-4 page reflection (double spaced) reflect on your progress as a writer: what step in the writing process do you still struggle with? What part of the writing process is easy for you? What did you do well, what do you need more work or help on, what did you learn this year about crafting your work as art? Reflect on your overall growth that you feel you made this year. You may reference your English and Journalism classes as well if you'd like, but please reflect on your own growth as a creative writer. If you participated in any extra curricular activities, reflect on these too (particularly how they helped or hindered your progress as a writer).
  • Revise and craft your best work this year. This is your final 2015 draft. Change the heading of the pieces you are submitting as BEST CRAFTED WORK. You must include at least one poem, one short story, and one script, but you may choose several of your pieces for your final assessment. Please show ALL drafts!
  • Use a separate manila folder for your best crafted work and your reflection essay. These will be scored and evaluated as your final exam and will be sent to Central Office as your post assessment for this class.
Your portfolio (with reflection) is due as your FINAL EXAM on Monday, June 11 or June 15 whichever date works best for you. Once you're done with this portfolio, you are done with this course work. Congratulations!

HOMEWORK: Bring your portfolios/work/drafts to class to work on them. Return books to the library.

Wednesday, June 3, 2015

Annie Hall; Final Portfolio

After screening Annie Hall, please complete the following:
  • Look through your portfolio. Remove any hand-written and homework assignments from it.
  • Gather your fiction together, gather your poetry together, and gather your script drafts together.
  • Print out any poem, script, or short story you wrote, but did not yet include in your portfolio.
Once you have done those three things:
  • If you have it, take out and re-read your letter to "The Enemies of the Writing Process." How'd you do against your old enemy? Procrastinators: do not avoid this next step!
  • Reflect on your progress as a writer this year. In a 3-4 page reflection (double spaced) reflect on your progress as a writer: what did you do well, what do you need more work or help on, what did you learn this year about crafting your work as art, and reflect on your overall growth that you feel you made this year. You may reference your English and Journalism classes as well if you'd like. If you participated in any extra curricular activities, reflect on these too(particularly how they helped or hindered your progress as a writer).
  • Revise and craft your best work this year. This is your final 2015 draft. Change the heading of the pieces you are submitting as BEST CRAFTED WORK. You must include at least one poem, one short story, and one script, but you may choose several of your pieces for your final assessment.
  • Use a separate manila folder for your best crafted work and your reflection essay. These will be scored and evaluated as your final exam and will be sent to Central Office as your post assessment for this class.
Your portfolio (with reflection) is due as your FINAL EXAM on Monday, June 11 or June 15.

HOMEWORK: Bring your portfolios/work/drafts to class to work on them. Return books to the library.

Sunday, May 31, 2015

Woody Allen: Without Feathers Test; Annie Hall

After our test today on Without Feathers and comedic techniques, please read the sample script from the film Annie Hall.
please review the Annie Hall materials below:
Further information about Annie Hall can be found here at IMDB.com.
Annie Hall Script
Annie Hall explanation/film history

Often cited as one of the best 100 films of all time, Annie Hall won four Oscars:
Best Actress: Diane Keaton
Best Director: Woody Allen
Best Picture: Charles Joffe
Best Screenplay: Woody Allen & Marshall Brickman
Woody Allen was also nominated for Best Actor.
As you watch the film, note the following:
--This plot is an archetype of the Romance plot: boy gets girl, boy loses girl, boy gets girl back after much ado.
--Much of the humor revolves around the film's Diegesis (the world of the film). Note when the script breaks this convention and what the effect on the viewer is at those moments.
--Woody Allen is a fan of silent film (particularly slapstick) notice when the film becomes quiet, when physical comedy is presented to us as reality, and scenes that include silly physical jokes or chase scenes. These are all homage to the yesteryear of film.
HOMEWORK: None. 

Thursday, May 28, 2015

Comedy Techniques and Love & Death (1975)

Why do people laugh?
  • Incongruity or Non sequitur. Humans are rational (supposedly) and laugh at anything that breaks a pattern or does not logically follow.
  • Farce or physical humor (often pratfalls, slapstick, hurting people, etc.) What doesn't kill us makes us laugh.
  • Superiority vs. inferiority (we laugh at those weaker or in a worse situation than us)
  • Mistaken identity (using aspects of feeling superior or inferior, when the true identity of a character is revealed, this also includes surprise--so we laugh)
  • Absurdity (if it doesn't make sense, and we are logical people, we laugh)
  • Surprise: humans may laugh when startled to release adrenaline. It's part of our monkey brain.
  • Hyperbole: an exaggeration
  • Understatement: Often used at the end of a paragraph or idea, an understatement reverses the importance of the subject matter.
How can writers use these techniques in their writing? Like everything else, choice allows us to skillfully craft our work for a desired effect.

As you watch the film today, please find an example of each type of comedy in the film.

HOMEWORK: Complete your reading of Without Feathers

Tuesday, May 26, 2015

Poetry Projects & Without Feathers

Please complete your poetry projects today in the lab. I've given you this extension, so today will be our last day to prepare these in class.

Please upload your documentary to YouTube and submit your URL to the COMMENT section below.

If you finish early, please complete the following:
  • Without Feathers (reading up to page 107)
  • Prepare a piece to read at our Coffeehouse: Thursday, May 28 at 7:00 in the Ensemble Theater
Without Feathers:
  • A Brief, yet Helpful, Guide to Civil Disobedience: People were protesting the Vietnam War when Woody Allen wrote this book. Even this serious topic is humor-fodder for writers. The allusion to The Trojan Women is referring to a Greek Tragedy (see: God) about the women of Troy banding together to protest the Trojan War.
  • Match Wits with Inspector Ford: In the 70’s books such as 5-Minute Mysteries were very popular. The idea was that the author gave you a very short mystery or crime. The answer to the “riddle” was in the back of the book. A fan of whodunits will enjoy this parody.
  • The Irish Genius: This is a parody (similar to Lovborg) but dealing with the poet William Butler Yeats. Yeats was an Irish culture fanatic and wrote “Irish” lyrics celebrating Gaelic and Irish legends. His poems drip with allusion and Allen plays around with this idea by providing fake “footnotes.”
  • God, a Play: Poking fun at Greek Theatre, Allen is also joking about writers and the process of writing a play and the challenges of performing it. Allen was a playwright before he became a film writer. So you can assume the Writer character is partly autobiographical. Of course, the character of “Woody” is also Allen’s alter-ego in the play. Enjoy the absurdist ideas of the piece. By the way, the machine reference in the play is a reference to: Deus Ex Machina (or God from the machine) referring to a contrived ending of a play (a God comes down and fixes the characters’ problems).
  • Fabulous Tales and Mythical Beasts: Bestiaries were an old fashion (Medieval) form of the nature guide. They were all the rage in the 1500’s.
  • But Soft, Real Soft: There is a scholarly debate over who really wrote Shakespeare’s plays. Many critics say that Marlowe (another Elizabethan playwright) wrote Shakespeare’s work. Others say Queen Elizabeth or Francis Bacon wrote the plays. Probably, odd as it may seem, Shakespeare wrote Shakespeare’s plays. The title refers to a line from Romeo and Juliet.
  • If the Impressionists Had Been Dentists: The Impressionist painter Van Gogh kept close correspondence with his brother Theo. Later a song and a movie were made from Van Gogh’s private letters. The title tells the rest of the joke.
  • No Kaddish for Weinstein: Kaddish is a Hebrew prayer of mourning usually recited at a person’s grave. Woody Allen often jokes about Freudian Psychoanalysis or therapy. He is using a comic technique of the non-sequitur (or surprising a reader by saying something unrelated to its subject or something that makes no sense or is nonsensical.)
  • Fine Times: An Oral Memoir: Another parody of a book review and autobiography of a fictional character. This one is about Flo Guinness, a speakeasy owner in the 1920’s. Alcohol was prohibited (illegal) in the early 1920’s and later repealed. Guinness is the name of a popular beer. Allen references many famous 1920’s musicians and people.
  • Slang Origins: The English language has so many weird expressions and sayings. Allen pokes fun at them in this “essay.”
HOMEWORK: Complete your film projects if you didn't complete these in the lab. Complete Without Feathers

Wednesday, May 20, 2015

Poetry Projects: Day 5; Woody Allen: Without Feathers

Please complete your film documentary projects today in the lab. If you do not complete your project, please complete it on your own time at home, etc.

If you finish early today, please begin reading the Woody Allen collection: Without Feathers. As you read, please use the following to help you understand what you are reading.

As you read his collection Without Feathers, understanding "the joke" can be helpful with a little background. Those of you who read widely will probably find more humor in his work. See the information below to help you figure out what you're reading and what Allen is poking fun about.

Much of Allen's humor requires a little knowledge about form, content, or knowing a little bit about his life (or the life of a Jewish New Yorker intellectual). To help you, please refer to his bio and this page for explanation of some of the allusions and humor in Woody Allen's book.
  • The title: Refers to Emily Dickenson’s poem: “Hope is a thing with feathers.” Ergo, if you have no feathers, you have no hope.
  • Selections from the Allen Notebooks & The Early Essays: Both these essays parody the publishing industry’s love affair with memoir, creative non-fiction, and publishing a well-known author’s private writings after they have died. Hence, the humor of these weird insights into the famous “Woody Allen” journals. Traditionally, creative essay form always used the same form: the word “ON” and then the subject of the essay.
  • Examining Psychic Phenomena: The supernatural is always a good subject to parody. In this case, a review of a newly published “non-fiction” book on Psychic Phenomena. Look up Psychic Phenomena on the internet to see the sort of thing Allen is parodying.
  • The Guide to Some of the Lesser Ballets: When you attend an opera or ballet, inside your program you often get the story synopsis. Since opera is usually in another language, and ballet is hard to follow if you don’t know the story, these sorts of program notes are helpful in interpreting the performance. Allen, of course, is poking fun.
  • The Scrolls: A few years before the book was published, the Dead Sea Scrolls were uncovered. In the early 70’s this sort of thing caused a lot of controversy between religious scholars and scientists. They wondered if these scrolls were part of the Bible. Allen is also Jewish, so the humor relates to this fact as well.
  • Lovborg’s Women Considered: The playwright Henrick Ibsen (the guy who wrote A Doll's House and is considered the Father of Modern Drama) is the bane and love of many literary scholars and theatre students. Woody Allen is poking fun of the field of literary criticism (scholars who write about books, authors, and their “private” lives).
  • The Whore of Mensa: Allen is parodying the hardboiled detective novel made popular by writers like Dashielle Hammett (The Maltese Falcon). Think of Humphrey Bogart as the narrator and you’ll have the idea. Mensa is a national program/club – entry into which is based on I.Q. The idea then of whores who intellectually stimulate their johns is a very funny idea.
  • Death, A Play: Allen was a philosophy major in college. He is also interested in psychology. The two main philosophical ideas this play refers to are existentialism and Nihilism. Existentialism is a type of writing or the study of answering the question: what is the meaning of life? Existentialism tries to explain what the meaning of life is. Some people believe we are alive for a reason, others are Nihilistic, and say that there is no point in our existence--that there is no purpose to our lives. Kleinman is representative of everyman. He represents all of us. We sometimes don't know what our purpose in life is (Kleinman doesn't know his purpose in the play, for example). By the way, we are all being "stalked" by death, just as Kleinman is being stalked by the maniac. Death is the great equalizer. All living beings are going to die. Along with LOVE, DEATH is one of the most common themes in literature. Woody Allen made this play into the film: Shadows and Fog.
HOMEWORK: Read Without Feathers: pp. 7-106. Complete your poetry film project.

Monday, May 18, 2015

Poetry Project: Day 4

Before we return to the lab to continue working on our film poetry projects, let's complete our reading of T.S. Eliot:

Preludes
Rhapsody on a Windy Night and a short animated film based on the poem (and a popular Broadway song).

HELP:


Organization for the project:

Have you:
1. Chosen a poet?
2. Researched this poet's life/work?
3. Taken notes on your poet?
4. Written a short 1-2 page (at most) script about your poet?
5. Found a single poem from this poet to record?
6. Found images or video clips to import into Movie Maker that go with your notes/script?
7. Recorded your Voice Over(s) (either on iPhones, cell-phones, or microphones--realize you have to convert these files to sound files Movie Maker can use!)
8. Uploaded sound files?
9. Organized or edited your film? You will want to include a title/heading in your credits
10. Added end credits: copyright, authorship, directing credits, voice-over credits, etc.

Work on any # in the lab that you have not yet accomplished.

HOMEWORK: None. Work on project so that you are not falling behind!

Thursday, May 14, 2015

Film Documentary Project: Day 3; T.S. Eliot

IN THE LAB: Poet Film Documentary Project

Some help if you need it:

Making a film in Windows Movie Maker

Making a podcast in Adobe soundbooth:

Video:    https://www.youtube.com/watch?v=96ZzJQlkyRI


Using the script you were supposed to have completed last class (see previous post), you may record your VOICE OVER using our microphones or your own equipment (similar to your film projects in Journalism), or...

Continue to use the time in the lab today gathering images/resources and inputting these into a MovieMaker project. Use the JPG's and GIFs that you find to assist your voice over in creating a short documentary about your chosen poet.

You will also want to choose 1 poem that this poet wrote and perform (read and record) that text as well. Your video project should include your voice over script (see previous post) AND a poem by the author that you perform.

If you did not complete your script, do that first. Realize that you are falling far behind and catch up!
  • Work on your poet film documentary today in class.
  • You may also use the time in the lab to write creatively. See previous poetry prompts, or the prompt above and try writing a draft of a poem.
During PERIOD 8: Please collect the poetry collection: Prufrock & Other Poems by T.S. Eliot. Then come to the classroom (238) and let's take a look at his poetry.

The Love Song of J. Alfred Prufrock (read by the author) and some analysis of the poem by Shmoop.
The Love Song of J. Alfred Prufrock (read by Anthony Hopkins)
Portrait of a Lady
Preludes
Rhapsody on a Windy Night and a short animated film based on the poem (and a popular Broadway song).

Continue reading on your own. Find examples of the literary/poetic devices in the remaining poems.
If you do not finish today, please complete as homework.
 
HOMEWORK: Complete anything you haven't completed in class/lab today. Write poetry.

Tuesday, May 12, 2015

Poet Film Documentary Project

Please turn in your homework: Drawing evidence from the poems in D.H. Lawrence's collection, write a paragraph review of D.H. Lawrence's poetry: what is his style? What did you notice about his style? How does Lawrence use poetic crafting techniques in his poetry? (look for imagery, style, meter, stanza form, diction, tone, theme, figurative language, etc.)

Let's complete the following poems from the collection:
  • "Fish" (pg. 46)
  • "Bat" (pg. 50)
  • "The Mosquito" (pg. 52)
  • "Hummingbird" (pg. 54)
  • "Pomegranate" (pg. 55)
  • "Medlars & Sorb Apples" (pg. 56) 


POETRY PROMPT: Using your list (created last class) of animals that disturb you, or that you don't generally find lovely, write a poem about the beauty or importance of that animal. You may also choose a flower, fruit, shrub, or tree and research its meaning. Use that meaning as a metaphor/symbol in a poem. Use D.H. Lawrence's poems as a model.

IN THE LAB: Poet Film Documentary Project

Using the script you were supposed to have completed last class (see previous post), you may record your VOICE OVER using our microphones or your own equipment (similar to your film projects in Journalism), or...

use the time in the lab today gathering images/resources and inputting these into a MovieMaker project. Use the JPG's and GIFs that you find to assist your voice over in creating a short documentary about your chosen poet.

You will also want to choose 1 poem that this poet wrote and perform (read and record) that text as well. Your video project should include your voice over script (see previous post) AND a poem by the author that you perform.

If you did not complete your script, do that first. Realize that you are falling behind and catch up!

  • Work on your poet film documentary today in class.
  • You may also use the time in the lab to write creatively. See previous poetry prompts, or the prompt above and try writing a draft of a poem.

HOMEWORK: Complete anything you haven't completed in class/lab today. Write poetry.

Friday, May 8, 2015

Poetry Project: Day 2; D.H. Lawrence

Period 7: please research and read about the poet and his/her poems that you have selected to research.

All poets can be found at this websiteThe Poetry Foundation.

Begin researching and taking notes about the details of your author's life. Who is he/she? Where did he/she live? What is he/she known for? What influences or philosophy or historical events helped shape this poet's work? What themes does the poet seem to favor in his/her poetry?  How does this poet fit into the period in which the author wrote, and how does the poet influence poets AFTER he/she wrote? What happened to this poet? What major works/awards/books did this poet create/achieve/obtain? What other interesting things about your poet's life and work did you find interesting or important?

Write your notes into a 1 page script. You will be using this script for the next step in the project. Complete this script by the end of 7th period. If you finish early, feel free to write a poem. Keep all drafts in your portfolio for now.

At the end of period 7, please turn in your 1 page script.

HOMEWORK: Complete anything of the above that you have not finished in class.

Period 8: Please take a few minutes and learn about D.H. Lawrence before we pick up his book and read it. Return to room 238 after you pick up the book "Snake" and we'll read the following poems together:
"Snake" (pg. 44)
"Fish" (pg. 46)
"Bat" (pg. 50)
"The Mosquito" (pg. 52)
"Hummingbird" (pg. 54)
"Pomegranate" (pg. 55)
"Medlars & Sorb Apples" (pg. 56)

D.H. Lawrence: Please read the poems "From: Love Poems & Others--1913" and from "Amores (1916)" through "From: Tortoises" (pages 1-43).

Drawing evidence from the poems from these pages, write a paragraph review of D.H. Lawrence's poetry: what is his style? What did you notice about his style? How does Lawrence use poetic crafting techniques in his poetry? (look for imagery, style, meter, stanza form, diction, tone, theme, figurative language, etc.) Turn this analysis in Tuesday as homework/participation credit.

Wednesday, May 6, 2015

Williams (con't); Introduction to the Poetry Project

William Carlos Williams:
The Last Words of My English Grandmother
This is Just to Say (pg 586)
To a Poor Old Woman
Nantucket
The Young Housewife
The Dance
A Sort of Song
The Sparrow

IN THE LAB: Continue writing your poem drafts.  Just as you would summarize or highlight the important moments of a novel or longer, short story--use parts in your poem, as Williams and Stafford do. You have two options:

A. Create your own story. Choose a character, a setting, a theme, etc. Then consider your plot. What happens in the beginning (inciting incident, rising action, etc.) Start by summarizing the important parts of your story and breaking them into at least 3 parts (you may break your story into as many parts as you'd like, as long as you have a minimum of 3) Ex. i. Beginning, ii. middle, iii end or i. morning ii. afternoon  iii. evening, or i. birth ii. childhood, iii. adolescence, iv. young adulthood, v. adulthood, vi. middle age, vii. old age, etc.

B. Borrow a well known story from someplace else. Use a fairy tale, or favorite short story, or film, or well-known classic novel, and take the most important scene(s) from the story and break the story into at least 3 parts. Basically, you are doing the same as A above, but using source material from outside of your own creation. Consider: Historical events, myths, legends, fairy tales, Bible stories, or any thing else your audience would be familiar with. Avoid choosing stories that only you have read. borrow ideas from English/Social Studies classes, etc.

C. Extra credit poem draft: "The Last Words of my English Grandmother"--write the last words of someone you know who has passed, OR write the last words of a fictional character. Write the first words a child says to parent. Make a poem of it!

C. Extra credit poem draft: "This is Just to Say" is a refrigerator note. Write a FOUND poem of your own.

C. Extra credit poem draft: Williams often writes TO his subject. Choose a subject and address it: speak to a city, a person, a thing/object, an idea, or action.

Period 8: please choose one of the poets on the sheet going around the room and begin researching and reading this poet's work.

All poets can be found at this websiteThe Poetry Foundation.

Begin researching and taking notes about the details of your author's life. Who is he/she? Where did he/she live? What is he/she known for? What influences or philosophy or historical events helped shape this poet's work? What themes does the poet seem to favor in his/her poetry?  How does this poet fit into the period in which the author wrote, and how does the poet influence poets AFTER he/she wrote? What happened to this poet? What major works/awards/books did this poet create/achieve/obtain? What other interesting things about your poet's life and work did you find interesting or important?

Write your notes into a 1 page script. You will be using this script for the next step in the project.

HOMEWORK: Complete anything of the above that you have not finished in class.

D.H. Lawrence: Please read the poems "From: Love Poems & Others--1913" and from "Amores (1916)" (pages 1-12).

Drawing evidence from the poems from these pages, write a paragraph review of D.H. Lawrence's poetry: what is his style? What did you notice about his style? How does Lawrence use poetic crafting techniques in his poetry? (look for imagery, style, meter, stanza form, diction, tone, theme, figurative language, etc.)

Monday, May 4, 2015

Wallace Stevens & William Carlos Williams; Poetry Project

Today, let's continue our reading of poetry with these poets.

Wallace Stevens: (and his poems)
Peter Quince at the Clavier (pg. 559)
Sunday Morning
The Snow Man
Anecdote of the Jar
Thirteen Ways of Looking at a Blackbird
The Planet on the Table read by Bill Murray

William Carlos Williams (and his poems):
Danse Russe (pg. 576)
January Morning
The Last Words of My English Grandmother
This is Just to Say (pg 586)
To a Poor Old Woman
Nantucket
The Young Housewife
The Dance
A Sort of Song
The Sparrow

IN THE LAB: Write a poem draft as you would summarize or highlight just the important moments of a novel or longer, short story--using parts as Williams and Stafford do in much of their poetry. You have two options:

A. Create your own story. Choose a character, a setting, a theme, etc. Then consider your plot. What happens in the beginning (inciting incident, rising action, etc.) Start by summarizing the important parts of your story and breaking them into at least 3 parts (you may break your story into as many parts as you'd like, as long as you have a minimum of 3) Ex. i. Beginning, ii. middle, iii end or i. morning ii. afternoon  iii. evening, or i. birth ii. childhood, iii. adolescence, iv. young adulthood, v. adulthood, vi. middle age, vii. old age, etc.

B. Borrow a well known story from someplace else. Use a fairy tale, or favorite short story, or film, or well-known classic novel, and take the most important scene(s) from the story and break the story into at least 3 parts. Basically, you are doing the same as A above, but using source material from outside of your own creation. Consider: Historical events, myths, legends, fairy tales, Bible stories, or any thing else your audience would be familiar with. Avoid choosing stories that only you have read. borrow ideas from English/Social Studies classes, etc.

Finally, please choose one of the poets on the sheet going around the room and begin researching and reading this poet. All poets can be found at this website: The Poetry Foundation.

HOMEWORK: None.

Gerard Manley Hopkins
A.E. Housman
William Butler Yeats
Edwin Arlington Robinson
Paul Lawrence Dunbar
Amy Lowell
Carl Sandburg
H.D. (Hilda Doolittle)
Marianne Moore
Claude McKay
Archibald MacLeish
Edna St. Vincent Millay
e.e. cummings
Jean Toomer
Langston Hughes
Countee Cullen
W.H. Auden
Theodore Roethke
Robert Hayden
Muriel Rukeyser
William Stafford
Dylan Thomas
Gwendolyn Brooks
May Swenson
Amy Clampitt
Denise Levertov
Robert Bly
Allen Ginsberg

Wednesday, April 29, 2015

Robert Frost: Poetry Writing: Day 2

Today, please read the introductory information about Robert Frost, then read the poems.

You will notice that Frost favors the themes of nature and death. But there's love and life in there as well. What makes Frost important, is that he writes about common, ordinary things (remember earlier this year--when I suggested you write about ordinary things and we read Ralph Fletcher's book of poetry, taking a walk outside to 'inspire' you?)

Frost uses poetic technique just like all other poets. He uses the sonnet form (a 14 line love poem), ode/hymn (praising a subject), he uses metaphor and similies to create imagery, he uses sound devices (alliteration, assonance, consonance, onomatopoeia, rhyme, etc.) to create sound imagery, and uses symbols (pay close attention to his titles!), tone, and diction to suggest human meaning and the events of our lives. He uses stanza forms, meter and pattern to create rhythm, and all that stuff we've been talking about since the beginning of this course. His work, in other words, is CRAFTED.

It all starts with a willingness to write about something we, as writers, notice about our lives. So today in the lab, stop self-editing yourself and being distracted, and write some poems:

After reading, go to the lab and write a poem.

Choose either Dickenson or Frost as a "mentor" and try a hymn about death, or a sonnet about nature, use em-dashes, or couplets, or any other idea listed in the bullet list below (see previous post), etc.

Create and complete a draft. Put it in your portfolio for safe keeping. We'll come back to it!

When you finish early (yes, you!) write another poem draft. Or do the reading you avoided at the beginning of this post. Read, write. Write, read. Repeat.

HOMEWORK: None.

Monday, April 27, 2015

Poetry: Week 1 (Spotlight on Emily Dickenson & Robert Frost)

Today's readings include the introductions for each poet, and the poems on the following pages: 463-475 (Dickenson) and 534-554 (Frost).

Some of this we will read together as a class, some in small groups or pairs, and some alone.

Key ideas/literary techniques referenced:

  • Prose versus Poetry or verse
  • Iambic tetrameter
  • Iambic trimeter
  • Iambic pentameter
  • Hymn
  • Ode
  • Sonnet (both Shakespearean & Petrarchan) 
  • Diction
  • Tone
  • Symbol
  • Metaphor/simile
  • Imagery
  • Elliptical syntax
  • Connotation versus denotation
  • Grammar in poetry: particularly the em-dash, but also capitalization, sentence length, enjambment, etc.
LAB: Now it's your turn. After reading/examining these poets, go to the lab and write a poem. Choose either Dickenson or Frost as a "mentor" and try a hymn about death, or a sonnet about nature, use em-dashes, or couplets, or any other idea listed in the bullet list above, etc. 

Create and complete a draft. Put it in your portfolio for safe keeping. We'll come back to it!

Thursday, April 23, 2015

Hemingway Project Rubric

Project Rubric:
9-10: story is imaginative, clever, well written, grammatically sound (almost completely free of proofreading, mechanical or spelling errors), story uses effective dialogue and effective description, story has an interesting theme, character is effectively characterized through all drafts, enhanced by clever and creative use of flashback and stream of consciousness. Story is turned in on time and is of excellent length, appropriate and effective for this story and its plot. Work is properly formatted as fiction. Story has a clever and creative title. Dialogue, paragraphing, and sentence structure is punctuated correctly with care and craft that makes the sentence variety interesting and effective. 
8: story is mostly well written, with some gaps or weaknesses, but nothing that makes reading the story laborious or difficult. Story is mostly grammatically sound (some errors) but nothing that gets in the way of comprehension. Story has some dialogue and description, but work is not as compelling as scores of 9-10. Character is developed by stream of consciousness and flashback sequences in some way. Story is turned in on time and is of adequate length for this project. The final draft is properly formatted as fiction. Story has an appropriate title. Dialogue, paragraphing, and sentence structure is overall adequately presented.
7: story is completed, turned in on time, but lacks the imagination and creativity of scores of 8-10. Some moments of storytelling, but story may need more plot development, conflict, character development, or attention to detail and specifics. Story might have dialogue or description, but this is relatively uninteresting, repetitive, unnecessary, or weakly presented by the author. Character lacks development. Flashback and stream of consciousness scenes are too limited or ineffective. Story may be late (missed deadline), and is on the shorter less developed in length. Work may have formatting errors. Story has a title. Dialogue, paragraphing, and sentence structure may have several errors.
5-6: story is as 7 above, but may be very late, or there are so many grammar and development or writing problems that makes comprehension difficult for a typical reader. Work is carelessly or hastily done. Student spent more time off-task in the lab than working on this project. Story lacks a title. Student still does not understand how to punctuate dialogue, use paragraphing, and create adequate sentences, often lacking punctuation or capitalization in the draft.
0: story or project not turned in.

Hemingway Project Due!

Your Hemingway Project (drafts 1-4) are due today at the end of class!

If you haven't completed Draft Four (or three or two or one...) please do so now.

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 (chiasmus, anaphora, and anadiplosis).

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.

IMPORTANT: 
Before you turn in your draft:

  • Proofread your writing!
  • Correct grammar/punctuation, etc.
  • Punctuating Sentences
  • Punctuating Dialogue
  • Paragraphing
  • Give your story a TITLE
  • Collect all drafts and put them in order: 4th on top, 3rd under that, 2nd after that, 1st after that! Your drafts should have proper MLA headings and indicate what draft # they are.
Note: Grades will be reduced if you make mistakes with your punctuation, dialogue, or paragraphing! Be warned--and learn to format your work correctly and professionally!

If you finish before the bell (it rings at 2:09, by the way), please entertain yourself by reading and writing some poetry--as our next unit will go back to poetry.

Here's a sample poem & writing prompt, if you need one:

Ode to Love by Jennifer Militello
Place its toothpicked pit in water, watch the grist
of its insides grow. Witness its populous bloom,
honeycombed with rough. Its cobblestones grip
the heart in its mitt, a closed fist thickened
and gritty as silt. The swamp of the plumb beat
adamant as weeds. The dish of which is salted
by complexities or cries. It is a house in which
we cannot live, the quiver on the arrow
we cannot launch. It grows late over Nevada
as we watch. Strikes its gullies: we grow burnt
as a moth. Mimics a sleep of archives and
the small lies all forget. Mimics all laughter
broken by the time it leaves the mouth.
With its moving parts, its chimes, its gleam,
it muddies our archways, lying low, gives off
noise and steam; its mechanics clear the fence.
It must be wooed. Must be quieted. Hush. It must
be soothed. Has a snag. Has a bleed. A drape.
Flaps awkwardly, at its edges, a heron. At
its center, a wide bottom perfect with fish.
Copyright © 2015 by Jennifer Militello.
PROMPT: Pick an emotion (in Militello's example she has picked "Love") and write an ODE to it--a poem of praise. You can see that she seems to be inspired by recipes or instructions. You can incorporate this kind of idea in your poem as well, if you'd like.

Remember that poetry heavily relies on IMAGERY: so use metaphors, similes, symbols, allusion, and personification somewhere in your poem to create visual imagery. Use alliteration, assonance, consonance, onomatopoeia, and rhyme for SOUND imagery. Count your syllables and create metrical patterns, etc.

Be creative and risky. If you finish one draft, pick another emotion and write about that one! Keep writing!

HOMEWORK: Complete your Hemingway extra credit novel, if you are reading one. 

Monday, April 20, 2015

Hemingway Project Drafts 3 & 4

Hope you enjoyed the play, if you went. Today, continue working on your draft three of your Hemingway Project. Remember to keep all drafts and label them! Your story should be much longer than it started!

Use the lab today to write:

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.

Done? Go on to Draft Four!

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, extra credit novel, if you are reading one. We will be completing our Hemingway Project next class, so prepare for that!

Friday, April 17, 2015

Drafts 2 & 3 of the Hemingway Short Story Project

Stream of consciousness: a narrative device or technique a writer uses to develop character (characterization). The writer does this by presenting the THOUGHTS of a character as they would occur in the mind. It is similar to an internal monologue that a character has about his/her situation in the narrative of the story. The character is speaking to him/herself in stream of consciousness. This technique is unique to fiction or poetry. It is similar to the voice over (VO) in film or the soliloquy in plays. It is useful to:
  • Provide characterization or develop character
  • Explains the attitude or POV of the character's mind or thought process

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 or part of these flashbacks using stream of consciousness.


Still confused? Check here and here.


HOMEWORK: Extra credit: Keep reading Hemingway's novels. Go see the play Richard II at 142 Atlantic Ave (MuCCC) this weekend or next week.

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.