Creative Writing Module 4y5td

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Rafael B. Lacson Memorial High School Felipe-Lacson St., Talisay City Senior High School Department Humanities and Social Sciences -Specialized Subject CREATIVE WRITING Prepared by: MS. ANGELINE MARIE S. LIMBAGA Course Description: This course aims to develop practical and creative skills in reading and writing; introduce students to the fundamental techniques of writing fiction, poetry, and drama; and discuss the use of such techniques by well-known authors in a variety of genres. Each class will be devoted to the examination of techniques and to the workshop of students’ drafts toward the enrichment of their manuscripts. Students learn how to combine inspiration and revision, and to develop a sense of form. No. of Hours: 80 hours/semester Grading System: Written Works: Performance Tasks: Quarterly Assessment

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Creative Writing Objectives: At the end of this lesson, the students are expected to: 1. Differentiate imaginative writing from among other forms of writing 2. Cull creative ideas from experiences 3. Utilize language to evoke emotions and intellectual responses from readers 4. Use imagery, diction, figures of speech, and specific experiences 5. Read closely as writers with a consciousness of craft

Task # 1

What is ‘Writing’?

Answer:

Answer: ______________________

Nunan (2003) defines writing in three different ways. 1. Writing is both physical and mental acts. It is about discovering ideas, thinking about how to communicate and develop them into statements and paragraphs that will be comprehensible to a reader. 2. Writing has dual purpose – to impress and to express. Writers must select the most advantageous medium for their writing. Each type has a different level of difficulty which is determined by its objective. 3. Writing is a process and also a product. The writer creates plans, writes various drafts, revises, edits and publishes. The audience reads the product.

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Digitally signed by Amslt17 Amslt17 Date: 2017.06.19 11:58:18 +08'00'

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Lesson 1.1 An Introduction to Creative Writing Creative Writing expresses the writer’s thoughts and feelings in an imaginative and often poetic way. Creative writing is guided by the writer’s need to express feelings and ideas than by the restrictive demands of factual and logical progressions of expository writing. Writing can be grouped into three basic forms. 1. Technical Writing – conveys specific information about a technical subject to a specific audience for a specific purpose. 2. Creative Writing – is fiction – poetry, short stories, plays, and novels – and is most different from technical writing. 3. Academic Writing – refers to the forms of expository and argumentative prose used by university students, faculty, and researchers to convey a body of information about a particular subject. It is expected to be precise, semi-formal, impersonal, and objective. Imaginative vs. Technical vs. Academic Writing Audience Purpose

Style

Vocabulary

Imaginative General Public Emotion-oriented To entertain To provoke feelings To captivate the audiences Artistic Uses figurative language Informal General, Evocative

Technical Boss, supervisor, team, committee, general public Situation- oriented To teach how to use a device To describe procedures Uses graphs and lists Uses colours and varying fonts Formal Specialized

Academic Professors, students Assignment-oriented To present results gained from research To present a point-ofview Follows conventions Adheres to the rules of style guides Formal Specialized

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Think you got everything figured out? Let’s check. Answer the exercises I.

Identify the form of writing used.

1. 'Alone one is never lonely,' says the poet and author May Sarton in praise of living alone. Most people, however, are terrified of living alone. They are used to living with others - children with parents, roommates with roommates, friends with friends, husbands with wives. When the statistics catch up with them, therefore, they are rarely prepared. Chances are high that most adult men and women will need to know how they live alone, briefly or longer, at some time in their lives.’ ______________________ 2. To install a blade, turn the adjuster on the handle or frame until there is slack and the holes at each end of the blade can be inserted into the spigots. Make sure that the teeth are pointed away from the handle. Tighten the adjuster.To safely use a hacksaw, firmly place the material to be cut into a vice (if possible). Place the saw's central teeth on the line to be cut and push the saw in a short stroke to start the cut. Continue the cut, making sure the end of the object being cut is held and will not crack due to the uned weight. For safety, keep hands and other objects away from the sharp teeth. _____________________ 3. “Then there was the bad weather. It would come in one day when the fall was over. We would have to shut the windows in the night against the rain and the cold wind would strip the leaves from the trees in the Place Contrescarpe. The leaves lay sodden in the rain and the wind drove the rain against the big green autobus at the terminal and the café des amateurs was crowded and the windows misted over from the heat and the smoke inside.” ____________________ II.

Do the following.

1. Write a 5-step procedure on how to cook an egg.

2. Describe the things you do after you wake up in the morning in 5 sentences. Use adjectives, adverbs, and figurative language.

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Lesson 1.2 Sensory Experience in Creative Writing Descriptive details allow sensory recreations of experiences, objects, or imaginings. In other words, description encourages a more concrete or sensory experience of a subject, one that allows the reader to transport himself or herself into a scene. Writing that lacks description is in danger of being plain or overly general. The most effective way to incorporate sensory details is to use all five senses in harmony. The senses of sight, sound, smell, touch, and taste work together to strengthen writing. The sensory experience help create the paragraph’s imagery. Example Text: Paragraph Without Sensory Detail

Grandmother Workman reached over and grabbed her grandson’s arm. He was nervous because the staircase was so steep, but she leaned against him and they began to climb. Example Text: With Sensory Detail Grandmother Workman lurched over and grabbed the pale skin of Randal’s thin forearm with her leathery hand. The folds and creases beneath her skin coiled themselves out like electrical wiring, like the bloated, roughly-textured relief map of the world that his mother just posted above his bedside table. Randal looked ahead toward the winding spiral staircase, fidgeted with a small hole in his baseball jersey, and bit his lip. His mouth filled with the sweet, coppery taste of blood as she leaned in closely toward him, breathing her hot breath on the damp hair at the base of his neck. She smelled of wet cigarettes and bacon. As they slowly climbed the long, steep staircase, the only sound was his grandmothers’ labored breathing and the mournful creak of the wooden stairs. Task #2 Identify the words/phrases that show sensory details for the following. 1. Sight ____________________________________________________________________________ ____________________________________________________________________________ 2. Sound ____________________________________________________________________________ ____________________________________________________________________________ 3. Smell ____________________________________________________________________________ ____________________________________________________________________________ 4. Touch ____________________________________________________________________________ ____________________________________________________________________________ 5. Taste

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Keep the following lists of words to help you improve your writing. Using sensory words can help you provide more details and examples in your writing.

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Lesson 1.3 Language in Creative Writing Stephen King wrote, “Imagery does not occur on the writer’s page; it occurs in the reader’s mind. To describe everything is to supply a photograph in words; to indicate the points which seem the most vivid and important to you, the writer, is to allow the reader to flesh out your sketch into a portrait.” A “photograph in words” encapsulates the meaning of asking a writer to use imagery to show the reader the story instead of telling them. The next time you look at a picture, think about the details — about the colors, textures, background, weather, positioning of people, their expressions — and use these intrinsic details to portray an image using words. As a writer you will discover that the image will come alive; it will appear in your mind and will translate to your reader’s imagination. With the details, the reader will have the tools to fully experience the story being told to them. Imagery refers to the use of vivid or figurative language to represent objects, actions, places, or ideas. It is a painting with words. A well written description should arouse a particular response or emotion in the reader’s imagination. Figures of Speech are also known as non-literal language. They are words that deviate from their exact/precise definitions in order to achieve a new, altered, or more complicated understanding. a. b. c. d.

Personification – giving human traits to inanimate things Metaphor – a comparison without using the words ‘like’ or ‘as’ Simile – a comparison using the words ‘like’ or ‘as’ Hyperbole – exaggeration to create emphasis or effect

Diction refers to the level of words used by the author in writing. It refers to the style of writing which is based on word choice and usage. There are six types of diction that authors use in their writing. a. Formal Diction – used when the reader is highly educated. The words used are polysyllabic and professional jargons. b. Informal Diction – more ‘laid back’ and used in every day conversation. The average person can understand it with no trouble. c. Figurative Language – used to create an effect or feeling. The speaker is not saying what he/she means directly. d. Literal Language – when someone is saying what they actually mean in the most direct way. e. Concrete Diction – language that describes the qualities that can be literally detected by the five senses f. Abstract Diction – language that describes qualities that cannot be literally detected by the five senses. Vignette is a short impressionistic scene that focuses on one moment or character and gives a trenchant impression about that character, an idea, setting, and/or object. It's a short, descriptive age that's more about evoking meaning through imagery than it is about plot. Amslt17

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Example: The glistening sunlight burst through the rippling crystal clear water and hugged the jagged rock on the sharp sea bottom.

Lesson 1.4 Vignettes by well-known local and foreign writers James Joyce (2 February 1882 – 13 January 1941) James Augustine Aloysius Joyce was an Irish novelist, short story writer, and poet. He contributed to the modernist avant-garde and is regarded as one of the most influential and important authors of the 20th century.Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he utilised.

Master Brunny Lynam ran across the road and put Father Conmee’s letter to father provincial into the mouth of the bright red letterbox, Father Conmee smiled and nodded and smiled and walked along Mountjoy square east. Mr Denis J. Maginni, professor of dancing, &c., in silk hat, slate frockcoat with silk facings, white kerchief tie, tight lavender tros, canary gloves and pointed patent boots, walking with grave deportment most respectfully took the curbstone as he ed lady Maxwell at the corner of Dignam’s court. Was that not Mrs M’Guinness? Mrs M’Guinness, stately, silverhaired, bowed to Father Conmee from the farther footpath along which she smiled. And Father Conmee smiled and saluted. How did she do? – an excerpt from Ulysses Tim O’Brien (born October 1, 1946) William Timothy "Tim" O'Brien is an American novelist best known for his work of fiction, The Things They Carried (1990), a critically acclaimed collection of semi-autobiographical, interrelated short stories inspired by O'Brien's experiences in the Vietnam War. In addition, he is known for his war novel, Going After Cacciato (1978), also written about wartime Vietnam.

In the first week of April, before Lavender died, Lieutenant Jimmy Cross received a good-luck charm from Martha. It was a simple pebble, an ounce at most. Smooth to the touch, it was a milky white color with flecks of orange and violet, oval-shaped, like a miniature egg. In the accompanying letter, Martha wrote that she had found the pebble on the Jersey shoreline, precisely where the land touched water at high tide, where things came together but also separated. It was this separate-buttogether quality, she wrote, that had inspired her to pick up the pebble and to carry it in her breast pocket for several days, where it seemed weightless, and then to send it through the mail, by air, as a token of her truest feelings for him. Lieutenant Cross found this romantic. But he wondered what her truest feelings were, exactly, and what she meant by separate-but-together. Tim O’Brien’s collection of short stories shares a name with the first story of the book, “The Things They Carried.” This story contains many concrete examples of things that men in Vietnam carried with them during the Vietnam War. The list of things that O’Brien presents is surrounded with short vignettes showing the importance of some of the more sentimental objects they carried. Amslt17

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JK Rowling (born 31 July 1965), Joanne "Jo" Rowling, OBE, FRSL pen names J. K. Rowling and Robert Galbraith, is a British novelist, screenwriter and film producer best known as the author of the Harry Potter fantasy series.

“Apparently wizards poke their noses in everywhere!” said Petunia, now as pale as she had been flushed. “Freak!” she spat at her sister, and she flounced off to where her parents stood. . . The scene dissolved again. Snape was hurrying along the corridor of the Hogwarts Express as it clattered through the countryside. He had already changed into his school robes, had perhaps taken the first opportunity to take off his dreadful Muggle clothes. At last he stopped, outside a compartment in which a group of rowdy boys were talking. Hunched in a corner seat beside the window was Lily, her face pressed against the windowpane. Snape slid open the compartment door and sat down opposite Lily. She glanced at him and then looked back out of the window. She had been crying. (Harry Potter and the Deathly Hallows by J. K. Rowling) One of the magical devices in J. K. Rowling’s Harry Potter series is called a “pensieve,” in which someone can look into another person’s memory. At the end of the final book, Harry is able to collect a series of memories from his arch-nemesis, Professor Snape. These vignette examples last only a few moments, but construct a different narrative of Snape’s life than Harry had previously known. Test your knowledge of Vignette. 1. Which of the following statements is the best vignette definition? A. A subplot in a novel. B. A brief but significant scene. C. A poetic form with nineteen lines with two refrains and two repeating rhymes in a standardized way. 2. Why was the word vignette adopted as a literary device? A. There was a famous old fable in which a vine killed a character, and that scene was so memorable that “vignette” came to mean any short, emotional scene. B. Modern filmmakers often show short scenes, and this technique was picked up by authors. C. In older books there were often small illustrations at the beginning of the book of the narrative surrounded by small vines of ivy; vignette came to refer to short scenes as well. 3. Which of the following situations would qualify as an example of vignette? A. J. K. Rowling’s Harry Potter looks into a pensieve and sees a short scene of something that happened in the past. B. Tim O’Brien’s narrator meditates on the horrors of war in an abstract way. C. Seamus Heaney’s translation of Beowulf, which presents a full narrative, with rising action and falling action, about the exploits of the Old English hero Beowulf.

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Name & Section: ________________________________________

Write Shop #1

Date: _________

Time Started: __________ Ended: __________

1. Describe a pair of shoes in such a way that a reader will think of death. Do not mention ‘Death’ in the vignette. Make use of imagery, diction, or figures of speech. _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ 2. Write a vignette based on the images below. Choose only one image. There should be at least two figures of speech in your vignette. (Fall Shower) _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ (Fallen Damsel) _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ (The Venture) _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________ _________________________________________

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Write Shop #1

Mechanics: I. Vignette Pair-Share 1. Read your shoes vignette to your partner. 2. Without showing your partner your printed image, read your vignette draft aloud to him/her. Partner: consider and discuss what you notice, what you liked, any suggestions. 3. Then, share the image and discuss. How does the writer use imagery to paint a picture in your mind? II. Vignette Revision 1. 2. 3. 4. 5.

Check the rubric below and revise your vignette to meet all the requirements. Re-write your vignette in your journal. Make a title for your ‘shoe’ vignette. Indicate the title of the image you have chosen. Write your name, date, the name of your partner, time started and ended

Reading and Writing Poetry

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Objectives: 1. Identify the various elements, techniques, and literary devices in poetry 2. Determine specific forms and conventions of poetry 3. Use selected elements of poetry in short exercises 4. Explore innovative techniques in writing poetry 5. Write a short poem applying the various elements, techniques, and literary devices

Lesson 2.1 Task #1 How do you interpret the quote below? Share your thoughts to class. ”We don’t read and write poetry because it’s cute. We read and write poetry because we are of the human race. And the human race is filled with ion, and medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.” - Dead Poets Society Poetry is considered to be the oldest form of literature. It started as spoken by our forefathers but modern poetry is written but sometimes, also performed. It is a form of literature that uses aesthetic and rhythmic qualities of language to evoke meanings. Poetry has elements that help it produce meaning. ELEMENTS of POETRY Read the poem below. O Captain! My Captain! BY WALT WHITMAN O Captain! my Captain! our fearful trip is done, The ship has weather’d every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead. O Captain! my Captain! rise up and hear the bells; Rise up—for you the flag is flung—for you the bugle trills, For you bouquets and ribbon’d wreaths—for you the shores a-crowding, For you they call, the swaying mass, their eager faces turning; Here Captain! dear father! This arm beneath your head! It is some dream that on the deck, You’ve fallen cold and dead. My Captain does not answer, his lips are pale and still, My father does not feel my arm, he has no pulse nor will, Amslt17

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The ship is anchor’d safe and sound, its voyage closed and done, From fearful trip the victor ship comes in with object won; Exult O shores, and ring O bells! But I with mournful tread, Walk the deck my Captain lies, Fallen cold and dead.

The Tone of the poem reflects the attitude of the poet towards the subject matter. The mood and atmosphere of the poem refer to the general feeling or emotion of the poem which is created by the poet’s tone, and the language, imagery and sound of the poem. A poem’s tone is also dynamic. It sometimes changes as the poem progresses.  Identify the words from the poem which accurately describes its tone. ____________________________________________________________________________  What is the tone or attitude of the poet? What words reveal this feeling? Is the language of the poem directed squarely at the reader or is it more descriptive, impersonal or philosophical? ____________________________________________________________________________  Is the speaker involved or detached (uninvolved, unemotional?) How does she/he seem to feel about her/his subject matter? Is the speaker serious or joking, ironic or straightforward, condemning, approving or disionate, lighthearted or depressed, loving or angry? ____________________________________________________________________________ The Theme is the main idea or an underlying meaning of a literary work that may be stated directly or indirectly. There are two levels of meaning to consider: 1 The literal, surface subject of the poem – often an event, a situation, a person, an experience, an observation, a story, or a description. 2 The underlying meaning or theme of the poem, which is usually more abstract – an idea, a feeling or belief. One way to determine a theme is to 1) ask yourself what the poem is about; 2) come up with some one-word answers to that question (subjects of the poem); and 3) ask what general attitude (tone) is taken towards those subjects in the poem. Note: 1. “Purity” is a subject, not a theme; “purity is vulnerability” is a theme. 2. that the theme of any work of literature is stated in a complete sentence.

What is the poet’s purpose? What is the poet’s message? Who is speaking? Whose feelings and points of view are being expressed? Who is being addressed? How do you know? ____________________________________________________________________________ ____________________________________________________________________________  Are there any characters that need to be considered? This may be relevant if the poem deals with a story (eg ballad, epic) or a particular person whose motivations need to be recognised in order to understand the poem’s full meaning. ____________________________________________________________________________ ____________________________________________________________________________  What is the poem saying about the human experience, motivation, or condition? What subject or subjects does the poem address? What do you learn about those subjects? What idea does the poet want you take away with you concerning these subjects? 

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____________________________________________________________________________ ____________________________________________________________________________ About the Author:  Born in Long Island, New York to parents of low economic status  When the Civil War broke out, Whitman’s brother, George ed the Union Army; this ultimately helped open Whitman’s eyes to the bloody reality of warfare.  He never intended to go back to New York after his experiences, and stayed in Washington D.C. throughout the Civil War.

Lesson 2.2 Elements of Conventional Forms of Poetry Let’s review our Poetry Vocabulary. 1. Line : a unit of meaning (1 word, a phrase, or even a sentence) 2. Stanza: lines that are grouped together (usually has the same number of lines) 3. Rhyme: the repetition of sounds at the end of lines or within lines 4. Rhyme Scheme: the pattern of rhyme in a poem (aabb or abab) Rhyme Scheme     

Uses the letters of the alphabet to represent sounds to be able to visually “see” the pattern Are labeled according to their rhyme sounds (aabbcc) 1st rhyme sound in a poem is “a” and each time the 1st rhyme sound is heard, it is “a 2nd rhyme sound in a poem is “b” and each time the 2nd rhyme sound is heard, it is “b” The pattern continues with “c”, “d”, etc.

Label the poem with its rhyme scheme. I Like My Nose Bruce Lansky I’m glad that my nose points down to my toes, and doesn’t point up to the sky. For now I can sneeze just as much as I please, without getting goo in my eye.

Free Verse Amslt17

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    

Written without rhyme or rhythm Is very conversational – sounds like someone talking with you Some do not use punctuation or capitalization, or other ways of breaking the rules of grammar. A more modern type of poetry Use your “senses” when writing

What makes this poem free verse? I Dream’d in a Dream Walt Whitman

Couplet    

I DREAM’D in a dream I saw a city invincible to the attacks of the whole of the rest of the earth, I dream’d that was the new city of Friends, Nothing was greater there than the quality of robust love, it led to rest, It was seen every hour n the actions of the men of that city, And in all their looks and words. A unit of verse consisting of 2 lines that usually rhymes A couple = 2 people, 2 things, 2 of everything May be humorous or serious Can be song lyrics, jokes, Dr. Seuss books, etc.

Example:

Chocolate candy is sweet and yummy It goes down smoothly in my tummy! Bed in Summer Robert Louis Stevenson In winter I get up at night Or hear the grown-up people’s feet And dress by yellow candle-light. Still going past me in the street. In summer quite the other way, I have to go to bed by day. And does it not seem hard to you, When all the sky is clear and blue, I have to go to bed and see And I should like so much to play, The birds still hopping on the tree, To have to go to bed by day?  Label the poem according to its rhyme scheme.  How many couplets are in the poem?  What is the tone of the poem?  What is the theme of the poem? Meter  A unit of rhythm in poetry, the pattern of the beats Amslt17

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 Also called a foot.  Each foot has a certain number of syllables in it, usually two or three syllables  The difference in types of meter is which syllables are accented and which are not (stressed and unstressed) 1. Iamb meter has the first syllable unstressed and the second stressed. - / - / - / / Today I had a rotten day. - / / / / As I was coming in from play, - / - / - / - / I accidentally stubbed my toes / / / - / and tripped and fell and whacked my nose.

2. Trochee meter has the first syllable stressed and the second unstressed. Tell me | not in | mournful | numbers

3. Dactyl meter has the first syllable stressed and the second and third syllable unstressed. This is the | forest pri | meval, the | murmuring | pine and the | hemlocks

4. Anapest meter has the first and second syllable unstressed and the third syllable stressed. And the sound | of a voice | that is still

Acrostic Poetry  The first letters of each line form a word or message relating to the subject  The letters of the subject written vertically  Each line begins with a word or phrase that starts with that letter  Does not have to rhyme  Simple, based upon one word Example: Elizabeth it is in vain you say 'Love not' — thou sayest it in so sweet a way: In vain those words from thee or L.E.L. Zantippe's talents had enforced so well: Ah! if that language from thy heart arise, Breath it less gently forth — and veil thine eyes. Endymion, recollect, when Luna tried To cure his love — was cured of all beside — His follie — pride — and ion — for he died. -- 'An Acrostic', by Edgar Allan Poe

Haikus  Ancient Japanese form of poetry  Typically expresses a single thought, feeling or idea

 Usually has nature themes  Does not rhyme Amslt17

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 A 3 line poem consisting of 17 syllables. (5-7-5 pattern) 1st line = 5 syllables Worm At night, quietly, a worm under the moonlight digs into a nut.

2nd line = 7 syllables 3rd line = 5 syllables The Light of a Candle The light of a candle is transferred to another candle— spring twilight.

-Matsuo Basho Limericks  Funny or silly poems with 5 lines  Meant to be humorous  Lines 1,2, and 5 rhyme with each other  Lines 3 and four rhyme with each other  Rhyme scheme of aabba  Pioneered by Edward Lear (1812-1888)

-Yosa Buson Example: There was a young lady whose bonnet Came untied when the birds sat upon it. But she said, “I don’t care! All the birds of the air Are welcome to sit on my bonnet!” By: Edward Lear

Quatrain  Has 4 lines with a rhyming pattern of aabb, abab, aaaa, or abcd  One of the most common forms of poetry Example: Shall I compare thee to a summer’s day Thou art more lovely and more temperate Rough winds do shake the darling buds of May And summer’s lease hath all too short a date (W. Shakespeare) Line Break A line break is a poetic device which is used at the end of a line and the beginning of the next line in a poem. It could be employed without traditional punctuation. Example: My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drain..:…. That thou, light-winged Dryad of the trees In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease (Ode to the Nightangale, John Keats)  What is the impact of line breaks in poetry?

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____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Enjambment is the continuation of a sentence or a clause over a line-break. It is a term used in poetry to refer to lines that end without punctuation and without completing a sentence or clause. Example:

Your skin, Oh yeah your skin and bones, Turn into Something beautiful, You know, You know I love you so, You know I love you so. (Yellow by Coldplay) Concrete Poetry  Includes words and phrases arranged on paper to capture and extend meaning  The print of the poem takes the shape as a collage or picture that conveys meaning  Each line is a complete unit of thought

he met in the house, 'Let us both go to law: I will prosecute you.— Come, I'll take no denial; We must have a trial: For

"Fury said to a mouse, That

really this morning I've nothing to do.' Said the mouse to the cur,

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I'll be jury,' Said cunning old Fury; 'I'll try the whole cause, and condemn you to death.' "

'I'll be judge,

 How does a concrete poem work closely with imagery? ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Cinquain

 A poem with the following format: The first line consists of two syllables (the title) The second line consists of four syllables (describes the title) The third line consists of six syllables (states an action) The fourth line consists of eight syllables (expresses a feeling) The last line consists of two syllables (another word for the title) Example: Parrot Beautiful bird Squawking very loudly Flying in canopy layers. Pretty

Alphabet Poem  a poem where the first letter of each line is the subsequent letter of the alphabet.  Each line focuses on building upon the central topic of the poem, creating a specific mood, feeling, or picture in the reader’s mind. An Alphabet poem, By definition, Clearly Dictates Every letter’s position. Air raid shelters, damp and black

Bombs exploding, back to back Children crying, adults too “Down the cellar – after you” Evacuees on the train Farewells said in pouring rain Gone to live in some strange place Hoping for a friendly face……

Name & Section: ________________________________________

Date: _________

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Write Shop #2.1 1.

Using the templates, write limericks by filling in the blanks with your own rhyming words. Use the past tense. Time Started: __________ Ended: __________ A. There was once a ________________ from ________________. All the while s/he hoped to _______________________________. So s/he _______________________________________________. And _____________________________________________. That ____________________ from ____________________. B. I once met a ________________ from __________________. Every day s/he _____________________________________. But whenever s/he __________________________________. The _____________________________________. The strange _________________ from __________________.

2.

Write a haiku about your favourite food, thing, person, or animal. Time Started: __________ Ended: __________

3.

Try to write your own concrete poem in the shape of the subject of the poem. Time Started: __________ Ended: __________

4.

Write an acrostic poem using your name. Amslt17

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Time Started: __________ Ended: __________

5.

Write a cinquain about your S.O. (special someone). Time Started: __________ Ended: __________

6.

Write an alphabet poem. Use at least 8 letters of the alphabet. Free verse or rhyme, your choice. Time Started: __________ Ended: __________

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Mechanics: 1. 2. 3. 4. 5.

Do the following tasks independently. You may refer to your notes for the format of each poetry type. Write however you are comfortable. Refrain from making too much noise. Ask your teacher if you have any questions. Check the rubric below.

Rubric for Poetry 4 -Focused on topic -Excellent creativity in presenting the topic -Good understanding of poetic devices -Used appropriate poetic form guidelines 3 -Focused on topic -Good creativity in presenting the topic -Some understanding of poetic devices -Used appropriate poetic form guidelines with few errors 2 -Somewhat focused on topic -Poor creativity in presenting the topic -Poor understanding of poetic devices -Poor use of poetic form guidelines -Illustration is not appropriate 1 -Not focused on topic -No creativity in presenting the topic -No understanding of poetic devices -No following of poetic form guidelines

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Experimental Poetry Experimental poetry makes a special point of innovation, sometimes in the belief that current poetry is stereotyped and inadequate. Typography, or the way the text is written is one of the aspects of experimental poetry. Loop Poetry Loop Poetry is a poetry form created by Hellon. There are no restrictions on the number of stanzas nor on the syllable count for each line. In each stanza, the last word of the first line becomes the first word of line two, last word of line 2 becomes the first word of line 3, last word of line 3 becomes the first word of line 4. This is followed for each stanza. The rhyme scheme is abcb. Variations: 1. Stanzas, writers choice on the number, no rhyming, the last word, first word scheme is maintained. 2. One long stanza, no limit on number of lines, no rhyming scheme, the last word, first word scheme is maintained. 3. Couplets mixed with 4 line stanzas, the last word, first word scheme is maintained in the stanzas. It can also be used in the couplets. Rhyme scheme is ab, cc, defg, hh, ii, jklm, nn, oo. Bloody eyes Bloody eyes..watching..waiting waiting in gloomy shadows shadows of night night so...still still they watch, still they wait wait for you you..the next victim victim of evil evil that lurks lurks in silence silence then...screams screams...then silence silence of night night of shadows shadows of gloom..waiting waiting...watching watching..bloody eyes The Tableau The Tableau, a poetry form created by Emily Romano in October of 2008, consists of one or more verses, each having six lines. Each line should have five beats. There is no set rhyme scheme, although rhyme may be present. The title should contain the word tableau. Since the dictionary states the word tableau means picture or representation, the poem should reflect this. A picture should come to mind as the poem is read. Amslt17

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Graveside Tableau Sunlight cannot warm The corpse of the bairn Who drowned in the loch; Stoic the father, Silent the mother, While a spinster weeps Visual Poem Visual poetry is a literary verse written on page with intentional form to add meaning to the poem. The form may take on a recognizable shape, or may use a free formed pattern to create a new rhythm when reading the poem out loud. These shapes and rhythms are typically tied to the central ideas and themes contained within the poems, and often serve to reinforce those concepts. Concrete poem is an example of a visual poem in which the typography in which the words are written shape up to the image of the poem.

Prose Poetry A prose poem appears like prose but is read as poetry. It lacks the line breaks, however, makes use of fragmentation, compression, repetition and rhyme. Be Drunk By Charles Baudelaire And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking. . .ask what time it is and wind, wave, star, bird, clock will answer you: “It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish.” Performance Poetry Amslt17

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Performance poetry means reading or declaiming poetry in a way that acknowledges the presence of an audience. This can be anything from a bit of eye- to fully blown histrionics. Spoken Word Poetry Spoken word is a performance art that is word based. It is an oral art that focuses on the aesthetics of word play and intonation and voice inflection. It is a 'catchall' which includes any kind of poetry recited aloud. Guidelines in Writing 1.

Tell a Story. There are many ways to start a story. You can follow the conventional plot type. Or you can start with a gateway line. A gateway line is a single line that captures your theme. For example, “Practice is failing on purpose.” 2. Flesh it Out. After your gateway line, continue with your plot, with either a story of a little boy learning to ride a bike or a girl putting on make-up for the first time. 3. Read it Out Loud. This allows you to evaluate your work. Does it sound right? Do you like what you hear? 4. Revise. Tighten your diction. Make it sound firmer. Use poetic devices to make it more pleasing to the ear. 5. Perform. Decide on your reading pace. Do you want it to appear hip-hop, upbeat, or dramatic? Practice your piece. Guidelines in Performing 1. 2. 3. 4.

5.

Practice Enunciation. Exaggerate the shape of your mouth. It helps control your pace so that your audience can understand you. Practice Diaphragmatic Breathing. Practice your breathing. It will help you not to lose your breath while performing. Consider pacing, sound, and intonation to better tell your story. Anticipate the emotional reaction you want your audience to have. Slow down in places, emphasize words, alter your tone and volume according to your material. Stand up straight. Standing up straight while speaking is essential to getting the sound out. Elongate the spine in your neck as to not constrict the breath in your throat. Lift your chin slightly and imagine a string pulling the top of your head up. Plus when you stand up straight and assume a strong, confident stance, it is reflected in your voice. Give the microphone room. The microphone should be three inches away from your mouth.

Name & Section: ________________________________________

Date: _________

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Write Shop #2.2

Time Started: __________ Ended: __________

With a pair, write a 2-minute spoken poetry script. Follow the guidelines in writing your script.

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Mechanics: 1. 2. 3. 4. 5.

The poem must be the poet’s own. Poems can be on any subject and in any style. Each poet gets a maximum of three minutes. Props, music, or costumes are not allowed. Collaborative pieces in which two or more poets perform together are not only permitted, but also encouraged.

Reading and Writing Fiction Objectives: 1. 2. 3. 4.

Identify the various elements, techniques, and literary devices in fiction Determine various modes of fiction Write journal entries and other short exercises exploring key elements of fiction Write a short scene applying various elements, techniques, and literary devices

Lesson # 3.1 Elements of Fiction Amslt17

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Many of us love literature, the complexity of it, the messages we get from it. But often it can be confusing and overwhelming, so if we know the tools that writers use—the elements of fiction—we can break down a piece of fiction, analyze it, to understand and enjoy it more fully. In the same way that a painter uses shape, color, perspective, and other aspects of visual art to create a painting, a fiction writer uses character, setting, plot, point of view, theme, and various kinds of symbolism and language to create artistic effect in fiction. These aspects of fiction are known as the formal elements. An understanding of the formal elements will enhance the reader’s appreciation of any piece of fiction, as well as his or her ability to share perceptions with others. These elements provide a basic vocabulary and set of critical tools that can be used in conjunction with many other critical approaches.

Character In fiction, character refers to a textual representation of a human being (or occasionally another creature). Most fiction writers agree that character development is the key element in a story's creation, and in most pieces of fiction a close identification with the characters is crucial to understanding the story. Protagonist is the central agent in generating its plot, and this individual can embody the story’s theme. Antagonist is the character or force in conflict with the protagonist. Round Character is a complex, fully developed character, often prone to change. They are true to life characters described in more detail, with many different and sometimes contradictory traits. Flat Character is a one-dimensional character, typically not central to the story. They are stereotyped, shallow, and often symbolic. They have only one or two personality traits. Dynamic Characters undergo some type of change or development in the story. Static Characters do not change in the course of the story. Example: Mrs. Mallard, in Kate Chopin’s “The Story of an Hour,” though developed in relatively few words, is a round character because she shows complex feelings toward her husband, and her character develops when she envisions the freedom of being widowed. Characterization refers to the process used by the author to create fictional characters. Methods of Characterization     

Characters are revealed to us by means of the following techniques. Action. How the character acts or behaves throughout the story. Appearance. What types of clothes the character wears. His/her hygiene. Dialogue. What the character says and how the character says it. Thoughts and Feel. By what the character thinks and feels. Relationships. The types of personal relationships, such as friends and acquaintances the character has.

Characterization is the process by which the fiction writer reveals a character’s personality to the reader. This process is very similar to the process real people go through when they encounter new

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situations or person. People form an initial opinion about a situation based upon what they see and hear. The fiction writer can reveal a character in the following ways: 1. By telling the reader directly what the character is like (not a very subtle approach and not used often by writers); 2. By describing how the character looks and dresses (What type of clothing does the character wear? 3. By letting the reader hear how the character speaks (Does the character speak with a dialect? Is the character loud or soft-spoken?); 4. By revealing the character’s private thoughts and feelings (What does the character think about other people? About himself?); 5. By revealing the character’s effect on other people (Do people want to associate with the character? Do people do whatever the character asks?) 6. By showing the character’s actions (Does the character treat people who respect and courtesy? Does the character make good decisions or poor ones?). Author Nancy Lamb wrote in “The Art and Craft of storytelling” that the challenge of the writer is to create characters that live and breathe on the page. To achieve this, the writer must create characters that are:  Authentic.  Grab the attention of the reader.  Believable.  Appealing to the reader. Task #1 Think of a character you want to have in a story. You may opt to have protagonist or an antagonist. Create a character sketch or profile for your character. Draw your character and complete the profile below. For your profile, include the following:            

Draw your character here...

Age Sex Name Education Job Interests Likes and dislikes Important traits Clothes Body language Character’s social environment Goal

Point of View

Point of view is the angle or perspective from which the story is told. There are four basic points

of view which fall into two categories (first person and third person):

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Point of View Types First Person  the author disappears into one of the characters, who tells the story in the first person, in the "I" (the "I" must also exist outside of dialogue)  this character may be either a major or minor character, or observer (bystander), and it will make considerable difference whether the protagonist tells the story or someone else tells it  often, the very heart of the story may lie in the difference between what the narrator perceives and what the reader perceives  care must be taken to differentiate between the author's attitude and the narrator's attitude: the attitudes and perspectives are not always synonymous  pros: it offers, sometimes, a gain in immediacy and reality since the author as intermediary is eliminated; it also offers excellent opportunities for dramatic irony and for studies in limited or blunted human perceptivity  cons: it offers no opportunity for direct interpretation by the author; there is constant danger that the narrator may be made to transcend his/her sensitivity, knowledge, or powers of language in telling the story Second Person Second-person describes writing that is from the point of view of a narrative onlooker who is writing about you, the reader: "You went to school that morning." The second-person point of view is rarely used in fiction. It is difficult to develop a set of characters and a story in which the second person is appropriate, and it is not easy to maintain a second-person narrative in a longer piece of writing. This example of second-person writing comes from her story "How to Become a Writer:" "The next semester the writing professor is obsessed with writing from personal experience. You must write from what you know, from what has happened to you. He wants deaths, he wants camping trips. Think about what has happened to you. In three years there have been three things: You lost your virginity, your parents got divorced, and your brother came home from a forest 10 miles from the Cambodian border with only half a thigh, a permanent smirk nestled into one corner of his mouth." What Second-Person Point of View Is Not It's important to know that addressing the reader is not the same thing as writing from the secondperson point of view. Many major authors, including classic writers such as Charles Dickens and Jane Austen, actually speak directly to the reader with commentary on the plot or characters. Contemporary writers of blogs and non-fiction often write to "you" with advice or insights. When a writer addresses the reader, however, the writer is writing from the third-person point of view. "Do you enjoy pot roast as much as I do?" is a question asked by a pot-roast loving third-person narrator. "You love pot roast, so you plan to cook it tonight," is a use of the second-person point of view. Why Would an Author Choose to Use It? While most people naturally write in the first- or third-person, it takes real effort and intention to write in the second-person. Generally, people decide to write in the second person because:  They want to immerse the reader in the experience of "being" the protagonist.  They want to engage the reader in an extremely rich sensory experience, which can best be accomplished by forcing the reader to imagine himself as part of the experience. Amslt17

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They want to write a particularly persuasive or engaging age that will be most effectively written in the second-person  They want to try a new and different style of writing. Third Person Omniscient  the author or narrator tells the story, using the third person (he, she, they)  s/he knows all and is free to tell us anything, including what the characters are thinking or feeling, and interpret their behavior (reveal why they do what they do)  an omniscient narrator may sometimes comment on the significance of the story s/he is telling  stories told from the omniscient point of view may differ widely in the amount of omniscience the author allows her/himself  the omniscient point of view is the most flexible and permits the widest scope; skillfully used, it enables the author to achieve simultaneous breadth and depth  the omniscient point of view is most subject to abuse; unskillfully used, it can destroy the illusion of reality that the story attempts to create. Third Person Limited Omniscient  the author tells the story, using the third person, BUT  he/she limits her/himself to a complete knowledge of one character in the story and tells us only what that one character thinks, feels, sees, or hears: the author places her/himself at the elbow of this one character, so to speak, and looks at the events of the story through his/her eyes and through his/her mind; the author moves both inside and outside this character but never leaves her/his side; and the author may interpret the character's thoughts and behavior.  the author knows everything about the character—more than the character knows about her/himself—but author shows no knowledge of what other characters are thinking, feeling, or doing except for what the chosen character knows or infers  the chosen character may be either a major or a minor character, a participant or an observer, and this choice is important  pros: since limited omniscient point of view acquaints readers with the world through the mind and senses of only one person, it approximates more closely than the omniscient the conditions of real life; it also offers a ready-made unifying element since all details of the story are the experience of one person  cons: it offers a limited field of observation, for the readers can go nowhere except where the chosen character goes, and there may be difficulty in having the character naturally cognizant of all important events Third Person Objective (or Dramatic)  author disappears into a kind of roving sound camera that can go anywhere but can record only what is seen or heard  the author tells the story, using the third person, but limits him/herself to reporting what the characters say or do  cannot comment, interpret, or enter a character's mind: the author is not there to explain  the reader is placed in the position of a spectator at a movie or play, seeing what the characters do and hear what they say but only inferring what they think or feel or what they are like  the purest example of a story told from the objective point of view is one written entirely in dialogue, for as soon as the author adds words of his/her own, s/he begins to interpret through his/her very choice of words 

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very few stories using this point of view are antiseptically pure, for the limitations it imposes on the author are severe  pros: quick and action packed, forces readers to make their own interpretations  cons: must rely heavily on external action and dialogue, offers no opportunities for interpretation by the author (may be pro, too), forces readers to make their own interpretations Point of View Hints To determine point of view, ask: 

  

Who tells the story? How much is this person allowed to know? To what extent does the author look inside the characters and report their thoughts and feelings?

To determine point of view's importance:  Know whether events of the story are being interpreted by the author or by one of the characters. If interpreted by one of the characters: o o o



ask how this character's mind and personality affect his/her interpretations ask whether the character is perceptive or imperceptive ask whether the character's interpretation can be accepted at face value or discounted because of ignorance, stupidity, or self-deception

Know whether the writer has chosen his point of view for maximum revelation of his/her material or for another reason: o ask whether author has chosen his/her point of view mainly to conceal certain information until the end of the story and thus maintain suspense and create surprise o ask whether author deliberately misleads readers by presenting the events through a character who falsely interprets them and whether this misdirection is justified (might it lead eventually to more effective revelation of character and theme, for instance)

Know whether the author has used her/his selected point of view fairly and consistently: o ask whether the person to whose thoughts and feelings we are itted has pertinent information that s/he does not reveal o ask whether the point of view is consistent, and, if it is not, whether the author shifts it for a just artistic reason Task #2 

view.

Choose from the following scenarios and write 5-8 sentence story using the first person point of    

An engagement party. The mother of the groom-to-be is talking to the brother of the bride. Two strangers in a company waiting area are both interviewing for the same job Two acquaintances run into each other (at a party, in the library, doing laundry.) They have only been casual acquaintances so far, but one wants to ask the other for a date. A landlord/landlady telling a tenant that he/she must move. Amslt17

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

A dating couple. One has just received his/her acceptance into the best graduate program in the country, but it is far away.

Now rewrite the same story in the third person. Choose from either of the third person types.

Plot Plot is the structure of the action of a story. In conventional stories, plot has three main parts: rising action, climax, and falling action leading to a resolution or denouement (Harris & Hodges, 1995, p. 189). “Plot is a sequence of events that occurs to characters in situations in the beginning, middle, and end of a story” (Hancock, 2004, p. 136). There are four primary types of plots (modified from Anderson, 2006, & Lukens, 2007): 1. Linear – plot is constructed logically and not by coincidence. There are three major parts to a linear plot:

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 Beginning – the characters and setting are introduced, and the central conflict/problem of the story is revealed. Usually the main character sets a goal to overcome the conflict/problem, or s/he may set a goal that creates a conflict/problem.  Middle – the main character participates in a series of events or attempts to reach the goal that leads to a resolution of the conflict/problem.  End – the main character may or may not reach his/her goal, thus resolving the conflict/problem. The linear plot is common in folktales, such as Goldilocks and the Three Bears. 2. Episodic – “one incident or short episode is linked to another by common characters or a unified theme” (Lukens, 2007, p. 121).  An episodic plot features distinct episodes that are related to one another but that also can be read individually, almost as stories by themselves (e.g., the chapters in Frog and Toad All Year, Lobel, 1976). The chapters of short books with episodic structure like Frog and Toad can be used to teach narrative structure as one would with a picture storybook, because each chapter functions like a story that can stand alone.  Most novels involve more complex plots, in which the story builds on itself, so that each episode evolves out of a previous one and produces another one (e.g., Beverly Cleary books, such as Ramona the Brave, and Judy Blume books, such as Superfudge, etc.). 3. Cumulative – plots with lots of repetition of phrases, sentences, or events with one new aspect added with each repetition. The Gingerbread Man and The Great, Big, Enormous Turnip are examples of cumulative plots. 4. Circular – the characters in the story end up in the same place that they were at the beginning of the story. Examples of circular stories are If You Give a Mouse a Cookie (Numeroff, 1985) and Where the Wild Things Are (Sendak, 1963). The Traditional Parts of a Plot Gustav Freytag was a Nineteenth Century German novelist who saw common patterns in the plots of stories and novels and developed a diagram to analyze them. He diagrammed a story's plot using a pyramid like the one shown here:

Freytag's Pyramid 1. Exposition: setting the scene. The writer introduces the characters and setting, providing description and background. 2. Inciting Incident: something happens to begin the action. A single event usually signals the beginning of the main conflict. The inciting incident is sometimes called 'the complication'. 3. Rising Action: the story builds and gets more exciting. 4. Climax: the moment of greatest tension in a story. This is often the most exciting event. It is the event that the rising action builds up to and that the falling action follows. 5. Falling Action: events happen as a result of the climax and we know that the story will soon end. 6. Resolution: the character solves the main problem/conflict or someone solves it for him or her. 7. Dénouement: (a French term, pronounced: day-noomoh) the ending. At this point, any remaining secrets, Amslt17

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questions or mysteries which remain after the resolution are solved by the characters or explained by the author. Sometimes the author leaves us to think about the THEME or future possibilities for the characters. You can think of the dénouement as the opposite of the exposition: instead of getting ready to tell us the story by introducing the setting and characters, the author is getting ready to end it with a final explanation of what actually happened and how the characters think or feel about it. This can be the most difficult part of the plot to identify, as it is often very closely tied to the resolution. Setting and Atmosphere Carefully written, setting and atmosphere have a similar effect on your characters, and also on plot. Although they work together, setting and atmosphere are not interchangeable. Before we go further, let’s take a moment to define the : Setting: specific place, time period, and weather and time of day in which the story takes place. Atmosphere: refers to the surrounding mood, generally established through setting The Fundamental Elements of Setting Here is a list of the specific elements that setting encomes: 1. Locale. This relates to broad categories such as a country, state, region, city, and town, as well as to more specific locales, such as a neighborhood, street, house or school. Other locales can include shorelines, islands, farms, rural areas, etc. 2. Time of year. The time of year is richly evocative and influential in fiction. Time of year includes the seasons, but also encomes holidays, such as Hanukkah, Christmas, New Year’s Eve, and Halloween. Significant dates can also be used, such as the anniversary of a death of a character or real person, or the anniversary of a battle, such as the attack on Pearl Harbor. 3. Time of day. Scenes need to play out during various times or periods during a day or night, such as dawn or dusk. Readers have clear associations with different periods of the day, making an easy way to create a visual orientation in a scene. 4. Elapsed time. The minutes, hours, days, weeks, and months a story encomes must be somehow ed for or the reader will feel confused and the story will suffer from a lack of authenticity. While scenes unfold moment by moment, there is also time to for between scenes, when a flashback is inserted, and when a character travels a long distance. 5. Climate. Climate is linked to the geography and topography of a place, and, as in our real world, can influence events and people. Ocean currents, prevailing winds and air masses, latitude, altitude, mountains, land masses, and large bodies of water all influence climate. It’s especially important when you write about a real setting to understand climatic influences. Harsh climates can make for grim lives, while tropical climates can create more carefree lifestyles. Amslt17

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6. Geography. This refers to specific aspects of water, landforms, ecosystems, and topography in your setting. Geography also includes climate, soil, plants, trees, rocks and minerals, and soils. Geography can create obvious influences in a story like a mountain a character must climb, a swift-running river he must cross, or a boreal forest he must traverse to reach safety. No matter where a story is set, whether it’s a mountain village in the Ifugao or an opulent resort on the Boracay coast, the natural world with all its geographic variations and influences must permeate the story. 7. Man-made geography. There are few corners of the planet that have not been influenced by the hand of humankind. It is in our man-made influences that our creativity and the destructiveness of civilization can be seen. Readers want visual evidence in a story world, and man-made geography is easily included to provide it. With this in mind, make certain that your stories contain proof of the many footprints that people have left in its setting. Use the influences of humankind on geography to lend authenticity to stories set in a real or famous locale. These landmarks include dams, bridges, ports, towns and cities, monuments, burial grounds, cemeteries, and famous buildings. Consider too the influences of mankind using the land, and the effects of mines, deforestation, agriculture, irrigation, vineyards, cattle grazing, and coffee plantations. 8. Eras of historical importance. Important events, wars, or historical periods linked to the plot and theme might include the Civil war, World War II, or Spanish Colonization. 9. Social/political/cultural environment. Cultural, political, and social influences can range widely and affect characters in many ways. The social era of a story often influences characters’ values, social and family roles, and sensibilities. 10.Population. Some places are densely populated, such as Manila, while others are lonely places with only a few hardy souls. Your stories need a specific, yet varied population that accurately reflects the place. 11.Ancestral influences. In many regions of the United States, the ancestral influences of European countries such as , Ireland, Italy, and Poland are prominent. The cities and bayous of Louisiana are populated with distinctive groups influenced by their Native American, French-Canadian, and African American forebears. Ancestral influences can be depicted in cuisine, dialogue, values, attitudes, and general outlook. Possible Functions of Settings Jack Hodgins lists seven roles for settings in his book A ion for Narrative. Each makes more use of setting than the last, and the final role is truly the most memorable when it is used by a capable writer. Generic: The setting is without unique features, implying that the story could happen anywhere. The problem with this is that all real places have their own cultural and physical characteristics and these characteristics influence characters. A generic setting will not seem real and may actually detract from the story. Backdrop: The setting merely provides us with a way of knowing where we are and, though it may have unique characteristics, it does not affect the characters or action. It is a place, but it doesn't do anything. Local Color: The story is flavoured by attention to the unique details of the setting, which may give the impression that the story could not have happened anywhere else. The writer may be tempted to make the setting entertaining without really giving it any significance. Amslt17

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Atmosphere/Mood: Setting can be used to set the mood or atmosphere for the whole story or novel. In addition, the settings of individual scenes may reflect the state of mind of the characters. Affects Action and Character: Characters are more real if they have a historical and geographical context; the place where a person grew up will affect their attitudes and behaviour for their whole lives. For example, someone raised in a big city will think and act differently from someone raised in a tiny rural village. Place as Character: One example of this is in the old "man versus nature" plot, where the main struggles the protagonist faces are with the environment. In this situation, the setting itself is the antagonist. In stories of this sort, changing elements of the setting would change the entire story. Can you imagine a story about a woman's struggle to climb a mountain unaided being set on the prairies? That story wouldn't work without a mountain, and so the mountain becomes a central character. The story's plot, then, is largely determined by its setting. Metaphor/Symbol: The setting becomes symbolic of the theme of the story.

How would living in this place make you feel? What kind of people would live in this place? What are their problems? Their source of income? Their source of joy?

Conflict In storytelling, conflict is an inherent incompatibility or struggle between the goals of two or more characters or forces. → - Conflict creates tension and interest in a story. → - A narrative is not limited to a single conflict. → - Conflict is a vital part of narrative; it drives the story and maintains interest! Major types of conflict: 1. Person vs. Nature → This type of conflict occurs when a character finds themselves pitted against the forces of nature. → Stories featuring this conflict often involve characters fighting for their lives. 2. Person vs. Person → This type of conflict occurs when one character struggles with another character. There may be a psychological, emotional, verbal, or physical struggle. Amslt17

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3. Person vs. Society → This type of conflict occurs when a character disagrees with societal values, laws, or beliefs. → This is often the main conflict in social satires as well as Dystopian science fiction stories. 4. Person vs. fate This type of conflict can involve almost any supernatural force. This is a “catch-all” term for: Person vs. Deity Person vs. Ghost or monster Person vs. Alien Person vs. Fate 5. Person vs. him/herself (e.g. facing a difficult personal choice or a dilemma) → This type of conflict involves a character who faces an inner struggle. This character is typically the protagonist, or main character, of the story. They may often struggle to choose between good or evil, or to overcome certain feelings and emotions.

The first four types are said to be "external conflicts", while the last is "internal conflict". Theme The theme is a recurring social or psychological issue, like aging, violence, alienation or maturity. The author or poet weaves the theme into the plot, which is used as a vehicle to convey it. The title of the story or poem is often of significance in recognizing the theme.     

It's the unifying or central concept of a story. It's a theory of life which acts as the unifying force in a story, or the universal truth which the story illustrates. The simplest way of defining theme is this: it is the description of the basic challenges of mankind (e.g. "the human condition"). In most stories it's not just a simple moral, which is usually what an author thinks about the theme. Dramatic Premise is the relationship between two ideas linked by an active verb. o Love conquers everything o Jealousy kills the one we love o Kindness soothes the pain of reality

Techniques and Literary Devices A. Mood/Tone Tone is the author’s attitude toward a subject while Mood is the atmosphere of a piece of writing; it’s the emotions a selection arouses in a reader. B. Foreshadowing Foreshadowing is the art of layering clues to build tension. For example, if a story has a prowler on the loose and there is a scene with an open window in an otherwise locked house, that is foreshadowing. C. Symbolism Amslt17

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A symbol is a person, place, or thing comes to represent an abstract idea or concept -- it is anything that stands for something beyond itself. For example, a book could represent knowledge. A caged bird could represent oppression or imprisonment. D. Motif A motif can be defined as any recurring image, object, idea, or element within a particular work. Motif vs. Symbol As motifs are often symbolic in nature, they can often be mistakenly identified as mere symbols. The key difference to note between motifs and symbols is the element of repetition. As we’ve already established, a motif is an item that reoccurs throughout a text. In contrast, a symbol may only appear once. Beyond this, a motif often contributes toward developing the themes of a text, whereas a symbol’s significance may be limited to the particular scene. In this way, a motif may be a symbol, but a symbol is not necessarily a motif. Modes of Fiction Every novel or story consists of five modes. They are dialogue, thought, action, description and exposition. Dialogue and Thought Dialogue and thought serve three purposes: first, they reveal something about the character. Second, they build tension. Third, they help advance the story. The difference between the two is that dialogue is spoken aloud, while thought is internal monologue. Often, the two can play off each other to create interesting effects. For instance, in a conversation between John and girlfriend Marie, John might say— “I can’t wait to see you at dinner.” So I can rip the tongue out of that pretty little mouth of yours, he thought. Action Action is the driving force of your narrative, used not only to advance the story, but also to reveal information about your characters. For example, John reached underneath his car seat and felt around for the butcher knife. It was still there, ready and waiting. John is doing something, however minor, and we learn a little about his motives while moving the story forward. Description Description is all those deep sensory images you want your reader to experience. At its best, it should invoke an emotional response by setting the mood of your story. One of the cardinal rules when working with description is not to over describe. that your story comes first, and if your description is not serving the story, then it’s got to go. Let’s check back with our pal Johnny, who has his heart set on murdering Marie after dinner. To create the proper mood you might describe the scene at the restaurant something like:

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He was assaulted by the smells of burnt onions and body odor as he entered. The place was bursting with people wanting to “feel like family,” as the slogan on TV suggests, and the floor was sticky with spilled drinks from the children scurrying around like an infestation, waiting to be pressed into the ground by a careless foot. Not something I would open my wallet for, but you can see the description is brief and there is a definite mood created here, one that is obviously not happy. Exposition Exposition is the most dangerous of the narrative modes. It refers to the details the narrator gives about a character. This can be sometimes a flashback or flashforward, or just a piece of background information or commentary. The problem with exposition is that readers like to draw their own conclusions about the characters, and exposition, because of its very nature, forces you to tell instead of show. A good rule is to limit exposition to incidental information, like a character’s age, or the fact that the character prefers apples to oranges, or, in good ol’ Johnny’s case …

To dash out this woman’s brains while the family next to him stuffed yet another bowl of the free salad and bread into their faces. Now that would make him smile. Task #3 Choose 2 scenarios from the following and write a short narrative that shows foreshadowing.        

The breakup (scene charged with emotion) Drunkenness (psychological changes) Complicated by Valium (loss of conscience) Weapon (opportunity) Decides she will win boyfriend back (twisted reasoning) Devilish mood (hate and anger, about to be acted out) Store scene (high tension) Selection of victim

Task #4 (For Project) Create a 20-card tarot deck. Draw your symbols on the cards and on a separate sheet; write the interpretation for each card.

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Name & Section: ________________________________________

Write Shop #3

Date: _________

Time Started: __________ Ended: __________

SHORT STORY ELEMENTS WORKSHEET (Pre- Writing) - Fill in the following as appropriate: SETTING – a) Place – d) Social conditions – b) Time – e) Mood or atmosphere – c) Weather conditions – PLOT – a) Introduction – b) Rising Action – c) Climax – d) Falling action – e) Denouement – CONFLICT— Types: 1) External – 2) Internal – Kinds: 1) Man vs. Man (physical) – 2) Man vs. Circumstances (classical) – 3) Man vs. Society (social) – 4) Man vs. Himself/Herself (psychological) – CHARACTER – Describe the characteristics of the main characters in one to two informative sentences Character 1 ___________________________ Character 2___________________________ Character 3 __________________________ Which characters from the story fit these descriptions and why? 1. Static 2. Dynamic POINT OF VIEW – Point of view, or p.o.v., is defined as the angle from which the story is told. Circle which point of view is reflective of the story are writing, and write a sentence explaining why this is the best choice. 1. First Person 2. Third person (omniscient or limited) THEME – Describe the theme of the story you will write in a couple of words, then, in two to three sentences, explain why these words best describe the theme. One possible theme of this story is____________________________________________________ The reason is because: Amslt17

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SHORT STORY ELEMENTS WORKSHEET (Writing) Write a one striking scene based on the story in your pre-writing worksheet. Refer to the rubric below. _________________________________________________

(Title)

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Digitally signed by Amslt17 Date: 2017.06.19 11:56:56 +08'00'

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